{"id":6798,"date":"2014-05-02T11:03:23","date_gmt":"2014-05-02T11:03:23","guid":{"rendered":"http:\/\/3.230.254.106\/?post_type=magazines&p=6798"},"modified":"2016-01-06T10:05:45","modified_gmt":"2016-01-06T10:05:45","slug":"laboratoire-agitart-and-tenq-in-dakar-in-the-1990s","status":"publish","type":"magazines","link":"http:\/\/3.230.254.106\/fr\/magazines\/laboratoire-agitart-and-tenq-in-dakar-in-the-1990s\/","title":{"rendered":"Laboratoire AGIT\u2019art et Tenq \u00e0 Dakar dans les ann\u00e9es 90"},"content":{"rendered":"

En l\u2019espace de trois semaines, entre avril et mai 1996, les histoires parall\u00e8les de la main d\u2019\u0153uvre immigr\u00e9e chinoise et de la pratique artistique s\u00e9n\u00e9galaise se crois\u00e8rent de mani\u00e8re inattendue \u00e0 Dakar, cr\u00e9ant un \u00e9v\u00e8nement qui allait marquer durablement le paysage de la Biennale. L\u2019ancien ministre de la Culture, le philosophe et \u00e9crivain Abdoulaye Elimane Kane, remettait \u00e0 l\u2019artiste et au commissaire d\u2019exposition El Sy \u2013\u00a0 qui avait dirig\u00e9 le collectif TENQ\u00a0 \u2013, et \u00e0 moi-m\u00eame, les cl\u00e9s d\u2019un camp d\u00e9saffect\u00e9 pr\u00e8s de l\u2019a\u00e9roport, camp o\u00f9 avaient v\u00e9cu des travailleurs chinois.<\/p>\n

\"El<\/a>

El Sy, Chika Okeke and Issa Samb visiting the brick-pressing plant. The Chinese laborers produced the bricks for the sports stadium, 1996. Photo: Cl\u00e9mentine Deliss<\/p><\/div>\n

Trois semaines plus tard, en mai 1996, TENQ, con\u00e7u comme un point de convergence artistique, ouvrait au reste du monde les portes du campement chinois. Des artistes invit\u00e9s venus du Kenya, du Zimbabwe, d\u2019Afrique du Sud, de C\u00f4te d\u2019Ivoire, du Nigeria et du Royaume-Uni se virent attribuer des ateliers dans les baraquements d\u00e9barrass\u00e9s de leurs fragiles cloisons, et travaill\u00e8rent et v\u00e9curent sur place deux semaines durant. Un espace fut consacr\u00e9 \u00e0 une galerie dans l\u2019ancienne cantine et l\u2019annonce de l\u2019ouverture \u2013\u00a0 le manifeste de TENQ 96\u00a0 \u2013 fut affich\u00e9 sur les murs des baraques.<\/p>\n

 <\/p>\n

\"Magaye<\/a>

Magaye Niang, Cl\u00e9mentine Deliss and El Sy preparing for a meeting with the Minister of Culture, 1996. Photo: Mor Lyssa B\u00e2<\/p><\/div>\n

TENQ 96 \u00e9tait une poudri\u00e8re en qu\u00eate d\u2019une nouvelle identit\u00e9 situ\u00e9e entre l\u2019histoire locale de squats d\u2019artistes et leur d\u00e9guerpissement par le gouvernement d\u2019une part, et la n\u00e9cessit\u00e9 d\u2019une grande visibilit\u00e9 et d\u2019une production acc\u00e9l\u00e9r\u00e9e impos\u00e9e par l\u2019internationalisation d\u2019autre part. Bien que l\u2019occupation du site n\u2019ait pas \u00e9t\u00e9 pr\u00e9vue pour durer plus de ces deux semaines, El Sy et le groupe constituant le noyau ne quitt\u00e8rent pas le nouveau Village des Arts, et plusieurs d\u2019entre eux y sont install\u00e9s depuis. Cette situation pratiquement in\u00e9dite a donn\u00e9 \u00e0 la ville de Dakar une infrastructure artistique qui demeure l\u2019unique initiative li\u00e9e \u00e0 la Biennale ayant surv\u00e9cu au fil des ann\u00e9es.<\/p>\n

\"Clearing<\/a>

Clearing up the camp El Sy explaining what needs to be done with Chika Okeke watching on April 1996. Photo: Cl\u00e9mentine Deliss<\/p><\/div>\n

