{"id":11416,"date":"2016-04-08T14:12:04","date_gmt":"2016-04-08T13:12:04","guid":{"rendered":"http:\/\/www.revuenoire.com\/en\/?p=11416"},"modified":"2016-10-10T15:52:06","modified_gmt":"2016-10-10T14:52:06","slug":"11416","status":"publish","type":"post","link":"https:\/\/www.revuenoire.com\/en\/11416\/","title":{"rendered":"Abdoulaye Konat\u00e9 &#8211; Art"},"content":{"rendered":"<div id=\"pl-11416\"  class=\"panel-layout\" ><div id=\"pg-11416-0\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-11416-0-0\"  class=\"panel-grid-cell\" ><div id=\"panel-11416-0-0-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"0\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<figure id=\"attachment_11392\" aria-describedby=\"caption-attachment-11392\" style=\"width: 1500px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/07-KONATE-Composition5-146x230cm-2012.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-11392\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/07-KONATE-Composition5-146x230cm-2012.jpg\" alt=\"Abdoulaye Konat\u00e9, Composition 5, textile, 146x230cm, 2012\" width=\"1500\" height=\"2349\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/07-KONATE-Composition5-146x230cm-2012.jpg 1500w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/07-KONATE-Composition5-146x230cm-2012-192x300.jpg 192w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/07-KONATE-Composition5-146x230cm-2012-768x1203.jpg 768w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/07-KONATE-Composition5-146x230cm-2012-654x1024.jpg 654w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/a><figcaption id=\"caption-attachment-11392\" class=\"wp-caption-text\">Abdoulaye Konat\u00e9, Composition 5, textile, 146x230cm, 2012<\/figcaption><\/figure>\n<\/div>\n<\/div><\/div><\/div><div id=\"pgc-11416-0-1\"  class=\"panel-grid-cell\" ><div id=\"panel-11416-0-1-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"1\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<h3>art<\/h3>\n<p>\u00a0<\/p>\n<p>born in 1953 in Dir\u00e9, Mali<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>lives et works in Bamako, Mali<\/p>\n<p>Director of the\u00a0\u2019Conservatoire National des Arts et M\u00e9tiers Multim\u00e9dia Balla Fass\u00e9k\u00e9 Kouyat\u00e9\u2019 in\u00a0Bamako\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>The Abdoulaye Konat\u00e9 textile sculptures are inexhaustible matter in which he listed the signs and symbols of secret societies in Mali (\u2019Hommage aux chasseurs du Mand\u00e9\u201d - 1994) or an interpretation of the world and events (\u201cBosnie, Rwanda, Angola\u201d - 1995).\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>With this material, he dyes, cuts, sews to have a structure for operating the at surface of the fabric. This can become the support of growths that create optical effects. Gradually the assembly of these items obliterates the presence of the figure and plays with volumes, infinity of folds, rebounds, hollows, crevices (\u2019Symphonie Bleue\u2019 - 2007).\u00a0The density of the material allows him to dance forms in a setting designed to abstraction (\u2019La danse d\u2019une nuit\u2019 - 2009).<\/p>\n<p>\u00a0<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-11416-1\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-11416-1-0\"  class=\"panel-grid-cell\" ><div id=\"panel-11416-1-0-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"2\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>[run the slideshow below]<\/p>\n<div id=\"metaslider-id-11412\" style=\"max-width: 1500px;\" class=\"ml-slider-3-70-0 metaslider metaslider-flex metaslider-11412 ml-slider ms-theme-radix has-dots-nav\" role=\"region\" aria-roledescription=\"Slideshow\" aria-label=\"Konat\u00e9 diaporama\">\n    <div id=\"metaslider_container_11412\">\n        <div id=\"metaslider_11412\">\n            <ul aria-live=\"polite\" class=\"slides\">\n                <li style=\"display: block; width: 100%;\" class=\"slide-11398 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11398\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/11-KONATE-CroixDeLumiere-2010-242x179cm.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11398\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Croix de lumi\u00e8re', bazin teint, 242x179cm, 2012<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11396 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11396\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/10-KONATE-CroixDeSang-2010-242x179cm.