The exhibition “Globalisto, Fragments of a Community” brings together fourteen talented artists, each bringing their own voice and perspective through a variety of mediums, such as painting, video, photography and textiles. By venturing into these captivating works of art, visitors are invited to explore the complexity of identity, time, memory and cultural productions.
The curator of the exhibition, Ntshepe Tsekere Bopape, has created a veritable constellation of artists, coming from various territories and eras, thus forming an ephemeral community dedicated to artistic expression. The objective of this exhibition is to highlight the polyphony of narratives and the fragmentation of our detached and fractured realities. It seeks to deconstruct and reinvent our understanding of communion, navigating between the enchantments of the past and the dissonant whispers of the present.
Inspired by the Globalisto philosophy, this exhibition explores African knowledge systems, post-apartheid transitions, and Botho’s humanistic principles based on respect for South African culture. It also draws on Achille Mbembe‘s ideas of a borderless world, pan-Africanism, and the black speculative future. The artists present question the boundaries of identity and culture, inviting the audience to reflect and rethink their belonging to the world.
“Globalisto, Fragments of a Community” invites visitors to explore notions of radical hospitality, care and reparation, both to self and to others. Each artistic voice resonates with its own unique vibration, creating a space for reciprocity, dissonance and reflection. The exhibition encourages a deeper awareness, embracing strangeness and welcoming “the stranger into the village,” in the words of James Baldwin.
Each work of art in this exhibition is an essential piece of the puzzle, representing a unique perspective and a voice of resistance. These works are both fragments of memory and symbols of struggle against the established power. Gathered collectively, they challenge dominant narratives and invite viewers to explore the complex dynamics of power and dissent.
By visiting “Globalisto, fragments of a community“, visitors are invited to dive into the connections that are created at the heart of fragmentation. They will have the chance to experience brotherhood through these fascinating works of art, which transcend cultural and temporal barriers. This exhibition awakens minds, provokes deep reflection and offers an immersive artistic experience. Each visitor is invited to confront the complexities of identity and culture, while exploring the connections that unite the scattered fragments of our reality.
The artists presented in this captivating exhibition explore a multitude of themes and fundamental questions. They interrogate the notion of identity through individual perspectives, challenging dominant narratives and defying the status quo. Their works are powerful testimonies of memory and resistance, embodying the struggle against oppressive power structures.
Within this exhibition, radical hospitality, care, and repair take center stage. The artists call for a safe space for dialogue, understanding and mutual recognition. The audience is invited to question their own prejudices and embrace the diversity of artistic voices presented. This is an opportunity to move beyond the limitations of our worldview and explore new perspectives.
“Globalisto, fragments of a community” also offers a profound reflection on the concept of time. The artists explore collective memory, cultural legacies and historical transformations, creating a connection between the past and the present. They remind us of the importance of understanding our history in order to build a more informed and inclusive future.
The exhibition encourages reflection and engagement with community. By exploring the complexities of power and dissent, it encourages social and political awareness. Visitors are invited to become agents of change, to challenge established norms and to contribute to building a more equitable and harmonious world.
Beyond Borders: Captivating Voices of Contemporary African Art at “Globalisto, Fragments of a Community” Exhibition
Contemporary African art is experiencing an exciting and diverse growth, and the exhibition “Globalisto, Fragments of a Community” provides an exceptional showcase for some of the continent’s most talented and innovative artists. These artists include Bianca Baldi, Jean-Charles de Castelbajac, Ines Di Folco and Kendell Geers, Binelde Hyrcan, Hélène Jayet, Monica de Miranda and many others who all share a unique and captivating vision of art.
Bianca Baldi, a South African-born artist living in Brussels, uses narrative as a powerful tool to create knowledge within fictional and historical contexts. Her research is expressed through various media such as photography, video, writing and editing, which she skillfully combines in the form of installations in prestigious exhibitions. She has already been exhibited at the 8th Berlin Biennale, the Shanghai Biennale and the Kunsthalle Bern.
Jean-Charles de Castelbajac is a visionary designer from Morocco based in Paris. He is considered one of the pioneers of new design, combining art and fashion, upcycling and the use of pop culture icons in his creations. Passionate about heraldry, vexillology, semiotics, pop art and the world of childhood, his artistic universe unfolds through a restricted chromatic palette, highlighting the dualities between the epic, the historical, the traditional and the alternative, the underground and the experimental. His works are also expressed through installations, street art with chalk, drawings and paintings.
Ines Di Folco, a talented French painter living in Paris, explores the concepts of temporality, fiction and archive in her artistic process. Her works, composed of layers of stories and scenes interwoven like palimpsests, communicate with each other and reflect her attachment to multiple geographies, places where she has lived and discoveries she has made. She addresses notions of exile, gestation, relationship to the afterlife and highlights myths and ritual practices around the world. Her exhibitions, notably at the SISSI club gallery in Marseille, at the Fiminco foundation in Romainville and recently at the MOCO in Montpellier, testify to her talent and her impact on the contemporary art scene.
Kendell Geers, originally from South Africa and now residing in Brussels, offers a polymorphic body of work that transcends the boundaries between objects, installations and video works. As a self-declared “terrorist” artist, Geers asserts the need to take a stand in the field of art. His work has explored the breakdown of belief systems and ideologies for nearly 15 years, using a variety of materials and symbols to push social boundaries and challenge the viewer. His installations include pornographic images, reinterpretations of iconic works of art history such as the Victory of Samothrace, references to the history of religion painted with the motif “Fuck“, as well as sculptures made from barbed wire and batons.
