1-54 New York, 8th to 10th May 2020

Posted by Michaëla Hadji-Minaglou on

Afikaris is pleased to participate in the 1-54 New York Art Fair, from 8th to 10th of May 2020 at Caldwell Factory where we will present a group show featuring new works by Raphaël Adjetey Adjei Mayne, Salifou Lindou, Ousmane Niang and Nyaba Ouedraogo.

1-54 New York

1-54 is the first leading international art fair dedicated to contemporary art from Africa and its diaspora. Since 2015, the fair is annually held in New York. New York represents one of the most dynamic places in the art market. 

At 1-54 New York, Afikaris creates a dialogue between four artists from four different countries 

Narrating the story of their country, alternately focusing on specific aspects of their culture, traditions, and society, the artists mix contemporary history with their own roots, writing all together a new story.

Raphaël Mayne, Untitled, 2018, 90x60 cm, African wax print, acrylic, marker and threads on canvas

Raphaël Mayne's work in its essence pays a tribute to contemporary life, mixing traditional influences of his homeland Ghana with the modern aesthetic and problems. From his patchworks emerge topical issues such as education or elections throughout the use of simple messages and figures. 

Salifou Lindou, Joueurs 1, 2019, 100x75 cm, pastel on paper

Focusing on Cameroonian daily life scenes, the complex network of lines Salifou Lindou creates on paper gives birth to chaotic worlds where man releases his impulses, conjures his anguish and unloads his aggressiveness. The use of pastel allows him to ignore the paper's fragility while playing with the lines' strength and intensity. Thus, his hand spontaneously translates on the surface of the paper what his intuition feels. From the purity of the chromatic spectra - only using black and sanguine pastel - stand out social and intimate states that the works tend to represent. 


Ousmane Niang, Sans titre, 2020, 170x150 cm, acrylic on canvas

At the edge of social caricature, Ousmane Niang, uses hybrid figures to denounce the pains of his society. The human-animal figure reveals both the endurance and the fragility of the social being in the face of powers of all kinds. The pointillist inspiration of his work is not trivial. Every single point conceptualizes a solution to a specific social issue. More than a technic, the point is the nerve center of a social conflict, representing the society in which he lives. 

"Each point represents a solution to a social problem. My goal is to make art a factor of development and to introduce young people to research and creation so that they do not become just consumers”.

Nyaba Oueadrago, Théâtre populaire 05, 2020, 112x112 cm, digital print on William Turner paper

As photographer Nyaba Ouedraogo’s work always aims at shedding the light on specific cultures and practices, his new series – that will also be showcased during Dakar Biennale - focuses on a precise moment of Burkina Faso’s history. The viewer is not able to say what he/she is looking at: is it a painting? a piece of a wall? the doubt is cast. These hybrid figures, standing out from a rough and porous background testify from the remains of Théâtre Populaire Désiré BONOGO in Ouagadougou, city where the artist partly lives. Inaugurated in 1986, during the Revolution and definitely closed in the 90s, the theater is, since then, abandoned. It has been built to embody the country’s desire to promote and make accessible to all, Burkinabe culture. While mobilizations and petitions try to rehabilitate the building, its ornaments, throughout Ouedraogo’s lens, recall the ghosts of the past.


1-54 New York

Caldwell Factory

8-10 May 2020

See you in New York!