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FIAC | BOOTH 35G, CHEIKH NDIAYE'S SOLO SHOW BY The Galerie Cécile Fakhoury WHO WILL INAUGURATE ITS NEW SPACE IN PARIS ON 21 OCT.
Galerie Cécile Fakhoury Abidjan, Dakar, opens a third exhibition space on 29 avenue Matignon in Paris.
The opening of this first space outside the African continent is an opportunity for the gallery to mark their commitment to their artists, but also to playing a part in writing a history of contemporary art from Africa and its diaspora.
Through this new geography, between Abidjan, Dakar and Paris, the gallery reaffirms its desire to celebrate the daring and fertile mobility of artistic imagination.
Building on strong foundations in Abidjan, Côte d’Ivoire, as well as Dakar, Senegal, Galerie Cécile Fakhoury has since 2012 championed the work of contemporary artists in Africa and on the international stage; artists that set themselves apart with a visual language that frees itself from borders and refuses geographical stigma.
The diversity of their aesthetic gestures, movements committed to capturing the complexities of history, pushes us again and again to reconsider our ties to the world. For its opening, the Gallery will present Un pied sur terre, a group exhibition bringing together new works by artists - Ouattara Watts, Jems Koko Bi, Aboudia, Sadikou Oukpedjo, Dalila Dalléas Bouzar, Marie-Claire Messouma Manlanbien, Elladj Lincy Deloumeaux, Vincent Michéa – in a fascinating introduction to the aesthetic diversity and conceptual richness of the artist we represent.
Within the framework of FIAC 2021, Galerie Cécile Fakhoury is pleased to present a solo exhibition of the Senegalese artist Cheikh Ndiaye. The monographic publication "Archives of the Sun", published by Suture Press, will be launched on the occasion of the fair.
Through the visual interpretations of anthropology and architecture, Cheikh Ndiaye alludes to the socio-political history of urbanism in Western Africa in the context of rapid economic development— the era of post-independence. The work of Ndiaye rehabilitates not only architectural interstices, but also those between the materiality of paintwork and concept, between image and installation, between anthropology and art.
The same respect for labouring hands and do-it-yourself enthusiasts can be found in his installation work. The reconstruction of objects related to an informal economy appears in Ndiaye's works as a positive practice, a reparation of society. He observes the informal in a unique manner. According to him, this area is not a mere socio-economic survival practice, but the basis of all artistic work - it is an everyday Duchampian defamiliarization, a space where art is sutured to life.
