#romuald hazoumé

[maskenmoodboard]

romuald hazoumé,

[berndwuersching]

Romuald Hazoumé Noosa, 2016 Found objects, 38 x 12 x 28 cm

[abstracteddistractions]

Romuald Hazoumé, ���Tallonnée,” 2015,

Found objects, 35 x 24 x 15 cm. (13 3/4 x 9 1/2 x 5 3/4 inches).

Sotheby’s

[bm-african-art]

Fiegnon, Romuald Hazoumé, 2011, Brooklyn Museum: Arts of Africa

© Romuald Hazoume Size: 11 x 8 x 8 1/2 in. (27.9 x 20.3 x 21.6 cm) Medium: Plastic, fiber (possibly synthetic), metal (copper wire)

https://www.brooklynmuseum.org/opencollection/objects/216211

[oscarangelreysoto]

Mask made with an old electric cable, paper for packing dishes, a broken bamboo basket and clay. For a while now, I like to use waste to make small sculptures. Unfortunately, in this world of today, rubbish is an inexhaustible resource and I have learned little by little to use this in my favor. I have also been inspired by the work and philosophy of the artist #Romualdhazoumè if you do not know him, take a look at his work. Máscara hecha con un cable eléctrico viejo, papel de embalaje de platos, una cesta de bambú rota y arcilla. desde hace ya un tiempo, me gusta utilizar desechos para hacer pequeñas esculturas, desgraciadamente en este mundo actual la basura es un recurso inagotable y he aprendido poco a poco a utilizar esto en mi favor. También me ha dado muchas ideas el arte y la filosofía del artista Romuald Hazoumé, si no lo conoces todavía, échale un vistazo a su trabajo. #recyclingart#artistic#artisticobject#romualdhazoume#Berlin#oscarrey#oscarangelreysoto#oscaratelier#art#arte#fineart#figurative#collage#artgallery#contemporaryart#sculpture#acrilico#painting#luxury#artgallery#contemporary#artcollector#artaddict#Malerei#zeichnungen#curator#fineart#artdealer#artista  (hier: Berlin, Germany) https://www.instagram.com/p/COXDtiUnlCX/?igshid=1daqskd722cj5

[detournementsmineurs]

"Masque" de Romuald Hazoumé avec un bidon et des plumes, 2021.

[kassakmuzeum]

Elidőzni a furcsaságnál I.

A Kassák Múzeum és a SzöSz Műhely új programsorozatával a fővárost hátrahagyva az ország különböző pontjain hátrányos helyzetű diákokkal, helyi művészekkel és civil egyesületekkel közösen folytatja és gazdagítja a múzeum terében már évek óta sikerrel működő művészetpedagógiai programjait, és arra törekszik, hogy az új partnerekkel megalapozza a városhatárokon átívelő jövőbeli szakmai együttműködést. A Vidéki Dada Szerkesztőség foglalkozásairól rendszeresen blogbejegyzésekben számolunk be nektek.

Az első állomás Pécs, ahol a város egyik peremkerületében esélyteremtő gyermekbirodalmat felépítő Élmény Tár Tanoda diákjaival és munkatársaival találkozunk, négy alkalommal. A diákokkal Kassák Lajos életművét vizsgáljuk, bemutatjuk annak fő elemeit, megismerkedünk a különböző társadalmi és művészeti mozgalmak ˗ futurizmus, dadaizmus, és a konstruktivizmus ˗ szellemiségével, formanyelvével. A beszélgetés mellett élményt kínálunk, hiszen közben alkotótevékenységre is inspiráljuk a gyerekeket. A foglalkozásokon egyebek között megtudhatják, mi is az a kalapvers, hogyan készül a montázs, megismerhetik a konstruktivista képalkotási eszközöket, a tárgyfotózás és kiadványszerkesztés technikai alapjait, velük együtt tisztázzuk a színelméleti alapfogalmakat és a színválasztási technikákat.

