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Owanto, The Lighthouse of Memory, Go Nogé Mènè - La Biennale Di Venezia 53
Owanto, The Lighthouse of Memory, Go Nogé Mènè - La Biennale Di Venezia 53
Owanto, The Lighthouse of Memory, Go Nogé Mènè - La Biennale Di Venezia 53
pavillondugabon.com
Contents / Index
8 Preface
Préface
12 Owanto, The Lighthouse of Memory
Owanto, Le Phare de la Mémoire
Fernando Francés
16 Where are we going?
Où allons-nous ?
84 Where are the sheep?
Où sont les moutons ?
114 Brought by the sea
Apporté par la mer
124 Let them dream their own dreams
Qu’ils rêvent leur propres rêves
168 Biography
Biographie
177 Acknowledgements
Remerciements
For the first time in its history, my country, Gabon, will be present
at the Venice Biennale, through the participation of one of its most
prominent artists: Yvette Berger, known as Owanto.
This presence takes on an exceptional character, not only for its novel
aspect, but also for what it can represent in terms of new images,
discoveries and sharing. While it is true that certain North African and
Sub-Saharan countries have attended this event in the past, since the
participation of The Congo in 1968, no other Central African nation
has been present with its own pavilion.
It is thus both an honour and a challenge for Gabon, for as always, the
presence of a southern country resounds like an echo that recalls the
others who are not present physically, but in spirit. It is, moreover, an
opportunity to break stereotypes and preconceptions that lead to
many misunderstandings.
The choice of the artist, Owanto, fits perfectly within this legacy
as we find tradition and modernity intersecting in her work. We can
safely say that Owanto is the vanguard of our culture in the visual
arts, and we would like her to inspire the abundant and undiscovered
talent of youths present in many of our cities. Due to her mixed
origins she bears a double perception that is an expression of a
universal world. We appreciate both the unwavering support of the
Commissioner, Madame Désirée Maretti, for her tireless efforts and
outstanding contribution in achieving the Pavilion of the Republic of
Gabon, and the extraordinary collaboration of Mr. Fernando Francés.
8
Pour la première fois de son histoire, mon pays le Gabon sera présent à
la Biennale de Venise, à travers la participation de l’un de ses artistes,
les plus en vue : Yvette Berger dite Owanto.
9
This year the murmur of a universal phrase, ‘Fare Mondi’, can be
heard along the banks of the Venetian Canals, as well as in the many
pavilions of the 53rd International Art Exhibition. The term has been
translated into all the languages of the world, including that of a
Central African State, which makes its debut in the contemporary art
scene of the Venice Biennale this year: The Republic of Gabon.
‘Fare Mondi’ has quickly become a sort of mantra, that changes defini-
tion in each language it adopts. When questioned about its meaning,
Daniel Birnbaum, Creative Director of the Venetian exhibition replied,
“It means to stage the creative process and not the finished prod-
ucts of the gallery and the museum. The Biennale is experimentation
and transgression. The artist creates worlds, not objects.”
This project seems to have been made to measure for the artist who
has been chosen to represent the Republic of Gabon in this archipela-
go of modern art. Yvette Berger, painter and sculptor in origin, known
in the artistic world as Owanto (which means ‘Woman’ in Omyènè, one
of Gabon’s 42 languages), brings her works and philosophy to Venice.
Owanto’s artistic language raises questions regarding creation, the
role of women as the centre of nature and time, the strength of fami-
ly bonds, the concept of unity, and the idea of an identity without bor-
ders. She belongs to a new generation of artists whose goal is to lead
a change in the rules that govern the world. By drawing inspiration
from the forces of nature in her motherland, Owanto expresses her
desire to create a more committed world. You might call it animism or
the ability to take hold of the magic of life.
Désirée Maretti
Commissioner of the Pavilion of The Republic of Gabon
10
« Fare Mondi », devise de la Biennale 2009, est présent sur toutes les
lèvres et on entend ce murmure sur les berges des canaux vénitiens
et bien sûr dans les pavillons de la 53ème Exposition Internationale
d’Art. On l’a traduit dans toutes les langues, sans oublier celle d’un
pays de l’Afrique Centrale qui fait ses débuts sur la scène de l’art
contemporain de la Biennale de Venise, cette année : la République
du Gabon.
