The October Gallery to Present Romuald Hazoumé's "Made in Porto-Novo"
Written by Donald Sessions Wednesday, 20 April 2011 20:31
LONDON.- Romuald Hazoumé was born in 1962 in Porto Novo, in the Republic of Benin. Hazoumé’s work first came to prominence in the U.K. with the inclusion of his witty, tongue-in-cheek “masks” in the Saatchi Gallery’s “Out of Africa” show, in 1992. Since then his work has been widely shown in many of the major galleries and museums in Europe and beyond, including the British Museum, the Guggenheim, Bilbao, the Centre Georges Pompidou, Paris, ICP, New York, the V&A Museum, London, etc. The stellar trajectory of Hazoumé’s rise during these past fifteen years has catapulted him into the first rank of the international artistic community, marking him out as unique amongst other African contemporary artists. On view at The October Gallery from 15 October until 28 November, 2009.
“Made in Porto-Novo” will present masks, photographs, canvases and installation work selected from the artist’s studio. Although Hazoumé has lately developed his explorations over a wide range of media, there will be a welcome return of his earlier mask series with a number of new masks on display. The exhibition will also include a series of little-shown works on canvas focussing upon the iFa symbols, an ancient African knowledge passed down over many centuries within the Yoruba civilisation. These works have not, so far, been widely exhibited abroad, owing, in part, to their intrinsic complexity and in part also to their implicit involvement with the internal creative processes of the artist himself. Hazoumé notes that these glyphic forms, which he calls ‘evocations,’ nourish the roots of all his artworks without exception – providing a common, elemental thread that draws the diversity of his oeuvre into a unified whole. There will also be further photographs from his revelatory series depicting real life in Benin today and an entirely new installation, using his signature petrol canisters, that will extend the exhibition’s reach into still further areas.
The exhibition’s title of “Made in Porto-Novo”
functions as something of a wake-up call to anyone who’s never heard of the
capital city of Benin as well as to anyone who remains unaware of the
exceptional nature of some of the art being produced on the African continent
today. It is quite typical of Hazoumé that he should be the one to announce
Porto-Novo’s accession to the map of art capitals of the world in this breezily
self-assured manner. Yet, there is a muscular substance to his off-handed
assertion that demands one at least pay some serious attention to it. As Jackie
Wullschlager, the always perceptive Art Critic of the Financial Times, pointed
out when reviewing 2007’s documenta 12, the balance of power in the art world is
at present shifting dramatically away from the tired old monopoly of western
cultural hegemonism with its serial fêting of the latest and greatest white
wunderkind. Wullschlager rightly described documenta 12 as “the most exciting
thrilling art show in the world, because it is genuinely of the world rather
than a Euro-American take on global culture.” The pendulum has indeed begun to
swing in the other direction – and the haunting title of the FT piece, “We know
our time is up,” bears prescient witness to the changes occurring. In going on
to collect the prestigious Arnold Bode Prize at documenta 12 for his outstanding
installation, “Dream,” Hazoumé was not only elevating a piece by an African
artist to the highest summit of achievement in the contemporary western canon he
was also laying down a marker for artists from across the entire continent of
Africa.
So, if we can accept that some of the pent-up energy and creative vigour of the planet might just be running riot in places other than the centres of Paris, New York or Berlin, then maybe we can look forward to welcoming to London artwork that takes enormous delight in proudly proclaiming its provenance as - Made in Porto-Novo. Visit The October Gallery at : www.octobergallery.co.uk/
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