Romuald Hazoumé: Cím nélkül, 1999 

A foglalkozások egymásra épülnek; az utolsó közös alkotói napon a pécsi DRUKKER Közösségi Nyomdaműhellyel rizográf-workshopot tartunk. A diákok megismerkednek a rizográf technikájával, alapvető elveivel, a foglalkozásokon készült munkákból kiadvány születik, ami online formában a nagyközönség számára is elérhető lesz.

Az első pécsi találkozáson a Vad Modernek Öndivatbemutatója című foglalkozást igazítottuk a helyi körülményekhez. Kiindulópontunk az volt, hogy a művészetről beszélgetve sokszor támad az az érzésünk, mintha a “hétköznapi” és a “művészi” világ egymástól elkülönülten létezne, mi pedig két világ polgáraként csatangolunk hol itt, hol ott. Ugyanakkor gyakori élmény az is, hogy a két világ közötti határ elmosódik vagy éppen megszűnik, a művészet tárgya pedig megtalálja helyét és jelentőségét a mindennapi életünkben.

Many Ray:Fekete és Fehér,1926

Ezen a foglalkozáson többek között ezt a jelenséget dolgoztuk fel a gyerekekkel. Sok szó esett arról, hogy a századforduló új művészeti irányzatai szakítani akartak az európai művészet hagyományaival.  Ezért vonzotta őket minden, ami egzotikus, amit a többség barbárnak és kezdetlegesnek látott. A korszak művészei épp olyan szépnek tartottak egy afrikai maszkot, mint a Mona Lisát. A törzsi művészet aztán nemcsak a néprajzi gyűjteményekben, hanem a művészeti galériákban is megjelent.

A jól sikerült, hangulatos pécsi nyitányon kalandoztunk a törzsi és az avantgárd művészet világában, választ kerestünk arra, mit tanultak az afrikai művészetből a kubista festők. Megvizsgáltuk, lehet-e használati tárgyakból jelmezt készíteni, és megvitattuk, miként néz ki a pápua fejdísz, ha műanyagból készül. Igyekeztünk pontosan megfogalmazni, vajon mit jelent számunkra a maszk? Mit jelent „maszkot hordani” a hétköznapokban? Hogyan tudunk magunkra „másikként”, egy idegen szemével tekinteni?

Már nagyon várjuk a következő alkalmat! Egy hét múlva találkozunk!

.

[kevlo75]

Romuald Hazoumé #visiting #artist in #nantes from #benin #art #heritage #creativecoalition #fellowship #futureisdesign (à Château des ducs de Bretagne (officiel)) https://www.instagram.com/p/CPbC_e6gtrn/?utm_medium=tumblr

[lovelifefacelimits]

Romuald Hazoumé - Noosa, 2016 found objects, 38 x 12 x 28 cm

[pwlanier]

Romuald Hazoumé

Courtesy October Gallery

[persinsala]

Pistoletto & Tayou, De Bruyckere | Una cosa non esclude l’altra - A single bed, a single room

Pistoletto & Tayou, De Bruyckere | Una cosa non esclude l’altra – A single bed, a single room

Michelangelo Pistoletto, Pascale Marthine Tayou e Berlinde De Bruyckere protagonisti a Galleria Continua fino a domenica 1° settembre.

(more…)

[justinboisco]

J'en reste encore bouche bée ! Quelle merveille cette expo Art Africain contemporain à la fondation Louis Vuitton

[contemporaryafricanartunframed]

An Introduction to Jean Pigozzi

“When I started, everyone thought that I was an idiot. But now many museums - like Pompidou, Tate, Metropolitan in New York, Los Angeles County Museum - they all want to do shows from my collection,” explains French-born Italian collector Jean Pigozzi in 2016, reacting to the rise in popularity and interest in Contemporary African art. At sixty-four years old, Pigozzi has amassed over 10,000 works of Contemporary African art with a particular focus on artists who live and work in sub-Saharan Africa. Pigozzi’s collection is different from other collections of Contemporary African art (such as the Zeitz collection) which include works by artists who may not be currently living and working in Africa and which feature artists from all different parts of the continent. What is not different, however, is Pigozzi’s desire to help African artists to share their stories with the world. Although his collection does not have a permanent museum or location where it can be shown altogether, the works are frequently on loan to prestigious museums internationally and featured in exhibitions worldwide. 

