La part de l’Afrique dans le commerce mondial de biens et services culturels reste très faible. Cette situation reflète en partie le niveau des échanges impliquant ce secteur à l’intérieur du continent. Des contraintes accrues pèsent en réalité sur l’écoulement des produits artistiques mais aussi sur les conditions de leur production. Les oeuvres d’art contemporain ne dérogent pas à cette affirmation. De plus en plus de publications et de recherches traitent de la problématique des échanges qui sous-tend la circulation des oeuvres d’art contemporain en Afrique. Il est aujourd’hui établi qu’étudier en Afrique les phénomènes et manifestations de la circulation des produits artistiques et particulièrement des oeuvres d’art contemporain relève d’une entreprise complexe tant le mélange de genre entre l’art traditionnel et l’art contemporain y est répandu : beaucoup de problématiques liées à l’art contemporain continuant d’être étudiées sous l’angle de l’art traditionnel. Cette thèse, en tant que contribution à la réflexion sur la création artistique, veut mettre en évidence les mobiles et les modalités des échanges sur l’art contemporain en Afrique de l’Ouest. Il est question de déterminer les relations existantes entre le champ de création et celui de la réception dans une perspective de développement des échanges sur les oeuvres d’art contemporain ainsi que ses incidences sur la création. Il s’agit aussi de démontrer que la circulation des oeuvres, assumée comme valeur intrinsèque de l’évolution de la création contemporaine et comme gage de notoriété des artistes, est censée concourir plus explicitement et, plus efficacement, au développement du champ de réception en contribuant à l’attractivité du marché de l’art. Les éclairages et les stimulations que ce travail pourrait apporter sur l’état du marché de l’art ainsi que la diffusion des oeuvres d’art contemporain au Sénégal, permettront d’avoir une meilleure approche sur cette question dans les autres pays de la sous-région. / The part of Africa in the world trade of cultural products and services remains very weak. This situation reflects partially the level of the exchanges involving this sector inside the continent. Growing constraints bear down on the flow of the artistic works but also on the conditions of their production. The works of contemporary art are not departed from this assertion. More and more publications and researches deal with the problem of the exchanges which underlies the flow of the works of contemporary art in Africa. It’s established nowadays that studying the phenomena and demonstrations of the circulation of the artistic products and particularity of the works of contemporary art is a complex matter. Because of the mixture of genders and origins inside the traditional and the contemporary art in Africa. Many problems connected to the contemporary art in Africa continue to be analyzed under the frame of the traditional art. This academic work is a contribution for the thought on the artistic creation; it aims to highlight the motives and modalities of the exchanges on the contemporary in western Africa. This PhD determines the existing relations between the field of creation and that of the reception in a perspective of development of the exchange on the works of contemporary art as well as its incidences on the creativity. We’ll demonstrate also that the flow of artistic products, assumed as intrinsic value of the evolution of the contemporary works and generally known fame of the artists, is supposed to compete more explicitly and, more effectively, to the development of the field of reception by contributing to the attractiveness of the market of the art. The lightings and the stimulations that this academic work could bring on the art’s market as well as the dispatching of the products of contemporary art in Senegal, will allow us to have a better approach on this question in the other countries of the sub- Saharan area.

OLIVEIRA, Gerciane Maria da Costa. Chico da Silva: estudo sociológico sobre a manifestação de um talento artístico. 2010. 126f. Dissertaçao (Mestrado em Sociologia) - Universidade Federal do Ceara, Departamento de Ciências Sociais, Programa de Pós-Graduação em Sociologia, Fortaleza-CE, 2010. / Submitted by GLAUBENILSON CAVALCANTE (glaubenilson@yahoo.com.br) on 2011-11-21T18:27:43Z No. of bitstreams: 1 2010_DIS_GMCOliveira.pdf: 6079557 bytes, checksum: 8dca8a4969ab994e0997dbc98fffb758 (MD5) / Approved for entry into archive by Maria Josineide Góis(josineide@ufc.br) on 2011-11-23T12:24:31Z (GMT) No. of bitstreams: 1 2010_DIS_GMCOliveira.pdf: 6079557 bytes, checksum: 8dca8a4969ab994e0997dbc98fffb758 (MD5) / Made available in DSpace on 2011-11-23T12:24:31Z (GMT). No. of bitstreams: 1 2010_DIS_GMCOliveira.pdf: 6079557 bytes, checksum: 8dca8a4969ab994e0997dbc98fffb758 (MD5) Previous issue date: 2010 / O presente trabalho tem como intuito principal compreender, sob a perspectiva sociológica, a manifestação do pintor naif Chico da Silva no contexto artístico cearense dos anos 40. Nascido no Alto do Tejo, cidade do Acre, Francisco Domingos da Silva, filho de pai indígena e mãe cearense chega a Fortaleza em meados dos anos 30. Tendo seus trabalhos muralistas “descobertos” pelo crítico e pintor suíço Pierre Chabloz, em 1943, Chico passa a produzir telas, sob a interferência e orientação do estrangeiro, que levadas aos circuitos locais, nacionais e internacionais despertam grande interesse e admiração dos pares, da crítica e do público. Contudo, tal aceitação local não se deve, exclusivamente, aos valores e propriedades intrínsecas à suas obras, mas ao espaço dos possíveis objetivamente inscrito, que se delineia no modernismo tardio e no processo de autonomização do campo artístico cearense dos anos 40. A ruptura com os padrões artísticos europeus advindos principalmente da França e as afinidades formais e de idéias que se tecem nessa configuração entre arte “moderna” e arte “primitiva” viabilizam a paradoxal inscrição dos trabalhos independentes de Chico da Silva no campo artístico cearense, que no seu estado de autonomização não oferece lugar aqueles que renegam e desconhecem sua história.