Not an elsewhere but a deep entanglement
Michela Gulia
Abstract
In L’art de la décolonisation. Paris–Dakar 1950–1970, Maureen Murphy examines the cultural, political, and institutional relations between France and Senegal during the central decades of decolonization. Adopting a transnational perspective, Murphy ‘synchronizes’ Paris and Dakar in order to reconstruct the constellation of actors, discourses, and events that shaped the decolonization process in the field of art. Her analysis develops a multi-sited narrative foregrounding both the artistic exchanges between the two capitals and the asymmetries that structured the transition from the colonial to the postcolonial. The re-sult is a study that critically examines the uses of ‘history’ in the writing of global art history.
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Global Art History, Contemporary Art, Decolonization, FESMAN
Pages
115-117
DOI
10.25430/2531-4130/V18-011