« Fare Mondi » est très vite devenu une sorte de « mantra » qui
change de vibration selon la langue adoptée. Quand on interroge
Daniel Birnbaum, Directeur Artistique de la Biennale de Venise, sur la
signification de ce « mantra » ... il répond : « Le thème de l’exposition
exprime bien mon désir de mettre en scène le processus créatif plutôt
que les chefs-d’œuvre de la galerie ou le musée. La Biennale c’est
l’expérimentation, la transgression. L’artiste crée de nouveaux mondes
plutôt que de nouvelles œuvres. »
C’est un grand honneur pour nous d’avoir été choisis pour collaborer
avec la République du Gabon à l’occasion de sa première participation
à la Biennale de Venise pour sa 53ème édition. Nous remercions
l’Ambassade du Gabon en Italie pour sa contribution dans cette
belle réalisation.
Désirée Maretti
Commissaire du Pavillon de la République du Gabon
11
The Lighthouse of Memory from the artist’s memory; the depth of his or her heart and thoughts
projected to the world with the ‘scientific, progressive and ethical’
Go Nogé Mènè intention of changing it for the better.
Fernando Francés Curiously, when I think about the artists who coincide with these
values and principles, I can only recall the names of women: Ana
Globalisation and the collapse of information and communication bor- Mendieta, Frida Kahlo, Louise Bourgeois, Tracey Emin, Shirin Neshat,
ders have enabled art to recover many of its ancestral functions, and Marina Abramovic and Owanto – all synonymous with courage and
to reuse these ideas, within the parameters of Manichean semiotics, authenticity. Owanto, which means ‘Woman’ in Gabonese, is the name
to reflect the mood and interests of our times. From the magical and of Yvette Berger’s mother, and is also her identity as an artist. As
inexplicable to the rational and scientific, these ideas find expres- well as a worthy homage to her mother, the name ‘Owanto’ is a sym-
sion in contemporary art, the principal medium through which the bol for all those who stand committed in the world; who demand an
evolution of thinking and the construction of change can be grasped. end to gender violence; who demand a different role for women; who
Indeed, we might ask ourselves if changes in the world are reflected demand the respect and acknowledgement refused to women during
in art, or if changes in art are reflected in the world. Perhaps it is thousands of years of ‘civilisation’. Owanto’s work is imbued with this
impossible to understand because one is the consequence of the spirit, in which female energy is at the centre of nature. Like Martin
other. In either case, contemporary art is a precocious journalist who Luther King, she also has a utopian dream. She builds images that
detects and responds to the world’s problems sooner than most question eternal doubts: ‘Where are we going?’ the artist asks. The
ideological observers. What is clear, in this context, is the transient majesty of this question suggests good intentions; Owanto also of-
nature of art. Bertrand Russell believed that ‘Change is scientific, fers daring answers, the consequence of human values that will help
progress is ethical’. Certainly, progress is a result of continuous to build a better, more compassionate, world.
dialogue. Like beavers’ dams, revolutionary ideas are built to stop the
current that might eventually destroy them, and are rebuilt on their Owanto’s focus on the Africa of her childhood has nothing to do with
ruins in a more resistant form. The same principle of construction- the similar experiences of 19th Century travel writers and explor-
destruction-reconstruction is present in the science of healing, and in ers, and is at the opposite end of the aesthetic gaze of rational
all creative practices, such as art. architects and Cubist painters. Hers is a call to the world based on
life experiences, and her message is cogent and optimistic. Truth may
Clearly, contemporary art has a greater capacity to transform itself be found at the origins of civilisation, which is why Africa, the land of
and to exert influence than the art of the past, but perhaps it is also her mother, has much to contribute to the construction of a world
less local, and for this reason analyses, ponders and follows common order - a contribution that is not scientific, economic or technical...
