Installation by Pascale Marthine Tayou

30 et PRESQUE-SONGES
a project by Joël Andrianomearisoa

 
PASCALE MARTHINE TAYOU and REVUE NOIRE is a common history that dates back to 1994 when he stormed the cover on Cameroon (RN 13 June 1994). Then in the years following the exhibitions "African artists and AIDS" in Benin and at the Dakar Biennale (1995), "African Suites" at the Couvent des Cordeliers in Paris (1997) and the movie "Looobhy" (Revue Noire Productions and Arte TV, 1997) sow small white stones of a common history from side to side in everyone's life, remembers another. Tayou seal it in this new work / installation on that paper printed a story of contemporary African art that is to pierce, to stack, impaled on a steel shaft, indecent, on multiple lines of steel ascend to heaven sharp-edged leaves with a reading becomes impossible.

Pascale Marthine Tayou shows long maze of his ravings, his fetishes invented that makes him an artist, although that comes from Africa, but also another sharer actually more urban, more focused on becoming more common likely to make other ways to watch. This is a time to say this without marrying Contemporary Art, not disdained, but merely understood as a stream of expressions, among others. For a little more than a decade, Contemporary Art includes expressions of artists from elsewhere. Some see a healing of Western art wearied by his "break" more and more artificial, others see the "duty" to repentance "looting" of African forms that modern art was in the early twentieth century. Regardless, this has Tayou lightness not to be locked up and play with the evidence to make mysterious or give them a meaning different every time according to a report from its manufacture and the ear of his career - curator or critic - the buyer - seller or collector - the viewer. Pascale Marthine Tayou is now in the Gulf Stream and the Contemporary Art market.

Each piece of P. M. Tayou's truth, but it's been worth it may have shared sensitive and sensible whose proof is laborious absent as the reference set of critical references cultivated. Pascale Marthine Tayou likes to say he "makes things, done things. The Surrealists not know. The art of recovery, I do not care. The history of art ?"No way. Say it is not ignored, but affirm the autonomy of his own gaze and escape the reductive classifications.
And even though he quotes literally, it will do in the "kitsch" to fully affirm the freedom of thought. That did not stop to browse the universe of Western forms and the world, less to draw inspiration that lives long, only to multiply the opportunities for meetings which he will master the rules of the game

We shall then say that the current abundance of work Pascale Marthine Tayou (Venice Biennale 2009, «Traff Jam» Lille 2010, «Always All Ways» Malmö and Lyon 2011), there is this "The Abyss" pissing blood blasphemy, in the little house Montparnasse Revue Noire, between Lille and Venice, Lyon and Ghent, Shanghai and Douala.

Jean Loup Pivin, February 2011

[ see also the simultaneous exhibition 30 et PRESQUE-SONGES a project by Joël Andrianomearisoa / 30 artists / 30 eyes on the field of dreams. ]