Africa Archives - Page 2 of 6

Nabil Boutros, Liberty (2013)

April 28, 2022 By Sephora Affa, FSU '24

“The words that Virgil speaks to Cato (De Monarchia II, V, 15) mark both the origin and the end of the quest undertaken by Dante, at the end of the quest undertaken by Dante, at the end of which he poses a clear antithesis between ‘servitude’ and ‘liberty’: ‘Thou from a slave hast brought me unto freedom’ (Paradiso, Canto XXXI, 85).

[. . .] In this process of discernment through which freedom is achieved, man is supported by will, i.e. ‘the power that wills’ (Purgatorio, Canto XXI, 105), and aided by reason, i.e. ‘the power that counsels’ (Purgatorio, Canto XVIII, 62).”

Retrieved from The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists by Simon Njami.

Learn more about the Cairo-born artist Nabil Boutros on the artist’s website.

Dominique Zinkpè, multimedia drawings (2013)

April 28, 2022 By Sephora Affa, FSU '24

“The ideas behind the Divine Comedy have brought the artist to reflect upon a millenary question: what is the soul? This question entails an inquiry about uncertainty and wandering. The artist uses the medium of installation to create a unique world, made up of thousands of tiny figurines suspended as if they were souls waiting for a visa to enter another world or destination. Positioned on the ground, these retrospective objects are installed in such a way as to suggest their interrelation, their secret bond, as if they were suspended souls. The idea behind Errance is to create an emotion, a feeling of anticipation and reflection with the public. The twelve thousand colored figurines are suspended from the ceiling and are reflected in the thousands of mirrors placed on the floor, referring- also thanks to a soundtrack- to the infinity of the universe, the tackling lights and moving elements that are unknown to us but which we admire and dream about even though we do not know where they come from.”

Retrieved from The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists by Simon Njami.

Learn more about the artist Dominique Zinkpè (b. 1969, Cotonou, Benin) on Wikipedia.

Aïda Muluneh, The 99 Series (2014)

April 22, 2022 By Sephora Affa, FSU '24

“…I painted her body white because for me, living in this city we call Addis Ababa, we don’t need to fantasize about going to the Inferno—I have seen and experienced enough things to really make me question humanity. I have realized that in order to get ahead here, many people wear masks in order to protect their future. But while doing this, the reality is that I have seen the various atrocities and the great lengths that many will go to in order to maintain their success. So with that in mind, for me the red hands symbolize the guilt associated with the thirst for upward mobility. The cloth wrapped around Salem’s body is specifically from the southern region of Ethiopia, which has endured several centuries of oppression, slavery, and so forth. For the background color, I chose the off-grey because it reminds me of dirty snow; this reminds me of my childhood growing up in Canada, in the midst of the bitter cold, and also the challenges that I faced being an African immigrant in an all-white community.”

Retrieved from The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists by Simon Njami.

For more information on The 99 Series, visit Muluneh’s website here.

Berenice Josephine Bickle, film stills (2013)

April 22, 2022 By Sephora Affa, FSU '24

“For the artist, the Divine Comedy represents a ‘theological’ allegory, where the literal level becomes a ‘beautiful lie’ conceived in order to convey a hidden truth. The historical characters that appear in Dante’s Inferno, Purgatorio, and Paradiso are realistically determined and they provide a figural interpretation of history. From this starting point, the artist feels justified in introducing the viewer to her own reading of the Divine Comedy, in which she investigates histories mirroring Dante’s Inferno from the perspective of contemporary Africa. The work is composed of two opposite video screens, splitting the audience’s point of view between them, as the perception of two narratives occurs simultaneously. The central focus is a looped conversation between Beatrice and Virgil, where the feminine and masculine voices are superimposed by Dante’s presence, a poetical presence that weaves the two narratives together. While Beatrice’s character is dressed in Maputo clothes, surrounded by curious artifacts that together combine to make a coloured plot based on the dynamics of presence/absence and life/death, Virgil becomes a guide to one of the cities of Zimbabwe. No longer a storyteller of the epic on Trojan Wars, the Virgil constructed by the artist narrates the wars of colonial and postcolonial Africa, where the archival footage of Zimbabwe’s liberation war becomes the base for the narrative.”

From The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists by Simon Njami.

For more on the Zimbabwean artist Berry Bickle, see Wikipedia.

Maurice Pefura, The Silent Way (2013)

April 21, 2022 By Sephora Affa, FSU '24

“The spectator is invited to enter, to move through this bright, white virginal structure and to slowly discover that on the surface of the sheets, printed in white on white, there are lines taken from the Cantos that make up Dante’s Paradiso. The ensemble of the elements is illuminated by a soft, pure light that serves as a guide: the transformation that the artist wishes to bring about does not focus on the path followed by Dante, but rather on the perennial and memorable presence of Beatrice, who according to the artist embodies the very sense of Dante’s Paradiso. The installation thus becomes a path on which the onlooker is enshrouded in words and light. A place where—just like in the Comedy itself—it is still possible to enter and be illuminated by the candour and potency of the very essence of love.”

From The Divine Comedy: Heaven, Purgatory, and Hell Revisited by Contemporary African Artists by Simon Njami.

See also the images in Griot magazine, which describes the piece as it was presented in Njami’s I is An Other / Be the Other exhibit at the Galleria Nazionale di Arte Moderna e Contemporanea (GNAM) in Rome: “Maurice Prefura’s The Silent Way stages La Divina Commedia, a sort of labyrinth made of white floating empty pages that form its walls and hold visitors prisoners. Crossing this labyrinth, however, one realizes that there are visible inscriptions on the pages which can only be seen from certain angles, ‘as if in a rite of initiation.’ Once out of the labyrinth, one meets Beatrice.” –Johanne Affricot, “Contemporary Art and Africa in Rome,” Griot (March 20, 2018)

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