Mouvements d’art moderne et contemporain
Des mouvements propres à chaque région qui, après l’indépendance, ont recomposé société, langues, artisanats et croyances dans la peinture, la sculpture, l’édition et l’espace public, au lieu de simplement suivre la modernité occidentale.
Entrée du dictionnaire
- Hurufiyya mid-20th century– / Style
From the mid-twentieth century, Hurufiyya transformed Arabic words, fragments and individual letters into elements of modern painting, sculpture and graphic composition rather than reproducing traditional calligraphy. Letters move among meaning, bodily mark, cultural identity and abstract form.
- Saqqakhaneh late 1950s–1960s / Style
In late-1950s and 1960s Iran, Saqqakhaneh artists reworked street shrines, votive objects, talismanic seals, locks, beads, numbers and letters into modern repetition, accumulation and abstraction in painting and sculpture.
- Casablanca Art School 1962–1970s / Style
In post-independence Morocco, the Casablanca Art School challenged colonial art education by connecting abstraction to Amazigh rugs, jewelry, calligraphy and painted ceilings, then carrying the same language beyond framed painting into posters, magazines, street exhibitions and murals.
- Khartoum School 1960s–1970s / Style
In post-independence Sudan, the fluid and contested Khartoum School recombined African, Islamic, Arab and Western references within modern art. Arabic calligraphic rhythm, simplified people and animals, local craft and narrative moved into abstraction.
- Nsukka Group 1970s– / Style
Around the University of Nigeria, Nsukka, Uche Okeke and later artists extended the flowing lines of uli body and wall drawing and signs including nsibidi into contemporary work on paper, print, textile and sculpture. Fine line and open ground carry narrative and abstraction together.
- Mono-ha late 1960s–1970s / Style
A Japanese tendency that placed stone, wood, glass, steel, and cotton with minimal transformation to expose relations among things, site, support, fracture, and gravity rather than constructing a finished shape.
- Progressive Artists' Group 1947–1956 / Style
A post-independence Bombay group that rejected both colonial academism and nationalist revival, individually recombining Cubism, Expressionism, Indian cities, and religious imagery through strong color fields and distorted figuration.
- Viennese Actionism 1960s–early 1970s / Style
A postwar Austrian movement that expanded painterly gesture into ritualized actions with bodies, liquid, cloth, organic matter, photography, and film; repeated lines, splashes, binding, and documentation form its visual core.
- Transavantgarde late 1970s–1980s / Style
A late-1970s Italian return to painting that crossed myth, classicism, personal signs, and forceful brushwork after Conceptual art, treating history as a subjective field that can be entered from several eras at once.
- Stuckism 1999– / Style
A movement founded in London in 1999 that opposed institutional Conceptual art by advocating figurative painting, manifestos, and public protest, often through self-portraiture, hard contour, flat non-natural color, and narrative rooms or streets.
- Neue Slowenische Kunst 1984– / Style
A Slovenian collective in former Yugoslavia whose music, painting, theater, and state-like documents critically reenacted totalitarian, religious, national, and avant-garde signs through over-identification and severe black-red-gold monumentality.
- Sots Art 1970s–1980s / Style
Unofficial Soviet art that dismantled Socialist Realism and propaganda through Pop-like quotation, repetition, and irony, precisely restaging heroes, flags, slogans, and advertising flatness before shifting one relation out of place.