阿拉克收藏視角

       非洲當(dāng)代藝術(shù)展

       Perspectives from the ARAK Collection

       African Contemporary Art Exhibition

       2025.3.29—6.29

       （周二到周日 10:00-18:0017:00停止進(jìn)場,，逢周一閉館 ）

       雅昌（深圳）藝術(shù)中心 5樓美術(shù)館

       ARTRON ART CENTRE

       《解構(gòu)無止盡》

       Split Infinity

       curated by Jamil Osmar Parasol

       《破繭》

       Beyond the Chrysalis

       curated by Nneoma Angela Okorie

       《一成不變的地理版圖》

       The Geography of Fixed Things

       curated by E.N. Mirembe

       “阿拉克收藏視角 —— 非洲當(dāng)代藝術(shù)展” 精心籌備了三大別具一格的策展單元。這些展覽主題誕生于 2023 年 ARAK 策展獎學(xué)金計劃,，圍繞非洲身份,、社會變遷以及未來愿景展開深度探討。

       在《解構(gòu)無止盡》中,，Jamil Osmar Paraso設(shè)想了一個非洲未來的景觀,，邀請觀眾進(jìn)入具有推測性的世界，其中非洲的韌性和身份塑造了未來的新可能性,。

       在《破繭》中，Nneoma Angela Okorie探索了轉(zhuǎn)型,，她以三位藝術(shù)家的作品為切入點(diǎn),，這些藝術(shù)家將個人經(jīng)歷和集體記憶融入創(chuàng)作，形成獨(dú)特的視覺語言,，打破常規(guī)發(fā)展路徑,。

       在《一成不變的地理版圖》中，E.N. Mirembe著眼于東非藝術(shù)持續(xù)不斷的跨文化交流,，探尋跨越殖民邊界的文化影響,。展覽通過藝術(shù)、貿(mào)易,、教育等層面,，展現(xiàn)出豐富的文化交流傳承。以Lucille Clifton的詩《For the lame》為核心,，E.N. Mirembe挑戰(zhàn)了固定地理的概念,，展出的藝術(shù)作品，生動展現(xiàn)了東非與中東及其他地區(qū)緊密相連,、充滿活力的交流歷史,。

       這些主題展覽共同從多個角度，審視當(dāng)代非洲藝術(shù)中的文化傳承,、變革發(fā)展以及豐富的創(chuàng)造力,，為我們打開了一扇了解非洲藝術(shù)的獨(dú)特窗口,。

       “Perspectives from the ARAK Collection——African Contemporary Art Exhibition”brings together three distinct curatorial projects—developed in 2023 as part of ARAK’s Curatorial Fellowship Programme—that examine, among other things, African identities, movements and imagined futures.

       Jamil Osmar Parasol’s Split Infinityenvisions an Afro-futurist landscape, inviting viewers into speculative worlds where African resilience and identity shape new possibilities for the future.

       In Beyond the Chrysalis, Nneoma Angela Okorie explores transformation, following the work of three artists who develop visual languages rooted in personal histories and collective memory, defying linear paths.

       In The Geography of Fixed Things,E.N. Mirembe focuses on East African art’s continuous cross-cultural exchanges, tracing influences that transcend colonial borders. This exhibition emphasises a rich legacy of connection through art, trade, and education. Referencing Lucille Clifton’s poem, “for the lame”, Mirembe challenges the notion of a fixed geography, presenting artworks that reflect East Africa’s vibrant and interconnected histories with the Middle East and further afield.

       Together, these three exhibitions offer a layered examination of heritage, transformation and creative imagination within contemporary African art.