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11396\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Croix de sang', bazin teint, 242x179cm, 2012<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11406 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11406\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/15-KONATE-Composition1-241x177cm.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11406\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Composition 1', bazin teint, 241x177cm, 2011<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11404 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11404\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/14-KONATE-PlumageDePintade-255x166cm-2011.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11404\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Plumage de pintade', bazin teint brod\u00e9, 255x166cm, 2011<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11402 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11402\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/13-KONATE-Composition7-221x171cm-2012.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11402\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Composition 7', bazin teint, 221x171cm, 2012<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11400 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11400\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/12-KONATE-Composition6-171x221cm-2012.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11400\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Composition 6', bazin teint, 221x171cm, 2012<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11390 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11390\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/06-KONATE-Composition2-145x230cm-2012.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11390\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Composition 2', bazin teint, 230x145cm, 2012<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11388 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11388\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/05-KONATE-Composition4-146x228cm-2012.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11388\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Composition 4', bazin teint, 228x146cm, 2012<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11386 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11386\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/04-KONATE-Composition3-146x231cm-2012.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11386\" \/><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11384 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11384\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/03-KONATE-SymphonieBleue4-280x310cm-2011.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11384\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Symphonie bleue', bazin teint, 280x310cm, 2011<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11380 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11380\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/01-KONATE-PlumageOcre-136x232cm-2012-detail-1500x1992.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11380\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Plumage ocre', d\u00e9tail, bazin teint, 232x136cm, 2012<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11382 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11382\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/02b-KONATE-GrisGrisBlancs-2008-254x390cm-01.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11382\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Gris-gris blancs', textile, 254x390cm, 2008<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11408 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11408\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/16-KONATE-GenerationBiometrique-2008-296x640cm-02.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11408\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'G\u00e9n\u00e9ration biom\u00e9trique', appliqu\u00e9, 296x640cm, 2008<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11410 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11410\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/AKONATE-HommageMande001-1500x1003.