{"id":1941867,"date":"2026-03-21T02:26:00","date_gmt":"2026-03-20T23:26:00","guid":{"rendered":"https:\/\/analyse.optim.biz\/?p=1941867"},"modified":"2026-03-21T02:26:00","modified_gmt":"2026-03-20T23:26:00","slug":"qui-est-sammy-baloji-lun-des-artistes-les-plus-influents-de-notre-epoque","status":"publish","type":"post","link":"https:\/\/analyse.optim.biz\/?p=1941867","title":{"rendered":"Qui est Sammy Baloji, l\u2019un des artistes les plus influents de notre \u00e9poque ?"},"content":{"rendered":"<div class=\"entry-content\">\n<section class=\"single-header padding-top-s\">\n<div class=\"container\">\n<div class=\"row justify-content-between\">\n<div class=\"col-lg-9 col-xl-8\">\n<div class=\"video-container\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n<div class=\"container-img desktop\">\n                                <img loading=\"lazy\" decoding=\"async\" width=\"1864\" height=\"1190\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%201864%201190'%3E%3C\/svg%3E\" class=\"img-fluid\" alt=\"Sammy Baloji photographi\u00e9 par Delali Ayivi.\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/push-baloji-1.jpg\"><img decoding=\"async\" width=\"1864\" height=\"1190\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/push-baloji-1.jpg\" class=\"img-fluid\" alt=\"Sammy Baloji photographi\u00e9 par Delali Ayivi.\" loading=\"lazy\">\t\t\t\t\t\t\t\t<\/p>\n<p class=\"number big\">18<\/p>\n<\/p><\/div>\n<div class=\"container-img mobile\">\n                                <img loading=\"lazy\" decoding=\"async\" width=\"1300\" height=\"1634\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%201300%201634'%3E%3C\/svg%3E\" class=\"img-fluid\" alt=\"Sammy Baloji photographi\u00e9 par Delali Ayivi.\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-baloji-1.jpg\"><img decoding=\"async\" width=\"1300\" height=\"1634\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-baloji-1.jpg\" class=\"img-fluid\" alt=\"Sammy Baloji photographi\u00e9 par Delali Ayivi.\" loading=\"lazy\">\t\t\t\t\t\t\t\t<\/p>\n<p class=\"number big\">18<\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"col col-lg-3 col-xl-4 desktop\">\n<div class=\"ad grand-angle desktop\">\n    <!-- \/21730003857\/numero-ad-unit\/numero-grand-angle --><\/p>\n<div class=\"ad-responsive\">\n<div id=\"div-gpt-ad-1773673590069-0\" class=\"ads-pub px-0\">\n<p>                googletag.cmd.push(function () {<br \/>\n                    googletag.display(&#8216;div-gpt-ad-1773673590069-0&#8217;);<br \/>\n                });<\/p><\/div>\n<\/p><\/div>\n<\/div><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/section>\n<section class=\"post-content\">\n<div class=\"container\">\n<div class=\"row g-0 justify-content-between\">\n<div class=\"col-lg-9 col-xl-8 padding-top-s\">\n<p class=\"share-widget\" id=\"share-widget\"><img decoding=\"async\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%200%200'%3E%3C\/svg%3E\" alt=\"share-widget\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/share.svg\"><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/share.svg\" alt=\"share-widget\"><\/p>\n<div class=\"share-icons\" id=\"share-icons\">\n<p class=\"copy-link\"><img decoding=\"async\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%200%200'%3E%3C\/svg%3E\" alt=\"copy-link\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/copy-link.svg\"><\/p>\n<p><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/copy-link.svg\" alt=\"copy-link\"><br \/>\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.facebook.com\/sharer\/sharer.php?u=https:\/\/numero.com\/art\/numero-art\/qui-est-l-artiste-sammy-baloji\/\" class=\"facebook\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%200%200'%3E%3C\/svg%3E\" alt=\"facebook\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/facebook.svg\"><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/facebook.svg\" alt=\"facebook\"><\/a><br \/>\n\t\t\t\t\t\t\t<a href=\"https:\/\/twitter.com\/share?url=https:\/\/numero.com\/art\/numero-art\/qui-est-l-artiste-sammy-baloji\/\" class=\"twitter\" target=\"_blank\" rel=\"noopener\"><img decoding=\"async\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%200%200'%3E%3C\/svg%3E\" alt=\"twitter\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/twitter.svg\"><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/themes\/understrap-child-main\/src\/public\/images\/twitter.svg\" alt=\"twitter\"><\/a>\n\t\t\t\t\t\t<\/div>\n<p>\t\t\t\t\t\t<span class id=\"custom-tooltip\">Lien copi\u00e9<\/span><\/p>\n<div class=\"col-lg-10\">\n<div class=\"meta d-flex justify-content-between align-items-center\">\n<div class=\"cat\">\n\t\t\t\t\t\t\t\t\t<a class=\"cat-title\" href=\"https:\/\/numero.com\/category\/art\/numero-art\/\">Num\u00e9ro Art<\/a>\t\t\t\t\t\t\t\t<\/div>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t18 mai 2026\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<h1>Qui est Sammy Baloji, l\u2019un des artistes les plus influents de notre \u00e9poque ?<\/h1>\n<div class=\"introduction\">\n<p>Num\u00e9ro art rend hommage dans son \u00e9dition estivale 2026 \u00e0 une figure majeure de la sc\u00e8ne contemporaine. Sammy Baloji n\u2019a cess\u00e9 d\u2019interroger, \u00e0 travers l\u2019image et l\u2019archive, les strates invisibles de l\u2019histoire coloniale et moderne. Repr\u00e9sent\u00e9 \u00e0 Paris par la Galerie Imane Far\u00e8s, l\u2019artiste congolais marque cette ann\u00e9e la Biennale de Venise, tout comme les Rencontres d\u2019Arles, de sa pr\u00e9sence. Il y poursuit avec puissance son exploration des m\u00e9moires enfouies et des r\u00e9cits \u00e0 r\u00e9activer.