《解構(gòu)無止盡》SPLIT INFINITY

策展人Curator

Jamil Osmar Parasol

藝術(shù)家Artists

Hazim Al Hussain

Joe Bukenya

Williams Chechet

Mauro Chiarla

Aurélia Durand

Hellen Gaudence

Uòl(fā)òfe Griot

Thonton Kabeya

Ismael Kateregga

Banele Khoza

Themba Khumalo

Letso Leipego

Zemba Luzamba

Ramarutha Makoba

Donald Makola

Sidney Mang’ong’o

Lekau Matsena

Mandlenkosi Mavengere

Elias Mung’ora

Dennis Osadebe

Zolile Phetshane

Pule Ratsoma

Victor Raza

Sky Salanje

Rudolf Seibeb

Malibongwe Shangase

Bambo Sibiya

Shakes Tembani

Jan Maanda Tshikuthula

Francisco Vidal

Kimweli Zuto

Lindokuhle Zwane

       《解構(gòu)無止盡》 匯聚了來自非洲 13 個國家的 32 位當(dāng)代藝術(shù)家，他們的作品植根于多元的個體經(jīng)歷,，圍繞社會,、心理與環(huán)境主題展開，對非洲未來主義（Afrofuturism）這一概念進(jìn)行深度解構(gòu),，跳脫西方視角的敘事框架,，并通過豐富的媒介與技法進(jìn)行表達(dá)，帶領(lǐng)觀眾穿梭于多個現(xiàn)實(shí)與未來的可能性之中,。

       本單元以這些作品為媒介,，引導(dǎo)我們反思非洲的韌性，并構(gòu)想一個和諧共生的未來,。邀請觀眾思考：如果非洲能夠擁抱自身大多數(shù)人的視角,，并優(yōu)先考慮其獨(dú)特的敘事，而非受外部影響主導(dǎo),，這片大陸將如何實(shí)現(xiàn)變革,？

       Split Infinitybrings together thirty-two contemporary artists who hail from thirteen different countries across Africa. Rooted in a diversity of experiences, and expressed through an equally diverse range of mediums and techniques, the exhibition explores social, psychological, and environmental themes. It deconstructs Afrofuturism and diverges from Western narratives, offering a journey through multiple realities and future possibilities.

       Collectively, these works challenge us to reflect on Africa’s resilience. Split Infinityenvisions a harmonious future, inviting audiences to consider how the continent might transform if it embraces the perspectives of its majority and prioritises its unique narratives over external influences.

《改頭換面》ZEMBA LUZAMBA

剛果民主共和國 繪畫 76x61cm 布面油畫

New Beginning I

2018

Oil on canvas

76 x 61 cm(unframed)

《基里森澤3》THONTON KABEYA

剛果民主共和國繪畫 40x51cm 胡桃木粉雕刻畫布

Kirizenze 3

2016

Walnut powder on sculpted canvas

40 x 51 cm(unframed)

《戀人和朋友》MALIBONGWE SHANGASE

南非雕塑雕刻 20x20cm 木刻

Lovers and Friends

2015

Woodcut

20 x 20 cm (unframed)

《破繭》BEYOND THE CHRYSALIS

策展人Curator

Nneoma Angela Okorie

藝術(shù)家 Artists

Khalid Abdel Rahman

Maliza Kiasuwa

Gor Soudan

       《破繭》 探索了藝術(shù)家 Gor Soudan、Maliza Kiasuwa 和 Khalid Abdel Rahman 在創(chuàng)作中的變革旅程,，他們的藝術(shù)實(shí)踐突破線性路徑的限制,，以多樣的方式跨越傳統(tǒng)界限，展現(xiàn)出藝術(shù)創(chuàng)作的流動性和多重形態(tài),。

       體現(xiàn)了非洲大陸藝術(shù)在時間,、地域與材質(zhì)上的多重身份，邀請觀眾關(guān)注每位藝術(shù)家創(chuàng)作的流動性,。在各自的創(chuàng)作實(shí)踐中,，Soudan、Kiasuwa 和 Rahman 充分展現(xiàn)了他們的自主性,，回望自身的歷史與現(xiàn)實(shí),，并在不斷發(fā)展的作品中呈現(xiàn)新穎視角，拓展藝術(shù)的未來可能性,。

       Beyond the Chrysalis explores the transformative journeys of artists Gor Soudan, Maliza Kiasuwa, and Khalid Abdel Rahman, presenting practices that defy linear paths. They interrogate the world unrestrained by the boundaries of what is customary, employing varied transitory states of art making that is multiform.

       Beyond The Chrysalishighlights the capacity of art from the continent to hold multiple identities across time, place, and materiality, inviting the audience to honour the fluidity in each artist’s practice. Soudan, Kiasuwa, and Rahman undoubtedly revel in their autonomy, heeding to their past and current realities, and with their developing works and practices, present fresh perspectives and a myriad of potential futures.

