{"id":21657,"date":"2026-10-12T14:59:53","date_gmt":"2026-10-12T14:59:53","guid":{"rendered":"https:\/\/www.diptykmag.com\/editorial-77-what-if-this-were-the-end-of-the-emergence-paradigm\/"},"modified":"2026-10-12T15:14:30","modified_gmt":"2026-10-12T15:14:30","slug":"editorial-77-what-if-this-were-the-end-of-the-emergence-paradigm","status":"publish","type":"post","link":"https:\/\/www.diptykmag.com\/en\/editorial-77-what-if-this-were-the-end-of-the-emergence-paradigm\/","title":{"rendered":"[EDITORIAL #77] What if this were the end of the \u201cemergence\u201d paradigm?"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"21657\" class=\"elementor elementor-21657 elementor-21652\" data-elementor-post-type=\"post\">\n\t\t\t\t<div class=\"elementor-element elementor-element-21e129d e-flex e-con-boxed e-con e-parent\" data-id=\"21e129d\" data-element_type=\"container\" data-e-type=\"container\">\n\t\t\t\t\t<div class=\"e-con-inner\">\n\t\t\t\t<div class=\"elementor-element elementor-element-ed57066 elementor-widget elementor-widget-text-editor\" data-id=\"ed57066\" data-element_type=\"widget\" data-e-type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t\t\t\t\t\t<p><span style=\"font-weight: 400;\">The fall issue is always a new beginning. This year, as everything gets underway\u2014major museum exhibitions, biennials, fall auctions, and art fairs scheduled in London, Paris, and then in the Gulf\u2014we\u2019ve been looking back a great deal. As the Arab and African art scenes gain visibility\u2014both at home and in major Western museums and art fairs that celebrate their artists\u2014a need has emerged. We must also examine the history that has shaped them and the foundation upon which they are built.   <\/span><\/p><p><span style=\"font-weight: 400;\">In the last issue, we announced the launch of our critical section. This fall, the accumulation of questions about our foundations led us to create an \u201cArchives\u201d section, which fits naturally into these pages. It is no coincidence that one of its first profiles is that of Mohammad Omar Khalil. At age 90, the Sudanese painter and printmaker has just been honored in New York. But a significant part of his story unfolded in Morocco, in Assilah, where he was invited to participate in the very first festival in 1978 and where he led the printmaking workshop from 1979 to 2018. There, one encounters Robert Blackburn, as well as Malika Agueznay, Farid Belkahia, Sa\u00e2d Hassani, Abdelkebir Rabi\u2019, and Miloud Labied: an entire chapter of Moroccan art history was forged in that workshop. Forty years later, this history is resurfacing in New York. The exhibition \u201cAsilah Oui: Robert Blackburn in Morocco,\u201d presented at the Blackburn Study Center, now documents Assilah as the creative laboratory it once was, when artists, intellectuals, poets, and musicians from Morocco, Sudan, and the United States gathered there to work together.       <\/span><\/p><p><span style=\"font-weight: 400;\">As we put this section together, we\u2019ve come to realize that an archive is never a static collection. In another article, three red boxes of negatives forgotten in a closet in Cairo bring to light the Gaza captured by Kegham Djeghalian starting in the 1940s. Weddings, beaches, celebrations, but also refugee camps from the Nakba and the Khan Youn\u00e8s massacre: these images have spanned the decades, and as Gaza was destroyed, their significance has shifted. Gaza \u201cbefore,\u201d we now write. But before what? Before the occupation? Before the blockade? Before Hamas? Before the bombings? The images are the same. It is the present that ceaselessly alters their meaning.          <\/span><\/p><p><span style=\"font-weight: 400;\">And then there are the institutions. They, too, stand the test of time\u2014they age, endure, disappear, or reinvent themselves. This African fall is particularly telling. Founded in 1994, the Rencontres de Bamako have entered a new phase in their history, now 100% supported by the Malian side, in a country and a diplomatic context that have undergone profound changes. In Lubumbashi, the biennial created around Picha by artists, including Sammy Baloji, nearly didn\u2019t take place due to a lack of funding. Yet it will indeed go ahead. In Dakar, Morad Montazami has made a radical choice: his selection focuses not on emerging scenes, but on the already established practices of mid-career artists, as well as figures he intends to restore to their rightful place in history, such as Faouzi Laatiris, El Hadji Sy, and Ernest Breleur.      <\/span><\/p><p><span style=\"font-weight: 400;\">We need to pause and reflect on this paradox. For years, we\u2019ve talked about \u201cemerging scenes.\u201d Diptyk has used this term extensively. But it\u2019s time for our scenes in the Global South to move beyond the \u201cemerging\u201d stage. For too long, Africa has been synonymous with youth, discovery, and emergence. As if each generation sprang into being out of nowhere, as if there were no schools, no teachers, no workshops, no institutions, no lineages, no breaks with the past, no archives&#8230; A powerful tool for visibility or for        <\/span><span style=\"font-weight: 400;\">In marketing, the concept of \u201cemergence\u201d becomes reductive when it obscures the complexity and depth of the scenes. Bamako is thirty years old. The Assilah printmaking workshop is nearly half a century old. Faouzi Laatiris <\/span><span style=\"font-weight: 400;\">has trained several generations of artists.<\/span><\/p><p><span style=\"font-weight: 400;\">It\u2019s no longer about discovery. Now it\u2019s about knowing. <\/span><\/p><p><span style=\"font-weight: 400;\">Meryem Sebti<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>The fall issue is always a new beginning. This year, as everything gets underway\u2014major museum exhibitions, biennials, fall auctions, and art fairs scheduled in London, Paris, and then in the Gulf\u2014we\u2019ve been looking back a great deal. As the Arab and African art scenes gain visibility\u2014both at home and in major Western museums and art [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[1702,164,1704,1426,1703],"class_list":["post-21657","post","type-post","status-publish","format-standard","hentry","category-edito","tag-1702","tag-art-contemporain-africain","tag-diptyk-77","tag-edito-tag","tag-edito-77"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>[EDITORIAL #77] What if this were the end of the \u201cemergence\u201d paradigm? &#8212; Diptykmag<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.diptykmag.com\/en\/editorial-77-what-if-this-were-the-end-of-the-emergence-paradigm\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"[EDITORIAL #77] What if this were the end of the \u201cemergence\u201d paradigm? &#8212; Diptykmag\" \/>\n<meta property=\"og:description\" content=\"The fall issue is always a new beginning. 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