Wednesday, 1 March 2017

1:54 Contemporary African Art Fair in Marrakech, 2018

 

Introducing the first Marrakech edition of 1:54 Contemporary African Art Fair, 24–25 February 2018



TAFETA, 1:54 London 2016. Photo: Victor Raison


1:54 Contemporary African Art Fair is delighted to announce its new edition in Marrakech, Morocco, taking place across 24–25 February 2018.
 

Held at La Mamounia, one of Morocco’s most esteemed destinations, the 2018 Marrakech edition will welcome leading galleries from Africa and around the world, and be supplemented by a thematic programme of talks and events in partnership with local institutions.

This new venture builds on the global activity and network 1:54 has cultivated through the London and New York fairs for nearly five years, in London since 2013 and in New York since 2015.

1:54 is thrilled to add a third location to its global roster, particularly one at the forefront of transcultural artistry and visual traditions. 1:54 Marrakech 2018 aims to broaden the reach of the fair and further diversify its purview of exhibiting and promoting galleries and artists that are connected to Africa and its global diasporas.

Further details via 1-54.com

1:54 opens its third New York edition at Pioneer Works, Brooklyn, 5–7 May 2017. Explore the galleries here

1:54 Contemporary African Art Fair 


5–7 May 2017, Pioneer Works, New York
5–8 October 2017, Somerset House, London

24–25 February 2018, La Mamounia, Marrakech 

www.1-54.com / @154artfair 

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or get in touch via info@1-54.com


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1:54 in Morocco in 2018


La Mamounia, Marrakech, Morocco
La Mamounia, Marrakech, Morocco 
1:54 Contemporary African Art Fair, the leading international art fair dedicated to promoting contemporary art from a diverse set of African perspectives, is pleased to announce a new edition to be held in Marrakech, Morocco. After successful editions in London since 2013 and in New York since 2015, 1:54 is thrilled to add a third location to its global roster of art fairs. 1:54 Marrakech will take place from February 24-25, 2018, with a press and collectors previews on February 23, 2018. The Marrakech edition of 1:54 Contemporary African Art Fair will take place at La Mamounia, one of Morocco’s most esteemed hotels.

The 2018 Marrakech edition of 1:54 will welcome leading galleries from Africa and around the world, and will feature an ambitious program of talks and events in partnership with local institutions. This new edition will broaden the reach of the fair and further diversify its portfolio of exhibiting and promoting gallerists and artists that are connected to Africa and its diaspora, adding to the global network 1:54 has cultivated through the London and New York fairs for nearly five years.
“We are thrilled to announce the newest edition of 1:54 in Marrakech,” notes 1:54 Founding Director Touria El Glaoui. "This third edition of 1:54 has been in the works since our first edition in London, and we look forward to continuing to expand and support our network of galleries, artists, collectors and partners with this new fair. It has been an important goal of 1:54 to host an edition on the African continent, and we could not think of a better place than Morocco to host this inaugural edition outside of London and New York. Morocco has one of the continent’s most dynamic art scenes, not to mention the incredibly significant Biennale de Marrakech, which made our decision on where to expand the fair easy for us."

Wednesday, 22 February 2017

Francis Kéré | Burkinabe Architect Based in Berlin

Francis Kéré becomes first African architect of Serpentine pavilion


Like a rustic flying saucer ... digitally rendered design for Francis Kéré’s Serpentine pavilion.
Serpentine Pavilion by Francis Kéré

The architect is planning to bring one of his characteristically stripped-back structures, honed in the villages of his native Burkino Faso, to leafy west London.

Author |
Source: The Guardian Newspaper



A huge wooden disc will float above the lawn in Kensington Gardens this summer, a wheel of spindly timber slats hovering over a bright blue landing pad like some rustic flying saucer. This is the vision of Diébédo Francis Kéré, the first African architect to be chosen to design the annual Serpentine gallery pavilion, who plans to bring one of his characteristically stripped-back structures, honed in the villages of his native Burkina Faso, to leafy west London.

“The tree was always the most important place in my village,” he says, describing the inspiration for his design. “It is where people come together under the shade of its branches to discuss, a place to decide matters, about love, about life. I want the pavilion to serve the same function: a simple open shelter to create a sense of freedom and community.”