processes irrespective of geographic, cultural and historical origin, but ethical. The ideas and principles which underlie Owanto’s message
often forgetting the idiosyncratic richness of each group, country or are as simple as nature. Her animist convictions, and belief that family
region of the world. A multicultural forum, allowing global discussion, unity is a starting point for world unity, are deeply rooted in her Ga-
would, without doubt, stimulate progress and enrich the processes of bonese background. The home, for Owanto, is the best laboratory in
thought and science. The goal would be to find common aspirations which to design and build love, a raw material that is vital for mutual
and values that embrace all thoughts, all stories, all truths... some- understanding in the world. This laboratory, in which mothers are
where between utopia and tolerance. We should look for aspects symbols of unity and courage, is a metaphor for hope that a better
of our present world that are relevant to all societies, regardless of world is possible if each of us exerts a positive influence on our im-
historical, economic, social, cultural or political circumstances, and mediate environment, our family, our tribe, our society.
consider the constructive role of art in this discussion. Too often,
spectators within the world of art long for the artist’s complicity Owanto has used pop, conceptual and minimal art in her creation of
and personal commitment to the problems of the world, even if some universal symbols, which remind spectators of where the solutions to
artists who become too involved have been called opportunistic. our world may lie, and how a society lacking moral strength may begin
Consciences can still be moved, and made to feel uncomfortable by to heal. Using her sculptures as starting points, Owanto has created a
art. This is what still moves me, and what I am interested in. This series of icons which she presents in highly technical formats such as
generally coincides with reflexive or autobiographical art, which arises
12
light-boxes and traffic signs - media previously explored by Maurizio
Cattelan, Rogelio López Cuenca, Gabriel Acuña and Michael Pinsky.
Owanto’s discourse focuses on images of a family group and a child
playing, which suggest a happier world to come. The pieces have a
double intention: to alert us to solutions to our global predicament,
and to suggest a change in governing attitudes and rules. The light-
boxes, like torches and lighthouses, illuminate a future characterised
by tolerance, unity and hope. For Owanto, subversion as a necessary
precursor to freedom is no longer a matter of provocation, but one
of memory.
13
Le Phare de la Mémoire s’attacher à savoir, si tant est qu’ils existent, quels sont les aspects
du monde actuel potentiellement valables pour toutes les sociétés,
Go Nogé Mènè quelles que soient les traditions, quels que soient les faits historiques,
économiques, sociaux, culturels ou politiques. Et à savoir aussi si l’art
Fernando Francés est en mesure d’apporter à ce débat une perspective différente
et cohérente et, surtout, utile. Le spectateur du monde artistique
Avec les effets de la mondialisation, la chute des frontières de perçoit trop souvent un manque de complicité et d’engagement
l’information et de la communication, l’art a pu récupérer une grande personnel de l’artiste à l’égard des problèmes du monde. Mais il est
part de ses fonctions les plus anciennes, lesquelles, sur la base d’un vrai aussi que lorsque l’artiste se sent - excessivement - concerné
principe sémiotique intransigeant, permettent de réutiliser les idées par les événements, il s’expose au reproche d’opportunisme. L’art
et de les adapter au rythme du temps présent. La capacité thérapeu- est encore capable de secouer les consciences et de déranger. C’est
tique qui renvoie à des contrées magiques et inexplicables, mais aussi précisément cela qui m’émeut et qui m’intéresse. En un sens, il s’agit
à des territoires rigoureusement scientifiques pourrait bien être une d’un type d’art réflexif et autobiographique qui, à partir de la mémoire
de ces fonctions. L’art représente aujourd’hui un témoignage fidèle et de la profondeur de la pensée et du cœur de l’artiste, se manifeste
à cette optique puisque c’est seulement à travers lui qu’il nous est au monde extérieur avec une visée progressiste, scientifique, éthique
permis de reconnaître l’évolution de la pensée et la structure des mu- et thérapeutique de transformation.
