ARTAFRICAout of my comfort zone and to explore and experiment as much as I can. On the other hand, there
are recurrent directions, materials and themes that I work upon because I haven’t finished exploring
them and because they transform over time. I think style flows from what an artist deeply is. My
style and what is reflected in my work stems from the fact that I have a double belonging, that I’m
simultaneously completely Beninese and completely French and that I fully embrace and live my
syncretic and mutant identity as a human being, beyond any idea of ethnicity.
So the only advice I could give other emerging artists is to unapologetically embrace who they are, not
to be afraid to explore different directions, to never exert any kind of self-censorship, to never blindly
accept that things should be done in a certain way and to keep working in spite of what others may
say. Do your thing, keep at it and as we say in Benin “let them talk....”
You have a studio in Benin and work between Cotonou and Paris. What are some of the
starkest contrasts you experience as an art practitioner working between two such different
cities?
First of all, the starkest contrast is within myself. I grew up in Benin and my father was a filmmaker
(I say ‘was’ because even though he is still alive, I can’t seem to convince him to continue filming) so
the visual universe that appears to me when I am in Cotonou always has a feeling of homecoming,
transformed by my having lived elsewhere. My family comes from Ouidah and I went through spiritual
rituals in Benin, so when I’m there, I feel the spirituality everywhere. Even visually or conceptually, I
sense two realities coexisting, much more than in Paris.
Another difference (this time external) is that art is taken far more seriously in Paris. There are many
more venues to show one’s work and opportunities for artists to be in contact with the global art
world. Besides that, on a purely creative level, the relationship to time is really different, and therefore
the inspiration also is. Paris is faster and more cybernetic, Cotonou is deeper and more organic. I need
both environments to do what I do.
Finally, you took part in the Marrakech Biennale just a few weeks ago. What was your
experience of the biennale and how was your work received in North Africa?
Well received, I guess, but you really never know! Actually I was selected for the Marrakech Biennale
but I am also selected for this year’s Dakar Biennale, Dak’art 2016. Beyond immediate reception I
think it’s very important that the local public in Africa be exposed to the continent’s contemporary
art scene, similar to how in Europe, art from different countries is shown all over on the continent
and beyond.
Apart from this, the format of the biennale is instrumental in connecting the continent’s creations to
the global art world, and not just as ‘African art.’ Does it make any sense, except marketing-wise, to
talk about ‘Asian art’ that would lump together Chinese, Japanese and Indian art? Is Anish Kapoor
an ‘Asian artist?’
THAT ART FAIR / IN CONVERSATION WITH EMO DE MEDEIROS 12/22
FEATURE / THAT ART FAIR