<\/p>\n<\/div>\n<li class=\"credits d-flex\">\n<p>\n\t\t\t\t\t\t\t\t\t\t\tPar Katerina Gregos\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t,\u00a0\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<p>\n\t\t\t\t\t\t\t\t\t\t\tPortrait et photos par Delali Ayivi\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t.\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/li>\n<div id=\"ads03\" class=\"mobile padding-bottom-s\">\n<div class=\"ad-wrapper\">\n\t\t\t\t\t\t\t\t\t<!-- \/21730003857\/numero-ad-unit\/numero-interscroller --><\/p>\n<div class=\"ad ad-responsive interscroller-slot\">\n<div id=\"div-gpt-ad-1773673675628-0\" class=\"ads-pub\">\n<p>            googletag.cmd.push(function () {<br \/>\n                googletag.display(&#8216;div-gpt-ad-1773673675628-0&#8217;);<br \/>\n            });<\/p><\/div>\n<\/div><\/div>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t&lt;!&#8211; <\/p>\n<div class=\"padding-bottom-s\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n<p> &#8211;&gt;<\/p>\n<figure data-wp-context='{\"imageId\":\"6a0b564ca01f3\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a0b564ca01f3\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20720%20900'%3E%3C\/svg%3E\" alt=\"Sammy Baloji photographi\u00e9 par Delali Ayivi.\" class=\"wp-image-841929\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/Baloji-portrait.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/Baloji-portrait.jpg\" alt=\"Sammy Baloji photographi\u00e9 par Delali Ayivi.\" class=\"wp-image-841929\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Sammy Baloji photographi\u00e9 par Delali Ayivi pour <em>Num\u00e9ro art 18.<\/em><\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Les <em>found footage <\/em>de Sammy Baloji<\/h2>\n<p><strong>Sammy Baloji<\/strong>, 47\u00a0ans, s\u2019est impos\u00e9 comme l\u2019un des artistes contemporains les plus influents dans le\u00a0paysage actuel, par la force de ses explorations de la m\u00e9moire, de\u00a0l\u2019histoire coloniale et de l\u2019identit\u00e9, en\u00a0particulier dans son pays d\u2019origine, <strong>la\u00a0R\u00e9publique d\u00e9mocratique du Congo<\/strong>\u00a0(RDC).<\/p>\n<p>Travaillant \u00e0\u00a0la\u00a0fois sur le m\u00e9dium photographique, la\u00a0vid\u00e9o et l\u2019installation, <strong>Baloji<\/strong> <strong>s\u2019est fait conna\u00eetre pour sa fa\u00e7on de combiner et de superposer les images d\u2019archives<\/strong> ou les s\u00e9quences de <strong><em>found footage<\/em><\/strong> (un proc\u00e9d\u00e9 cin\u00e9matographique consistant \u00e0 r\u00e9utiliser des images d\u00e9j\u00e0 existantes, souvent pr\u00e9sent\u00e9es comme des vid\u00e9os retrouv\u00e9es) \u00e0\u00a0la\u00a0repr\u00e9sentation des r\u00e9alit\u00e9s actuelles de la\u00a0RDC, produisant ainsi des juxtapositions visuelles saisissantes, qui mettent en lumi\u00e8re les effets r\u00e9manents de <strong>l\u2019exploitation coloniale et de l\u2019extractivisme dans son\u00a0pays<\/strong>.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a0b564ca0643\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a0b564ca0643\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20720%20900'%3E%3C\/svg%3E\" alt=\"Sammy Baloji, Rethreaded Indies (2025), photographi\u00e9 par Delali Ayivi.\" class=\"wp-image-841950\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-rethreaded-indies-detail.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-rethreaded-indies-detail.jpg\" alt=\"Sammy Baloji, Rethreaded Indies (2025), photographi\u00e9 par Delali Ayivi.\" class=\"wp-image-841950\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Sammy Baloji, <em>Rethreaded Indies <\/em>(2025), photographi\u00e9 par Delali Ayivi. Laine, coton et lin, 343 cm \u00d7 461 cm. R\u00e9alis\u00e9 en collaboration avec C\u00e9cile Fromont. Design textile de Silvana de Bari. Courtesy the artist, galerie Imane Far\u00e8s.<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Une pratique artistique aux avant-postes du discours postcolonial contemporain<\/h2>\n<p>Son \u0153uvre se penche souvent sur <strong>l\u2019histoire des industries mini\u00e8res dans le Katanga<\/strong>, province de l\u2019ouest particuli\u00e8rement riche en\u00a0minerais \u2013\u00a0avec toutes ses implications g\u00e9opolitiques, \u00e9conomiques et sociales\u00a0\u2013, mais elle aborde aussi les<strong> cons\u00e9quences de cette exploitation<\/strong> sur les populations et sur le\u00a0paysage, reliant les r\u00e9cits locaux aux syst\u00e8mes internationalis\u00e9s de pouvoir et d\u2019extraction des ressources dans leur globalit\u00e9.<\/p>\n<p>Alliant la rigueur de la recherche historique \u00e0\u00a0un langage visuel critique, conceptuel et subtilement nuanc\u00e9, <strong>Baloji<\/strong> ne se contente pas de documenter le pass\u00e9 colonial\u00a0: il\u00a0souligne \u00e9galement ses cons\u00e9quences actuelles, positionnant ainsi sa pratique artistique aux avant-postes du discours postcolonial contemporain.<\/p>\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-3 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure data-wp-context='{\"imageId\":\"6a0b564ca0a6d\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a0b564ca0a6d\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" data-id=\"841939\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20720%20900'%3E%3C\/svg%3E\" alt=\"Sammy Baloji, Goods Trades Roots (2020), photographi\u00e9 par Delali Ayivi.\" class=\"wp-image-841939\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-goods-trades-roots1.jpg\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" data-id=\"841939\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-goods-trades-roots1.jpg\" alt=\"Sammy Baloji, Goods Trades Roots (2020), photographi\u00e9 par Delali Ayivi.