‘Remain true to how you started – but do a little bit more’ … Francis Kéré.
Photograph: Erik-Jan Ouwerkerk

While the scorching sun might be the thing to shelter from in the deserts of west Africa, Kéré has configured his London canopy more with rain in mind, designing the shallow saucer to funnel water into a central opening, where a ring of slender steel trusses will support the great wooden bowl. The space will be loosely enclosed by a series of curving blue walls, formed of staggered wooden blocks in a textile-like pattern, a reference to the festive clothing worn by young men in his village on special occasions. “I’m coming to London,” he says, “so I wanted to show myself with my best clothes.”

In its frugal simplicity, the pavilion is a departure from recent years’ structures that have revelled in their sculptural novelty or shouted for attention with bright colours and synthetic materials. It is an apt reflection of Kéré’s work in Africa, where he has established an international reputation for designing sparing structures with mud bricks and lightweight steel frames, often built by unskilled labour with an elegant economy of means. Kéré initially considered using bricks for the pavilion walls, but was clearly advised against turning the royal park into a mud quarry.

The interior of Francis Kéré’s pavilion.
The interior of Francis Kéré’s pavilion. Photograph: Serpentine gallery


“I told myself, ‘Francis, don’t try to change yourself for this commission’,” he says. “Remain true to how you started, but do a little bit more. Here I have the chance to work with amazing engineers, so we can make the steel very thin and have an impressive cantilever.”

Kéré was born in 1965 in the village of Gando, a place with no running water or electricity, 125 miles southeast of the capital of Ouagadougou, making him unique as an architect who now moves in the glamorous circles of international biennales and professorships at Harvard. His face is still ringed with tribal scars in a pattern of spokes, marking him out as the son (and sun) of the village chief, a position of privilege that gave him the rare chance to attend high school in the city. At 18, he won a scholarship to study woodwork in Germany, but, realising there was not much use for carpentry in a country that has little wood, he switched to study architecture at the Technical University of Berlin.

Gando school extension, developed out of Kéré’s final year university project.
Gando school extension, developed out of Kéré’s final year university project.
Photograph: Erik-Jan Ouwerkerk

In his final year he designed a primary school for Gando and used his ample charisma and energy to raise enough money to see it built. The project was the first test of what would become his characteristic style of rural hi-tech: a pair of simple rectangular volumes made of mud bricks, crowned with a “flying roof” of vaulted corrugated metal. It won the Aga Khan award for architecture in 2004 and has since been expanded with a library, secondary school, teachers’ housing and a community centre.

Kéré was invited to become an emissary for the award, scouring the continent for other exemplar projects, but he had misgivings. “I stopped because everywhere I went they said, ‘Give us the tools to make good architecture before coming to ask for good architecture,’” he said in an interview. As a result, his motto is “help to self-help” – his projects place more importance on the process of local capacity-building than the finesse of the final product.

It is a collaborative, user-driven mode of practice that makes him an interesting choice for the Serpentine commission, which is essentially a hastily built stage set for hosting summer parties, usually then sold on to a collector. Might Kéré be employing local apprentice builders and trying to extend the impact of the project beyond being a diverting decoration for the lawn? “It would have been great, but it’s not easy working in this context,” he says. “The participation will happen when people come to take ownership of the structure, but I am working with partners to see if it can travel, and maybe end up in Africa as a museum or library.”


Kéré’s proposed Burkina Faso National Assembly and Memorial park. Photograph: Kéré architecture

Based in Berlin, where he runs a practice of 12 people, Kéré now uses commissions in Europe to subsidise the work back home, much of which is low-paid or pro bono. With one hand he designs boutique stores for shoe brand Camper and works on commercial masterplans in Germany; with the other he continues to build schools, health centres and libraries in India, Mali and Yemen, as well as an educational campus in Kenya, in the village where Barack Obama’s father was born. One of his most ambitious ongoing projects is the construction of an “opera village” in Laongo, near Ouagadougou, a world-class performance venue initiated by the late German theatre director Christoph Schlingensief, for which a school, clinic, art studios and a dozen homes have so far been built.

The Serpentine commission is just the latest in a series of international accolades Kéré has enjoyed over the past few years. As one of the few African architects with a global profile, he is continually courted by conferences and exhibitions around the world. He took part in the Royal Academy’s Sensing Spaces exhibition in 2014 (where he made a participatory tunnel of colourful straws), the Chicago Biennial in 2015, and the Venice Biennale last year, where he presented what could become the project of his lifetime, a new national parliament building for Burkina Faso.

