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[Blake_Stimson,_Gregory_Sholette]_Collectivism_aft(z-lib
The Production of Social Space as Artwork 243with European and American interests. Throughout the discourse of thecrisis in Africa, the identiWcation of the mendacity of forces of productionwith external powers has become deeply entrenched and not without foundation.These forces in the name of a number of abstract concepts connectedto the great liberal trinity of democracy, free market, and human rights areoften believed to be a kind of third force that has to be fought before thesovereign African subject can emerge.Huit Facettes was formed by a group of eight individual—hence its name—artists in 1996, in Dakar, Senegal. It is different from Le Groupe Amos inthat it is self-identiWed as an artistic collective, using the means of art andFIGURE 8.7. Huit Facettes-Interaction, two shots of installation, “Documenta 11,” Germany, 2002.
244 Okwui Enwezorits corollary, creativity, to probe the relationship between the aesthetic andthe ethical, the social and cultural. However, the task Huit Facettes set foritself was Wrst a confrontation with the impotency, immobility, and disempowermentthat the artists in the collective perceived in the artistic contextof Senegal. The second question that concerned members of Huit Facetteswas the increasing social stratiWcation that deWned the relationship betweenthe elite and the poor in the city, a stratiWcation that also had impoverishedthe relationship of their individual work to the society in which it was produced,leading it inexorably toward becoming a code for its own alienation.This stratiWcation and alienation is even more acute in the lines that separaterural and urban communities in Senegal. In the city, the terms of dwellingand perceptions of social agency are often aleatory. While the urbaneconomy is governed by a tendency toward informality and improvisationwithin the capitalist economy, the rural community is entirely tethered to apreindustrial agrarian past. In the city social networks that bind one communityto another have not only exploded, producing scattered trajectories,they have also become implacable, diffuse, and difWcult to organize. The urbanmaterial consistency, having succumbed to obsolescence, is now shaped bygrowing spatial distortions that collapse into Xeeting temporalities.On the vast outskirts of the urban rim, forgotten communities inthe villages that are the historical link between the past and the present,the local and global, live on the edge of ofWcial amnesia, on the dark side ofa politics of invisibility. 34 Though massive in population and visible throughthe meager, deracinated social amenities that can barely cope with theirdemands, the poor in Africa have become the disappeared of globalization.In broad daylight Africans are short-circuited between development andunderdevelopment, between the third world and the Wrst world. The poor areinvisible because ofWcial discourse long ago stopped seeing them. Instead theyhave become a blind spot in the neoliberal catechism of the move towardmarket economy. They have become ghosts in the political machine 35 of latemodernity. Deracinated by structural adjustment policies, the rural and urbancontexts in Africa have become manifestations that produce their own structureof fecundation, a fertile soil for new possibilities of being. Urban andrural inhabitants have increasingly begun working with new kinds of experimentationcontra the logic of development modernity. They are involvedin inventing new subjective identities and protocols of community.All these issues coalesce in the activities of Huit Facettes. Its principalproject since its formation is the Hamdallaye project, a long, extendedcollaboration with the inhabitants of the village of Hamdallaye, some Wvehundred kilometers from Dakar in the Haute Cassamance region near theGambian border. Huit Facettes perceives its work exactly as the inverse of
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The Production of Social Space as Artwork 243
with European and American interests. Throughout the discourse of the
crisis in Africa, the identiWcation of the mendacity of forces of production
with external powers has become deeply entrenched and not without foundation.
These forces in the name of a number of abstract concepts connected
to the great liberal trinity of democracy, free market, and human rights are
often believed to be a kind of third force that has to be fought before the
sovereign African subject can emerge.
Huit Facettes was formed by a group of eight individual—hence its name—
artists in 1996, in Dakar, Senegal. It is different from Le Groupe Amos in
that it is self-identiWed as an artistic collective, using the means of art and
FIGURE 8.7. Huit Facettes-Interaction, two shots of installation, “Documenta 11,” Germany, 2002.
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