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11410\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Hommage aux chasseurs du Mand\u00e9', 1994<\/div><\/div><\/li>\n                <li style=\"display: none; width: 100%;\" class=\"slide-11394 ms-image \" aria-roledescription=\"slide\" aria-label=\"slide-11394\"><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/04\/08-KONATE-OffrandeDesCouleurs-BlancRougeNoire-229x144cm-2012.jpg\" height=\"0\" width=\"1500\" alt=\"\" class=\"slider-11412 slide-11394\" \/><div class=\"caption-wrap\"><div class=\"caption\">Abdoulaye Konat\u00e9, 'Offrande des couleurs', bazin teint, 229x144cm, 2012<\/div><\/div><\/li>\n            <\/ul>\n        <\/div>\n        \n    <\/div>\n<\/div>\n<\/div>\n<\/div><\/div><\/div><\/div><div id=\"pg-11416-2\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-11416-2-0\"  class=\"panel-grid-cell\" ><div id=\"panel-11416-2-0-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"3\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>At first, he was influenced by Bocar Keita paintings, the only painter in his hometown, then joined the National Institute of Arts of Mali, Bamako. Mali, in this time a \u2019non-aligned\u2019 country of communist influence, allows him to continue his training in Cuba, at the Institute of Fine Arts in Havana and to be influenced by Wifredo Lam paintings and other great surrealists painters. They strongly mark his drawing and painting, including his serie \u2019Ciwara\u2019 and many others until today, often characterized by the representation of African stereotypes (masks, antelope, zebu horns ...).<\/p>\n<p>\u00a0<\/p>\n<p>In the 90, with large tapestries of traditional malian cotton,he worked a new creative process by looking at space and volume. Materials founding of his work, these textile sculptures reveal a deeply conscious world of economic and social challenges. It takes commitment and policy positions dealing with social, political and economic problems such as AIDS (patchwork of 6000 m2 covering the stadium during the opening ceremony of the Can 2002 in Bamako) or global crises (\u2019Gris-gris blancs pour Isra\u00ebl et la Palestine\u2019- 2006) ... in contemporary approach. But textile support is also to evoke the essence of Manding culture, with or without literal quotes to tradition with the famous serie \u2019Hommage aux chasseurs du Mand\u00e9\u2019 in 1994.<\/p>\n<p>\u00a0<\/p>\n<p>Artist of the matter, Abdoulaye Konat\u00e9 combines hanging, assembly, dyeing and sculpture to achieve high recall and strong presence in space. With textiles, gris-gris, bullets, used clothing or sand, he comes in the theater and the world of contemporary art through the door or spiritual or political. Reflecting a Malian, African and universal collective consciousness.<\/p>\n<p>\u00a0<\/p>\n<p>In 1996, he received the \u2019Grand Prix L\u00e9opold Senghor\u2019 in Dakar Biennale. He participated in exhibitions in Belgium, France, Spain, Usa, Japan... He lives and works in Mali. Currently director of the \u2019Conservatoire National des Arts et M\u00e9tiers Multimedia\u2019 in Bamako, Mali, he experiments new unprecedented pedagogies in Africa.<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\"><span class=\"s1\">by\u00a0Mariane Buchet and\u00a0Jean Loup Pivin, 2012<\/span><\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<h2>\u00a0<\/h2>\n<h2>SOLO SHOWS<\/h2>\n<p>(selection)<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>2011<\/p>\n<p>'La toile d\u2019Abdoulaye Konat\u00e9', Galerie Nationale d\u2019Art de Dakar<\/p>\n<p>2010<\/p>\n<p>Retrospective, Biennale de Dakar<\/p>\n<p>2009 \u00a0<\/p>\n<p>Galerie Saro, Las Palmas,\u00a0Spain<\/p>\n<p>Espace forum von Kunst, Heidelberg,\u00a0Germany<\/p>\n<p>2001<\/p>\n<p>Chapelle Jeanne d\u2019Arc - Thouars, France<\/p>\n<p>1999<\/p>\n<p>Tuchbilder + Installation - Dany Keller Galerie, Munich<\/p>\n<p>1998<\/p>\n<p>Le plateau - Galerie GO - Abidjan, Ivory Coast<\/p>\n<p>1995<\/p>\n<p>Maison de la Culture - Amiens, France<\/p>\n<p>1992<\/p>\n<p>Mus\u00e9e de l\u2019Ifan - Dakar, Senegal<\/p>\n<p>1984<\/p>\n<p>Galerie L - Habana, Cuba<\/p>\n<p>1983<\/p>\n<p>Le Petit Salon National - Habana, Cuba<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<h2>Group EXhibitions<\/h2>\n<p>(selection)<\/p>\n<p>\u00a0<\/p>\n<p>\u00a0<\/p>\n<p>2011<\/p>\n<p>Mixit\u00e9s-Les chantiers de la Lune, La Seyne-sur-Mer, France<\/p>\n<p>2010<\/p>\n<p>Africa assume art position, Primo marella Gallery, Milan<\/p>\n<p>Art Basel,\u00a0Switzerland<\/p>\n<p>2009<\/p>\n<p>Bienal de La Habana, Cuba<\/p>\n<p>Africa ? Una nuova storia, Rome, Italia<\/p>\n<p>2008<\/p>\n<p>Input - Colec\u00e7\u00e3o Sindika Dokolo, Luanda, Angola<br \/> Traves\u00eda, CAAM, Las Palmas de Gran Canaria, Canaries Island, Spain<\/p>\n<p>7th Gwangju Biennale, South Korea<br \/> Artes mundi, Mus\u00e9e national de Cardiff, U.K.<br \/> Angaza afrika - African art now - October Gallery, London, U.K.<\/p>\n<p>Biennale de Dakar, Senegal<\/p>\n<p>Grey art Gallery, New York University, Usa<\/p>\n<p>1st Biennale de Bruxelles, Belgium<\/p>\n<p>2007<br \/> Brocken Memory, Ghana National Art Museum, Accra, Ghana<\/p>\n<p>Contact Zone, Mus\u00e9e National du Mali - Bamako, Mali<br \/> Three Questions for Art and Its Audience, Documenta 12, Kassel<\/p>\n<p>2006<br \/> Angola Pop, Triennale de Luanda, Luanda, Angola<br \/> Unhomely : Phantom Scenes in Global Society - 2e Biennale de Sevilla, Spain<\/p>\n<p>2006-2004<\/p>\n<p>Africa Remix, Hayward Gallery, U.K. - Kunst Palast, D\u00fcsseldorf - Mori art Museum, Tokyo - Centre Pompidou Paris - Johannesburg art Gallery, South Africa<\/p>\n<p>2003<br \/> Mus\u00e9e du Design et des Arts Appliqu\u00e9s Contemporains de Lausanne, Suisse<\/p>\n<p>Palais des Beaux-Arts de Bruxelles, Belgium<\/p>\n<p>1998<br \/> Biennale de Johannesbourg, South Africa<\/p>\n<p>Triennale de Kleinplastik, Stuttgart,\u00a0Germany<\/p>\n<p>24th Biennale of S\u00e3o Paulo, Brazil<\/p>\n<p>1997<br \/> Suites Africaines, Couvent des Cordeliers, Paris<\/p>\n<p>Biennale de Venise, Italia<\/p>\n<p>1996<\/p>\n<p>The Other Journey, Kunst halle, Krems, Austria<\/p>\n<p>1995<\/p>\n<p>Setagaya Museum, Tokyo, Japan<\/p>\n<p>Otro Pais, Palma de Majorque, Barcelone - Las Palmas\u00a0Spain<\/p>\n<p>1994<\/p>\n<p>Rencontres Africaines, Institut du Monde Arabe, Paris<\/p>\n<p>1991<\/p>\n<p>Tsurumoto room co, Shibuyo Ku-tokyo, Japan<\/p>\n<p>1990\u00a0<\/p>\n<p>Mus\u00e9e National des Arts d\u2019Afrique et d\u2019Oc\u00e9anie, Paris<\/p>\n<p>1986<\/p>\n<p>2\u00e8me Biennale de La Havane, La Havane, Cuba<\/p>\n<p>1978<\/p>\n<p>Jeunes peintres du Mali, Institut National des Arts, Bamako<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<h2>Biography<br \/>\u00a0<\/h2>\n<p> - Biennale de Dakar : Pour une esth\u00e9tique de la cr\u00e9ation contemporaine africaine. T\u00eate \u00e0 t\u00eate avec Yacouba Konat\u00e9 et Valentin Yves Mudimb\u00e9, Paris, l\u2019Harmattan 2009<br \/> - Martinez Nadine. Art contemporain\/Art traditionnel : Aller-retour Mali-Mali. Paris, l\u2019Harmattan 2009<br \/> - Spring Chris. Angaza Afrika: African art now. Lawrence King, 2008<br \/> - Documenta XII. Kassel : Taschen, 2007<br \/> - 2nd International Biennial of Contemporary Art of S\u00e9ville: The Unhomely: Phantom Scenes in Global Society. Actar, 2006<br \/> - Africa Remix. Paris : \u00c9ditions du Centre Pompidou, 2005<br \/> - Fall N\u2019Gon\u00e9 and Pivin Jean Loup. Anthology of African Art, the Twentyth Century. Paris, Revue Noire editions and New York: DAP, 2002<br \/> - Mali au-del\u00e0 des clich\u00e9s, Beaux-arts Magazine, n\u00b0212, janvier 2002<br \/> - Abdoulaye Konat\u00e9 plasticien (les carnets de la cr\u00e9ation). Paris : \u00c9ditions de l\u2019\u0152il, 2000<br \/> - Esta\u00e7\u00e0o Oriente. Metropolitano de Lisboa, Lisboa, 1999<br \/> - Suites africaines. Couvent des Cordeliers. Revue Noire, Paris,1997<br \/> - Alain David, Abdoulaye Konat\u00e9, Jean-S\u00e9bastien Leblond-Duniach: Fondation France-Libert\u00e9s et Urbis. Paris : 1996<br \/> - African art of our time : an inside story. Tokyo : the Japan Association of Museums, 1995<br \/> - Revue Noire 17 : Mali, Burkina Faso, Revue Noire,1995<br \/> - Revue Noire 19 : Les artistes africains et le Sida, Revue Noire, 1995<br \/> - Rencontres africaines. Paris: Institut du Monde Arabe, 1994<br \/> - Revue Noire 12 : Afrique m\u00e9dit\u00e9rran\u00e9enne-Afrique Noire, Revue Noire, 1994<\/p>\n<p>\u00a0<\/p>\n<p class=\"p1\">\u00a0<\/p>\n<h2>Revue Noire publishing<\/h2>\n<p>\u00a0<\/p>\n<figure