“Most of the population has never seen higher than the height of a tree,” he says, describing his plan for a mountain-like building of staggered terraces, where people would be able to sit and enjoy views of the city. After the country’s 2014 uprisings, when the parliament was torched and the president was hounded out of the country after a 27-year reign, Kéré says there is an urgent need for openness and transparency. “The people will be able to climb above the politicians – what could be more symbolic?”

Tuesday, 21 February 2017

Mickaël Bethe-Selassié | Grand Master of Papier Mâché


Artist | Mickaël Bethe-Selassié
b. 1951 - Present
Origins: Ethiopian Artist Lives and Works in Paris, France

Solo Exhibition | Mickaël Bethe-Selassié
Exhibition: Chateau de Ladoucette, Drancy
Dates:  25th March - 21st May
Website: www.drancy.net

Grand Master of Papier Mâché is exhibiting over 70 works created over several decades. This is a wonderful day out for all the family.

Sunday, 19 February 2017

Jelili Atiku | Let Me Clutch Thee

Artist: Jelili Atiku
Origins: Nigeria
Performance: Let Me Cluth Thee
Location: Cape Town, South Africa
Date: Saturday 18th February 2017
Photos: Maye Albert

Here is the photo documentation of Jelili Atiku's performance, “Let Me Clutch Thee”, which was enacted with Tazme Pillay yesterday, Saturday February 18 2017 during the Institute for Creative Arts (ICA) Live Art Festival at Company’s Garden and Iziko South African National Gallery (S.A.N.G), Cape Town, South Africa.

The performance explored the persistence of oil spillage in the African continent, especially in the Niger Delta region, and its unprecedented impacts on ecosystem stability, biodiversity and food security. Organic and inorganic materials were employed to bring out the visual realities of the devastating effects of oil exploration and exploitation in the coastal region.

Photo by Maye Albert.













Friday, 13 January 2017

21 Sunsets over Agadir by Joe Pollitt


Sunset over Agadir | Joe Pollitt



















Photo and Author: Joe Pollitt

Woke up early for the 9.50 flight to Agadir out of London, Gatwick and arrived just before 7am on a brisk and frosty, bitterly cold, finger nipping, abject winter’s morning. First things first, I made my way to the Weatherspoons Café for breakfast. Perhaps, the worst English breakfast in the whole of the kingdom. The price was twice that of the usual but with less than half the appeal. To say it was atrocious would be somewhat overselling the efforts and poor quality ingredients that had gone into the making of my departing meal. The bar were quick to take my money and minutes later arrived with a plate, full of regret. My tired, dismissive waitress frantically plonked it down on the table with a wily smile and left as quick as a thief in a jewellery shop. The beans had been micro-waved, which created an orangey film on the top that clung to the sides of the small rounded brown pot and looked like the saggy underarm skin of an over-tanned elderly sex tourist.  The bacon was cold, tough and dry, testing out my teeth with the chewing. The dirty looking sausage was full of nodules shaped as cubes of tainted lard. The fried egg was hard, the yoke had separated from the whites and now was placed miserably on the right hand side on the platter, fashioned like a portion of stiff yellow paint that had been neglected, left out on a tray for days. The meagre 2 and half wrinkled cheerless tiny mushrooms were the only redeeming features on the serving dish. Bashfully, I had asked for a cup of fresh coffee rather than be seen drinking at the early hours of the morning, like some jobless loser with nowhere to go but down. What a mistake to make, the coffee was instant, tepid on the tongue with that flavourless dishwater taste of sheer disappointment with every sip. I sat outside the kitchen, snarling at the blissfully unaware waitresses and the smug talent-less chefs as they walked by. Alone, perched on my purposefully awkward high stool I sat, stunned at the quality or lack there of, feeling less than filled up but rather plainly ripped off. Completely thwarted but far too English to complain, I returned to the bar with a frown; ordered my pint of Stella with a large whiskey chaser and nursed them until the gate opened and it was time to board the plane. The whole experience had put me in the perfect frame of mind for leaving the country in search for better times.

