Contemporary African art will once again be in the spotlight through the exhibition « Ce qui s’oublie et ce qui reste ». Indeed, this exhibition is the result of the partnership between the Museum of Contemporary African Art Al Maaden (MAACAL) in Marrakech and the National Museum of the History of Immigration in Paris, curated by Meriem Berrada and Isabelle Renard. Between heritage and generation, tradition and culture, historical narratives and worldview, visible and invisible links are created around the themes of transmission, immigration and African traditions.
What place does the transmission of our African traditions and cultures currently occupy in these times of social networks and individualism?
What will become of the passing on of memories from generation to generation?
Honouring Artistic Creativity and Diversity
History reminds us that this event will be held in the Palais de la Porte Dorée built in eighteen months on the occasion of the 1931 International Colonial Exhibition, a period during which the French colonies of the time were presented. The symbolism of this place marks the spirits and makes an analogy to the title of the exhibition which highlights a historical past for a collective memory as a cultural legacy with a view to creating a viable horizon for the future.
Eighteen artists will exhibit their work through video, sculpture, painting, installation, weaving and performance. This will make this exhibition rich in the vitality of contemporary African production.
Photography, a sector that represents the dialogue between traditions and perspectives, is adopted by several Moroccan artists: Amina Agueznay, Ymane Fakhir, Malik Nejmi and Btihal Remli. The Beninese artist Ishola Akpo who creates her works by mixing modernity and traditions, just like her Franco-Beninese colleague Emo de Medeiros or the Malagasy Joel Andrianomearisoa, who combine different media (sculpture, video, performance etc.) to express their artistic and transcultural perception.
Meschac Gaba, the Beninese conceptual artist, fascinates through his works drawn from elements of daily life to appropriate themes on globalization or consumerism.
The South African Lerato Shadi, a performance and installation artist, is also highlighted during this exhibition. As for director Hamedine Kane (Mauritania-Senegal), accustomed to international biennials, he stages a vision of a changing world in his cinematographic works. Similarly, a tribute was paid to Frédéric Bruly-Bouabré, the Ivorian cartoonist and poet who is no longer with us.
Increasingly, we are witnessing a greater appreciation of African artists through these exhibitions, biennials, vernissages and other cultural events, which is only the consecration of contemporary art in Africa.
