![Sample our Arts journals, sign in here to start your access, latest two volumes FREE to you for 14 days]({"type":"image" , "src" : "/sda/110799/TOC-Subject-Sample-2021-Arts.jpg"})
DISCLOSURE STATEMENT
No potential conflict of interest was reported by the author(s).
Notes
1 In addition to the Dakar workshops, Rossini Perez served, in the early 1960s, as an arts instructor in Bolivia and Peru. Later (1965), he was invited by the Calouste Gulbenkian Foundation to direct the printmaking workshops of the Cooperativa de Gravadores Portugueses, in Lisbon. In the 1990s, he taught at the Escuela Nacional de Artes Plásticas of the Universidade Nacional do México (UNAM).
2 These include a number of solo exhibitions at Caixa Cultural (São Paulo, 2009–2010), Estação Pinacoteca (São Paulo, 2013) and Museu de Arte do Rio (Rio de Janeiro, 2015).
3 In this paper, I will use the acronym ENBA to refer to the École Nationale des Beaux-Arts de Dakar. Its designation and structure varies through time. According to Kalidou Sy (Citation1989, p. 29), between 1958 and 1961, it was named Maison des Arts; between 1961 and 1971, it was École des Arts du Sénégal (EAS); and between 1971 and 1977, Institut National des Arts du Sénégal (INAS). Joshua Cohen (Citation2018, p. 19), in turn, points that “the art school in Dakar was revamped under a new name in 1972 as the École Nationale des Beaux-Arts (ENBA), situated within a larger arts and industrial design complex, the Institut National des Arts (INA).”
4 Other shows resulting from this experience include a Brazilian printmaking exhibition organized at the Blaise Senghor Cultural Centre and another Senegalese printmaking exhibition held at the Atelier Renaudeau (1978). In 1979, Perez also organized the exhibition Graveurs brésiliens, in Cote d’Ivoire.
5 The complete list of participating artists in the workshop include Théodore Diouf, Amadou Ba, Ousmane Faye, Abdoulaye M'boup, Alassem Banguibi, Mor Dior Seck, Lamine Drame, Ousmane Sow, Amadou Seck, Souleymane Keita, Mamadou Gaye, Sidy Ndiaye and Michel Nedelec.
6 At that time, the artist had just arrived in Rio de Janeiro, after living in Paris for over a decade. Rossini Perez moved to Paris in 1961, where he stayed until 1972. Upon returning to Brazil, the artist was invited to reopen the Printmaking Workshop at the University of Brasilia (Abreu, Citation2009, p. 78). Following the steps of these activities, the Ministry of Foreign Affairs of Brazil invited him to conduct the workshop in Dakar.
7 Domestic servant in French colonial jargon.
8 Modern Konst I Afrika (Modern Art in Africa), edited by Robbert Louise, Kalejdoskop, Lund, 1978.
9 Especially noteworthy are the solo exhibitions on Rossini’s work that mention his devotion to archival practice, including his shows at Caixa Cultural (São Paulo, 2009–2010), Estação Pinacoteca, São Paulo (2013) and Museu de Arte do Rio (Rio de Janeiro, 2015).
10 These institutions include Pinacoteca do Estado de São Paulo, Museu Nacional de Belas Artes, Museu de Arte do Rio, Museu de Arte do Rio Grande do Sul, Instituto Moreira Salles, among others.
11 These include the collection of Senegalese prints, and the materials derived from the workshops where they were produced.
12 Here, I would also highlight the role of Claudia Rocha, conservator at the Museu Nacional de Belas Artes, Rio de Janeiro.
13 This program culminated in the exhibition Histórias Afro-Atlânticas (June 28 - October 21, 2018), MASP, Brazil.
14 Among those who had their collections destroyed there are the Museu Histórico Nacional (Rio de Janeiro, 2018) and Museu de História Natural da Universidade Federal de Minas Gerais (2020), and currently in a very critical stage are the collections of the Cinemateca Brasileira (São Paulo), among others.
Additional information
Notes on contributors
Sabrina Moura
Sabrina Moura ([email protected]), PhD (Art History) is a curator and scholar based in São Paulo, Brazil.