\" class=\"wp-image-841939\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><\/figure>\n<figure data-wp-context='{\"imageId\":\"6a0b564ca0d6e\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a0b564ca0d6e\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" data-id=\"841941\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20720%20900'%3E%3C\/svg%3E\" alt=\"Sammy Baloji, Goods Trades Roots (2020), photographi\u00e9 par Delali Ayivi.\" class=\"wp-image-841941\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-goods-trades-roots2.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"720\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" data-id=\"841941\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-goods-trades-roots2.jpg\" alt=\"Sammy Baloji, Goods Trades Roots (2020), photographi\u00e9 par Delali Ayivi.\" class=\"wp-image-841941\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><\/figure>\n<\/figure>\n<p class=\"has-text-align-center\">Sammy Baloji, <em>Goods Trades Roots <\/em>(2020), photographi\u00e9 par Delali Ayivi. M\u00e9tier \u00e0 tisser en bois d\u2019Afz\u00e9lia, 195 \u00d7 162 \u00d7 12 cm. R\u00e9alis\u00e9 en collaboration avec Estelle Chatelain. Courtesy the artist, galerie Imane Far\u00e8s.<\/p>\n<h2 class=\"wp-block-heading\">Le r\u00f4le de la photographie dans son \u0153uvre <\/h2>\n<p>La <a href=\"https:\/\/numero.com\/category\/art\/photographie\/\" target=\"_blank\" rel=\"noreferrer noopener\">photographie<\/a> joue, depuis le d\u00e9but, un\u00a0r\u00f4le fondamental dans le travail de l\u2019artiste, constituant \u00e0\u00a0la fois son principal moyen d\u2019expression et le point d\u2019entr\u00e9e conceptuel qui lui permet d\u2019aborder les questions d\u2019histoire, de\u00a0m\u00e9moire et de repr\u00e9sentation. <strong>Baloji<\/strong> s\u2019est d\u2019abord tourn\u00e9 vers ce m\u00e9dium pour documenter les traces visibles du colonialisme dans <strong>la r\u00e9gion mini\u00e8re du Katanga<\/strong>, en\u00a0particulier les sites industriels fantomatiques et les infrastructures mini\u00e8res d\u00e9saffect\u00e9es de la colonisation belge, qui a profond\u00e9ment transform\u00e9 la r\u00e9gion.<\/p>\n<p>Sur ces premi\u00e8res photographies, souvent aust\u00e8res et\u00a0angoissantes, on d\u00e9couvre <strong>des paysages de\u00a0d\u00e9solation<\/strong> (ruines, lieux d\u00e9sert\u00e9s, vestiges de l\u2019exploitation mini\u00e8re), marqu\u00e9s par l\u2019absence et peupl\u00e9s de figures squelettiques, vuln\u00e9rables, qui nous renvoient \u00e0<strong> la fragilit\u00e9 du corps noir et aux cicatrices ind\u00e9l\u00e9biles<\/strong> laiss\u00e9es par l\u2019histoire et par l\u2019exploitation.<\/p>\n<p>Loin d\u2019aborder la photographie comme un simple support documentaire, Baloji fait ici <strong>fusionner les images anciennes <\/strong>\u2013\u00a0notamment des clich\u00e9s de l\u2019\u00e9poque coloniale repr\u00e9sentant des ouvriers ou des administrateurs\u00a0\u2013 afin d\u2019en tirer <strong>des repr\u00e9sentations \u00e9minemment contemporaines<\/strong>.<\/p>\n<p>Cette d\u00e9marche, qui\u00a0transpara\u00eet notamment dans sa s\u00e9rie <em>M\u00e9moire<\/em> (2004-2006), se\u00a0caract\u00e9rise par une approche stratifi\u00e9e, presque arch\u00e9ologique. Pour l\u2019artiste, ce\u00a0processus est devenu <strong>un moyen de replier le temps sur lui-m\u00eame<\/strong>, permettant au pass\u00e9 et au pr\u00e9sent de coexister sur une m\u00eame image tout en rendant visibles les\u00a0continuit\u00e9s du pouvoir et de l\u2019exploitation.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a0b564ca1265\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a0b564ca1265\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"317\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20900%20317'%3E%3C\/svg%3E\" alt=\"Sammy Baloji, Untitled #6, s\u00e9rie M\u00e9moire (2006). \" class=\"wp-image-841972\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-untitled6.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"900\" height=\"317\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-untitled6.jpg\" alt=\"Sammy Baloji, Untitled #6, s\u00e9rie M\u00e9moire (2006). \" class=\"wp-image-841972\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Sammy Baloji, <em>Untitled #6<\/em>, s\u00e9rie <em>M\u00e9moire<\/em> (2006). Courtesy the artist, galerie Imane Far\u00e8s. \u00a9 Sammy Baloji.<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Les paysages miniers du Katanga, entre extraction industrielle et \u00e9conomie informelle<\/h2>\n<p>Sa s\u00e9rie suivante, <em>Kolwezi<\/em> (2010-2012), parcourt les paysages miniers du <strong>Katanga<\/strong> comme un espace o\u00f9 s\u2019entrecroisent <strong>le\u00a0capitalisme mondialis\u00e9, l\u2019extraction informelle, la\u00a0pr\u00e9carit\u00e9 et la fluctuation des influences g\u00e9opolitiques<\/strong>. L\u2019\u0153uvre s\u2019int\u00e9resse \u00e0\u00a0la\u00a0tension qui existe entre l\u2019extraction industrielle \u00e0 grande \u00e9chelle \u2013\u00a0sous l\u2019effet notamment d\u2019un afflux massif d\u2019investissements chinois \u00e0\u00a0la fin des ann\u00e9es\u00a02000\u00a0\u2013 et\u00a0l\u2019\u00e9conomie parall\u00e8le des pratiques mini\u00e8res <em>\u201cartisanales\u201d<\/em> ou informelles, conduites par des <em>\u201ccreuseurs\u201d<\/em> locaux dans les\u00a0puits abandonn\u00e9s et les zones p\u00e9riph\u00e9riques.<\/p>\n<p>Les infrastructures financ\u00e9es par la Chine apparaissent comme les symboles d\u2019<strong>une ambition industrielle renouvel\u00e9e et de l\u2019investissement international<\/strong>. Pourtant, ces images capturent aussi l\u2019activit\u00e9 en suspens, le\u00a0vide, la\u00a0production \u00e0\u00a0l\u2019arr\u00eat, exposant la fragilit\u00e9 des \u00e9conomies extractives toujours tributaires des fluctuations et des ralentissements du march\u00e9 mondial.