Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
Collectivism after Modernism - autonomous learning - Blogs
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244 Okwui Enwezor<br />
its corollary, creativity, to probe the relationship between the aesthetic and<br />
the ethical, the social and cultural. However, the task Huit Facettes set for<br />
itself was Wrst a confrontation with the impotency, immobility, and disempowerment<br />
that the artists in the collective perceived in the artistic context<br />
of Senegal. The second question that concerned members of Huit Facettes<br />
was the increasing social stratiWcation that deWned the relationship between<br />
the elite and the poor in the city, a stratiWcation that also had impoverished<br />
the relationship of their individual work to the society in which it was produced,<br />
leading it inexorably toward becoming a code for its own alienation.<br />
This stratiWcation and alienation is even more acute in the lines that separate<br />
rural and urban communities in Senegal. In the city, the terms of dwelling<br />
and perceptions of social agency are often aleatory. While the urban<br />
economy is governed by a tendency toward informality and improvisation<br />
within the capitalist economy, the rural community is entirely tethered to a<br />
preindustrial agrarian past. In the city social networks that bind one community<br />
to another have not only exploded, producing scattered trajectories,<br />
they have also become implacable, diffuse, and difWcult to organize. The urban<br />
material consistency, having succumbed to obsolescence, is now shaped by<br />
growing spatial distortions that collapse into Xeeting temporalities.<br />
On the vast outskirts of the urban rim, forgotten communities in<br />
the villages that are the historical link between the past and the present,<br />
the local and global, live on the edge of ofWcial amnesia, on the dark side of<br />
a politics of invisibility. 34 Though massive in population and visible through<br />
the meager, deracinated social amenities that can barely cope with their<br />
demands, the poor in Africa have become the disappeared of globalization.<br />
In broad daylight Africans are short-circuited between development and<br />
underdevelopment, between the third world and the Wrst world. The poor are<br />
invisible because ofWcial discourse long ago stopped seeing them. Instead they<br />
have become a blind spot in the neoliberal catechism of the move toward<br />
market economy. They have become ghosts in the political machine 35 of late<br />
modernity. Deracinated by structural adjustment policies, the rural and urban<br />
contexts in Africa have become manifestations that produce their own structure<br />
of fecundation, a fertile soil for new possibilities of being. Urban and<br />
rural inhabitants have increasingly begun working with new kinds of experimentation<br />
contra the logic of development modernity. They are involved<br />
in inventing new subjective identities and protocols of community.<br />
All these issues coalesce in the activities of Huit Facettes. Its principal<br />
project since its formation is the Hamdallaye project, a long, extended<br />
collaboration with the inhabitants of the village of Hamdallaye, some Wve<br />
hundred kilometers from Dakar in the Haute Cassamance region near the<br />
Gambian border. Huit Facettes perceives its work exactly as the inverse of