The passengers on the flight were all in a good spirits; the couple next to me were celebrating their 50th Wedding Anniversary and heading to the sun for golf and relaxation in their all-inclusive. Although now retired, they had both worked together as coach driver and administrator for their own small family firm in Somerset. They had skilfully secured lucrative contracts from the Council to pick up school kids and take them to various locations coupled with hiring their coaches out for various events and special occasions. It seems their lives had been well lived and they spoke fondly of their children and grandchildren, all of whom had done exceptionally well in one-way of another. It was great to hear them talk together, often speaking over each other, both eager to express just how proud of their family achievements they were. They spoke with such excitement and good energy, so positive about the future that they were hardly likely to see, but their confidence in their family meant everything. Secretly, I felt jealous, then bored solid and then came the shame inside but I think I managed to get away with it and held it together well after ordering 2 more cans of Stella off the trolley. Fifteen minutes later, when I had told them of my interest for Africa and their eyes glazed over after the fifth minute, they settled down to snore. Mouths open gasping for air they took their naps before landing. How they both managed to complete an 18-hole golf course, what with Sheila’s hip and Ron’s triple by-pass was beyond me. I, on the other hand, was far from over, as the plane landed I started to clap as loud as I could to celebrate my arrival in one piece. “Great Landing” I shouted whilst clapping and then twisted my head around aisle seat 5D only to be confronted with a now barrage of screwed up faces of hate and disbelief from the rather anger holidaymakers. “What? You’re not happy to be alive? Just me then”, I shouted back at them and woke my elders gently and waited impatiently to disembark…Nobody wanted to know me right from the start…thank God or Allah that I’d left my passport in the back of the seat tray so had a marvellous excuse to be last. And so began my wonderful adventure for 2017 – 21 Sunsets in Agadir.

Beach in Agadir | Joe Pollitt



















My party had gone before me and I was left on my own in Agadir Airport. A no woman’s land let alone a nomans land but soon Hamid McMohammed came and unashamedly lifted up a clear sign under my nose with a note that stated: “English Loser – 21 Nights, Hotel Al Moggar” on reading those words in black and white I just knew he was my paid-for transport, my hotel connection to Hotel Al Moggar, so I agreed to go with him, alone in his 12-seater recently dented silver van. I foolishly told him, or maybe he cleverly elicited that I had bought duty free whiskey and when I said. “Yes Johnny Goodness Walker Double Label my lovely MacMuslim”, the next thing I heard where the wheels screeching and skidding, grinding the van to a full stop. There on the side of the motorway, semi parked in the middle of the road my semi-secure driver Hamid Mchammered drank my Double Black Label from the bottle like some greedy 2-month old baby. On that day, Johnny Walker made a Moroccan driver transform into a Professional Formual 1 sports personality of the year,  who made Michael Shoemaker look like a blind elderly driver with a fear of passing other drivers issues... The entire 12-seater took on a rally effect. Agadir the mental way, fast tourism, sight seeing at speed and the only true way to see the city and it’s outskirts in a 5 day trip of the Berber people…You know how the Muslims love to fast..fast and as fast as possible. We ended up in the hotel an hour before booking, even though I was 3 hours late in the starting….Only in Morocco.  I arrived in the hotel confused, fired up and excited about the sunset and wanted so desperately to be booked in to ready myself for that long awaited spectacle....all I got when I looked out of the window was a red stream of after sunset “Agadusk” light and I wondered how do I explain this redness..this really new red, virginal red line in the sky….?  How to describe this youthful redness? This playful red that wanted to show itself for the very first time and be proud. Years in the making and others so red in comparison. It was about time for the red to show itself, no more spotting, this was a glorious red spread right across the skies. Better late than never but what an outstanding public display from a seriously late bloomer... How to describe this after sunset loveliness with this moving-into-womanhood red that can be so often seen in the “Agadusk”.

Back in the hotel I had a delightful conversation with some of the locals. "You you English, you LOVE to drink. Drinkin-Drinkin-Drinkin always you, you English. Youknow, we say in Islam you, you English you LOVE to drink, drinkin-drinkin always problems...You, you English problems, problems, problems you, you English." To which I gracefully replied,  "You fucking fucking fucking fuckers. I fucking love to drinkin, you fucking fucking cunt fucking drinking problems fucking problem problem cunt. Have a fucking drink you fucking fucking problem and let us talk shit till the early hours you fucking fucking fucking, problem problem problem cunt." This was the first proper conversation I had since landing in Agadir Airport.