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a0b564ca1637\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a0b564ca1637\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"301\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20900%20301'%3E%3C\/svg%3E\" alt=\"Sammy Baloji, Raccord #1 Cit\u00e9 de Kawama (2012).\" class=\"wp-image-841970\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/BALOJI-RACCORD1.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"900\" height=\"301\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/BALOJI-RACCORD1.jpg\" alt=\"Sammy Baloji, Raccord #1 Cit\u00e9 de Kawama (2012).\" class=\"wp-image-841970\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Sammy Baloji, <em>Raccord #1 Cit\u00e9 de Kawama<\/em> (2012).Courtesy the artist, galerie Imane Far\u00e8s.<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Entre images d\u2019archives et images promotionnelles<\/h2>\n<p>La\u00a0s\u00e9rie juxtapose ainsi les p\u00e9nibles r\u00e9alit\u00e9s de l\u2019exploitation mini\u00e8re informelle avec <strong>des images d\u2019archives et des images promotionnelles<\/strong> sur lesquelles des paysages idylliques ou id\u00e9alis\u00e9s (souvent associ\u00e9s \u00e0\u00a0la\u00a0prosp\u00e9rit\u00e9, \u00e0\u00a0l\u2019abondance naturelle ou aux sc\u00e9narios du d\u00e9veloppement) contrastent fortement avec le statut pr\u00e9caire des creuseurs travaillant dans des environnements industriels d\u00e9grad\u00e9s.<\/p>\n<p>Cette opposition souligne \u00e0\u00a0quel point un m\u00eame territoire peut \u00eatre <strong>visuellement et id\u00e9ologiquement construit de mani\u00e8res contradictoires <\/strong>\u2013\u00a0lieu de toutes les\u00a0promesses et des d\u00e9sirs projet\u00e9s en m\u00eame temps qu\u2019espace d\u2019\u00e9puisement et de d\u00e9sespoir. En\u00a0faisant visuellement dialoguer ces deux registres, <em>Kolwezi<\/em> montre comment <strong>les territoires miniers du Congo <\/strong>sont fa\u00e7onn\u00e9s par des syst\u00e8mes d\u2019extraction, de\u00a0repr\u00e9sentation et d\u2019aspirations qui se superposent les uns aux autres et qui, tous, viennent s\u2019ancrer dans les m\u00eames terres \u00e2prement contest\u00e9es.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a0b564ca19e6\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a0b564ca19e6\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20720%20900'%3E%3C\/svg%3E\" alt=\"Sammy Baloji photographi\u00e9 par Delali Ayivi.\" class=\"wp-image-841953\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-ayivi.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"720\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-ayivi.jpg\" alt=\"Sammy Baloji photographi\u00e9 par Delali Ayivi.\" class=\"wp-image-841953\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Sammy Baloji photographi\u00e9 par Delali Ayivi.<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">De la photographie aux installations<\/h2>\n<p>Au fil des ann\u00e9es, <strong>la pratique de Baloji s\u2019est \u00e9tendue aux installations<\/strong>, \u00e0\u00a0la vid\u00e9o et aux dispositifs multim\u00e9dias. L\u2019artiste ne cesse d\u2019explorer comment, en\u00a0RDC, l\u2019industrie mini\u00e8re continue de fa\u00e7onner le territoire et la\u00a0vie des communaut\u00e9s locales, faisant le lien entre l\u2019exploitation coloniale d\u2019hier et le\u00a0capitalisme mondialis\u00e9 d\u2019aujourd\u2019hui \u2013\u00a0dont on pourrait soutenir, au\u00a0demeurant, qu\u2019il constitue <strong>une forme de n\u00e9ocolonialisme<\/strong>.\u00a0L\u2019artiste montre bien que, dans ce pays, le\u00a0chapitre de l\u2019exploitation mini\u00e8re est loin d\u2019\u00eatre clos\u00a0: il\u00a0est une r\u00e9alit\u00e9 qui se prolonge et se poursuit, donnant directement sa forme au pr\u00e9sent.<\/p>\n<p><strong>Baloji pointe du doigt<\/strong> le fait que les\u00a0infrastructures, l\u2019organisation du travail et les in\u00e9galit\u00e9s n\u00e9es sous la domination coloniale belge n\u2019ont jamais fait l\u2019objet d\u2019un complet d\u00e9mant\u00e8lement. Les dispositifs ont simplement chang\u00e9 de main, et\u00a0ils ont \u00e9t\u00e9 adapt\u00e9s pour s\u2019int\u00e9grer aux cha\u00eenes mondiales d\u2019approvisionnement de l\u2019\u00e9poque moderne.<\/p>\n<p>Ces r\u00e9gions qui produisaient autrefois du cuivre pour les industries coloniales fournissent aujourd\u2019hui du cobalt et d\u2019autres minerais indispensables \u00e0\u00a0la fabrication de t\u00e9l\u00e9phones portables, de\u00a0v\u00e9hicules \u00e9lectriques ou de technologies d\u2019\u00e9nergie renouvelable, notamment \u00e0\u00a0destination d\u2019entreprises chinoises.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a0b564ca1dc2\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a0b564ca1dc2\" class=\"wp-block-image size-full wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"598\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20900%20598'%3E%3C\/svg%3E\" alt=\"Sammy Baloji photographi\u00e9 par Deleli Ayivi avec une plaque de sa s\u00e9rie Untitled (2015).\" class=\"wp-image-841955\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-ayivi2.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"900\" height=\"598\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-ayivi2.jpg\" alt=\"Sammy Baloji photographi\u00e9 par Deleli Ayivi avec une plaque de sa s\u00e9rie Untitled (2015).