ArteFotografiaRacconti FotograficiLa storia del Ghana alla Biennale attraverso sei artisti

Nicoletta Provenzano13 Aprile 2019
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Il Padiglione del Ghana, per la prima volta alla Biennale di Venezia, giunta alla sua cinquantottesima edizione, narra la propria storia nazionale, i lutti, la diaspora, le ferite di un territorio che unisce più etnie. Attraverso sei artisti di diverse generazioni e dalla diversa e variegata espressione creativa, l’ampio e complesso percorso storico del paese si arricchisce di poeticità e armonia formale pur nei dirompenti temi trattati.

 

John Akomfrah, The Elephant in the Room – Four Nocturnes (2019), Three-channel HD color video installation, 7.1 sound Photo: David Levene – Venice Biennale 2019: Ghana Pavilion

 

John Akomfrah, The Elephant in the Room – Four Nocturnes (2019), Three-channel HD color video installation, 7.1 sound Photo: David Levene – Venice Biennale 2019: Ghana Pavilion

 

Felicia Abban, Untitled (Portraits and Self-Portraits) (c.1960–70s), Digital images generated from original prints. 50 × 40 cm Courtesy the artist. Photo: David Leve – Venice Biennale 2019: Ghana Pavilion

 

Lynette Yiadom-Boakye, Just Amongst Ourselves (2019), series of paintings oil on linen and canvas. Dimensions variable. Courtesy the artist. Photo:David Levene – Venice Biennale 2019: Ghana Pavilion

 

Selasi Awusi Sosu, Glass Factory II (2019), Video installation, dimensions variable.
Courtesy the artist – Venice Biennale 2019: Ghana Pavilion

 

El Anatsui, Earth Shedding Its Skin (2019), Bottle caps and copper wires. Dimensions variable. Courtesy of the artist. Photo: David Levene – Venice Biennale 2019: Ghana Pavilion

 

Ibrahim Mahama, A Straight Line Through the Carcass of History 1649 (2016–19), Smoked fish mesh, wood, cloth, and archival materials. Dimensions variable. Courtesy the artist and White Cube. Photo: David Levene – Venice Biennale 2019: Ghana Pavilion

 

Ibrahim Mahama, A Straight Line Through the Carcass of History 1649 (2016–19), Smoked fish mesh, wood, cloth, and archival materials. Dimensions variable. Courtesy the artist and White Cube. Photo: David Levene – Venice Biennale 2019: Ghana Pavilion

 

El Anatsui, Earth Shedding Its Skin (2019), bottle caps and copper wires.
Dimensions variable. Courtesy of the artist. Photo: David Levene

 

Selasi Awusi Sosu, Glass Factory II (2019), Three-channel colour and black-and-white video installation with glass bottles, stereo sound. 7’08”, 5’33”, 10’10” Courtesy the artist. Photo: David Levene

 

Lynette Yiadom-Boakye, A Whistle in a Wish. 2018. Oil on canvas, 75.5 × 70 cm. Courtesy the artist; Corvi-Mora, London; and Jack Shainman Gallery, New York.

 

Lynette Yiadom-Boakye, Blue Ink For An Infidel, 2019. Oil on linen
200 x 130 cm, 78.7 x 51.1 inches

 

Lynette Yiadom-Boakye, Alchemical Clauses. 2019. Oil on canvas
66 x 60 cm, 25.9 x 23.6 inches

 

Felicia Abban, Self Portrait IX.

 

 

Felicia Abban, Self Portrait XI.

 

Felicia Abban, Self Portrait VI.

 

 

 

Nicoletta Provenzano

Nata a Roma, storica dell’arte e curatrice. Ho scritto e curato cataloghi e mostre in collaborazione con professionisti del settore nell’ambito dell’arte contemporanea, del connubio arte-impresa e arte-scienza. Mi affascinano le ricerche multidisciplinari e il dialogo creativo con gli artisti.