Contemporary African art is asserting itself as a dynamic and innovative artistic era. Over the past century, new works by African and diasporic artists have emerged, featuring ever more creative and immersive painting techniques. These works captivate the public with their depth and expressiveness. But how do these artists convey their experience through their work? Koyo Kouoh, director of the Zeitz MOCAA in Cape Town, has set out to answer this question by engaging her team in in-depth research into a century of black figuration in painting. The result is a major exhibition entitled “When We See Us”, featuring works by 120 artists. This gigantic artistic kaleidoscope tells the story of a century of pan-African figurative painting. The ground-breaking retrospective, orchestrated by Zeitz MOCAA, will be on show at Kunstmuseum Basel until October 27.
Previously presented at the Zeitz MOCAA, the title of the exhibition “When We See Us” echoes the Netflix mini-series When They See Us (2019), directed by African-American Ava DuVernay. This four-episode series is inspired by a true story, that of the Central Park jogger, in which African-American teenagers were the victims of a miscarriage of justice fueled by racist prejudice. By replacing They with We, the exhibition shifts perspective. The artists become the protagonists, revealing through their creations how they perceive their own condition. The two hundred or so paintings assembled for the retrospective are divided into six themes: Everyday life, Joy and rejoicing, Rest, Sensuality, Spirituality and finally Triumph and emancipation.
Everyday life
This section of the exhibition showcases artistic works revealing both public and private scenes, illustrating moments of joy and contemplation. These moments take place in the family, in the community, at play, at school, drawing water or braiding hair. On view are paintings by artists such as Aaron Douglas‘s Boy with a Toy Plane (1938), William H. Johnson‘s The Reade (1939), Joy Labinjo‘s Gisting in the Kitchen (2018), and a Johnny Arts advertising poster (1962), which celebrate the beauty of everyday scenes.
Artists: Johnny Arts, Malang Badji, Romare Bearden, Aaron Douglas, Gervais Emmanuel Ducasse, Ben Enwonwu, Ablade Glover, Gavin Janties, William H. Johnson, Kangudia, Ibrahima Kébé, Joy Labinjo, Petson Lombe, Marvelous Mangena, Luis Meque, Moké , Meleko Mokgosi, Richard Mudariki, Theresa Mungure, Lavar Munroe, Chemu Ng’ok, Nicholous Njau, Boris Nzebo, Antoine Obin, Télémaque Obin, Bruce Onobrakpeya, George Pemba, Horace Pippin, Kingsley Sambo, Gerard Sekoto, Ancent Soi, Moustapha Souley , Edward Saidi Tingatinga, Zandile Tshabalala, Sane Wadu, Richard Witikani
Joy and rejoicing
The chapter devoted to joy and exuberance highlights works illustrating moments of celebration and leisure. As exhibition curators Koyo Kouoh and Tandazani Dhlakama point out, there’s always a right moment for a dance or a song. Visitors are thus immersed in this festive atmosphere, with pieces such as Steve Biko’s The Birthday Party (2021), Esiri Erheriene-Essi‘s Un mardi de Carnaval (1960) and Romare Bearden‘s Jazz Rhapsody (1982).
Artistes : Romare Bearden, Esiri Erheriene-Essi, Barkley L. Hendricks, Clementine Hunter, Jacob Lawrence, Arjan Martins, Moké, Cinthia Sifa Mulanga, Eric Ndlovu, Nicholous Njau, Nestor Vuza Ntoko, Philomé Obin, George Pemba, Chéri Samba, Matundu Tanda, Katlego Tlabela and Charles White.
At ease
In this section, “When We See Us” offers moments of calm in response to the vibrant rhythm of the previous category. The third floor of the Gegenwart building has been carefully designed to offer the public an experience of serenity and rest, featuring works chosen with this in mind. On this level, Wangari Mathenge invites visitors to relax on a sofa in Sundials and Sonnets (2019), while Toyin Ojih Odutola leads them to feel a sense of fulfillment during a stroll in the countryside in Surveying the Family Seat (2017). Kudzanai-Violet Hwami, meanwhile, simply encourages people to sit back and savor the peace and quiet in An Evening in Mazowe (2019), whether alone or in company.