id=\"attachment_3316\" aria-describedby=\"caption-attachment-3316\" style=\"width: 210px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/en\/edition\/revuenoire-17\/\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-3316 size-medium\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2015\/12\/001_RN17-RevueNoire17_MaliNigerBurkinaFaso_Couv1-210x300.jpg\" alt=\"Magazine Revue Noire RN17 Mali-Niger-Burkina Faso\" width=\"210\" height=\"300\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2015\/12\/001_RN17-RevueNoire17_MaliNigerBurkinaFaso_Couv1-210x300.jpg 210w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2015\/12\/001_RN17-RevueNoire17_MaliNigerBurkinaFaso_Couv1-716x1024.jpg 716w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2015\/12\/001_RN17-RevueNoire17_MaliNigerBurkinaFaso_Couv1.jpg 1500w\" sizes=\"(max-width: 210px) 100vw, 210px\" \/><\/a><figcaption id=\"caption-attachment-3316\" class=\"wp-caption-text\">Magazine Revue Noire RN17 Mali-Niger-Burkina Faso<\/figcaption><\/figure>\n<p>\u00a0<\/p>\n<figure id=\"attachment_4932\" aria-describedby=\"caption-attachment-4932\" style=\"width: 211px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire\/en\/edition\/revue-noire-24\/\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-4932 size-medium\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/083_RN24-RevueNoire24_Expo_SuitesAfricaines_CouventCordeliers-211x300.jpg\" alt=\"Suites Africaines, in RN24\" width=\"211\" height=\"300\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/083_RN24-RevueNoire24_Expo_SuitesAfricaines_CouventCordeliers-211x300.jpg 211w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/083_RN24-RevueNoire24_Expo_SuitesAfricaines_CouventCordeliers-768x1092.jpg 768w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/083_RN24-RevueNoire24_Expo_SuitesAfricaines_CouventCordeliers-720x1024.jpg 720w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/02\/083_RN24-RevueNoire24_Expo_SuitesAfricaines_CouventCordeliers.jpg 1500w\" sizes=\"(max-width: 211px) 100vw, 211px\" \/><\/a><figcaption id=\"caption-attachment-4932\" class=\"wp-caption-text\">Suites Africaines, in RN24<\/figcaption><\/figure>\n<p>\u00a0<\/p>\n<figure id=\"attachment_8508\" aria-describedby=\"caption-attachment-8508\" style=\"width: 228px\" class=\"wp-caption alignnone\"><a href=\"http:\/\/www.revuenoire.com\/en\/edition\/antho-african-art-xxth\/\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-8508 size-medium\" src=\"http:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/001-RevueNoire-Antho-Art-XX-EN-Africa_Benin_COUV-228x300.jpg\" alt=\"Anthology of African Art, The XXth Century\" width=\"228\" height=\"300\" srcset=\"https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/001-RevueNoire-Antho-Art-XX-EN-Africa_Benin_COUV-228x300.jpg 228w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/001-RevueNoire-Antho-Art-XX-EN-Africa_Benin_COUV-768x1010.jpg 768w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/001-RevueNoire-Antho-Art-XX-EN-Africa_Benin_COUV-778x1024.jpg 778w, https:\/\/www.revuenoire.com\/wp-content\/uploads\/2016\/03\/001-RevueNoire-Antho-Art-XX-EN-Africa_Benin_COUV.jpg 900w\" sizes=\"(max-width: 228px) 100vw, 228px\" \/><\/a><figcaption id=\"caption-attachment-8508\" class=\"wp-caption-text\">Anthology of African Art, The XXth Century<\/figcaption><\/figure>\n<p>\u00a0<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Abdoulaye Konat\u00e9 (born in 1953, Mali\u2028, works in Bamako), director of the Conservatoire National des Arts et M\u00e9tiers Multim\u00e9dia Balla Fass\u00e9k\u00e9 Kouyat\u00e9. Textile artist, tapestery (Hommage aux chasseurs du Mand\u00e9, Bosnie, Rwanda, Angola)<\/p>\n","protected":false},"author":2,"featured_media":11392,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[69],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/11416"}],"collection":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/comments?post=11416"}],"version-history":[{"count":0,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/11416\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media\/11392"}],"wp:attachment":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media?parent=11416"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/categories?post=11416"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/tags?post=11416"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}