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ENGLISH VERSION RETROSPECTIVES

lot of struggle, because living off art began to work on these issues related to There are all kinds of positions that feed
and memory in Brazil is a challenge. But the communities that make up French this debate and, personally, individually,
we like a challenge. And, as always, we society. There was really a ripple effect we can choose a very personal and
have been very well looked af er outside at the end. precise line, but it is part of a much more
of Bahia, lol. In the academic world, I must say heated debate, and I don’t see how a
that there are two phases of reception society transforms itself without making
interview anne lafont [pages 78 to 80] of my work. It is historians who were noise, that’s not possible.
initially interested in my work, but
“THE DEBATE TRIES TO historians in France were more reluctant – Around the world, there has
MAKE NOISE, PROVOKE to this type of post-colonial approach. been great visibility for black artists who
DISSONANCE AND However, younger generations are address historical and contemporary
beginning to emerge who are much
problems of blackness, themselves
DISTINCTION” more interested in these subjects. In directly resulting from colonial processes.
For French historian Anne Lafont, the world of museum curators, it took a We have also seen a boom in the market,
discussions around the representation little longer. It was first of all historians with a greater number of gallerists,
of black bodies and decolonial and anthropologists who were really including black ones, whose portfolios
movements must inevitably interested in my work, and that’s why are dedicated to African or diaspora
“disrupt the established order”
I was hired by the École des Hautes artists. Institutions and their curators
by eduardo simões Études en Sciences Sociales in Paris, are following the trend that currently
an institute for advanced studies with appears to be pasteurizing the artistic
author of the books An African at the researchers who are anthropologists, ecosystem around the world. Large luxury
Louvre e The art of black worlds: History, philosophers, sociologists, historians, conglomerates hire these artists for
theory, criticism, recently launched in of art. Things are starting to change, fashion collaborations. As curator and
Brazil by Bazar do Tempo, French historian but it is a somewhat longer process. artist Kader Attia told us in an interview:
Anne Lafont was in São Paulo in August, “Capitalism tries to recover, through
at the invitation of mac usp, to teach a – In recent years, critical culture and art, appropriating political
postgraduate course, sponsored by the racial theory has gained strength in messages, such as decolonization, and
Terra Foundation. On that occasion, Lafont universities and has even reached with that we run the risk of them becoming
gave us the following interview: the newsrooms of newspapers such institutionalized . I.e, It is necessary to
as The New York Times , as well as know how to take care of rhetoric, invent
– Tell me a little about the sectors of society, through so-called a language, vocabularies that are always
impact of your book An African at the culture . Among other authors, James new, almost new, perhaps abandon the
Louvre on the public, around the issue Baldwyn and Frantz Fanon resurfaced. word “decolonial” and create another,
of black representation in art. Has there Achille M’bembe raised the issue of for example “demodernize”, because
been any development of his studies necropolitics. Structural racism has decolonial does not include feminism, for
by other researchers? Reflections entered the agenda of progressive example.” Do you see this risk in current
on institutions, mainly in France, or governments and even companies, black artistic production, of a growing
perhaps in other European countries? which sometimes seem to engage simulacrum of critique in the service of
Have they rethought the way they in black washing – in reference to capitalism, of a pastiche of decolonial art?
formulate their curatorial practices greenwashing, false sustainability for Lafont – Colonial art is no more immune
for their collections? marketing purposes. This myriad of than all forms of art and appreciation
anne lafont – We started from reflections, perspectives, propositions, by the market, in other words, it would
a somewhat simple idea of the etc. contributes to the debate on be very naive to think that capitalism is
representation of black people in the decoloniality, or can it sometimes less strong compared to its thoughts.
visual arts, mainly in Europe and France, create noise, dissonance, deviations Capitalism is always stronger.
and ended up reflecting on the visual or distractions? Postcolonial and decolonial artistic
means of the concept of race, how race Lafont – The debate tries to make noise, endeavor is subject to the same risk as
materializes visually. I would say that provoke dissonance and distinction. The all forms of art. There is no reason to think
the show Le modèle noir from Géricault debate itself has this effect, that is, we that this time the market would not pick
to Matisse, which took place at the cannot have an in-depth discussion up on a trend that is widespread. The risk
Louvre [and was the starting point for without taking very different positions. is always there, no more and no less than
An African at the Louvre], it was a very It is inevitable and, in this sense, it does all forms of art that express themselves,
important moment in the history of not mean that each individual who that find an international reach, etc. Yes,
exhibitions in France, a major exhibition participates in the debate causes noise. I think it is a risk, but it is up to artists
on a subject that had not been treated But it is part of the debate, that is, we at the same time to find the means of
on this scale in France. cannot raise a new question, put new expression to escape, if they want to
There were many visitors, I believe ideas on the agenda without it making do so, this type of standardization on
more than 400 thousand, and this also noise, disrupting the established order, the part of the art market or on the part
transformed the way museums in France necessarily disturbing the way of thinking. of capitalism.

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