Extrait de \u00ab\u00a0 Brothers in Anns\u00a0 : Laboratoire AGIT\u2019art and Tenq in Dakar in the 1990s\u00a0 \u00bb par Cl\u00e9mentine Deliss, \u00e0 para\u00eetre dans le num\u00e9ro\u00a036 de la revue Afterall, en \u00e9t\u00e9 2014.<\/em><\/p>\n

Cl\u00e9mentine Deliss<\/strong> est directrice du Weltkulturen Museum de Francfort-sur-le-Main. Elle a \u00e9tudi\u00e9 l\u2019art contemporain et l\u2019anthropologie sociale \u00e0 Vienne, Londres et Paris, et est titulaire d\u2019un doctorat obtenu \u00e0 l\u2019universit\u00e9 de Londres. Entre 1992 et 1995, elle a \u00e9t\u00e9 la directrice artistique d\u2019africa95. Elle a \u00e9t\u00e9 commissaire des\u00a0<\/b>expositions suivantes (s\u00e9lection) \u00a0 : \u00ab\u00a0 Foreign Exchange (or the stories you wouldn\u2019t tell a stranger)\u00a0 \u00bb, Weltkulturen Museum (avec Yvette Mutumba), 2014\u00a0 ; \u00ab\u00a0 Object Atlas \u2013 Fieldwork in the Museum\u00a0 \u00bb, Weltkulturen Museum, 2012\u00a0 ; \u00ab\u00a0 Seven Stories About Modern Art in Africa\u00a0 \u00bb, Whitechapel Gallery, Londres, 1995, et Malm\u00f6 Konsthall, 1996\u00a0 ; \u00ab\u00a0 Lotte or the Transformation of the Object\u00a0 \u00bb, Styrian Autumn, Graz, et Akademie der Bildenden K\u00fcnste de Vienne, 1990. Entre 1996 et 2007, elle a chapeaut\u00e9 la publication de onze num\u00e9ros de la revue Metronome, porte-parole des \u00e9crivains et des artistes sur la sc\u00e8ne internationale, dont le tout premier num\u00e9ro fut publi\u00e9 \u00e0 Dakar en 1996. Entre 2002 et 2009, elle a dirig\u00e9 le laboratoire de recherches international Future Academy lanc\u00e9 \u00e0 Dakar.<\/em><\/p>","protected":false},"featured_media":6819,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"_links_to":"","_links_to_target":""},"tags":[482,478,195,481,163,479,480],"magazine-type":[7],"class_list":["post-6798","magazines","type-magazines","status-publish","has-post-thumbnail","hentry","tag-chika-okeke","tag-clementine-deliss","tag-dakart-2014","tag-el-sy","tag-issa-samb","tag-laboratoire-agitart","tag-tenq","magazine-type-essay"],"core_raw":{"post_title":"[:de]Brothers in Arms: Laboratoire AGIT\u2019art und Tenq in Dakar in den 1990er Jahren\u2019,[:en]Laboratoire AGIT\u2019art and Tenq in Dakar in the 1990s\u2019,[:fr]Laboratoire AGIT\u2019art et Tenq \u00e0 Dakar dans les ann\u00e9es 90[:]","post_content":"[:de]Im April und Mai 1996 kam es in Dakar f\u00fcr drei Wochen zu einer \u00fcberraschenden \u00dcberlagerung der Geschichte der chinesischen Wanderarbeiter mit der des senegalesischen Kunstschaffens, aus der ein Projekt hervorging, das dauerhafte Spuren in der Landschaft der Biennale hinterlassen sollte. Der damalige senegalesische Kultusminister, der Philosoph und Schriftsteller Abdoulaye Elimane Kane, \u00fcbergab dem K\u00fcnstler und Kurator El Sy, einem der f\u00fchrenden K\u00f6pfe des Kollektivs TENQ, und mir die Schl\u00fcssel zu einem leer stehenden chinesischen Barackenlager in der N\u00e4he des Flughafens.\r\n\r\n[caption id=\"attachment_6831\" align=\"alignnone\" width=\"550\"]\"El<\/a> El Sy, Chika Okeke and Issa Samb visiting the brick-pressing plant. The Chinese laborers produced the bricks for the sports stadium, 1996. Photo: Cl\u00e9mentine Deliss[\/caption]\r\n\r\nAls wir das Gel\u00e4nde \u00fcbernahmen, gab es weder Strom noch flie\u00dfendes Wasser. Elf Baracken waren in kleine Schlafr\u00e4ume f\u00fcr f\u00fcnfhundert Arbeiter unterteilt, au\u00dferdem gab es eine gro\u00dfe Kantine und Nasszellen sowie eine Presse zur Herstellung von Ziegeln, Ginseng-Vorr\u00e4te und stapelweise Pl\u00e4ne und technische Zeichnungen in Mandarin. Anfang der 1980er Jahre hatten zahlreiche