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中國(guó)首展 | 阿拉克收藏視角——非洲當(dāng)代藝術(shù)展即將開幕！
阿拉克收藏視角 非洲當(dāng)代藝術(shù)展 Perspectives from the ARAK Collection African Contemporary Art Exhibition 2025.3.29—6.29 （周二到周日 10:00-18:0017:00停止進(jìn)場(chǎng)，逢周一閉館 ） 雅昌（深圳）藝術(shù)中心 5樓美術(shù)館 ARTRON ART CENTRE 《解構(gòu)無(wú)止盡》 Split Infinity curated by Jamil Osmar Parasol 《破繭》 Beyond the Chrysalis curated by Nneoma Angela Okorie 《一成不變的地理版圖》 The Geography of Fixed Things curated by E.N. Mirembe “阿拉克收藏視角 —— 非洲當(dāng)代藝術(shù)展” 精心籌備了三大別具一格的策展單元。這些展覽主題誕生于 2023 年 ARAK 策展獎(jiǎng)學(xué)金計(jì)劃，圍繞非洲身份、社會(huì)變遷以及未來(lái)愿景展開深度探討。 在《解構(gòu)無(wú)止盡》中，Jamil Osmar Paraso設(shè)想了一個(gè)非洲未來(lái)的景觀，邀請(qǐng)觀眾進(jìn)入具有推測(cè)性的世界，其中非洲的韌性和身份塑造了未來(lái)的新可能性。 在《破繭》中，Nneoma Angela Okorie探索了轉(zhuǎn)型，她以三位藝術(shù)家的作品為切入點(diǎn)，這些藝術(shù)家將個(gè)人經(jīng)歷和集體記憶融入創(chuàng)作，形成獨(dú)特的視覺語(yǔ)言，打破常規(guī)發(fā)展路徑。 在《一成不變的地理版圖》中，E.N. Mirembe著眼于東非藝術(shù)持續(xù)不斷的跨文化交流，探尋跨越殖民邊界的文化影響。展覽通過(guò)藝術(shù)、貿(mào)易、教育等層面，展現(xiàn)出豐富的文化交流傳承。以Lucille Clifton的詩(shī)《For the lame》為核心，E.N. Mirembe挑戰(zhàn)了固定地理的概念，展出的藝術(shù)作品，生動(dòng)展現(xiàn)了東非與中東及其他地區(qū)緊密相連、充滿活力的交流歷史。 這些主題展覽共同從多個(gè)角度，審視當(dāng)代非洲藝術(shù)中的文化傳承、變革發(fā)展以及豐富的創(chuàng)造力，為我們打開了一扇了解非洲藝術(shù)的獨(dú)特窗口。 “Perspectives from the ARAK Collection——African Contemporary Art Exhibition”brings together three distinct curatorial projects—developed in 2023 as part of ARAK’s Curatorial Fellowship Programme—that examine, among other things, African identities, movements and imagined futures. Jamil Osmar Parasol’s Split Infinityenvisions an Afro-futurist landscape, inviting viewers into speculative worlds where African resilience and identity shape new possibilities for the future. In Beyond the Chrysalis, Nneoma Angela Okorie explores transformation, following the work of three artists who develop visual languages rooted in personal histories and collective memory, defying linear paths. In The Geography of Fixed Things,E.N. Mirembe focuses on East African art’s continuous cross-cultural exchanges, tracing influences that transcend colonial borders. This exhibition emphasises a rich legacy of connection through art, trade, and education. Referencing Lucille Clifton’s poem, “for the lame”, Mirembe challenges the notion of a fixed geography, presenting artworks that reflect East Africa’s vibrant and interconnected histories with the Middle East and further afield. Together, these three exhibitions offer a layered examination of heritage, transformation and creative imagination within contemporary African art. 