\" class=\"wp-image-841955\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Sammy Baloji photographi\u00e9 par Deleli Ayivi avec une plaque de sa s\u00e9rie<em> Untitled<\/em> (2015). Plaque de cuivre emboss\u00e9e, 60 \u00d7 42,5 cm. Courtesy the artist, galerie Imane Far\u00e8s.<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Le cuivre, vecteur d\u2019histoires multiples<\/h2>\n<p>Dans des \u0153uvres plus r\u00e9centes, comme <em>That is where, as you heard, the elephant danced the malinga. The\u00a0place where they now grow flowers<\/em>\u00a0(2016) ou\u00a0encore <em>Tales of the Copper Cross Garden<\/em>\u00a0(2017), le\u00a0cuivre \u2013\u00a0m\u00e9tal auquel <strong>Baloji<\/strong> revient inlassablement\u00a0\u2013 se\u00a0fait le\u00a0vecteur d\u2019histoires multiples. <\/p>\n<p>D\u2019abord li\u00e9 \u00e0\u00a0la\u00a0transformation du paysage par les\u00a0pratiques extractives, il\u00a0a depuis \u00e9t\u00e9 esth\u00e9tis\u00e9 par les r\u00e9habilitations postindustrielles, qui <strong>r\u00e9inventent d\u2019anciens sites miniers en espaces de mobilit\u00e9 retrouv\u00e9e<\/strong>, et\u00a0d\u2019oubli du pass\u00e9. Dans l\u2019\u0153uvre vid\u00e9o <em>Tales of the Copper Cross Garden<\/em>, le\u00a0cuivre renvoie ainsi explicitement au syst\u00e8me mon\u00e9taire pr\u00e9colonial de la <em>\u201ccroisette du Katanga\u201d<\/em> ou handa (une croix en cuivre d\u2019environ un kilo qui servait de monnaie).<\/p>\n<p><strong>Il\u00a0r\u00e9active ainsi des formes autochtones de la valeur<\/strong>, tout en exposant leur imbrication dans les \u00e9conomies extractives, aussi bien coloniales que contemporaines. Dans ces \u0153uvres-l\u00e0, le\u00a0cuivre devient pour Baloji un moyen de retracer les\u00a0significations changeantes du travail, de\u00a0la\u00a0terre et de la valeur dans <strong>l\u2019histoire mini\u00e8re du Congo<\/strong> et dans ses prolongements actuels. Au\u00a0bout du compte, son recours au cuivre (ou \u00e0\u00a0d\u2019autres m\u00e9taux pr\u00e9sents en RDC) n\u2019est jamais purement esth\u00e9tique.<\/p>\n<p>Le\u00a0cuivre agit comme un mat\u00e9riau conducteur, <strong>connectant le\u00a0pass\u00e9 au pr\u00e9sent <\/strong>pour r\u00e9v\u00e9ler comment les\u00a0richesses extraites du Congo continuent de fa\u00e7onner son histoire, son identit\u00e9 et sa position sur l\u2019\u00e9chiquier international \u2013\u00a0mais aussi la situation difficile de sa population.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a0b564ca21d3\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a0b564ca21d3\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20900%20600'%3E%3C\/svg%3E\" alt=\"Vue de l'installation de Sammy Baloji au Palais de Tokyo. \" class=\"wp-image-842132\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-Palais-Tokyo.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-Palais-Tokyo.jpg\" alt=\"Vue de l'installation de Sammy Baloji au Palais de Tokyo. \" class=\"wp-image-842132\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Vue de l\u2019installation de Sammy Baloji au Palais de Tokyo. Photo : Aur\u00e9lien Mole.<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">R\u00e9v\u00e9ler des pans occult\u00e9s de l\u2019histoire<\/h2>\n<p>Dans un autre volet de l\u2019\u0153uvre de <strong>Sammy Baloji<\/strong>, l\u2019extraction des m\u00e9taux s\u2019entrem\u00eale syst\u00e9matiquement aux logiques et \u00e0\u00a0la\u00a0violence du complexe militaro-industriel, r\u00e9v\u00e9lant \u00e0\u00a0quel point les \u00e9conomies coloniales et postcoloniales fond\u00e9es sur les ressources d\u2019un pays sont, en\u00a0r\u00e9alit\u00e9, indissociables des industries d\u2019armement et des capitaux internationaux.<\/p>\n<p>Dans une \u0153uvre comme <em>Sans titre<\/em>\u00a0(2018) \u2013\u00a0qui int\u00e8gre quarante et une\u00a0carcasses d\u2019obus de mortier tir\u00e9s pendant la\u00a0Premi\u00e8re Guerre mondiale et r\u00e9utilis\u00e9s ici comme des vases pour contenir des plantes exotiques originaires du Congo\u00a0\u2013, <strong>Baloji<\/strong> <strong>met en\u00a0sc\u00e8ne une confrontation brutale <\/strong>entre des instruments de destruction et la fragilit\u00e9 de la\u00a0vie organique. Durant les deux conflits mondiaux, l\u2019extraction du cuivre s\u2019est intensifi\u00e9e au Katanga pour produire des douilles en laiton, dont beaucoup furent ensuite grav\u00e9es par des soldats, puis r\u00e9utilis\u00e9es en Belgique comme objets d\u00e9coratifs ou en tant que pots de fleurs.<\/p>\n<p>Dans cette installation, Sammy Baloji replace donc dans leur environnement d\u2019origine des esp\u00e8ces v\u00e9g\u00e9tales venues du Katanga (mais d\u00e9sormais courantes dans les jardins botaniques et sur les march\u00e9s aux fleurs europ\u00e9ens). L\u2019\u0153uvre retrace ainsi <strong>la violence du d\u00e9placement des mat\u00e9riaux entre le Congo et l\u2019Europe<\/strong>, pour prendre acte des histoires d\u2019extractions forc\u00e9es, mais aussi en hommage aux Africains anonymes qui ont combattu sans aucune reconnaissance pour le compte des puissances coloniales \u2013\u00a0un pan occult\u00e9 de l\u2019histoire noire qui continue de hanter le\u00a0pr\u00e9sent.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a0b564ca25ad\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a0b564ca25ad\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20720%20900'%3E%3C\/svg%3E\" alt=\"Sammy Baloji photographi\u00e9 par Deleli Ayivi avec une plaque de sa s\u00e9rie Untitled (2015). Plaque de cuivre emboss\u00e9e, 60 \u00d7 42,5 cm. Courtesy the artist, galerie Imane Far\u00e8s.\" class=\"wp-image-841957\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/Baloji-portrait2.