tations. Peut-être devrions-nous nous demander si la transformation
du monde et de l’humanité précède celle de l’art ou l’inverse. Ou bien Curieusement, quand je pense aux artistes qui répondent à ces para-
est-ce impossible parce que l’une est la conséquence de l’autre ? Ce mètres, la mémoire renvoie uniquement à des noms de femmes. Ana
qui est sûr, c’est qu’aujourd’hui l’art est à mi-chemin entre la figure de Mendieta, Frida Kahlo, Louise Bourgeois, Tracey Emin, Shirin Neshat,
l’envoyé spécial le plus sagace et celle de celui qui a su reconnaître les Marina Abramovic, Owanto… Tous synonymes de courage et d’au-
maux du monde avec un temps d’avance sur les autres, philosophes thenticité. Owanto, qui veut dire femme en Gabonais, était le prénom
ou politiques qu’ils soient. L’aspect transitif de l’art devient autre- de la mère d’Yvette Berger que cette dernière adopta comme nom
ment dit une certitude. D’après Bertrand Russell, « le changement d’artiste. Plus encore qu’un hommage ô combien justifié rendu à la
est scientifique alors que le progrès est éthique ». Il est certain que mère courage, Owanto est aussi un symbole, l’étendard de quiconque
les changements se constituent sur des processus d’alimentation décide de s’engager dans et pour le monde. Au nom duquel est
permanente : un concept comparable à celui des barrages des castors, revendiquée la fin de la violence de l’espèce, un rôle différent pour les
construits de telle sorte que le courant puisse les détruire pour femmes et qui exige un respect et une reconnaissance niés pendant
en ériger d’autres sur leurs restes, plus résistants. Ce principe de des millénaires, toutes civilisations confondues.
construction - destruction est reproduit par l’évolution de la science
curative, et par extension dans tout autre processus créatif, tel que L’œuvre d’Owanto incarne cet esprit et la vigueur de la femme
celui, implicite, qui est à l’œuvre dans le domaine de l’art. comme part centrale de la nature et dans le même temps, comme
poésie perdue, l’ingénuité et l’utopie d’un rêve. Parce que à l’instar de
Il est par conséquent évident que l’art contemporain s’est doté d’une Luther King, elle aussi a un rêve. Elle construit des images qui susci-
plus grande capacité de transformation et d’influence par rapport tent des doutes éternels et qui, pour cela probablement, semblent
à l’art d’autres temps. Sans compter qu’il est probablement moins superflues et semblent appartenir à une jeunesse qui doit encore
régionaliste et que, pour cette raison même, il tend à analyser, évaluer advenir. Où allons-nous ? se demande l’artiste. Un pluriel qui semble
et suivre des processus communs, quelles que soient les origines faire penser aux déclarations de bonnes intentions - ingénues -, même
géographiques, culturelles et historiques oubliant trop souvent la si Owanto fournit sans hésitations, il est vrai, des réponses claires
richesse de la variété, l’idiosyncrasie de chaque groupe, chaque pays et courageuses de dimensions universelles. Et c’est là justement
ou chaque région du monde et aussi que tout cela peut conduire à un que se manifeste le résultat d’une profonde réflexion intérieure, de
débat global. Un effort commun et multiculturel contribuerait sans l’évidence de certaines valeurs humaines potentiellement utiles pour
doute à donner un nouvel élan au progrès et à enrichir le processus construire un monde plus solidaire et meilleur.
de la pensée et de la science. Acceptant cet effet, les doutes futurs
ne doivent pas être recherchés dans les stratégies de communi- Le regard d’Owanto sur l’Afrique de son enfance ne coïncide aucu-
cation ni davantage à la racine du problème, mais dans une finalité nement avec la vision du romancier voyageur du XIXe siècle ni avec
partagée, dans un contexte de valeurs universelles permettant de celle de l’explorateur et, cela va sans dire, elle est loin de la vision
faire cohabiter toutes les pensées, toutes les histoires et toutes esthétique des architectes rationalistes ou des peintres cubistes.