Kendell Geers’ art is deeply engaged and questions viewers about their own choices and beliefs. His unique artistic approach is rooted in a keen awareness of the world around him, seeking to provoke reactions, reflections and questioning. He does not seek to impose his own views, but rather to confront the audience with social issues and encourage them to form their own opinions.
Binelde Hyrcan, originally from Angola, is a versatile visual artist who blends painting, sculpture, video and performance to bring his artistic exploration to life. Using his country’s history as raw material, Hyrcan skillfully parodies the constructs of power, poverty, migration and inequality. Her delicately negotiated sense of humor adds a captivating dimension to her creations, inviting the viewer to question established norms.
Hélène Jayet, a French artist based in Montpellier, focuses on the study of Afro hair in her visual and photographic work. Through her project entitled “Chin-up – colored only!“, she explores Afro-descendant communities and the practice of portraiture and studio photography. At the same time, Hélène Jayet develops a drawing practice, using images gleaned from historical works, photographs or the web to create imaginary landscapes. Her meticulous work on Canson paper creates fascinating visual compositions that tell unique stories.
Maurice Mboa, originally from Cameroon and now living in Geneva, is a visual artist whose paintings question the origin of things. Using large sheets of metal as canvas, Maurice Mboa engraves, prints and paints to create anthropomorphic figures evolving in the midst of graphic settings. His strange landscapes and portraits exude a haunting poetry, offering a plastic testimony of his quest for spirituality through his artistic practice. The exploration of identity and history are harmoniously blended in her compositions.
Monica de Miranda, a Portuguese-born filmmaker and researcher, makes connections between politics, gender, memory, space and history in her interdisciplinary work. Her work, ranging from drawing to installation, photography, film and sound, straddles the line between documentary and fiction. She examines strategies of resistance, geographies of affection, narrative and ecologies of care. As founder of Hangar, an art and research center in Lisbon, Monica de Miranda also plays a key role in the promotion of contemporary art.
Sabelo Mlangeni, originally from South Africa, explores notions of intimacy, everyday life and marginalized communities through his black and white photographs. To capture the essence of his subjects, he immerses himself for long periods in their lives, sharing their thoughts, emotions and stories. His approach to photography is a perpetual search for the most difficult, beautiful and confusing aspects of the human experience. Sabelo Mlangeni‘s work has been exhibited in prestigious galleries such as Blank Projects Gallery, Palais de Tokyo and the Sao Paulo Triennial, leaving a lasting impression on the contemporary art landscape.
Obi Okigbo, an artist based between Brussels and Abuja, Nigeria, works in a variety of media, from Indian ink on linen to oil paint and collage. Her work is deeply rooted in the poetic legacy of her father, Christopher Okigbo, a famous Nigerian poet who died during the Biafran War in 1967. Obi Okigbo fuses this poetic heritage with influences from the Dutch masters and Igbo mythology. Recently, she has also explored video, installation and Spoken Word performances. Her participation in renowned events such as DOCUMENTA 14 and the CCA Lagos is a testament to the importance of her work in the contemporary art world. His work is currently on display at the Musée Picasso in Paris as part of the exhibition “Célébration Picasso, la collection prend des couleurs!
Gerard Sekoto, a pioneer of modern South African painting, has played a crucial role in the history of African art. At a time when black artists were often marginalized, Gerard Sekoto succeeded in having his talent recognized in South Africa. However, faced with racial segregation, he chose exile in France in the 1940s. His political and committed art captures the human condition in everyday life through gouaches, paintings and drawings. Today, Gerard Sekoto‘s work is being re-evaluated and rediscovered by museum institutions and the art market, a testament to his lasting influence.
Divine Southgate-Smith, originally from Togo and based in London, is a multidisciplinary artist whose artistic practice encompasses video, writing, spoken word poetry, performance, installation, sculpture, design and 3D animation. Divine’s work explores the intersections of black, queer and female experience, challenging established norms and stereotypes. Themes of oppression, stereotypes, intersectionality, and joy are addressed in her transdisciplinary and collaborative approach to art making. Divine has presented her work at renowned institutions such as the Royal Academy of Arts, the Sainsbury Center for Visual Arts and Desterro Lison.
The anonymous Songye sculptor from the Democratic Republic of Congo in the late 19th century is represented by a mask of great sculptural mastery. This mask is distinguished by its powerful volumes and its engraved decoration in striations, testifying to the political and economic authority it represented. Kifwebe and kikashi masks were used in ceremonies and worshipped on altars. This mask in particular is considered one of the oldest in its illustrious corpus. Its presence in the Globalisto exhibition reflects a dialogue between eras and trajectories, honoring the history of this anonymous sculptor whose work is fully in line with the notion of globality.
Raquel Van Haver, originally from Colombia and now living in Amsterdam, is known for her bold frescoes depicting scenes from everyday life. Her works, often dark and animated, capture the visceral energy of her subject. Van Haver candidly represents his inner circle as well as the diasporic community. Her choice of unconventional materials, such as burlap, tar, chalk, resin, hair, paper, ashes, bottle caps, and beads, gives her compositions a unique texture. This innovative use creates an alternative narrative, allowing Van Haver to explore complex social and cultural themes. His work has been exhibited in prestigious institutions such as the Amsterdam Museum, the Stedelijk Museum, BOZAR Brussels and the Breda Photo Festival.
The exhibition “Globalisto, fragments of a community” offers an exceptional opportunity to discover contemporary African art through the fascinating works of these artists. Their diversity of approaches, media and themes reflects the richness and vitality of the current African art scene.
