7 internationale afrikanische Kunstausstellungen im Oktober

# 1 Mona Marzouk: Trayon

For her first solo show in Cairo since 2006 Marzouk’s project takes the courtroom as its starting point. The past few years of demonstrations and socio-political upheaval have been intense, and the courtroom as a space in these unfolding narratives has been featured extensively in the media, as a space for the implementation of justice. But, the rule of law and justice are in many cases at opposite ends of the spectrum. The project’s title refers to the much-publicized case of Trayvon Martin.

ABOVE: Mona Marzouk, Trayvon # 5, 2014, Acryl auf Leinwand, 90 x 110 cm

# 2 Flaggschiff nach der Kolonialzeit

The “Post Colonial Flagship Store (PCFS)” exhibition project showcases artworks camouflaged as consumer goods, and engages with a new, surreptitious form of colonialism. Works by artists from Europe, Africa, Asia and Latin America are presented as “commercial products” or as “service agencies” in a shopping mall, the modern manifestation of the general store.

#6: El Anatsui

El Anatsui ist ein international anerkannter Künstler, der einfache Materialien in komplexe Assemblagen verwandelt, die eine unverwechselbare visuelle Wirkung erzielen. Er verwendet Ressourcen, die normalerweise weggeworfen werden, wie Schnapsverschlüsse und Maniok-Reiben, um eine Skulptur zu schaffen, die sich jeder Kategorisierung entzieht. Seine Verwendung dieser Materialien spiegelt sein Interesse an Wiederverwendung, Transformation und dem Wunsch wider, sich mit seinem Kontinent zu verbinden und dabei die Grenzen des Ortes zu überwinden.

OBEN: El Anatsui, Dusasa I., 2007 aluminum liquor bottle caps and copper wire 288 x 360″

#7: Chris Ofili: Night and Day

The first major solo museum exhibition in the USA of artist Chris Ofili, the exhibition will span the artist’s influential career, encompassing his paintings, drawings, and sculptures. Over the past two decades, Ofili has become identified with vibrant, meticulously executed, elaborate artworks that meld figuration, abstraction, and decoration. Ofili’s hybrid juxtapositions of high and low, and of the sacred and the profane, simultaneously celebrate and question the power of images and their ability to address questions of representation.

OBEN: Chris Ofili, Nein Frau, weine nicht, 1998, mixed media on canvas, 243×182 cm.

Alle Bilder mit freundlicher Genehmigung von AADAT. Der Originalartikel von Shanon Obuobi erscheint https://womenforwomeninternational.de/datenschutz-und-cookie-richtlinien.