westafrikanische Staaten im Tausch gegen diplomatische Unterst\u00fctzung und Handelsprivilegien die chinesische Regierung mit der Planung und dem Bau von Sportstadien beauftragt. Die Chinesen brachten damals ihre eigenen Arbeiter mit in den Senegal und errichteten in den Vorst\u00e4dten provisorische Unterk\u00fcnfte f\u00fcr sie. Nachdem die Bauvorhaben abgeschlossen waren, verlie\u00dfen die meisten chinesischen Arbeiter den Senegal wieder. Diejenigen, die in Dakar blieben, zogen aus dem Lager aus, so dass es \u00fcber acht Jahre lang leer stand. Das Lager hatte ein eigenes raffiniertes Bew\u00e4sserungssystem und Mangob\u00e4ume in H\u00fclle und F\u00fclle, aber es war heruntergekommen und verdreckt.\r\n\r\n[caption id=\"attachment_6829\" align=\"alignnone\" width=\"550\"]\"Magaye<\/a> Magaye Niang, Cl\u00e9mentine Deliss and El Sy preparing for a meeting with the Minister of Culture, 1996. Photo: Mor Lyssa B\u00e2[\/caption]\r\n\r\nDrei Wochen sp\u00e4ter, im Mai 1996, \u00f6ffnete TENQ, das sich als k\u00fcnstlerischer Begegnungsort verstand, die Tore des chinesischen Wanderarbeiterlagers f\u00fcr die Au\u00dfenwelt. Die d\u00fcnnen Trennw\u00e4nde in den Baracken waren durchbrochen worden, und den Gastk\u00fcnstlerInnen, die aus Kenia, Simbabwe, S\u00fcdafrika, C\u00f4te d'Ivoire, Nigeria und aus dem Vereinigten K\u00f6nigreich angereist waren, um f\u00fcr zwei Wochen gemeinsam auf dem Gel\u00e4nde zu wohnen und zu arbeiten, wurden Ateliers zugeteilt. In der ehemaligen Kantine wurde ein Ausstellungsraum eingerichtet, und an die W\u00e4nde der Baracke wurde ein Manifest mit der Er\u00f6ffnungsank\u00fcndigung geklebt.\r\n\r\nTENQ 96 hatte etwas Z\u00fcndstoffgeladenes und rang um eine neue Identit\u00e4t im Spannungsfeld zwischen der lokalen Geschichte von K\u00fcnstlern besetzter Geb\u00e4ude und deren R\u00e4umung durch die Regierung auf der einen, und dem durch den neuen Internationalismus geforderten Profilierungs- und Produktionsdruck auf der anderen Seite. Zwar sollte das Gel\u00e4nde urspr\u00fcnglich nur f\u00fcr das zweiw\u00f6chige Kunst-Projekt genutzt werden, doch El Sy und die Kerngruppe verlie\u00dfen das \u201cVillage des Arts\u201d anschlie\u00dfend nicht mehr, und einige K\u00fcnstlerInnen leben bis heute dort. Diese nahezu unantastbare Situation hat der Stadt Dakar zu einer Kunst-Infrastruktur verholfen, die sich als einzige Initiative in Zusammenhang mit der Biennale \u00fcber viele Jahre bis heute gehalten hat.\r\n\r\n[caption id=\"attachment_6832\" align=\"alignnone\" width=\"550\"]\"Clearing<\/a> Clearing up the camp El Sy explaining what needs to be done with Chika Okeke watching on April 1996. Photo: Cl\u00e9mentine Deliss[\/caption]\r\n\r\nDies ist ein Auszug aus \u201eBrothers in Arms: Laboratoire AGIT'art und Tenq in Dakar in den 1990er Jahren \" , einem Essay von Cl\u00e9mentine Deliss, in K\u00fcrze erscheinend in AFTERALL, Ausgabe 36 , im Sommer 2014.\r\n\r\nCl\u00e9mentine Deliss<\/strong> ist Direktorin des Weltkulturen Museums in Frankfurt am Main . Sie studierte zeitgen\u00f6ssischen Kunst -und Sozialanthropologie in Wien, London und Paris und promovierte an der Universit\u00e4t von London. Von 1992 bis 1995 war sie k\u00fcnstlerische Leiterin von africa95 . Ausgew\u00e4hlte Ausstellungen\u00a0 kuratiert von Cl\u00e9mentine Deliss sind: \"Foreign Exchange ( Geschichten, die Du keinem Fremden erz\u00e4hlen w\u00fcrdest)\" Weltkulturen Museum ( mit Yvette Mutumba ) 2014 ; \"Objekt Atlas - Feldforschung im Museum \" Weltkulturen Museum , 2012 ; \"Seven Stories About Modern Art in Africa\" ??, Whitechapel Gallery, London , 1995, und Malm\u00f6 Kunsthalle , 1996; Lotte or the Transformation of the Object\u201d , Steirischer Herbst , Graz, und der Akademie der Bildenden K\u00fcnste Wien , 1990; Zwischen 1996-2007 produzierte sie elf Ausgaben der internationalen Schriftsteller -und K\u00fcnstler Zeitung Metronome, das erst Mal ver\u00f6ffentlicht in Dakar im Jahr 1996. Zwischen 2002 und 2009 leitete sie das internationalen Forschungslabor Zukunftsakademie in Dakar.