Révélation! Art contemporain du Bénin à la Fondation Clément

En 2018, la Fondation Clément présentait en partenariat avec la Fondation Dapper, Afrique d’hier et d’aujourd’hui qui associait une centaine de pièces majeures des siècles passés de l’Afrique centrale et de l’ouest et des artistes contemporains inscrits dans le marché de l’art international comme Ousmane Sow, Omar Victor Diop, Ouattara Watts, Omar Ba, Barthélemy Toguo, Chéri Samba. En 2019, c’est Pascale Marthine Tayou artiste international originaire du Cameroun qui guidait le public dans Black Forest.

En cette fin d’année 2023, Révélation nous dévoile l’art du Bénin. Exposition doublement symbolique puisque le Roi Behanzin a vécu en exil à la Martinique de 1894 à 1906, après des années de guerre sans merci et le pillage de son palais menés par un général français. Ce n’est qu’en 2021 que l’Elysée signe l’acte de restitution des vingt-six trésors royaux dérobés près d’un siècle plus tôt.

Des photographies de ces portes sculptées, de ces statues, de ces trônes royaux, de ces autels portatifs ouvrent l’exposition. Lorsque le public pénètre dans cet espace, les voix deviennent murmures, les pas se font plus mesurés. On pourrait se croire dans une église. L’heure est au recueillement.

 Puis s’ouvre la partie contemporaine avec quarante-deux artistes, structurée par la commissaire Yassine Lassissi en trois chapitres : Récurrence-Variation, Transition(s), Transgression-Hybridation.

Cette exposition dense offre plusieurs parcours, de la singularité de la sculpture à l’empreinte puissante de la tradition et de la culture patrimoniale, du culte des ancêtres à la rémanence du vaudou, de la pratique de la récupération, du recyclage et de l’accumulation à la représentation du corps humain.

Charly d’Almeida

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Cependant pourquoi ne pas pour un moment abandonner la pédagogie et suivre un sentier buissonnier plus subjectif au cœur de cette exposition si foisonnante que plusieurs visites seront nécessaires pour en appréhender les nuances.

La résurgence de la culture ancestrale marque la création contemporaine. 

Royaume du Danxomè, XIXe siècle
Bois (iroko), fer et pigments
214 × 82 × 45 cm
Collections Dodds restituées

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Youss Atacora

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Royaume du Danxomè, XIXe siècle
Bois (iroko), fer et pigments
214 × 82 × 45 cm
Collections Dodds restituées

" data-image-title="" data-orig-file="https://aicasc.files.wordpress.com/2023/12/12.statue-anthropomorphe.png.webp" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" width="534" data-medium-file="https://aicasc.files.wordpress.com/2023/12/12.statue-anthropomorphe.png.webp?w=172" loading="lazy" sizes="(max-width: 534px) 100vw, 534px" data-permalink="https://aica-sc.net/12-statue-anthropomorphe-png/" alt="" height="929" srcset="https://aicasc.files.wordpress.com/2023/12/12.statue-anthropomorphe.png.webp 534w, https://aicasc.files.wordpress.com/2023/12/12.statue-anthropomorphe.png.webp?w=86 86w, https://aicasc.files.wordpress.com/2023/12/12.statue-anthropomorphe.png.webp?w=172 172w" class="wp-image-26306" data-large-file="https://aicasc.files.wordpress.com/2023/12/12.statue-anthropomorphe.png.webp?w=534" />Royaume du Danxomè, XIXe siècle Bois (iroko), fer et pigments 214 × 82 × 45 cm Collections Dodds restituées

Youss Atacora

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Ainsi la transposition picturale contemporaine des statues anthropomorphes en bois polychrome du XIX Siècle, attribuées à Sossa Dédé, prince et sculpteur proposée par Youss Atacora interpelle par sa fantaisie, son audace iconoclaste, son rythme coloré. Le titre et le concept pictural de l’artiste, Réalisme stupide, restent déconcertants mais renvoient, selon les dires du peintre, à sa spontanéité.

Cyprien Tokoudagba

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Julien Sinzogan

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Eliane Aisso

Ati okuku dé imolè (de l’invisible au visible), 2019, 22 asens, photos, projection de textes et voix off, 720 × 670 cm, coll. de l’artiste

" data-image-title="" data-orig-file="https://aicasc.files.wordpress.com/2023/12/eliane-aisso-3.png" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" width="1024" data-medium-file="https://aicasc.files.wordpress.com/2023/12/eliane-aisso-3.png?w=300" loading="lazy" sizes="(max-width: 1024px) 100vw, 1024px" data-permalink="https://aica-sc.net/?attachment_id=26316" alt="" height="771" srcset="https://aicasc.files.wordpress.com/2023/12/eliane-aisso-3.png?w=1024 1024w, https://aicasc.files.wordpress.com/2023/12/eliane-aisso-3.png?w=150 150w, https://aicasc.files.wordpress.com/2023/12/eliane-aisso-3.png?w=300 300w, https://aicasc.files.wordpress.com/2023/12/eliane-aisso-3.png?w=768 768w, https://aicasc.files.wordpress.com/2023/12/eliane-aisso-3.png 1066w" class="wp-image-26316" data-large-file="https://aicasc.files.wordpress.com/2023/12/eliane-aisso-3.png?w=750" />Eliane Aisso Ati okuku dé imolè (de l’invisible au visible), 2019, 22 asens, photos, projection de textes et voix off, 720 × 670 cm, coll. de l’artiste