les vérités. En un lieu situé entre l’utopie et la tolérance. Il faudrait Sa position rappelle l’attention au monde à partir d’une expérience
14
vécue. Elle nous envoie un message optimiste, claire et parfaitement
lisible. La vérité peut résider dans l’origine de la civilisation et c’est
pourquoi la terre de sa mère, l’Afrique, a beaucoup à enseigner quant
à la construction du monde. Cet apport n’est pas scientifique, ni
économique, ni technique, mais esthétique, et la fusion de ces deux
exigences tracera, à n’en pas douter, le chemin du progrès. Les idées,
les principes et les bases qui permettent de fonder ce message
d’Owanto sont aussi simples que la nature. Ce choix a des origines
animistes, à rechercher dans ses propres racines et dans les couches
les plus profondes de la spiritualité des ancêtres de sa mère gabo-
naise. Les idées de changement et de codification du monde d’au-
jourd’hui partent du principe qu’il n’existe pas de meilleur laboratoire
de l’unité familiale et de la force des rapports qu’elle renferme pour
imaginer et construire l’amour, matière première vitale et indispen-
sable à la compréhension du monde. Et dans ce laboratoire, c’est la
mère justement, la femme, qui fait figure de symbole de l’unité et du
courage. La métaphore du pouvoir et de la force, et de l’espoir aussi,
qu’un monde meilleur est possible si chacun de nous commence à
influencer et à modifier sa propre sphère la plus intime, la famille, la
tribu, sa propre société.
Le travail d’Owanto n’est pas sans lien avec les canons propres au
pop art, conceptuel et minimaliste pour élaborer toute une série de
symboles simples et universellement lisibles, et il ne s’agit pas de
découvrir mais plutôt de rappeler au spectateur où il doit aller dans sa
quête de solutions, dans sa recherche d’un point à partir duquel une
société moralement affaiblie peut entamer sa guérison.
15
Where are we going?
Interventions with symbols
Where are we going? - London, 2009
Colour print on canvas
200 × 196.5 × 5 cm
20
21
Where are we going? - NYC, 2009
Colour print on canvas
200 × 260 × 5 cm
22
23
Where are we going? - Tokyo, 2009
Colour print on canvas
200 × 305.5 × 5 cm
24
25
Where are we going? - Africa 2, 2009
Colour print on canvas
200 × 200 × 5 cm
26
27
Where are we going? - Africa 1, 2009
Colour print on canvas
305 × 200 × 5 cm
28
29
30
Where are we going? - Africa 3, 2009
Colour print on canvas
305 × 200 × 5 cm
31
Where are we going? - Africa 4, 2009
Colour print on canvas
200 × 200 × 5 cm
32
33
34
Where are we going? - Africa 5, 2009
Colour print on canvas
300 × 225 × 5 cm
35
Where are we going? - Africa 6, 2009
Colour print on canvas
200 × 266 × 5 cm
[page 38]
Where are we going? - Road Signs 1, 2009
Chromogenic Print
40 × 60 cm
[page 39]
Where are we going? - Road Signs 2, 2009
Chromogenic Print
40 × 60 cm
36
37
38
39
Illuminated Signs
42
Charco Child, 2008
Stainless steel, paper, LED and glass
96 × 96 × 15 cm
43
Growing Family, 2008
Stainless steel, paper, LED and Plexiglas
142 × 200 × 15 cm
[page 46]
Standing Father and Child, 2008
Stainless steel, paper, neon and Plexiglas
77 × 107 × 15 cm
[page 47]
Growing Family, 2009
Stainless steel, paper, neon and Plexiglas
60 × 60 × 10 cm
Private Collection
44
45
46
47
48
Standing Mother and Children, 2009
Aluminium, LED and Plexiglas
180 × 214 × 14 cm
49
Light-box installation
Pavilion of the Republic of Gabon
53rd International Art Exhibition 2009
50
51
52
53
54
55
56
57
58
59
60
Growing Family, 2009
Aluminium, neon and Plexiglas
60 × 60 × 14 cm
[pages 62-63]
Charco Child, 2009
Aluminium, neon and Plexiglas
120 × 120 × 14 cm
61
62
63
WHAT WHO WERE - ARE WE, 2009
Neon and Plexiglas
69 × 69 × 10 cm
[pages 66-67]
Enlightened Cow, 2008
Neon and Plexiglas
289 × 97 × 10 cm
64
65
66
67
Signposts
Growing Family, 2008
Acrylic on signpost
120 × 120 × 3 cm
[pages 72-77]
Signposts installation
Pavilion of the Republic of Gabon
53rd International Art Exhibition 2009
70
71
72
73
74
75
76
77
Growing Family, 2008
Acrylic on signpost
60 × 60 × 3 cm
78
79
Standing Mother and Children, 2008
Acrylic on signpost
62 × 62 × 3 cm
[pages 82-83]
Signposts installation
Pavilion of the Republic of Gabon
53rd International Art Exhibition 2009
80
81
82
83
Where are the sheep?