<\/span><\/em>[:en]In the space of three weeks between April and May 1996, the parallel histories of Chinese migrant \u00a0labour and Senegalese art practice unexpectedly \u00a0overlapped to produce an event in Dakar that \u00a0would leave permanent traces in the landscape \u00a0of the Biennale. The former Minister of Culture, \u00a0philosopher and writer Abdoulaye Elimane Kane, \u00a0handed artist and curator El Sy, who headed the collective TENQ, and I the keys to a disused Chinese encampment near the airport.\r\n\r\n[caption id=\"attachment_6831\" align=\"aligncenter\" width=\"550\"]\"El<\/a> El Sy, Chika Okeke and Issa Samb visiting the brick-pressing plant. The Chinese laborers produced the bricks for the sports stadium, 1996. Photo: Cl\u00e9mentine Deliss[\/caption]\r\n\r\nWhen we took over \u00a0the site, there was no running water or electricity. Eleven barracks were subdivided into small \u00a0sleeping chambers for five hundred workers and, in addition to a large refectory and bathroom units, there was a press for producing bricks, stocks of ginseng and piles of maps and technical drawings, all in Mandarin. In the early 1980s, the Chinese government was commissioned by numerous West African states to design and build sports arenas in exchange for diplomatic support and trade privileges. The Chinese brought their own labourers to Senegal and built temporary housing for them in the suburbs of the city. Once the construction was completed, most of the Chinese left Senegal. Those who stayed in Dakar moved out of the camp, and it remained uninhabited for over eight years. The camp had its own sophisticated system of irrigation and a profusion of mango trees, but it was rundown and needed cleaning up.\r\n\r\n[caption id=\"attachment_6829\" align=\"alignnone\" width=\"550\"]\"Magaye<\/a> Magaye Niang, Cl\u00e9mentine Deliss and El Sy preparing for a meeting with the Minister of Culture, 1996. Photo: Mor Lyssa B\u00e2[\/caption]\r\n\r\nThree weeks later, in May 1996, TENQ, understood as a point of artistic connection, opened the gates of the Chinese camp to the outside world. The flimsy dividing walls in the barracks had been knocked through and studios allocated to guest artists from Kenya, Zimbabwe, South Africa, Ivory Coast, Nigeria and the UK, who spent two weeks living and working together on site. A gallery space was set up in the former canteen and a manifesto announcing the opening was pasted onto the shed walls. TENQ 96 had an inflammable character, fighting for a new identity between the local history of artists\u2019 squats and government evictions, on the one hand, and the demands for high visibility and accelerated production that new internationalism commanded on the other. Although the occupation of the site was not intended to continue beyond the two-week session, El Sy and the core group never left the new Village des Arts, and several have been based there ever since. This nearly untouchable situation has provided the city of Dakar with an arts infrastructure that remains the only initiative related to the Biennale to have survived throughout the years.\r\n\r\n[caption id=\"attachment_6832\" align=\"aligncenter\" width=\"550\"]\"Clearing<\/a> Clearing up the camp El Sy explaining what needs to be done with Chika Okeke watching on April 1996. Photo: Cl\u00e9mentine Deliss[\/caption]\r\n\r\nThis extract is part of 'Brothers in Arms: Laboratoire AGIT\u2019art and Tenq in Dakar in the 1990s', an essay by Cl\u00e9mentine Deliss forthcoming in AFTERALL, issue 36, Summer 2014.