From April 20 to November 24, Venice is the world’s showcase for contemporary art. In addition to hosting one of the world’s largest art biennales, the city attracts a multitude of exhibitions showcasing promising and creative talents. Taking advantage of this artistic effervescence, Modou Dieng Yacine ventures into Italian beauty to explore its architecture and the wealth of Venetian painting and sculpture from the 15th to the 18th centuries. His goal: to restore the presence of black people, many of whom were enslaved in this merchant city. This in-depth research has culminated in the exhibition “Black Venezia”, on view until November 16 at 193 Gallery.
Modou Dieng Yacine’s “Black Venezia” exhibition focuses on the representation of black bodies from a decolonial and autobiographical angle, while resonating with transatlantic and Mediterranean flows. Born in Saint-Louis, Senegal – a 17th-century French colonial stronghold – he received a Catholic upbringing, in stark contrast to his country’s predominantly Muslim traditions. Through this duality, the artist questions cultural heritages and identity construction in a powerful dialogue between colonial past and contemporary present.
This duality, though paradoxical, has helped to forge a bond between France and its culture, while at the same time engendering a profound alienation from her Senegalese and African identities. This gap, born of this dichotomous relationship, is the nebulous point from which the seed of his artistic exploration emerges, guiding his approach. Through his art, he opens up a dialogue between Africa and the West, between the cultures and values that unite us as Senegalese and, above all, as Africans.
His awareness of his black identity and his relationship with culture began with his family’s move to Dakar, the vibrant Senegalese capital, where he immersed himself in the dynamic, urban energy of African cities. Modou Dieng Yacine discovered a previously unexplored world of black thinkers, immersing himself in the global political implications of negritude through the writings of figures such as Marcus Garvey, Richard Wright, Franz Fanon and James Baldwin. It also connects with a thriving local art scene, from diverse musical styles to vibrant murals. This new outpouring of voices and genres, all rooted in a black identity, transforms the artist’s perspective and nurtures a desire for exchange with his African brothers and sisters, not only across the Atlantic, but beyond its borders.
Modou Dieng Yacine began his artistic training at the National Art School in Dakar, taking part in the first African art biennial, Dak’Art. This experience gave him the opportunity to meet masters such as Joe Overstreet and Mildred Thompson, enriching his love of painting while introducing him to the richness of American abstract mediums. These exchanges nourished his profound exploration of the canvas, where he immersed himself in the creative lines and multiple layers that make it up.
Continuing his studies in the United States at the San Francisco Art Institute, he broadened his practice to include photography, installation and performance. This transformed his artistic approach into a relentless quest for meaning around what it means to be black in contemporary society. His works, going beyond the simple definition of painting, become true performances where emotions and concepts guide the choice of mediums. Modou Dieng Yacine questions the way in which the imagination is modulated, image architecture and texture, while remaining deeply rooted in the two-dimensionality of the canvas.
In the evocative “Black Venezia” exhibition, Senegalese artist Modou Dieng Yacine stands out for his fidelity to an artistic practice that celebrates African narratives and their international resonance. Inspired by the complex history of exchanges between Africa, Europe and the Middle East, he delves into the heart of Africa’s presence in Europe, and more specifically in Venice. There, he boldly revisits slave iconography through the prism of classical Venetian art.
By incorporating vibrant elements of Saint-Louis culture, such as painting under glass, Modou Dieng Yacine reinvents these historically charged representations, questioning their meaning and legacy in contemporary society. Each work becomes a window on an often forgotten past, a dialogue between cultures that challenges and provokes reflection.
The Parisian public will have the opportunity to discover this bubbling creativity at the Also Known As Africa event, where Modou Dieng Yacine will present a solo show from October 18 to 20, 2024, representing 193 Gallery. This unforgettable moment will extend the captivating experience “From the Atlantic to the Black Mediterranean”, to be explored in the gallery’s project room, from September 14 to October 31. Far from being a simple exhibition, this event is an invitation to plunge into the depths of identity, to feel the echoes of history, and to celebrate contemporary African art in all its splendor and complexity.