Where are the sheep? IV, 2009
Black and white print on aluminium
169 × 238 × 1 cm
86
87
88
Where are the sheep? VI, 2009
Colour print on aluminium
238 × 169 × 1 cm
89
90
91
[pages 90-91]
Where are the sheep? VII, 2009
Black and white print on aluminium
238 × 169 × 1 cm
92
93
Where are the sheep? V, 2009
Black and white print on aluminium
169 × 238 × 1 cm
[page 96-97]
Where are the sheep? VIII, 2009
Black and white print on aluminium
238 × 169 × 1 cm
94
95
96
97
Where are the sheep? I, 2009
Black and white print on aluminium
169 × 238 × 1 cm
98
99
Where are the sheep? III, 2009
Black and white print on aluminium
169 × 238 × 1 cm
[page 102-103]
Where are the sheep? IX, 2009
Black and white print on aluminium
238 × 169 × 1 cm
100
101
102
103
104
Where are the sheep? X, 2009
Black and white print on aluminium
169 × 238 × 1 cm
[page 106-107]
Where are the sheep? XI, 2009
BBlack and white print on aluminium
238 × 169 × 1 cm
[page 108-109]
Where are the sheep? XII, 2009
Black and white print on aluminium
238 × 169 × 1 cm
[page 110-111]
Where are the sheep? XIII, 2009
Black and white print on aluminium
238 × 169 × 1 cm
[page 112-113]
Where are the sheep? XIV, 2009
Black and white print on aluminium
238 × 169 × 1 cm
105
106
107
108
109
110
111
112
113
Brought by the sea
House, 2008
Brick, neon, iron base and Plexiglas
Sculpture: 15 × 22 × 25 cm
Base: 40.5 × 100 × 50 cm
116
117
Bunker, 2008
Brick, neon, iron base and Plexiglas
Sculpture: 26 × 15 × 21 cm
Base: 45 × 100 × 50 cm
118
119
Building, 2008
Brick, neon, iron base and Plexiglas
Sculpture: 20 × 48 × 24 cm
Base: 45.5 × 100 × 51 cm
120
121
Brought by the Sea installation
Brick, neon, iron bases, Plexiglas and audio
Private exhibition, 2008
122
123
Let them dream their own dreams
127
128
Let them dream their own dreams, 2001
Wood, straw and mixed media
618 × 393 × 380 cm
129
130
131
132
133
134
135
136
137
138
Freedom Dance, 2008
Video
77 seconds
Edition of 6
139
140
141
142
El Faro de la Memoria, 2009
Projection
70 photos
Edition of 10
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144
145
146
147
148
149
150
151
152
153
154
155
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Biography
Thoughts of the Artist In 2001, we decided to spend our winters in the province of Málaga,
Spain, and I began to work on the construction of the Tree House.
The structure is at once a personal recollection of rural homes in
Africa, and a western play space to be coloured by my children’s
WHERE ARE WE GOING?
imaginations and feelings.
I have always loved the sea, which sweeps the edges of our world,
washing over boundaries, and bearing stories like messages in bottles.
‘Brought by the Sea’ was born of this enchantment and fascina-
tion. In this series, I have recycled old buoys, and featured brick
structures that resemble dwellings: a tiny bunker... a three-storey
building... a house at the top of a rocky plateau... sea-borne symbols of
decaying humanity, with cavernous mouths and dark searching eyes.