Sunset near the Sofitel | Joe Pollitt


It is hilarious; wondering around the city furious with the world having spent too much time in toxic Europe. Swearing in flip flops is the best. Wearing my Christmas pyjama-bottoms with snowmen with red bobble hats and thinking nobody notices, I make myself at home. Waving at fellow tourists and telling them all that my blue terry toweling dressing gown was in fact a designer labelled smokers jacket. Looking all pasty, pale and unhealthy, smoking as much duty free as my lungs can handle. Right proper Englishman abroad. And the men here greet you with hugs and kisses. The experience is surreal or perhaps too real. It was like being 3 years old again, running around with stretched out arms and screaming, "fucking fucking be my friend, fucking fucking cunt cunt", to which my grunts were welcomed with huge grins and sparkling eyes with the phrase, "You, you English....Fucking fucking Manchester United fucking fucking..." and warm hugs and kisses from grown men on every street throughout the city. Why would I ever want to leave?

Monday, 5 December 2016

GÉANT DE L’AFRIQUE, OUSMANE SOW by Keilah Wells



Ousmane Sow avec guerrier Massai


À bien des égards, c’est un profond changement dans l’Art. Ce qui explique Ousmane Sow est cette ancienne Yoruba et Mali méthodes de sculpture sont supérieures à celles de l’Europe car ils ont plus de flexibilité. Certaines de ses sculptures originales en plus tard sont impossibles à reproduire en bronze ou en or, comme le support est trop lourd et trop restrictive pour afficher ce qui est physiquement possible dans la sculpture. La primitive est parfois supérieure à ce qui est considéré par beaucoup d’être civilisé.
L’artiste africain controversée, le sculpteur Sénégalais Ousmane Sow, est décédé à l’âge de 81 ans. Ét travaillé sans interruption en tant qu’artiste ; comme un enfant qui grandit à Dakar, il a fait des figurines d’action qu’il partageait avec ses amis et utilisé pour composer des récits de fiction. Il a travaillé sur le modélisme et animations à Paris pour des décennies, même transformer son bureau de physiothérapie dans son studio. Il a produit un film court 16mm sur un groupe d’extraterrestres flamboyants visitant la planète terre, mais sa carrière a commencé seulement une fois qu’il était retourné en Afrique et s’installe dans son bien-aimé Dakar, à son début des années 50. Tout au long des années 1980 et 1990, truie produit un immense corpus de œuvres en utilisant les techniques et les matériaux africains. Son premier grand succès est venu avec ses sculptures de plus-que-vie des lutteurs soudanais nubien, au Centre culturel Français de Dakar en 1987.
Massai Series

Zulu Series
Viennent ensuite la Maasia, du Kenya et de Tanzanie explorer leurs capacités de chasse exceptionnelle et leur lien avec la nature sauvage du Serengeti, puis les guerriers zoulous du Kwzulu-Natal, Afrique du Sud et de leur force et l’unité parmi les tribus plus résistantes en Afrique. Enfin dans cette première série, il a exploré la beauté renversante trouvée dans des nomades Peuls islamique du Sahel et Afrique de l’Ouest, dont les caractéristiques sont apparentées à celles trouvées dans le moyen-orientaux avec leurs peaux brun doré. La série nubien était un exercice anthropologique de l’artiste et un large regard sur les différentes variétés de peuples qui se trouvent sur le Continent de l’Afrique.

Fulani Series
Réveillé par la cinéaste allemande Leni Riefenstahl et ses livres photographiques sur les Nuba et le peuple de Kau du Soudan. Une série d’images appelés Mein Afrika a été traduite en 1982 et renommé, Afrique en voie de disparition. Truie, il semblait assez pervers pour un cinéaste allemand, qui non seulement soutenu mais créée de propagande pour le NSDAP d’Adolf Hitler, devrait être l’artiste pour enregistrer la vie des africains. Avec ambition, il a assumé le rôle vital d’anthropologue africain et calmement et méthodiquement décidé relater la multiplicité de l’Afrique à l’aide de techniques sculpturales africaines anciennes et modernes et permettant enfin une perspective africaine sur les populations africaines. Pendant plusieurs années, il a créé une série de sculptures énormes exposer la diversité du Continent.

