A progressive discourse regarding the notion of 'contemporary art' needs to contextualise the position and representation of post-colonial countries. Specifically, when addressing the issue of 'contemporary art' within the international art market.
Do the artists of this countries recognize themselves in the selection criteria of experts and curators? Which aesthetical, social, cultural, political, and economical constraints make themselves felt thru the process of creation? Moreover, what are the implications of this, regarding local and international artistic acknowledgement ? Which promotional strategies of contemporary art and culture are operating in post-colonial countries? and which discourses inform the various forms, and the places of the contemporary creation?
The contemporary art of the Pacific countries and of the African continent seems to be marginalized by the actual mechanisms of artistic recognition in general, and of contemporary art in particular. When their local art markets are fragmented and the definition criteria of contemporaneity are articulated only by the actors of a western art History, this further perpetuates an existing pattern of identification of actual african and oceanian productions.
Consequently, artists are confronted on two levels : existing outside of a western imaginary which stigmatises or retrieves them to freshen up the « Old Europe », whilst nevertheless penetrating an art market which mastery is essentially american. For african and oceanian artists, ethnographical and geographical imputations, as well as culturalistic approaches which restrain their productions, constitute the ambiguous conditions of visibility and acknowledgment.
Between the stranglehold of the “global” (globalization and its standards) and the “local” (the colonial heritage of a falsified view of « tradition »), contemporary artists from Africa and Oceania propose an ironic deconstruction of exoticism and attempt a decolonalization of artistic criteria. The critical strength of those art works holds new mirrors to the contemporaneity. Analyzing this process, we claim the emergence of pluralistic art definitions, which have to be accompanied as alternative and original patterns, able to operate a necessary value reversal.
Valérie Morignat, Director
2006 International Conference actazé