Pigozzi was an artist before he ever became an art collector; he discovered photography at a young age as a way to capture the world around him and express himself without extensive writing, which he struggled with due to dyslexia. Growing up in what he calls a “typical European bourgeois” household, the young aficionado regularly attended art museums with his mother, and his parents even had a modest collection of Impressionist works. It was not until the 1970s, when he attended Harvard University in the United States, however, that Pigozzi exposed himself to art that was more avant-garde. Pigozzi recalls spending weekends in New York visiting MoMA, the Whitney, and galleries downtown. Pigozzi found the art around him fascinating: “It was all so exciting,” he said. “This was the time of Conceptual Art and Minimalism; Carl Andre and Sol LeWitt.” His first purchase was a small Sol LeWitt drawing. At age twenty one, Pigozzi inherited his father’s fortune and became wealthy enough to enjoy a life of leisure dedicated to following his passions - including his burgeoning interest in art - wherever they led him.

In 1989, Pigozzi discovered Contemporary African art when he attended the well-known, yet controversial, exhibition Magiciens de la terre at the Centre Georges Pompidou in Paris. The exhibition, which is seen as one of the major turning points for the art world’s globalization, featured works by more than 100 artists from 50 countries, half of which were so-called “non-Western.” Upon seeing the show, Pigozzi was struck by the creativity of the African artists whose works were featured. Pigozzi was not able to purchase the works in the show, which included those by now relatively more well-known Contemporary African artists Bodys Isek Kingelez and Chéri Samba, because they were owned by a French television station. However, Pigozzi was introduced to André Magnin, who helped curate the show, and he became Pigozzi’s advisor as he began to collect Contemporary African art. Most of the works that the collector has acquired were purchased directly from the artists themselves, and many of them were discovered by Magnin through his journeys into Africa scouting for artistic talent. 

While Pigozzi himself has never been to Africa, he remains committed to meeting and talking with the artists whose work he collects, finding collectors who do not do so to be more vulnerable to the tall tales sometimes told by art world professionals when trying to make a sale. Among the 71 artists listed on Pigozzi’s collection website, only some of them have been featured in gallery or museum shows - lending itself well to the interpretation that Pigozzi enjoys discovering new artists. Pigozzi has been credited for essentially launching the careers of artists in his collection who do have more art world visibility. For instance, journalist Tess Thackara argues: “Without Pigozzi’s patronage, it’s easy to imagine that [Kingelez] would never have made it onto the MoMA’s walls; the high-profile collector has undeniably brought visibility to Kingelez’s work and played a crucial role in its preservation.” 

When he talks about his motives for collecting the art that he does, Pigozzi never talks about financial viability, stability or even potential to produce any sort of profit. In fact, Pigozzi believes that anyone viewing his collection through a financial lens would see it as a “mistake,” with his most valuable paintings being worth $100,000 at maximum, according to the collector - a small amount of money compared to the millions of dollars that Warhol’s and Basquiat’s achieve at auction. But, Pigozzi does not view his works through a financial lens, explaining that while his choice of category may not make sense of a collector interested in making a long-term profit off his works, it makes sense for Pigozzi because he feels he occupies an interesting and unique niche within the art world.

Artworks from The Contemporary African Art Collection (CAAC), which is what Pigozzi calls his collection, have been featured in what one might argue to be every important exhibition of Contemporary African Art in major art institutions in 2018, including Romuald Hazoumè at Gagosian, Park & 75, New York; Platform: Barthélémy Toguo: The Beauty of Our Voice at the Parrish Art Museum, Water Mill, New York; and Bodys Isek Kingelez: City of Dreams at the Museum of Modern Art, New York. All of those exhibitions have gotten major press coverage, including mentions or full articles in The New York Times, The Wall Street Journal, TIME, and Forbes. 