Nubian Wrestlers

Les lutteurs nus étaient tout à fait choquants lorsque présentée pour la première fois à l’extérieur du Centre culturel Français dans la ville musulmane de Dakar. Leur présence et majestueux won de la domination du grand artiste acclaim et par truie 1993 a été sélectionné pour la Documenta à Kassel (Allemagne) et la Biennale de Venise deux ans plus tard. Cosmique succès suivi et réaction du public aux œuvres de truie étaient plus comme les fans à un concert de rock ou de regarder leurs films préférés de leurs meilleurs réalisateurs amateurs de cinéma. Les œuvres semblent prendre vie de leurs propres et les réactions ont été profondément privées et affecté chaque personne différemment. En 1998, il a pris sur son plus grand défi, les américains et créé, ce que beaucoup considèrent ses chefs-d'œuvre, 35 œuvres dans ses Amérindiens série, quelques-uns il mis à cheval, certains avec des fusils d’autres avec des arcs et des flèches, tous les combats pour la victoire contre le général Custer à la bataille de Little Big Horn en 1876.

Mere et Enfant

Né en 1935, Sow a grandi dans le quartier animé de Reubeuss à Dakar. Il fut élevé par son père discipline, Moctar et sa mère robuste de Saint-Louis, Nafi N'Diaye. À l’âge de 7 ans, il fréquente un Lycée Français et docilement pratiqué l’Islam après l’école et Pendant les week-ends. Plus tard, alors qu’en France, il trouve du réconfort dans la méditation et l’hindouisme avec une profonde croyance en la réincarnation. Dans la maison qu’il a construit à Dakar, il a fait la meilleure chambre dans la maison, sa chambre de méditation.


Son intérêt pour la sculpture était évident dès son jeune âge. Dans son adolescence, il a exploré différentes formules avec des colles et matériaux fondus s’accumuler diverses figurines. En 1957, après la mort de son père, Sow a décidé de quitter Dakar, même s’il était sans le sou. Sénégal à l’époque était une colonie de la France et en tant que membre de l’un des semer de départements Français était un citoyen Français. Attitude de l’artiste envers la vie est rappelée par une conversation avec le journaliste Français, Marie-Odile Briot. Dans son enfance quand on lui demande si il pourrait attraper la lune il sauta du lit, mettre sur ses chaussons et il a donné son meilleur coup.

Une fois en France, semez trouvé un logement temporaire dans les divers commissariats autour de Paris et ramassé progressivement fugace des emplois afin d’obtenir. Ayant un intérêt dans le corps humain il a assisté à un cours de massage, qui lui a valu un diplôme en soins infirmiers de l’hôpital Laennec. Il a ensuite étudié avec Boris Dolto, un pionnier en orthopédie et en kinésiologie en France. Ses compétences professionnelles comme physiothérapeute fourni la stabilité financière mais aussi la compréhension essentielle et connaissance du corps humain, qui est devenu si précieux dans sa vie postérieure.

Battle of Little Big Horn

Cahier des charges était un maître d’exagération avec une compréhension fondamentale de l’anatomie humaine analytique. Il a pu se plonger dans sa familiarité avec les muscles reposants par opposition à ceux qui se contorsionner. À bien des égards, cet artiste était une énigme qui a trouvé extraordinaire succès mondial. Son ascension météorique sorti de nulle part mais Sow avait patiemment travaillé sur idées depuis première montrant son bas-relief intitulé, tête de maure au Festival mondial des Arts Nègres (FESMAN) en 1966. Ses œuvres sont authentiquement africains extraite de différentes techniques sculpturales de l’Afrique de l’ouest en particulier, chez les artisans de Nok d’Ife, Nigeria. Semer sculpté sans un modèle et fait rarement des croquis. Le secret de ses mensonges de succès dans l’alchimie de son médium à la main, un certain nombre d’ingrédients très prisés comme mère de la terre rouge, sable, du vinaigre et autres matières confidentielles ont été placés dans des barils, transformés en pâte et gauche pour infuser au fil du temps. L’ensemble du processus est une forme d’art en soi, qui a donné l’artiste autant de plaisir que la création de ses sculptures massives. Une fois que les modèles étaient habillés et farcies il a appliqué à la main, sa mystérieuse recette toxique sur une ossature de métal, de paille et de jute, permettant la nature pour faire sa magie et donner le milieu de sa propre liberté pour durcir sous le chaud soleil de Dakar. Cette approche est par nature artistique, mais aussi profondément enracinée en Afrique. Dans la première phase de son travail, la série nubiennes, les chiffres gargantuesques rencontrez comme plutôt sévères, les sculptures sont lisses, solide et tendue ; leurs postures et rigides... presque obstiné. Ce qui est si impressionnant, c’est que pour la première fois, nous voyons un artiste africain jouant anthropologue, non seulement fait il grossir celles du Continent mais donc avec les formes traditionnelles africaines antiques de sculpture qui date du XIème siècle.