<\/em>\r\n\r\nCl\u00e9mentine Deliss<\/strong> is director of the Weltkulturen Museum in Frankfurt am Main. She studied contemporary art and social anthropology in Vienna, London and Paris and holds a PhD from the University of London. From 1992 to 1995 she was the artistic director of africa95. Selected exhibitions curated by Deliss include: \u201dForeign Exchange (or the stories you wouldn\u2019t tell a stranger)\u201d, Weltkulturen Museum (with Yvette Mutumba), 2014; \u201cObject Atlas \u2013 Fieldwork in the Museum\u201d, Weltkulturen Museum, 2012; \u201dSeven Stories About Modern Art in Africa\u201d, Whitechapel Gallery, London, 1995, and Malm\u00f6 Konsthall, 1996; \u201cLotte or the Transformation of the Object\u201d, Styrian Autumn, Graz, and Akademie der Bildenden K\u00fcnste Wien, 1990; Between 1996-2007, she produced eleven issues of the international writers\u2019 and artists\u2019 organ Metronome first published in Dakar in 1996. Between 2002 and 2009 she directed the international research lab Future Academy launched in Dakar.<\/em>[:fr]En l\u2019espace de trois semaines, entre avril et mai 1996, les histoires parall\u00e8les de la main d\u2019\u0153uvre immigr\u00e9e chinoise et de la pratique artistique s\u00e9n\u00e9galaise se crois\u00e8rent de mani\u00e8re inattendue \u00e0 Dakar, cr\u00e9ant un \u00e9v\u00e8nement qui allait marquer durablement le paysage de la Biennale. L\u2019ancien ministre de la Culture, le philosophe et \u00e9crivain Abdoulaye Elimane Kane, remettait \u00e0 l\u2019artiste et au commissaire d\u2019exposition El Sy \u2013\u00a0 qui avait dirig\u00e9 le collectif TENQ\u00a0 \u2013, et \u00e0 moi-m\u00eame, les cl\u00e9s d\u2019un camp d\u00e9saffect\u00e9 pr\u00e8s de l\u2019a\u00e9roport, camp o\u00f9 avaient v\u00e9cu des travailleurs chinois.\r\n\r\n[caption id=\"attachment_6831\" align=\"alignnone\" width=\"550\"]\"El<\/a> El Sy, Chika Okeke and Issa Samb visiting the brick-pressing plant. The Chinese laborers produced the bricks for the sports stadium, 1996. Photo: Cl\u00e9mentine Deliss[\/caption]\r\n\r\nTrois semaines plus tard, en mai 1996, TENQ, con\u00e7u comme un point de convergence artistique, ouvrait au reste du monde les portes du campement chinois. Des artistes invit\u00e9s venus du Kenya, du Zimbabwe, d\u2019Afrique du Sud, de C\u00f4te d\u2019Ivoire, du Nigeria et du Royaume-Uni se virent attribuer des ateliers dans les baraquements d\u00e9barrass\u00e9s de leurs fragiles cloisons, et travaill\u00e8rent et v\u00e9curent sur place deux semaines durant. Un espace fut consacr\u00e9 \u00e0 une galerie dans l\u2019ancienne cantine et l\u2019annonce de l\u2019ouverture \u2013\u00a0 le manifeste de TENQ 96\u00a0 \u2013 fut affich\u00e9 sur les murs des baraques.\r\n\r\n \r\n\r\n[caption id=\"attachment_6829\" align=\"alignnone\" width=\"550\"]\"Magaye<\/a> Magaye Niang, Cl\u00e9mentine Deliss and El Sy preparing for a meeting with the Minister of Culture, 1996. Photo: Mor Lyssa B\u00e2[\/caption]\r\n\r\nTENQ 96 \u00e9tait une poudri\u00e8re en qu\u00eate d\u2019une nouvelle identit\u00e9 situ\u00e9e entre l\u2019histoire locale de squats d\u2019artistes et leur d\u00e9guerpissement par le gouvernement d\u2019une part, et la n\u00e9cessit\u00e9 d\u2019une grande visibilit\u00e9 et d\u2019une production acc\u00e9l\u00e9r\u00e9e impos\u00e9e par l\u2019internationalisation d\u2019autre part. Bien que l\u2019occupation du site n\u2019ait pas \u00e9t\u00e9 pr\u00e9vue pour durer plus de ces deux semaines, El Sy et le groupe constituant le noyau ne quitt\u00e8rent pas le nouveau Village des Arts, et plusieurs d\u2019entre eux y sont install\u00e9s depuis. Cette situation pratiquement in\u00e9dite a donn\u00e9 \u00e0 la ville de Dakar une infrastructure artistique qui demeure l\u2019unique initiative li\u00e9e \u00e0 la Biennale ayant surv\u00e9cu au fil des ann\u00e9es.