In terms of his plans for the future, Pigozzi has expressed a desire to contain his collection within one place and make it available to the public without having to be dispersed among various museums. “It would be sad if 30 years of work disappeared, and the 10,000-strong collection was dispersed,” Pigozzi laments. Yet, Pigozzi realizes that he may not have the resources to put all of his art in one place right now - at least not in a place that he himself funds. “If I [were] Bill Gates,” he says, “I would build a museum. But I’m not Bill Gates. So, I’m open to suggestions,” Pigozzi discloses in an interview with an implied sense of humor. In the meantime, viewing sublime works from Pigozzi’s collection, like the imaginative Bodys Isek Kingelez’s utopian city sculptures at MoMA, is not a bad option for those of us interested in unveiling the stories that Pigozzi readily makes available to the art-viewing public.

Jean Pigozzi and Chéri Samba, Paris, 2002. Source: Les Initiés: un choix d’oeuvres (1989-2009) dans la collection d’art contemporain africain de Jean Pigozzi, Fondation Louis Vuitton, 2017.

Photo at top: Jean Pigozzi.  Source: https://www.youtube.com/watch?v=-Jy-ggtttZQ.

Bibliography:

Artforum. “Jean Pigozzi to Build Foundation for Contemporary African Art.” April 26, 2017. Accessed November 4, 2018. https://www.artforum.com/news/jean-pigozzi-to-build-foundation-for-contemporary-african-art-68078.

Baumgardner, Julie. “Inside the World’s Largest Collection of Contemporary African Art.” Artsy. October 12, 2015. Accessed November 4, 2018. https://www.artsy.net/article/artsy-editorial-inside-the-world-of-jean-pigozzi-the-tech.  

Buffenstein, Alyssa. “Investor and Celeb Photographer Jean Pigozzi Is Searching for a Home for His African Art Collection.” artnet News. April 27, 2017. Accessed November 4, 2018. https://news.artnet.com/art-world/jean-pigozzi-foundation-contemporary-african-art-938897.

Caacart.com. “Artists.” Accessed November 4, 2018. http://caacart.com/caacart-artists.php. Caacart.com. “Exhibitions.” Accessed November 4, 2018. http://caacart.com/caacart-exhibitions.php.

Caacart.com. “Home.” Accessed November 4, 2018. http://caacart.com/.

Christie’s. “The Insider’s guide to Contemporary African art.” February 15, 2018. https://www.christies.com/features/The-insider-guide-to-Contemporary-African-art-8887-1.aspx.   

Delson, Susan. “In the Hamptons, This Artist Builds the Boat And Serves the Coffee.” The Wall Street Journal. July 26, 2018. Accessed November 4, 2018. https://www.wsj.com/articles/in-the-hamptons-this-artist-builds-the-boat-and-serves-the-coffee-1532617982.

Edwards, Natasha. “Jean Pigozzi’s Massive Collection of African Art.” Surface. November 30, 2015. Accessed November 4, 2018. https://www.surfacemag.com/articles/20151130jean-pigozzis-massive-collection-of-african-art/.

Friedel, Julia. “Magiciens de la Terre.” Contemporary And. August 12, 2016. Accessed November 4, 2018. https://www.contemporaryand.com/magazines/magiciens-de-la-terre/.    

Harris, Gareth. “Venture capitalist Jean Pigozzi plans foundation to house contemporary African art collection.” The Art Newspaper. April 26, 2017. Accessed November 4, 2018. https://www.theartnewspaper.com/news/venture-capitalist-jean-pigozzi-plans-foundation-to-house-huge-contemporary-african-art-collection

Meistere, Una. “Jean Pigozzi.” Independent Collectors. July 19, 2016. Accessed November 4, 2018. https://independent-collectors.com/collectors/jean-pigozzi-arterritory/.

