Until June 16th in Amsterdam.

Walk into Galerie 23, for Contemporary African Art. (Dutch) and meet the artist, Oumar Mbengue Atokosso (English)  and coffee with curator Fons Geerlings.

As I walk into Oumar Mbengue’s studio it is as if I am literally entering into his theme, or more accurately, as if I become a component in one of his installations. Dozens of objects are lying or standing at the back of the small room. In disorderly order. All these found objects have been sewn into the fabric of horse blankets. Some tightly enfolded, some where the fabric has been allowed room to manoeuvre. As a result they seem to take on the character of rosettes or tufts. Almost decorative. The objects vary in shape and size. The masquerade has robbed most of their identity. The origins of others are even now betrayed by their shape. A cupboard, part of a doll, a pair of shoes, etc.

Listen to the blind date (French)

Feel the power of the Gris-Gris (English)

Oumar Mbengue’s work is about the post-modern immigrant. What has he left behind? What has he lost? What has replaced this? What new things and customs has he been able to pick up? To what extent has he used or abused his new surroundings? What leeway has he been given? How often has he been put in his place? How much respect has he been shown and how much has his self-respect suffered?
‘Lost and Found’ in the broadest sense of the word.

Papa Sakho with Oumar Mbengue (Wolof)

The horse blanket symbolises the first encounter with the inhabitants of the country in which refugees have sought refuge. An apparently warm gesture, but frequently no guarantee of a warm future. Horse blankets are made from scraps for a good reason. Hot and cold are given their own dynamics in the gesture. The red and white (police) tapes can simultaneously protect people from danger while being a symbol for danger.

Click here for the complete text by Rob Perrée (Dutch)

More in Dutch here.