In September 2005, the Ivorian critic and historian Yacouba Konaté was invited to curate the 7th iteration of the Dakar Biennial (2006), with the mission of creating an “authentic African art biennial”. But what would an African biennial be? — he asked. “In order to create something African, it is not enough simply to be African. And if an African can create a non-African biennale, it is no less true that a non-African can create an African biennale. Identity is not inherent” (Konaté, 2013:492).
This special issue of OBOE Journal takes Konaté’s inquiries as a starting point to critically reflect on the role and diversity of visual art biennials across the African continent. We invite contributions that challenge essentialised notions of African identity and explore the complex histories and networks fostered by these initiatives. The aim is to deepen the understanding of biennial platforms and their historical significance in post-Independence cultural scenes, examining their impact not only within the global art world but also on local landscapes.
We welcome submissions that explore the implications of hosting visual art biennials in diverse African contexts, and/or feature critical examinations of specific biennials such as those in Lubumbashi, Kinshasa (Yango and Congo), Kampala, Casablanca, Marrakech, Cairo, Dakar, Cotonou, Lagos, Johannesburg, Cape Town, Luanda Triennale, and the Bamako African Photography Encounters.
Edited by N’Goné Fall and Sabrina Moura
For additional information, visit arthist.net <arthist.net/> – the source of this call: arthist.net/archive/42411
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