The exhibition Africa Is No Island has been curated by the net platform Afrique in visu to encourage a dialogue in regards to the modern African expertise that transcends borders. The exhibition takes the spirit of Afrique in visu – which is devoted to connecting and nurturing artists with completely different viewpoints and practices – to current a kaleidoscope of photographs that makes the customer rethink geography, illustration and historical past.
A have to report disappearing cultures and query historic constructs runs by means of the exhibition. It additionally makes use of storytelling and efficiency to query id and written historical past.
Statuette Nganga SaleLaye and Statuette Kafigeledio Prince – Guinea, 2011, Ya Kala Ben sequence, by Namsa Leuba.
Marrakech has an uneven historical past with modern artwork. A number of years in the past there was nice pleasure over plans for a pictures museum which might maintain one of many greatest collections of visible artwork within the world. The constructing was to be designed by David Chipperfield and have an bold programme of exhibitions, however the challenge was by no means realised. The seventh version of the Marrakech Biennial was additionally attributable to happen this yr however has been postponed indefinitely attributable to a scarcity of funds. No shock then that there’s a buzz round Africa is No Island within the native artwork galleries and on the 1-54 Contemporary African Art Fair, which launched its first African version in Marrakech final month.
Khamlia, southern Morocco #1, 2014, the Moroccans sequence, by Leila Alaoui
Leila Alaoui’s sequence The Moroccans features a putting portrait of a girl in Khamlia, a desert village within the south of the nation. Alaoui travelled with a cellular studio, photographing individuals in village squares in entrance of the identical black backdrop. It is an attractive sequence that celebrates native tradition and types a visible archive of faces and conventional gown. It can also be all of the extra outstanding on condition that many Moroccans are superstitious about having their taken.
Portrait of David Godonou-Dossou, a wealthy service provider and founding father of the Godonou-Dossou dynasty, Porto Novo, Benin, 2011, and Idelphonse Adogbagbe, a priestess of Mami Tchamba (a type of Voodoo), Grand-Popo, Benin, 2011, by Nicola Lo Calzo
Pied Piper, 2013, Ke Lefa Laka sequence by Lebohang Kganye
Lebohang Kganye makes use of previous household images and archive photographs enlarged to life measurement to create dioramas that she steps into dressed as her grandfather. These playful and theatrical photographs are a retelling of Kganye’s household historical past by means of tales she remembers listening to as a baby. They additionally inform a collective historical past of apartheid. Pied Piper reveals the motion of black individuals to the Transvaal and inevitably the Soweto township, the looming metropolis behind the figures stays separate and unreachable.
Mme Djeneba, Hââbré, the Last Generation sequence, 2013-2014 by Joana Choumali
Joana Choumali’s portraits of individuals with scarification are a report of a disappearing tradition however in addition they inform a narrative of migration and xenophobia. The individuals she images are Burkinabés dwelling in Abidjan, Ivory Coast. The scarification makes them immediately recognisable in a metropolis the place they expertise prejudice towards their class and their affiliation with the civil warfare. The scars had been as soon as one thing to be happy with however that is now not true.
Back to Authenticity, a view of the pagoda of President Mobutu, N’sele, Kinshasa, with a photograph from the archive of Dr Fourche taken in 1935 by Sammy Baloji 2013
Questioning the writing of historical past is on the coronary heart of Sammy Baloji’s work on the Democratic Republic of the Congo. His triptych reveals the ruins of dictator Mobutu Sese Seko’s reign; a pagoda, a touchdown strip and plant juxtaposed with an archive of a Congolese lady taken on the time of the Belgian Congo.
Untitled from the Classroom sequence, 1994-2002 by Hicham Benohoud
Hicham Benohoud photographed his Classroom sequence when he was an artwork instructor in a Marrakech college. The surreal and disarming images present college students calmly posing with unusual props or in odd positions as the remainder of the category works on round them. This collaborative efficiency challenge resulted in additional than 100 photographs.
Archives I, printing works, Porto Novo, Benin, 2012, Tracks sequence, 2009-2016 by François-Xavier Gbré
The ruined buildings of west Africa’s colonial period are François-Xavier Gbré’s obsession. The areas are empty however crammed with traces of human exercise. These photographs of abandonment counsel a need to doc so as to not neglect.