From February 10 to 12, 2026 , the University of Bondoukou became the epicenter of continental aesthetic reflection. Under the aegis of the UFR of Sciences of Arts, Cultural Industries and Communication (SAICC), the international symposium "Rethinking art criticism: perspectives on contemporary creation in Africa" brought together a prestigious panel of researchers, artists and journalists.

The goal? To decolonize the way we look at African works and to forge analytical tools rooted in the realities of the continent.

A rapidly growing center of academic excellence

During the formal opening in the 600-seat amphitheater, Professor Djakalia Ouattara , president of the university, emphasized the institution's ambition: to become a sanctuary of knowledge and cultural innovation.

"This colloquium reinforces our position as a major space for the production of critical thought," he affirmed, supported by the prefectural authorities who see Bondoukou as a future "major school" in the Ivorian intellectual landscape.

The inaugural lecture: Towards critical autonomy

The guest of honor, Professor Roger Somé (University of Strasbourg), laid the groundwork for the debate. For this expert in the anthropology of art, it is imperative that Africa rewrite its own art history. His plea calls for:

1. To move beyond theoretical models imported from the West.
2. Integrate local social and identity dimensions into the analysis.
3. Building autonomous and dynamic critical frameworks.

Debates on bold themes

The scientific sessions explored diverse territories, linking tradition, modernity and societal issues:

1. Art and Society: From the Aboudia Case to the BBL Phenomenon

1. Icon analysis: Professor Addack-Kouassi deciphered Aboudia 's work, highlighting how its visual saturation and expressive force impose a new critical discourse.
2. The Remodeled Body: Dr. Sasso Sidonie Calice Yapi 's presentation made a lasting impression. By analyzing the Brazilian Butt Lift (BBL) phenomenon through the lens of art, she questioned new aesthetic norms and representations of health in the contemporary African imagination.

2. Digital technology, archives and heritage

1. The digital age: Dr. Sézito David Maho explored how digital platforms are redefining the dissemination of criticism.
2. Artistic memory: Dr. Ouattara Adama argued for a rigorous archiving policy, while Dr. Zakarihou Alhousseini insisted on the use of heritage (Mali, Niger, Benin, Senegal) as a living, not fixed, resource.

Between theory and performance: A rich assessment

The conference was not limited to speeches. It resonated with the rhythm of:

1. Artistic performances , notably that of Dr. Amani Désiré.
2. Student exhibitions illustrating the direct link between research and practice.
3. A final exhibition of contemporary art on campus.

The 4 key recommendations for the future

At the close of the proceedings on February 12, the participants formulated strong resolutions:

1. Institutionalisation: Creation of a national archiving centre for art criticism in Ivory Coast.
2. Education: Systematic integration of art criticism modules into university curricula.
3. Transdisciplinarity: Crossing perspectives between art, sociology and new technologies.
4. Sovereignty: Promoting a plural and decolonized critique.

With this event, the University of Bondoukou confirms its mission: to train a new generation of cultural actors capable of raising the voice of African creativity high on the world stage.