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Abstract

This group session discussed the notion of “Framing time and history” and investigated the ways in which the current practices of its participants (some of which emerged from the context of the Académie des Beaux-Arts de Kinshasa) are concrete examples of a South-South dialogue and how this can provide a critical perspective on art history and art education. Debates concerning the how and the why of that dialogue through art production, distribution and criticism are presented.

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