Construction-destruction-reconstruction, the cycle is echoed by the
rhythm of the waves.
170
Memory Timeline Following a year at school on the Ivory Coast, I returned to Li-
breville, but soon had to leave secondary education, as money was
lacking. At the age of seventeen, I became the first air hostess for
I was born in Paris in 1953, to a French father and Gabonese mother. Transgabon Airlines, now known as Air Gabon. This was an exciting
At the age of six I moved to Gabon, where my home faced the At- entry into the world of work, as it fulfilled my desire to explore the
lantic Ocean, and the beach was my limitless garden. I had the best planet and meet its people.
childhood and the most loving parents that a child could wish for.
I ran, swam and climbed trees with my brothers, Paul and Gilbert, A year later, I left Gabon for England, and then moved to Madrid,
and my sister, Jeanne; I hunted, fished and played football with the where I studied philosophy at the Catholic Institute of Paris. At the
local boys. My boundaries were formed only by instinct, and a child’s same time, I embarked on a successful business career.
sense of good and evil. There was no crime or violence, and the peo-
ple who surrounded me were uncomplicated and kind. I awoke when While living in Madrid, I formed a friendship with the talented Span-
the sun rose, slept when it set, and felt that I was in communion ish artist, architect, musician and poet, Fernando Higueras, who was
with Nature. to radically change the course of my life. For three years, I lived
within the community of artists and intellectuals that surrounded
In 1960, President Léon M’ba visited my mother and father in him, including Antonio López, Ricardo Vásquez, César Manrique and
France, and spoke of the construction of a new world order. Fol- Lucio Muñoz. As my own artistic spirit was awakened, I became disil-
lowing the death of my French grandmother, Jeanne, my father lusioned with the world of business, and felt as though a new door
accepted the President’s invitation to live in Africa, and we moved had been opened.
to Libreville, the capital of Gabon. This was an exciting time, as Africa
was emerging from colonial control, and was full of hope and expecta- Now, in 2009, I am exhibiting my latest work in the Pavilion of the
tion. As the daughter of a humanist father and a Gabonese mother Republic of Gabon, at the 53rd Venice Biennale. The curator is Fern-
who rejoiced in the decolonisation of Africa, I was raised with the ando Francés, Director of the Contemporary Art Centre of Málaga
vision of a world with no limits. (CAC Málaga), and the theme of the Biennale is ‘Making Worlds’.
When I told Fernando that I saw myself as a visual storyteller, he
My Gabonese grandmother, Agnorogoulé, who smoked a pipe, drank helped me to articulate the evolution of my work, and to visualise its
rum and taught me to dance, soon became very special to me. She African heritage more clearly. He could perceive, without doubt, the
had a pure heart and soul and, though physically blind, saw further return to my mother, and the role of Africa in my vision of the world.
than most. From her I inherited a sense of the invisible and an aware- He flicked a switch on the Lighthouse of Memory, and led me to the
ness of life’s magical qualities. image of the African tree house. Suddenly the pieces fitted together.
The photographs and signposts and light-boxes and slide shows com-
During these early years, I attended L’Ecole Sainte Anne and L’Ecole bine to tell a story of love and creation and humanity and hope.
Mixte. My friends called me ‘Café au Lait’ because of the colour of
my skin, or ‘Mamiwata’ because of my long curly hair. I was intensely
aware that I was of their world and of another world... simultane-
ously one but different.
I always adored my father, and listened for the sound of his car each
evening, before running to meet him. We shared a love of reading,
and spent many hours choosing and discussing books. When he died, I
experienced an acute sense of emptiness, and shared with my mother
the violence of the loss. My sense of grief and separation were pro-
found. Years later, while in the care of nuns at my missionary school,
I began to question the purpose of existence: ‘Who are we?’ ‘What
are we?’ ‘Where are we going?’