\r\n\r\n[caption id=\"attachment_6832\" align=\"alignnone\" width=\"550\"]\"Clearing<\/a> Clearing up the camp El Sy explaining what needs to be done with Chika Okeke watching on April 1996. Photo: Cl\u00e9mentine Deliss[\/caption]\r\n\r\nExtrait de \u00ab\u00a0 Brothers in Anns\u00a0 : Laboratoire AGIT\u2019art and Tenq in Dakar in the 1990s\u00a0 \u00bb par Cl\u00e9mentine Deliss, \u00e0 para\u00eetre dans le num\u00e9ro\u00a036 de la revue Afterall, en \u00e9t\u00e9 2014.<\/em>\r\n\r\nCl\u00e9mentine Deliss<\/strong> est directrice du Weltkulturen Museum de Francfort-sur-le-Main. Elle a \u00e9tudi\u00e9 l\u2019art contemporain et l\u2019anthropologie sociale \u00e0 Vienne, Londres et Paris, et est titulaire d\u2019un doctorat obtenu \u00e0 l\u2019universit\u00e9 de Londres. Entre 1992 et 1995, elle a \u00e9t\u00e9 la directrice artistique d\u2019africa95. Elle a \u00e9t\u00e9 commissaire des\u00a0<\/b>expositions suivantes (s\u00e9lection) \u00a0 : \u00ab\u00a0 Foreign Exchange (or the stories you wouldn\u2019t tell a stranger)\u00a0 \u00bb, Weltkulturen Museum (avec Yvette Mutumba), 2014\u00a0 ; \u00ab\u00a0 Object Atlas \u2013 Fieldwork in the Museum\u00a0 \u00bb, Weltkulturen Museum, 2012\u00a0 ; \u00ab\u00a0 Seven Stories About Modern Art in Africa\u00a0 \u00bb, Whitechapel Gallery, Londres, 1995, et Malm\u00f6 Konsthall, 1996\u00a0 ; \u00ab\u00a0 Lotte or the Transformation of the Object\u00a0 \u00bb, Styrian Autumn, Graz, et Akademie der Bildenden K\u00fcnste de Vienne, 1990. Entre 1996 et 2007, elle a chapeaut\u00e9 la publication de onze num\u00e9ros de la revue Metronome, porte-parole des \u00e9crivains et des artistes sur la sc\u00e8ne internationale, dont le tout premier num\u00e9ro fut publi\u00e9 \u00e0 Dakar en 1996. Entre 2002 et 2009, elle a dirig\u00e9 le laboratoire de recherches international Future Academy lanc\u00e9 \u00e0 Dakar.<\/em>[:]","post_excerpt":""},"acf":{"video_url":null,"Dachzeile":"Brothers in Arms: ","mag_subtitle":null,"mag_author":"Cl\u00e9mentine Deliss","mag_abstract":"In the space of three weeks between April and May 1996, the parallel histories of Chinese migrant labour and Senegalese art practice unexpectedly overlapped to produce an event in Dakar that would leave permanent traces in the landscape of the Biennale. ","mag_pubdate":null,"image_container":null,"modul_1":null,"modul_4":null,"modul_5":null,"modul_2":null,"modul_3":null,"teaser":null,"smys":null,"image_only_slide":null},"yoast_head":"\nLaboratoire AGIT\u2019art et Tenq \u00e0 Dakar dans les ann\u00e9es 90 - Contemporary And<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/3.230.254.106\/fr\/magazines\/laboratoire-agitart-and-tenq-in-dakar-in-the-1990s\/\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:title\" content=\"Laboratoire AGIT\u2019art et Tenq \u00e0 Dakar dans les ann\u00e9es 90 - Contemporary And\" \/>\n<meta name=\"twitter:description\" content=\"En l\u2019espace de trois semaines, entre avril et mai 1996, les histoires parall\u00e8les de la main d\u2019\u0153uvre immigr\u00e9e chinoise et de la pratique artistique s\u00e9n\u00e9galaise se crois\u00e8rent de mani\u00e8re inattendue \u00e0 Dakar, cr\u00e9ant un \u00e9v\u00e8nement qui allait marquer durablement le paysage de la Biennale. 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