Pigozzi, Jean. “Jean Pigozzi: The Collecting Life.” Caacart.com. June 2005. Accessed November 4, 2018. http://caacart.com/about_jp_en.php.     

Press, Clayton. “Romauld Hazoumé, Gagosian, Park & 75, New York.” Forbes. September 23, 2018. Accessed November 4, 2018. https://www.forbes.com/sites/claytonpress/2018/09/23/romuald-hazoume-gagosian-park-75th-new-york/#5227dbdf3b58.  

Schwendener, Martha, Will Heinrich, and Jillian Steinhauer. “What to See in New York Art Galleries This Week.” The New York Times. September 13, 2018. Accessed November 4, 2018. https://www.nytimes.com/2018/09/13/arts/design/what-to-see-in-new-york-art-galleries-this-week.html.   

Shapiro, Eben. “At MoMA, a Genius Finally Gets His Due.” Time. June 28, 2018. Accessed November 4, 2018. http://time.com/5324720/body-isek-kingelez-moma/.  

Smith, Roberta. “Fantastical Cityscapes of Cardboard and Glue at MoMA.” The New York Times. May 31, 2018. Accessed November 4, 2018.  https://www.nytimes.com/2018/05/31/arts/design/bodys-isek-kingelez-review-moma.html.

Thackara, Tess. “Bodys Isek Kingelez, Maker of Utopian Cities, Finally Gets the Retrospective He Deserves.” Artsy. May 24, 2018. Accessed November 4, 2018. https://www.artsy.net/article/artsy-editorial-finally-notice-bodys-isek-kingelezs-utopian-vision.

[labequeap-blog]

Romuald Hazoumé, ear splitting 1999

Analyse d’œuvre par les élèves

Travail sur les matériaux de récupération avec les 6eme/5ème

Assemblage/masques/récupérer/bricolage/écologie

[oscarangelreysoto]

Mask made with an old electric cable, paper for packing dishes, a broken bamboo basket and clay. For a while now, I like to use waste to make small sculptures. Unfortunately, in this world of today, rubbish is an inexhaustible resource and I have learned little by little to use this in my favor. I have also been inspired by the work and philosophy of the artist #Romualdhazoumè if you do not know him, take a look at his work. Máscara hecha con un cable eléctrico viejo, papel de embalaje de platos, una cesta de bambú rota y arcilla. desde hace ya un tiempo, me gusta utilizar desechos para hacer pequeñas esculturas, desgraciadamente en este mundo actual la basura es un recurso inagotable y he aprendido poco a poco a utilizar esto en mi favor. También me ha dado muchas ideas el arte y la filosofía del artista Romuald Hazoumé, si no lo conoces todavía, échale un vistazo a su trabajo. #recyclingart#artistic#artisticobject#romualdhazoume#Berlin#oscarrey#oscarangelreysoto#oscaratelier#art#arte#fineart#figurative#collage#artgallery#contemporaryart#sculpture#acrilico#painting#luxury#artgallery#contemporary#artcollector#artaddict#Malerei#zeichnungen#curator#fineart#artdealer#artista  (hier: Berlin, Germany) https://www.instagram.com/p/COXDqpknVVE/?igshid=1l7kq9z7omhqi

[alexis-peskine]

Hey LDN 🇬🇧 👋🏽 Come to 1-54 @154artfair this week to see our amazing October Gallery @octobergallery booth curated by Elisabeth Lalousheck @elisabethlalouschek & Dee Haughney @deehaugh ! Model Yvette Kemi @yvettekemi Also come see the current group show at October Gallery if you haven’t seen it yet Featured artists @cosmowhyte , Lisa Vandy, @zakove , El Anatsui @elanatsuifilm , @eddy.kamuanga & Romuald Hazoumé #art #154artfair #london #ldn #uk #blackness #africa #brasil #france #jamaica #trinidadandtobago #benin #ghana @lesarchesdissy @villedissy #theuniverse (at London, United Kingdom) https://www.instagram.com/p/B3EstfWj3RM/?igshid=5p730tgqb30a