《解構(gòu)無(wú)止盡》SPLIT INFINITY 策展人Curator Jamil Osmar Parasol 藝術(shù)家Artists Hazim Al Hussain Joe Bukenya Williams Chechet Mauro Chiarla Aurélia Durand Hellen Gaudence Uòl(fā)òfe Griot Thonton Kabeya Ismael Kateregga Banele Khoza Themba Khumalo Letso Leipego Zemba Luzamba Ramarutha Makoba Donald Makola Sidney Mang’ong’o Lekau Matsena Mandlenkosi Mavengere Elias Mung’ora Dennis Osadebe Zolile Phetshane Pule Ratsoma Victor Raza Sky Salanje Rudolf Seibeb Malibongwe Shangase Bambo Sibiya Shakes Tembani Jan Maanda Tshikuthula Francisco Vidal Kimweli Zuto Lindokuhle Zwane 《解構(gòu)無(wú)止盡》 匯聚了來(lái)自非洲 13 個(gè)國(guó)家的 32 位當(dāng)代藝術(shù)家，他們的作品植根于多元的個(gè)體經(jīng)歷，圍繞社會(huì)、心理與環(huán)境主題展開，對(duì)非洲未來(lái)主義（Afrofuturism）這一概念進(jìn)行深度解構(gòu)，跳脫西方視角的敘事框架，并通過(guò)豐富的媒介與技法進(jìn)行表達(dá)，帶領(lǐng)觀眾穿梭于多個(gè)現(xiàn)實(shí)與未來(lái)的可能性之中。 本單元以這些作品為媒介，引導(dǎo)我們反思非洲的韌性，并構(gòu)想一個(gè)和諧共生的未來(lái)。邀請(qǐng)觀眾思考：如果非洲能夠擁抱自身大多數(shù)人的視角，并優(yōu)先考慮其獨(dú)特的敘事，而非受外部影響主導(dǎo)，這片大陸將如何實(shí)現(xiàn)變革？ Split Infinitybrings together thirty-two contemporary artists who hail from thirteen different countries across Africa. Rooted in a diversity of experiences, and expressed through an equally diverse range of mediums and techniques, the exhibition explores social, psychological, and environmental themes. It deconstructs Afrofuturism and diverges from Western narratives, offering a journey through multiple realities and future possibilities. Collectively, these works challenge us to reflect on Africa’s resilience. Split Infinityenvisions a harmonious future, inviting audiences to consider how the continent might transform if it embraces the perspectives of its majority and prioritises its unique narratives over external influences.
《改頭換面》ZEMBA LUZAMBA 剛果民主共和國(guó) 繪畫 76x61cm 布面油畫 New Beginning I 2018 Oil on canvas 76 x 61 cm(unframed)
《基里森澤3》THONTON KABEYA 剛果民主共和國(guó)繪畫 40x51cm 胡桃木粉雕刻畫布 Kirizenze 3 2016 Walnut powder on sculpted canvas 40 x 51 cm(unframed)
《戀人和朋友》MALIBONGWE SHANGASE 南非雕塑雕刻 20x20cm 木刻 Lovers and Friends 2015 Woodcut 20 x 20 cm (unframed) 《破繭》BEYOND THE CHRYSALIS 策展人Curator Nneoma Angela Okorie 藝術(shù)家 Artists Khalid Abdel Rahman Maliza Kiasuwa Gor Soudan 《破繭》 探索了藝術(shù)家 Gor Soudan、Maliza Kiasuwa 和 Khalid Abdel Rahman 在創(chuàng)作中的變革旅程，他們的藝術(shù)實(shí)踐突破線性路徑的限制，以多樣的方式跨越傳統(tǒng)界限，展現(xiàn)出藝術(shù)創(chuàng)作的流動(dòng)性和多重形態(tài)。 體現(xiàn)了非洲大陸藝術(shù)在時(shí)間、地域與材質(zhì)上的多重身份，邀請(qǐng)觀眾關(guān)注每位藝術(shù)家創(chuàng)作的流動(dòng)性。在各自的創(chuàng)作實(shí)踐中，Soudan、Kiasuwa 和 Rahman 充分展現(xiàn)了他們的自主性，回望自身的歷史與現(xiàn)實(shí)，并在不斷發(fā)展的作品中呈現(xiàn)新穎視角，拓展藝術(shù)的未來(lái)可能性。 Beyond the Chrysalis explores the transformative journeys of artists Gor Soudan, Maliza Kiasuwa, and Khalid Abdel Rahman, presenting practices that defy linear paths. They interrogate the world unrestrained by the boundaries of what is customary, employing varied transitory states of art making that is multiform. Beyond The Chrysalishighlights the capacity of art from the continent to hold multiple identities across time, place, and materiality, inviting the audience to honour the fluidity in each artist’s practice. Soudan, Kiasuwa, and Rahman undoubtedly revel in their autonomy, heeding to their past and current realities, and with their developing works and practices, present fresh perspectives and a myriad of potential futures.