《蛇與梯子十一》GOR SOUDAN

肯尼亞 繪畫 47x70cm 和紙上的木炭畫

Snakes and Ladders XI

2017

Charcoal on washi paper

47 x 70 cm (unframed)

《無題》KHALID ABDEL RAHMAN

蘇丹 繪畫 25x18 紙上亞克力

Untitled

2017

Acrylic on paper

25 x 18 cm (unframed)

《最后的晚餐 2017》MALIZA KIASUWA

剛果民主共和國 繪畫 102x192cm 布上混合媒材

The Last Supper

2017

Mixed-media on cloth

102 x 192 cm (unframed）

《一成不變的地理版圖》THE GEOGRAPHY OF FIXED THINGS

策展人Curator

E.N. Mirembe

藝術(shù)家 Artists

Yasmeen Abdullah

Kerima Ahmed

Reem Aljeally

Nu Barreto

Girma Berta

Ablade Glover

Adugna Jirenga Eyerusalem

Maliza Kiasuwa

Tegene Kunbi

Prof. George Kyeyune

Miska Mohammed

Eria Nsubuga Sane

Collin Sekajugo

Helena Uambembe

Donald Wasswa

Agnes Waruguru Njoroge

       在 《一成不變的地理版圖》 中,，E.N. Mirembe 呈現(xiàn)了一個多維度的東非藝術(shù)視角，著重呈現(xiàn)超越邊界與殖民分類體系的文化聯(lián)系,。

       展覽靈感源自烏干達(dá)馬凱雷雷大學(xué)（Makerere University）的藝術(shù)傳統(tǒng),，匯聚 16 位藝術(shù)家的作品，他們在不斷變化的文化景觀中深入探討身份認(rèn)同與歸屬感等議題,，創(chuàng)作媒介涵蓋油畫,、丙烯、數(shù)碼文檔印刷,、拼貼及刺繡等多種形式,，從不同角度展現(xiàn)出東非藝術(shù)的獨(dú)特魅力,。

       展覽以美國詩人Lucille Clifton的詩作 《For the lame》 為核心，聚焦斯瓦希里海岸（Swahili Coast）數(shù)百年來的文化交流,，這里匯聚并交融了非洲,、阿拉伯、波斯及印度文化,。通過多元藝術(shù)作品,，讓觀眾重新審視東非——不僅是一個地理區(qū)域，更是一個充滿活力的文化交匯點(diǎn),，其藝術(shù)脈絡(luò)猶如一幅不斷演變的織錦,，持續(xù)塑造自身的面貌。

       In The Geography of Fixed Things, E.N. Mirembe presents a complex view of East African art that emphasises connections,transcending borders and colonial categorisations. Inspired by the legacy of Makerere University in Uganda, this exhibition highlights the work of sixteen artists who explore identity and place amidst shifting cultural landscapes, working across a variety of media, from oil and acrylic on canvas to digital archival prints, collage and embroidery.

       Anchored in Lucille Clifton’s poem, “for the lame”, The Geography of Fixed Thingsunderscores centuries-old exchanges along the Swahili coast that fuse African, Arab, Persian, and Indian cultures. It brings diverse influences into focus, inviting viewers to see East Africa as a dynamic site of cultural exchange and to recognise its art as an interconnected tapestry that continuously reshapes itself.

《移動影子 IIXII 》 GIRMA BERTA

埃塞俄比亞 藝術(shù)攝影40x40cm藝術(shù)微噴

Moving Shadows II, XII

2017

Digital archival print40 x 40 cm (unframed)

《不加糖》COLLIN SEKAJUGO

烏干達(dá) 繪畫 140x90cm 混合介質(zhì)(聚丙烯,、油漆,、照片、畫布)

SugarNo

2019

Mixed media (Polypropylene, paint, photo, canvas)

140 x 90 cm (unframed)

《無題十九(今天是昨天,，第2部分)》MALIZA KIASUWA

剛果民主共和國 繪畫 42x30cm 混合媒體拼貼

Untitled XVIII

(Today is Yesterday, Part 2)

2020

Mixed-media collage

42 x 30 cm (unframed)

       購票方式

       Ticket Purchase

組織機(jī)構(gòu)

Organization

主辦方Host

ARAK Collection（阿拉克收藏）

承辦方Organizer

雅昌文化集團(tuán)

雅昌（深圳）藝術(shù)中心

展覽執(zhí)行ExhibitionExecution

重慶泓藝九洲國際文化發(fā)展有限公司

顧問Consultant

Kwa Eng Kiat

展覽設(shè)計Exhibition design

Jos Thorne,、吳濤

特別鳴謝 Special Thanks

埃克蘇（AKZU）美術(shù)館專業(yè)照明