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"720\" height=\"900\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/Baloji-portrait2.jpg\" alt=\"Sammy Baloji photographi\u00e9 par Deleli Ayivi avec une plaque de sa s\u00e9rie Untitled (2015). Plaque de cuivre emboss\u00e9e, 60 \u00d7 42,5 cm. Courtesy the artist, galerie Imane Far\u00e8s.\" class=\"wp-image-841957\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Sammy Baloji photographi\u00e9 par Deleli Ayivi avec une plaque de sa s\u00e9rie <em>Untitled <\/em>(2015). Plaque de cuivre emboss\u00e9e, 60 \u00d7 42,5 cm. Courtesy the artist, galerie Imane Far\u00e8s.<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">De mat\u00e9riau g\u00e9ologique \u00e0 puissance g\u00e9opolitique<\/h2>\n<p>Les douilles de mortier, t\u00e9moignages des conflits pass\u00e9s, <strong>renvoient aussi \u00e0\u00a0la militarisation <\/strong>qui prot\u00e8ge et rend possible l\u2019extraction des ressources mini\u00e8res, tandis que les plantes \u00e9voquent \u00e0\u00a0la fois la\u00a0r\u00e9g\u00e9n\u00e9ration \u00e9cologique et la d\u00e9licate domestication des paysages fa\u00e7onn\u00e9s par l\u2019exploitation.<\/p>\n<p>De m\u00eame, dans <em>Shinkolobwe\u2019s Abstraction<\/em>\u00a0(2022), Baloji fait r\u00e9f\u00e9rence \u00e0\u00a0<strong>la\u00a0tristement c\u00e9l\u00e8bre mine d\u2019uranium de Shinkolobwe<\/strong>, \u00e0\u00a0Likasi, dans le Katanga. Elle \u00e9tait l\u2019un des principaux sites mondiaux d\u2019extraction et, pendant <strong>la Seconde Guerre mondiale<\/strong>, elle a fourni l\u2019uranium n\u00e9cessaire au projet Manhattan (le programme secret men\u00e9 par les \u00c9tats-Unis pour d\u00e9velopper la premi\u00e8re bombe atomique). Ici, l\u2019abstraction sert \u00e0\u00a0r\u00e9v\u00e9ler comment un mat\u00e9riau g\u00e9ologique se m\u00e9tamorphose en puissance g\u00e9opolitique\u00a0: <strong>la\u00a0mine<\/strong> n\u2019est pas simplement un site d\u2019extraction, mais aussi <strong>un n\u0153ud essentiel dans l\u2019appareil militaire mondial <\/strong>transformant les ressources congolaises en force de frappe nucl\u00e9aire.<\/p>\n<p>\u00c0\u00a0travers ces diff\u00e9rentes \u0153uvres, Baloji d\u00e9montre ainsi que l\u2019enjeu des activit\u00e9s extractives n\u2019est jamais strictement \u00e9conomique \u2013\u00a0il est structurellement d\u00e9pendant de la militarisation, \u00e0\u00a0travers laquelle les armes, les sites miniers et les histoires coloniales forment un continuum syst\u00e9mique d\u2019accumulation et de\u00a0violence.<\/p>\n<figure data-wp-context='{\"imageId\":\"6a0b564ca2977\"}' data-wp-interactive=\"core\/image\" data-wp-key=\"6a0b564ca2977\" class=\"wp-block-image size-large wp-lightbox-container\"><img loading=\"lazy\" decoding=\"async\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20900%20600'%3E%3C\/svg%3E\" alt=\"Sammy Baloji photographi\u00e9 par Delali Ayivi.\" class=\"wp-image-841982\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-ayivi3.jpg\"><img decoding=\"async\" loading=\"lazy\" width=\"900\" height=\"600\" data-wp-class--hide=\"state.isContentHidden\" data-wp-class--show=\"state.isContentVisible\" data-wp-init=\"callbacks.setButtonStyles\" data-wp-on--click=\"actions.showLightbox\" data-wp-on--load=\"callbacks.setButtonStyles\" data-wp-on-window--resize=\"callbacks.setButtonStyles\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/baloji-ayivi3.jpg\" alt=\"Sammy Baloji photographi\u00e9 par Delali Ayivi.\" class=\"wp-image-841982\"><button class=\"lightbox-trigger\" type=\"button\" aria-haspopup=\"dialog\" aria-label=\"Agrandir\" data-wp-init=\"callbacks.initTriggerButton\" data-wp-on--click=\"actions.showLightbox\" data-wp-style--right=\"state.imageButtonRight\" data-wp-style--top=\"state.imageButtonTop\"><\/p>\n<p>\t\t<\/button><figcaption class=\"wp-element-caption\">Sammy Baloji photographi\u00e9 par Delali Ayivi devant son \u0153uvre <em>Rethreaded Indies<\/em> (d\u00e9tail, 2025). Laine, coton et lin, 343 cm \u00d7 461 cm. R\u00e9alis\u00e9 en collaboration avec C\u00e9cile Fromont. Design textile de Silvana de Bari. Courtesy the artist, galerie Imane Far\u00e8s.<\/figcaption><\/figure>\n<h2 class=\"wp-block-heading\">Sammy Baloji : une \u0153uvre pertinente et importante<\/h2>\n<p>Ce qui rend l\u2019\u0153uvre de <strong>Sammy Baloji <\/strong>particuli\u00e8rement pertinente aujourd\u2019hui, c\u2019est sa mani\u00e8re de r\u00e9v\u00e9ler le co\u00fbt humain et environnemental qui se cache derri\u00e8re ces \u00e9conomies. Comme il l\u2019a dit lui-m\u00eame, <em>\u201cje ne m\u2019int\u00e9resse pas au colonialisme en tant qu\u2019\u00e9v\u00e9nement du pass\u00e9, mais en tant que prolongement d\u2019un syst\u00e8me\u201d<\/em>. <\/p>\n<p>Dans son travail,\u00a0Baloji insiste donc sans rel\u00e2che sur l<strong>a notion de continuit\u00e9<\/strong>\u00a0: les conditions de travail abusives, les destructions \u00e9cologiques et l\u2019extraction des richesses au profit des march\u00e9s ext\u00e9rieurs sont des r\u00e9alit\u00e9s persistantes, m\u00eame si les protagonistes et les\u00a0technologies ont chang\u00e9.<\/p>\n<p>L\u2019exploitation mini\u00e8re devient ainsi dans son \u0153uvre un prisme au travers duquel il nous est donn\u00e9 de comprendre la mondialisation elle-m\u00eame \u2013\u00a0comment la richesse s\u2019\u00e9coule vers l\u2019ext\u00e9rieur du pays tandis que <strong>les populations locales continuent de vivre dans la pauvret\u00e9 et l\u2019exclusion.<\/strong><\/p>\n<p>Baloji fait \u00e9galement le lien entre l\u2019extractivisme et les questions de visibilit\u00e9 et d\u2019historiographie\u00a0: les personnes les plus directement touch\u00e9es par l\u2019exploitation mini\u00e8re sont bien souvent absentes des grands d\u00e9bats mondiaux sur le d\u00e9veloppement durable et le progr\u00e8s.