Eliane Aisso

" data-image-title="" data-orig-file="https://aicasc.files.wordpress.com/2023/12/410294140_10231412858042614_2463667851787060661_n.jpg" data-image-meta="{"aperture":"0","credit":"Picasa","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" width="683" data-medium-file="https://aicasc.files.wordpress.com/2023/12/410294140_10231412858042614_2463667851787060661_n.jpg?w=200" loading="lazy" sizes="(max-width: 683px) 100vw, 683px" data-permalink="https://aica-sc.net/?attachment_id=26317" alt="" height="1024" srcset="https://aicasc.files.wordpress.com/2023/12/410294140_10231412858042614_2463667851787060661_n.jpg?w=683 683w, https://aicasc.files.wordpress.com/2023/12/410294140_10231412858042614_2463667851787060661_n.jpg?w=100 100w, https://aicasc.files.wordpress.com/2023/12/410294140_10231412858042614_2463667851787060661_n.jpg?w=200 200w, https://aicasc.files.wordpress.com/2023/12/410294140_10231412858042614_2463667851787060661_n.jpg?w=768 768w, https://aicasc.files.wordpress.com/2023/12/410294140_10231412858042614_2463667851787060661_n.jpg 1067w" class="wp-image-26317" data-large-file="https://aicasc.files.wordpress.com/2023/12/410294140_10231412858042614_2463667851787060661_n.jpg?w=683" />Eliane Aisso

La résurgence des asen, ces autels portatifs dont la vocation est de célébrer le souvenir des morts, ne peut passer inaperçue. Elle appartient certes à l’ancrage dans la tradition et la culture patrimoniale, une des caractéristiques essentielles de l’art contemporain du Bénin.

Comme en écho aux trésors restitués, les asen commémoratifs des rois du Dahomey, ils sont peints par Cyprien Tokoudagba dans l’huile sur toile Goundo, par Julien Zinzogan dans une acrylique sur toile, L’ancêtre ou encore non seulement  photographiés par Eliane Aïsso mais aussi intégrés en nombre dans son installation Ati okuku dé imolé.

Témoins de l’enracinement de la création plastique béninoise dans la tradition et la religion ancestrales, on découvre des interprétations récurrentes, certes parfois quelque peu irrévérencieuses, de Legba.

Il y a la tenture en toile appliquée, Legba, d’Yves Apollinaire Pèdé aujourd’hui décédé, très connu pour la prolongation de ce travail traditionnel de la culture Fon, déjà en vogue au XVII siècle à la Cour royale du Dahomey.

Yves Apollinaire Pèdé

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A l’opposé deux sculptures contemporaines, l’une transparente et lumineuse d’Edwidge Aplogan, Le maître de cérémonie ; l’autre, chef d’œuvre de recyclage et de l’accumulation d’Aston, Contemporain Legba reprennent ce motif du gardien des frontières entre le monde surnaturel et le monde humain.

Edwidge Aplogan

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Aston

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Cependant le décryptage, l’appropriation et la reconfiguration de la culture ancestrale restent le fondement même de l’art contemporain béninois.  Ainsi Emo de Medeiros revisite avec Surtenture 009 la technique de la toile appliquée déjà reprise par Yves Apollinaire Pèdé. 

Yves Apollinaire Pèdé

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Emo de Medeiros

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Son installation Vodunaut projette non sans humour dans la création contemporaine un élément du patrimoine africain, les cauris que l’on croise aussi dans d’autres œuvres, Ekélodjouoti d’Yves Apollinaire Pèdé ou L’ancêtre de Julien Zinzogan

Emo de Medeiros

" data-image-title="" data-orig-file="https://aicasc.files.wordpress.com/2023/12/hyperceiver_lr12403x24031.jpeg" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"1478448789","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" width="1000" data-medium-file="https://aicasc.files.wordpress.com/2023/12/hyperceiver_lr12403x24031.jpeg?w=300" loading="lazy" sizes="(max-width: 1000px) 100vw, 1000px" data-permalink="https://aica-sc.net/?attachment_id=26326" alt="" height="1000" srcset="https://aicasc.files.wordpress.com/2023/12/hyperceiver_lr12403x24031.jpeg 1000w, https://aicasc.files.wordpress.com/2023/12/hyperceiver_lr12403x24031.jpeg?w=150 150w, https://aicasc.files.wordpress.com/2023/12/hyperceiver_lr12403x24031.jpeg?w=300 300w, https://aicasc.files.wordpress.com/2023/12/hyperceiver_lr12403x24031.jpeg?w=768 768w" class="wp-image-26326" data-large-file="https://aicasc.files.wordpress.com/2023/12/hyperceiver_lr12403x24031.jpeg?w=750" />Emo de Medeiros

Emo de Medeiros

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Yves Apollinaire Pèdé

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Julien Sinzogan

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Même dans les œuvres d’apparence ultra contemporaine, Donne du repos à ton corps…de Chloé Quenum, sont imprégnées du passé. Des rébus figurant sur des calebasses du royaume du Dahomey et décryptés deviennent ces formes en verre soufflé porteuses d’un message.

Chloé Quenum

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Comment ne pas remarquer la présence de Romuald Hazoumè, en bonne position sur le marché international de l’art après soixante-deux passages en vente aux enchères. La vente la plus ancienne répertoriée concerne l’œuvre Le Saxophoniste présentée en 1999 chez Sotheby’s et la plus récente concerne l’œuvre Arman présentée en 2023 dans la catégorie Sculpture-Volume.

Il participera au premier pavillon présenté par le Bénin lors de la prochaine biennale de Venise avec trois autres artistes de cette exposition, Chloé Quenum, Moufouli Bello et Ishola Akpo.

Après sa présentation au Bénin, Révélation a été exposée au Musée Mohammed VI à Rabat au Maroc avant d’arriver à la Fondation Clément enrichie des œuvres de huit nouveaux artistes. Son itinérance se poursuivra après son passage à la Martinique.

DBrebion