The Fondation Vuitton features the African art scene

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Three exhibitions displayed simultaneously

The three exhibitions that are currently on display at the Fondation Vuitton reflect the dynamism that can be experienced today on the African continent. The first one gathers a selection of works by fifteen artists from Jean Pigozzi’s collection of contemporary art. The second one attests the cultural effervescence of South Africa. In addition, the third one selects works by African creators or artists of African descent, from the Foundation's collection, including some of the leading figures in international artistic topicality such as William Kentridge, whose Migrant Procession, showing some sort of Chinese shadows made in black ink, create surprise in the hall of the Foundation.

In 1989, businessman Jean Pigozzi began to build a collection of African artists - with the help of André Magnin, one of the first specialists in contemporary African art - on the basis of three criteria: they should be from Black Africa, they should live there and work there. For twenty years the two men have discovered and chosen works that reveal approaches as rich as they are original. There are those already quite well-known by Seydou Keita, Chéri Samba and Barthélémy Toguo, but there are also some to be discovered such as Nigerian Odikere's Hairstyle series listing female Nigerian hairstyles photographed from the back, the terracotta sculptures by Seni Awa Camara, the masks by Romuald Hazoumé made out of old gasoline cans and the utopian space cities of Rigobert Nimi who also uses salvaged materials. They form a collection of deeply original creations that have enthused us to the highest degree, both by their colourss and their poetic inventiveness.

The other part devoted to the abundant creation in South Africa, describes, in a more harsh way, art connected with politics and committed in the "rainbow" society of the country. One of the great South African figures is William Kentridge who "displays a moving and musical world of drawing that interweaves personal and South African stories with international news"; but alongside this language that remains poetic, Jane Alexander proposes an installation of hybrid beings, between guard dogs and human beings, of the most disturbing and chilling kind while the photographic works of David Goldblatt or Zanele Muholi also try to redefine South African identity.

Bringing together works the variety of which in turn delights or strongly questions, here is an exhibition that must not be missed!