<\/p>\n<p>Le\u00a0travail de l\u2019artiste tente, par cons\u00e9quent, de\u00a0s\u2019opposer \u00e0\u00a0cet effacement, soulignant que toute discussion sur les avanc\u00e9es technologiques de la modernit\u00e9 doit n\u00e9cessairement prendre en compte l\u2019histoire et les r\u00e9alit\u00e9s de r\u00e9gions comme le Katanga. Ce\u00a0faisant, <strong>il\u00a0red\u00e9finit l\u2019extractivisme\u00a0<\/strong>: de\u00a0simple processus \u00e9conomique, celui-ci devient aussi <strong>un processus culturel et politique<\/strong>, qui continue aujourd\u2019hui encore de structurer les in\u00e9galit\u00e9s.<\/p>\n<p><em>\u201cDes mondes \u00e0 relire\u201d, exposition jusqu\u2019au 4 octobre 2026 aux <a href=\"https:\/\/www.rencontres-arles.com\/fr\" id=\"https:\/\/www.rencontres-arles.com\/fr\" target=\"_blank\" rel=\"noreferrer noopener\">Rencontres d\u2019Arles<\/a>, Arles. <\/em><\/p>\n<p><em>Sammy Baloji, exposition jusqu\u2019au 22 novembre 2026 \u00e0 <a href=\"https:\/\/www.labiennale.org\/en\" id=\"https:\/\/www.labiennale.org\/en\" target=\"_blank\" rel=\"noreferrer noopener\">La Biennale de Venise<\/a>, Venise.<\/em><\/p>\n<\/p><\/div>\n<\/p><\/div>\n<div class=\"col-lg-3\">\n<div class=\"suggested-posts padding-top-s\">\n<div class=\"title\">Recommand\u00e9<\/div>\n<div 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d-flex justify-content-between\">\n<p class=\"cat-title\">Num\u00e9ro Art<\/p>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t18 mai 2026\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"post-title\">En pleine for\u00eat amazonienne, visite de l\u2019atelier de Sara Flores, artiste coup de c\u0153ur de la Biennale de Venise<\/div>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<div class=\"post-card mobile\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link d-flex\" href=\"https:\/\/numero.com\/art\/numero-art\/qui-est-l-artiste-sara-flores-perou\/\"><\/p>\n<div class=\"container-img\">\n\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"804\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20640%20804'%3E%3C\/svg%3E\" class=\"img-fluid\" alt=\"Sara Flores photographi\u00e9e au P\u00e9rou par Thibaut Wychowanok.\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-sara-flores-768x965.jpg\"><img 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href=\"https:\/\/numero.com\/art\/numero-art\/le-loewe-foundation-craft-prize-2026-decrypte-par-jack-mccollough-et-lazaro-hernandez\/\"><\/p>\n<div class=\"container-img\">\n<p>                                                <img decoding=\"async\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%200%200'%3E%3C\/svg%3E\" alt=\"Jack McCollough et Lazaro Hernandez. \u00a9 Courtesy of Loewe.\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-loewe-1.jpg\"><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-loewe-1.jpg\" alt=\"Jack McCollough et Lazaro Hernandez. \u00a9 Courtesy of Loewe.\"><\/p>\n<div class=\"number\">13<\/div>\n<\/p><\/div>\n<div class=\"card-info\">\n<div class=\"meta d-flex justify-content-between\">\n<p class=\"cat-title\">Num\u00e9ro Art<\/p>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t13 mai 2026\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"post-title\">Le Loewe Foundation Craft Prize 2026 : les directeurs de cr\u00e9ation de Loewe nous racontent l\u2019\u00e9dition de Singapour<\/div>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<div class=\"post-card mobile\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link d-flex\" href=\"https:\/\/numero.com\/art\/numero-art\/le-loewe-foundation-craft-prize-2026-decrypte-par-jack-mccollough-et-lazaro-hernandez\/\"><\/p>\n<div class=\"container-img\">\n\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"804\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20640%20804'%3E%3C\/svg%3E\" class=\"img-fluid\" alt=\"Jack McCollough et Lazaro Hernandez. \u00a9 Courtesy of Loewe.\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-loewe-1-768x965.jpg\"><img decoding=\"async\" width=\"640\" height=\"804\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-loewe-1-768x965.jpg\" class=\"img-fluid\" alt=\"Jack McCollough et Lazaro Hernandez. \u00a9 Courtesy of Loewe.\" loading=\"lazy\">\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<div class=\"number\">13<\/div>\n<\/p><\/div>\n<div class=\"card-info d-flex\">\n<div>\n<p class=\"cat-title\">Num\u00e9ro Art<\/p>\n<h3 class=\"post-title\">Le Loewe Foundation Craft Prize 2026 : les directeurs de cr\u00e9ation de Loewe nous racontent l\u2019\u00e9dition de Singapour<\/h3>\n<\/p><\/div>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t13 mai 2026\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<\/p><\/div>\n<div class=\"col-lg-3\">\n<div class=\"post-card desktop\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link\" href=\"https:\/\/numero.com\/art\/numero-art\/artiste-michael-armitage-palazzo-grassi-venise\/\"><\/p>\n<div class=\"container-img\">\n<p>                                                <img decoding=\"async\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%200%200'%3E%3C\/svg%3E\" alt=\"Portrait de Michael Armitage par Ola Rindal.\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-armitage-.jpg\"><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-armitage-.jpg\" alt=\"Portrait de Michael Armitage par Ola Rindal.