Battle of Little Big Horn
Dans la deuxième phase de sa vie artistique, les techniques de la truie a changé légèrement et dans la bataille de Little Bighorn | L’américain effet au Whitney Museum en 2003 nous voir beaucoup plus rude, plus grossier et plus ambitieux œuvres exposées. Les chiffres sont audacieux dans leur couleur et truie gauche des trous dans les cadres et à l’aide de son nouveau brûlé technique, a été en mesure de faire des sculptures plus malléable et plus dramatique. La matière grise sur les chevaux vient de faire fondre les morceaux de plastiques colorées qui créent une finition remarquable. Le résultat final est une magnifique production de 11 chevaux et l’humain 24 figures incroyables positionne jamais avant vu. Ce cahier des charges a gagné la réputation comme l’un des plus grands sculpteurs de tous les temps.

Ousmane Sow | Le Pont Des Arts

Au printemps de 1999, à l’invitation de la Mairie de Paris, l’artiste expose un des événements plus spectaculaires de mémoire d’homme, sur le pont des Arts. Le spectacle a attiré plus 3 millions de visiteurs et les médias Français a même averti que l’afflux de tant de spectateurs porterait atteinte à l’intégrité du pont lui-même. L’exposition comprenait soixante-quinze des œuvres colossales de la truie, comprenant des membres de la série nubien, ses Amérindiens et diverses figures emblématiques. Ces œuvres grandioses ont été exposées entre le Louvre et l’Académie française. Il s’agissait d’un spectacle impressionnant de proportions épiques, qui a remporté l’artiste adoration et l’admiration du public Français.

Dancer with the short hair
Après son succès de l’exposition 1999, il a commencé à utiliser une fonderie de bronze d’exprimer certaines de ses œuvres antérieures. La plus belle qui est danseuse aux cheveux courts. Dans la région reculée de Kordofan, dans le sud du Soudan, où vivre les Nuba, jeunes vierges dansent la myertum, la « danse de l’amour ». Les jeunes danseurs enduisent leur corps noire ou rouge de la terre pour se rendre à apparaître plus athlétique et plus désirable. Ils exécutent une danse de séduction ludique spéciale pour les lutteurs victorieux, qui sont assis en cercle, les yeux baissés par respect, après le combat de cérémonie annuel. Le bronze est le support idéal pour ce chef de œuvre magnifique, par sa qualité sombre, chatoyante et raffiné de sa finition, il est en mesure de reproduire parfaitement la beauté naturelle de la danseuse aux cheveux courts.


Le 11 avril 2012 ét a été élu pour devenir un Membre Associé Etranger (« membre associé étranger ») de l’Académie des Beaux-Arts de l’Institut de France, remplaçant l’artiste américain, Andrew Wyeth. Il devient le premier artiste africain jamais à se faire élire à l’adhésion.

Toussaint L’Ouverture and the Old Slave
Dans la même année, sa sculpture « Toussaint Louverture et le vieux Slave » était la pièce maîtresse à la mosaïque africaine au Musée National d’Art africain à Washington. Ce travail a été acquise par le Musée et en vedette dans le bicentenaire de la révolution haïtienne, le œuvre célèbre Toussaint L'Ouverture qui a dirigé une révolte des esclaves en Haïti depuis le 21 août 1791 à 1er janvier 1804.

Ses derniers travaux, le paysan, une commission du Bureau du Président de la République du Sénégal. Le travail doit être en bronze et installé devant le Centre International de conférences Abdou Diouf à Diamniadio, près de Dakar. Ousmane Sow a terminé sa dernière œuvre, un mois à peine avant sa mort. Son héritage incroyable est assuré et son engagement pour toutes les choses de l’Afrique.


Ousmane Sow, né le 10 octobre 1935 au 1er décembre 2016, il laisse derrière lui une nouvelle génération de sculpteurs impressionnants du Sénégal, Seni Awa Camara, N'Dary Lo, Mamady Seydi, Cheikhou , Henry Sagna et Abdala Faye.


Author: Keilah Wells