《蛇與梯子十一》GOR SOUDAN 肯尼亞 繪畫 47x70cm 和紙上的木炭畫 Snakes and Ladders XI 2017 Charcoal on washi paper 47 x 70 cm (unframed)
《無(wú)題》KHALID ABDEL RAHMAN 蘇丹 繪畫 25x18 紙上亞克力 Untitled 2017 Acrylic on paper 25 x 18 cm (unframed)
《最后的晚餐 2017》MALIZA KIASUWA 剛果民主共和國(guó) 繪畫 102x192cm 布上混合媒材 The Last Supper 2017 Mixed-media on cloth 102 x 192 cm (unframed） 《一成不變的地理版圖》THE GEOGRAPHY OF FIXED THINGS 策展人Curator E.N. Mirembe 藝術(shù)家 Artists Yasmeen Abdullah Kerima Ahmed Reem Aljeally Nu Barreto Girma Berta Ablade Glover Adugna Jirenga Eyerusalem Maliza Kiasuwa Tegene Kunbi Prof. George Kyeyune Miska Mohammed Eria Nsubuga Sane Collin Sekajugo Helena Uambembe Donald Wasswa Agnes Waruguru Njoroge 在 《一成不變的地理版圖》 中，E.N. Mirembe 呈現(xiàn)了一個(gè)多維度的東非藝術(shù)視角，著重呈現(xiàn)超越邊界與殖民分類體系的文化聯(lián)系。 展覽靈感源自烏干達(dá)馬凱雷雷大學(xué)（Makerere University）的藝術(shù)傳統(tǒng)，匯聚 16 位藝術(shù)家的作品，他們?cè)诓粩嘧兓奈幕坝^中深入探討身份認(rèn)同與歸屬感等議題，創(chuàng)作媒介涵蓋油畫、丙烯、數(shù)碼文檔印刷、拼貼及刺繡等多種形式，從不同角度展現(xiàn)出東非藝術(shù)的獨(dú)特魅力。 展覽以美國(guó)詩(shī)人Lucille Clifton的詩(shī)作 《For the lame》 為核心，聚焦斯瓦希里海岸（Swahili Coast）數(shù)百年來(lái)的文化交流，這里匯聚并交融了非洲、阿拉伯、波斯及印度文化。通過(guò)多元藝術(shù)作品，讓觀眾重新審視東非——不僅是一個(gè)地理區(qū)域，更是一個(gè)充滿活力的文化交匯點(diǎn)，其藝術(shù)脈絡(luò)猶如一幅不斷演變的織錦，持續(xù)塑造自身的面貌。 In The Geography of Fixed Things, E.N. Mirembe presents a complex view of East African art that emphasises connections,transcending borders and colonial categorisations. Inspired by the legacy of Makerere University in Uganda, this exhibition highlights the work of sixteen artists who explore identity and place amidst shifting cultural landscapes, working across a variety of media, from oil and acrylic on canvas to digital archival prints, collage and embroidery. Anchored in Lucille Clifton’s poem, “for the lame”, The Geography of Fixed Thingsunderscores centuries-old exchanges along the Swahili coast that fuse African, Arab, Persian, and Indian cultures. It brings diverse influences into focus, inviting viewers to see East Africa as a dynamic site of cultural exchange and to recognise its art as an interconnected tapestry that continuously reshapes itself.
《移動(dòng)影子 IIXII 》 GIRMA BERTA 埃塞俄比亞 藝術(shù)攝影40x40cm藝術(shù)微噴 Moving Shadows II, XII 2017 Digital archival print40 x 40 cm (unframed)
《不加糖》COLLIN SEKAJUGO 烏干達(dá) 繪畫 140x90cm 混合介質(zhì)(聚丙烯、油漆、照片、畫布) SugarNo 2019 Mixed media (Polypropylene, paint, photo, canvas) 140 x 90 cm (unframed)
《無(wú)題十九(今天是昨天，第2部分)》MALIZA KIASUWA 剛果民主共和國(guó) 繪畫 42x30cm 混合媒體拼貼 Untitled XVIII (Today is Yesterday, Part 2) 2020 Mixed-media collage 42 x 30 cm (unframed) 購(gòu)票方式 Ticket Purchase
組織機(jī)構(gòu) Organization 主辦方Host ARAK Collection（阿拉克收藏） 承辦方Organizer 雅昌文化集團(tuán) 雅昌（深圳）藝術(shù)中心 展覽執(zhí)行ExhibitionExecution 重慶泓藝九洲國(guó)際文化發(fā)展有限公司 顧問(wèn)Consultant Kwa Eng Kiat 展覽設(shè)計(jì)Exhibition design Jos Thorne、吳濤 特別鳴謝 Special Thanks 埃克蘇（AKZU）美術(shù)館專業(yè)照明 |