\"><\/p>\n<div class=\"number\">13<\/div>\n<\/p><\/div>\n<div class=\"card-info\">\n<div class=\"meta d-flex justify-content-between\">\n<p class=\"cat-title\">Num\u00e9ro Art<\/p>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t13 mai 2026\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"post-title\">Michael Armitage au Palazzo Grassi : une expo coup de poing pendant la Biennale de Venise<\/div>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<div class=\"post-card mobile\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link d-flex\" href=\"https:\/\/numero.com\/art\/numero-art\/artiste-michael-armitage-palazzo-grassi-venise\/\"><\/p>\n<div class=\"container-img\">\n\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"804\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20640%20804'%3E%3C\/svg%3E\" class=\"img-fluid\" alt=\"Portrait de Michael Armitage par Ola Rindal.\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-armitage--768x965.jpg\"><img decoding=\"async\" width=\"640\" height=\"804\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-armitage--768x965.jpg\" class=\"img-fluid\" alt=\"Portrait de Michael Armitage par Ola Rindal.\" loading=\"lazy\">\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<div class=\"number\">13<\/div>\n<\/p><\/div>\n<div class=\"card-info d-flex\">\n<div>\n<p class=\"cat-title\">Num\u00e9ro Art<\/p>\n<h3 class=\"post-title\">Michael Armitage au Palazzo Grassi : une expo coup de poing pendant la Biennale de Venise<\/h3>\n<\/p><\/div>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t13 mai 2026\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<\/p><\/div>\n<div class=\"col-lg-3\">\n<div class=\"post-card desktop\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link\" href=\"https:\/\/numero.com\/art\/numero-art\/stanislava-kovalcikova-prix-reiffers-2026-en-couverture-de-numero-art\/\"><\/p>\n<div class=\"container-img\">\n<p>                                                <img decoding=\"async\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%200%200'%3E%3C\/svg%3E\" alt=\"Cover Num\u00e9ro art 18 Stanislava Kovalcikova\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-kovalcikova.jpg\"><img decoding=\"async\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-kovalcikova.jpg\" alt=\"Cover Num\u00e9ro art 18 Stanislava Kovalcikova\"><\/p>\n<div class=\"number\">12<\/div>\n<\/p><\/div>\n<div class=\"card-info\">\n<div class=\"meta d-flex justify-content-between\">\n<p class=\"cat-title\">Num\u00e9ro Art<\/p>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t12 mai 2026\t\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<div class=\"post-title\">Stanislava Kovalcikova, Prix Reiffers 2026, en couverture de Num\u00e9ro art<\/div>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<div class=\"post-card mobile\">\n\t\t\t\t\t\t\t\t\t\t<a class=\"post-link d-flex\" href=\"https:\/\/numero.com\/art\/numero-art\/stanislava-kovalcikova-prix-reiffers-2026-en-couverture-de-numero-art\/\"><\/p>\n<div class=\"container-img\">\n\t\t\t\t\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"640\" height=\"804\" src=\"\/\/www.w3.org\/2000\/svg'%20viewBox='0%200%20640%20804'%3E%3C\/svg%3E\" class=\"img-fluid\" alt=\"Cover Num\u00e9ro art 18 Stanislava Kovalcikova\" data-lazy-src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-kovalcikova-768x965.jpg\"><img decoding=\"async\" width=\"640\" height=\"804\" src=\"https:\/\/numero.com\/wp-content\/uploads\/2026\/05\/thumb-kovalcikova-768x965.jpg\" class=\"img-fluid\" alt=\"Cover Num\u00e9ro art 18 Stanislava Kovalcikova\" loading=\"lazy\">\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<div class=\"number\">12<\/div>\n<\/p><\/div>\n<div class=\"card-info d-flex\">\n<div>\n<p class=\"cat-title\">Num\u00e9ro Art<\/p>\n<h3 class=\"post-title\">Stanislava Kovalcikova, Prix Reiffers 2026, en couverture de Num\u00e9ro art<\/h3>\n<\/p><\/div>\n<p class=\"date\">\n\t\t\t\t\t\t\t\t\t\t\t\t\t12 mai 2026\t\t\t\t\t\t\t\t\t\t\t\t<\/p>\n<\/p><\/div>\n<p>\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t<\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/section>\n<div class=\"padding-bottom-s\">\n<div class=\"ad banner desktop\">\n<div class=\"container\">\n<div class=\"row\">\n            <!-- \/21730003857\/numero-ad-unit\/numero-banner-1 --><\/p>\n<div class=\"ad-responsive\">\n<div id=\"div-gpt-ad-1773673267712-0\" class=\"ads-pub\">\n<p>                        googletag.cmd.push(function () {<br \/>\n                            googletag.display(&#8216;div-gpt-ad-1773673267712-0&#8217;);<br \/>\n                        });<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div><\/div>\n<\/p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>18 18 googletag.cmd.push(function () { googletag.display(&#8216;div-gpt-ad-1773673590069-0&#8217;); }); Lien copi\u00e9 Num\u00e9ro Art 18 mai 2026 Qui est Sammy Baloji, l\u2019un des artistes les plus influents de notre \u00e9poque ? Num\u00e9ro art rend hommage dans son \u00e9dition estivale 2026 \u00e0 une figure majeure de la sc\u00e8ne contemporaine. Sammy Baloji n\u2019a cess\u00e9 d\u2019interroger, \u00e0 travers l\u2019image et l\u2019archive, [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[226,258],"class_list":["post-1941867","post","type-post","status-publish","format-standard","hentry","category-uncategorized","tag-crawlmanager","tag-numero-com"],"_links":{"self":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1941867","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1941867"}],"version-history":[{"count":0,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=\/wp\/v2\/posts\/1941867\/revisions"}],"wp:attachment":[{"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1941867"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1941867"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/analyse.optim.biz\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1941867"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}