How African art is coming of age in Dubai – News

Yaw Owusu’s work will be on view at Efie Gallery until December 20, presenting provocative conversations around the transient nature of money

African art is maturing in Dubai, with galleries such as Efie Gallery showcasing contemporary artists from the continent.

Work by Ghanaian artist Yaw Owusu will be on view at the gallery—his first solo show in the Middle East is titled In the Cool of the Day—until 20 December.

Born in 1992, Owusu creates installations that repurpose found objects, transforming otherwise worthless materials into encounters that challenge the political landscape. Using finds in steel, gold, silver, copper, foil, flakes, and coins, these processes permeate all strata of trade, exchange, and labor history, questioning the foundations of contemporary economies.

London-based art consultant and curator Kami Gahiga organised the exhibition, featuring 10 new works developed during the artist’s July residency at Efie Gallery in Dubai.

Gahiga is a member of The Baer Faxt Art Advisory, which provides bespoke art consultancy services to private collectors, companies and institutions, and is the recipient of a Master’s degree in First Distinction Art Business from Sotheby’s School of Art, London, and is one of the brains Behind the introduction of Owusu to Dubai and the Middle East

Owusu’s creations are influenced by Emirati culture and artists such as sculptor Dr Mohamed Yousif, as well as cultural institutions such as Sharjah Art Museum, Al Shindagha Museum, Etihad Museum, Louvre Abu Dhabi and Sheikh Zayed Mosque. Research, with Dubai Culture and Arts Authority, African Institute and Middle East Art.

“My residency in Dubai laid the groundwork for understanding the fascinating culture and history of the UAE. In addition to text and media descriptions of the place, contacts and visits to cultural institutions, I also received the wisdom of Dr. Youssef inspired because I spent a lot of time with him.

“This period has shown me a journey to reveal people’s identities and their cultures. These revelations have inspired my process and thinking, as well as new forms realized during the residency. The works produced during this period have grown from the extravagance I initially assumed and materiality into a more detailed account of historical references to architectural forms, trade and exchanges, and religious and cultural interconnections along the Arabian Gulf coast.

“These works are more about the people, their history and culture, and how they respond to their land, rather than just a bland representation of beauty and opulence,” he said.

Coins are an integral part of Owusu’s artistic expression.

“The use of coins, especially the smallest denominations, in my work references basic forms of value. By juxtaposing these sects from Ghana, the United States and the UAE, I place my relationships and understandings of value critically In doubt. Most of these coins are of minimal value or barely used, becoming a new catalyst for an in-depth study of the economic and political dynamics of these places. Since these are the objects on which trade and exchange are established, I use them together to reflect contemporary realities surrounding labor The complexities of global economic dialogue with the distribution of wealth, and the bridge between symbolism and meaning. Money or currency itself is metal, paper, and more recently plastic, and my work questions when they become valuable. I also Interested in the role that place plays on an object. By actually transferring Ghanaian pesevas and American pennies to the UAE, what does it become? Likewise, what happens when an Emiratis leave to go to another place? These are about places The question of the power of the world and its relationship to materiality and value fascinates me and influences my work,” he said.

His use of different currencies sparked conversations around the changing and ephemeral nature of value in different economic and cultural contexts.

In 2007, for example, Owusu’s hometown of Ghana introduced a new denomination to curb the then-growing inflation, as part of a celebration of the country’s 50th anniversary of its liberation from colonial rule. The least known denomination, 1 pesewa, lost value and fungibility shortly after its launch.

“The currency produced by the Royal Canadian Mint became something I could question our economic and political independence. The basic fact that an independent country does not mint or produce its own currency motivates my work. On the other hand, cents also have Similar usage and value phenomenon. Interestingly, it features a portrait of US President Abraham Lincoln, which refers to the abolition of slavery and the slave trade in the United States in the late 19th century. By using these coins that were previously 100% copper, now 97.5% zinc and 2.5 % copper-plated coins, all face up to portraits, I put the realities of modern liberation on the issue of questioning labor and pay, equality and respect. In the socioeconomic and political context of America,” he added.

Some of his works, such as Power of Imagination, Prime Time, Belief, Out of Nothing and Infinity, came to fruition before he lived in Dubai.

“My imagination is based on the beauty and ambition of the UAE in building such a beautiful country. My work celebrates the undeniable wisdom and intentions of a place of limitless possibilities, wealth and opulence. Building a country so grand and extravagant , I can only appreciate the beauty of hope and ambition. These works, both in composition, colour palette and form, reflect the beauty that the UAE embodies. The encounters with the Emiratis and my appreciation for cultural sites and A visit to the museum, revealing the people, culture and history beyond the newly built city. These have inspired my latest creations such as Gone with the Wind, Singing the Dunes, In the Cool Days and Rising Sun ,”He says.

Owusu’s creation Heart of a Place exemplifies his journey to conceive a solo exhibition in the region.

“It embraces all elements, from my initial imagination to my encounters in the UAE and everything in between. It celebrates the grand scale and vibrancy, cultural wealth, people and places of the UAE. The work is 16 feet wide, Standing 8 feet tall, it carries the presence and respect of people and their abilities, while opening the door to realities in places that go beyond the boundaries of the imagination. In this article, I explore architectural forms from history to new technological advancements, as well as textures “The land itself is reflected in the tones and warmth of the palette, while presenting cultural elements through motivation and form. In the end, it is nothing but a true reflection of the past, present and future of the soul of the place and its people,” he added .

Located between New York and Accra, the capital of Ghana, Owusu was a recipient of the Kuenyehia Art Award for Contemporary Art in 2018 and is currently a resident artist for the 2022-23 program at the Institute of Contemporary Art, San Diego.

joydeep@khaleejtimes.com