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Pensées de l’Artiste QU’ILS RÊVENT LEUR PROPRES RÊVES
172
Chronologie de la Mémoire sur la raison de l’existence : « Qui sommes nous? » « Que sommes-
nous ? » « Où allons-nous ? »
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Acknowledgements Arte Communications Special Thanks from the Artist
Remerciements Paivi Tirkkonen
I would like to express my deepest grati-
Pavilion Administrator
tude to the late President El Hadj Omar
El Hadj Omar Bongo Ondimba
Telecom Italia Future Centre Bongo Ondimba for his support, Mrs. Laure
Late President of the Republic of Gabon
Massimo Foscato Olga Gondjout, Minister of Communication
Director of the Republic of Gabon, for believing in me,
Ministry of Communication, Post,
Telecommunications and New Mr. Imunga Ivanga, Counsellor of Cultural
Alfredo Pustetto
Information Technologies Affairs at the Ministry of Communication,
IT Department
for his exceptional contribution, Mr. Noël
Laure Olga Gondjout Baiot, Ambassador of Gabon in Rome, Mr.
Minister of Communication Riccardo Giraudi, Honorary Consul of Gabon
Catalogue
Imunga Ivanga in Monaco, and Mr. Fernando Francés for
Jean Marc Gimenez making the Pavilion of the Republic of Gabon
Cinéaste, Counsellor in charge of Cultural
Sara Martin Blanco a reality.
Affairs, Intellectual Property and the Arts
Design & Production
at the Ministry of Communication I would like to extend a very special thanks
Fernando Francés to my children, Charles and Katya, and to my
Patricia Ontchangalt
Owanto husband Ronnie without whose love and sup-
Press Relations
Karen McLaughlan port none of this would have been possible.
Bernadette de Fouquieres
Noël Baiot Finally, I would like to thank the publisher
Nathalie Pinto
Ambassador of Gabon in Italy Christian Maretti for his continuous support,
Catherine Germann
Riccardo Giraudi Veronica Alfieri Sara Martin Blanco for her enthusiasm and
Honorary Consul of Gabon in Monaco Copywriting/Translation perseverance, and Jean Marc Giménez for
his design and inspiration.
Kevin Horn
Exhibition Vlad Drac
Photography Je tiens à remercier feu le Président El Hadj
Désirée Maretti
Christian Maretti Editore Omar Bongo Ondimba pour son soutien, Ma-
Commissioner
Publisher dame Laure Olga Gondjout, Ministre chargé
Fernando Francés de la Communication de la République du Ga-
Curator --- THE PRINTERS --- bon, pour avoir cru en moi, Monsieur Imunga
Printing Ivanga, Conseiller chargé des Oeuvres
Owanto
Culturelles et des Arts au Ministère de la
Artist
Communication, pour sa contribution excep-
Amador General Acknowledgements
tionnelle, Monsieur Noël Baiot, Ambassadeur
Artist Collaboration CAC Málaga du Gabon à Rome, Monsieur Riccardo Giraudi,
(pp. 34-37) Gestión Cultural y Comunicación S.L. Consul Honoraire du Gabon à la Principauté
Sara Martin Blanco María José García de Monaco, et Monsieur Fernando Francés
Exhibition Coordinator Arte Communications pour cette belle réalisation.
Miria Maretti
Helena Juncosa Je voudrais remercier de façon très particu-
Loredana Bolis
Assistant to Curator lière mes enfants Charles et Katya, et mon
Smadar Eisenberg
mari Ronnie ; sans leur amour et soutien rien
Gestión Cultural y Comunicación S.L. Nathalie Schupak
de tout ceci n’aurait été possible.
Juan Pedro Carnes Anne Lettrée
Assembly Coordinator Laura Merchan Finalement, je remercie l’éditeur Christian
Hannah Holmes Maretti pour son soutien constant, Sara
Mihail Plesanu Martin Blanco pour son enthousiasme et sa
Damion Berger
Lucas Manuel Luis persévérance, et Jean Marc Giménez pour sa
Debla Berger
Francisco Jiménez Ruiz conception et son inspiration.
Giordana Manara
Assembly
Talia Horn
Fulgencio Merino García
James Hand
Production
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