Artists: Cornelius Annor, Gideon Appah, Firelei Báez, Amoako Boafo, Beauford Delaney, Kudzanai-Violet Hwami, Wangari Mathenge, Neo Matloga, Sungi Mlengeya, Ian Mwesiga, Thenjiwe Niki Nkosi, Toyin Ojih Odutola, Eniwaye Oluwaseyi, Marc Padeu, Zéh Palito , Otis Kwame Kye Quaicoe, Henry Taylor, Zandile Tshabalala, Kehinde Wiley, Lynette Yiadom-Boakye
Sensuality
In the category of sensuality, the exhibition space exudes an intimate and seductive atmosphere. Black bodies are represented here in a sensual, assertive manner, defying the often restrictive standards of the Western canon. Romeo Mivekannin‘s Black Model (2019) echoes this tradition, as does Sahara Long’s Reclining Nude with Lemon (2021). This chapter explores the many facets of sensuality, love and intimate affection. In this part of the “When We See Us” exhibition, a common thread unites all the works: the self-determination of the protagonists.
Artists : Nina Chanel Abney, Olusegun Adejumo, Tunji Adeniyi-Jones, Maxwell Alexandre, Tiffany Alfonseca, Dominic Chambers, Somaya Critchlow, Njideka Akunyili Crosby, Elladj Lincy Deloumeaux, Aboubacar Diané, Ibrahima Kébé, Yoyo Lander, Sahara Longe, Danielle McKinney, Roméo Mivekannin, Moké, Geoffrey Mukasa, Chris Ofili, Kambui Olujimi, Tschabalala Self, Monsengo Shula, Mickalene Thomas, Bob Thompson, Kehinde Wiley
Spirituality
Spirituality is an essential part of the culture and daily life of the black community, and the curators believe that it cannot be studied without taking this aspect into account. In this section, “When We See Us” highlights the triple heritage as described by Kenyan-American writer Ali Mazrui (1933-2014) in his book The Africans: A Triple Heritage, which highlights black life in its permeability to indigenous, Islamic and Christian traditions and rituals. The works presented here illustrate a lived spirituality, including Jacob Lawrence‘s Genesis Creation (1989) and Michael Armitage’s The Dumb Oracle (2019).
Artistes : Michael Armitage, Gerard Bhengu, Wilson Bigaud, Edouard DuvalCarrié, Aaron Douglas, Scherezade García, Jacob Lawrence, Cassi Namoda, Malangatana Ngwenya, Kambui Olujimi, Emma Pap’, Naudline Pierre, Prosper Pierre-Louis, María Magdalena Campos Pons, Cinga Samson, Gérard Sekoto, Devan Shimoyama, Alex Shyngle, Sthembiso Sibisi, Olivier Souffrant, Pamela Phatsimo Sunstrum, Nirit Takele
Triumph and emancipation
Contemporary African artists also pay tribute to great moments in history through their creations exhibited here. Despite the challenges of adverse conditions and centuries of oppression, these creators manage to express a sense of pride deeply rooted in the heart of every African and Afro-descendant, a feeling that celebrates the long road to freedom and black emancipation. On the second floor of the museum, visitors are confronted with world-renowned icons, such as Chéri Chérin‘s painting Obama Revolution (2009), as well as anonymous but powerful figures, such as Ibrahim El-Salahi’s Portrait of a Sudanese Gentleman (1951). These works depict individuals looking after the cultural heritage of their ancestors, committed politicians and people embodying success and social recognition.
Artists: Benny Andrews, Margaret Taylor Burroughs, Chéri Chérin, Kudzanai Chiurai, Aboubacar Diané, Ibrahim El-Salahi, Ben Enwonwu, Gherdai Hassell, Wifredo Lam, Akinola Lasekan, Mustafa Maluka, Eria Nsubuga ‘Sane’, Augustin Okoye, George Pemba, Chéri Samba, Mmapula Mmakgabo, Hélène Sebidi, Gérard Sekoto, Katlego Tlabela, Cyprien Tokoudagba
“When We See Us” is a retrospective rich in works and stories exploring a century of pan-African art. Sound stations and an immersive scenography have been installed at Kunstmuseum Basel to promote a better understanding of these multiple expressions of black figurative painting. In addition, to enrich the visitor experience, a varied program, developed in collaboration with various partners, accompanies the exhibition.
