The Cécile Fakhoury Gallery opened its doors in Abidjan in September 2012. In the spring of 2018, she initiated another space in Dakar, and an exhibition space in Paris, France.
In March 2020, she opens the Project Space, dedicated to upcoming programming, and then in October 2021, Cécile Fakhoury Gallery opens another exhibition space in the golden triangle in Paris.
Cécile Fakhoury Gallery seeks to advance contemporary art on the African continent. It offers visibility to the creativity and variety of contemporary creation in Africa through its exhibition program, but also through its cooperation in international fairs and biennials or its partnerships with foreign galleries.
The artists to whom the Cécile Fakhoury Gallery addresses itself, with their distinct characters and chronicles, are recognized by a plastic language that frees itself from borders and refuses geographical stigmatization. Spectators of a universe of which they are the peers, these artists carry an edified and elementary glance on our society. The variety of their signals of good taste, developments centered on the control of the meanders of the history, participates in the composition of a living memory of their nations and pushes to rethink our report to the world.
It is through this framework that the Cécile Fakhoury Gallery in its various spaces gives provisions to the return.
Dalila Dalléas Bouzar presents “territories of power” in the new Parisian space
For her most memorable independent exhibition at the new Cécile Fakhoury Gallery space in Paris, French-Algerian artist Dalila Dalléas Bouzar presents a bouquet of artworks and weavings through October 8, 2022 at the space located at 29 Avenue Matignon, 75008 Paris.
The body, memory, protection against control, the power of the body and the brain are areas that Dalila Dalléas Bouzar investigates in her works.
Her metaphorical style, at the junction of realism and onirism, denies the power of attraction of a too acute blessing of a limitless groping of varieties and a differentiated treatment of the light.
From the political to the authentic, from the natural to the mental, his work questions the powers of pictorial representation on a few levels, rather than on any expressionist or illustrative bent. His fixation on painting bodies and faces, his own as well as others, reflects his desire to think of the image to explore character or communicate bonds of control, whether of a man-controlled society or of expansionism.
In the exhibition « territoires de pouvoir », her series “My Life is a Miracle” is a progression of self-representations saved by a cover.
The cover remains an article representing the state of the ladies in Algeria, it is a gift for birth, for marriage. Object of first stage, this cover is also an object linked to the journey, to the nomadism, to the movement. It becomes here a point of physical and mental endurance and offers a form of balance to the traveler who covers himself, protects himself, warms himself.
The woven works « Cœur Pur » are inspired by the usual Algerian method of karakou, a weaving with golden string on dark velvet linked to female specialties. The scenes are unabashedly motivated by woven works from the Middle Ages, such as the woman with the unicorn. A fabulous creature, the unicorn is an image of virtue and power, and here it is transformed into a defensive structure for a representation of the body and sexuality free and without judgment.
The exhibition « territoires de pouvoir » presents some works from the series « Dames d’Alger » which focuses on the orientalist subject that the artist has been regularly dragging for a long time is the implementation of a reflection on the physical and mental representation of Arab women.
Dalila Dalléas Bouzar has always been a draughtswoman, but she first prepared herself for the sciences before finding painting in a Berlin studio. The ordeal proved extremely lasting for her, and she chose the Beaux-arts in Paris to perfect this training, which has become her preferred medium.
Her metaphorical style rejects the power of an overly immaculate drawing in favor of an unlimited groping for variety and a differentiated treatment of light.
Her work questions the powers of pictorial representation on a few levels, as opposed to any expressionist or illustrative propensities, as she sees painting as a method of protecting, recovering or re-examining integrity.
In 2022, she was awarded the SAM prize for contemporary art and set up an independent exhibition to be held at the Palais de Tokyo in 2023.
Cécile Fakhoury Gallery presents a soloshow by Roméo Mivekannin for the first edition of Paris + by Art Basel
For the first edition of PARIS + PAR ART BASEL, the Cécile Fakhoury Gallery presents from October 20 to 23, 2022 an independent exhibition of the Beninese artist Roméo Mivekannin who handles the imperceptible and the concealed.
Through plastic and calculated means, Roméo Mivekannin seeks as much to avoid the bonds of control that persist in our aggregate representations as to reappropriate certain memories taken.
Some areas of strength of unique works will be brought to light, in an exchange between a progression of compositions on these free paintings animated by European iconography and a progression of ceramic works that summon West African spiritualities.
The works on free canvas are animated by orientalist paintings, an imaginary born in Europe in the nineteenth century, they are the case of generalizations constructed by a white and Western gaze, between disdain, dream and interest.
This series follows the series « Modele Noir » and « Barnum », introduced some time ago in the exhibition spaces of the Cécile Fakhoury Gallery in Abidjan and Dakar.
Roméo Mivekannin takes up the challenge of reappropriating this iconography and moves from a lasting focus to a collected look. The style of the paintings presented says a lot about orientalist essentialism, between the insatiability of variety, suggestion, idiosyncrasy of dress and the extravagance of fantasy settings.
Roméo Mivekannin takes up these equivalent codes by adding to them, case by case, a form of incongruity coming largely from the consideration of his self-portrait in each of the works, thus operating a rupture in the relations of force as if to say that the other is generally not only dismissed and generalized, he seeks out the voyeur and consequently solicits by his glance a relation of equity.
The ceramic works introduced in the vicinity of this collection also constitute a minor deviation from the visual and deep culture of West Africa. These patterns follow a specific, calculated and tasteful line set in black that Roméo Mivekannin developed throughout his initial series.
These incomprehensible structures, seductive closed vessels, draw as much from the types of a Beninese ceramic custom as from contemporary facture. They open the perspective on the production of African earthenware by reviewing its different substance, deep, mysterious, but also normal, decorative and linked to human, social and political environments.
Cécile Fakhoury Gallery in Abidjan presents Romeo Mivekannin and Thibaut Boudjoro-Camus
From September 22 to November 22, 2022, the Cécile Fakhoury Gallery in Abidjan will present a solo show by Romeo Mivekannin to follow up on his discovery at the first edition of Paris + by Art Basel.
Introduced into the primary exhibition space for his second independent exhibition in Abidjan, Roméo Mivekannin will unite a progression of paintings on canvas, ceramics and huge installations. The contemporary artist’s exploration of issues of black representation in Western iconography is well known, but here he has drawn on his deep Beninese social heritage to create a progression of new works, earthenware productions and large-scale installations.
As for Thibaut Boudjoro-Camus, he will present in the project space an exhibition entitled « Bonne nouvelle » which brings together in its composition personal and collective investigations that take as a backdrop the history of the Ivory Coast.
Drawing on crucial characters, occasions and articles, Thibaut Bouedjoro-Camus comments on the historical backdrop of the Ivory Coast through the crystal of his dual culture.
Thus, in the exhibition « Bonne nouvelle » we find a combination of references to different characters, for example Marie Koré, political lobbyist and leader of the women’s revolt in Grand-Bassam in 1949, Louis-Gustave Binger, French border executive or William Wade Harris, Liberian evangelist and creator of the Harriste church.
Like these characters that Thibaut Bouedjoro-Camus relates to their counterparts in his works, the objects, for example, of the Djidji Ayokwé seem to channel the power of confrontations over a significant period of time, and become the subjects of works that are sometimes close and zany, bordering on the fantastic.