From April 1st to May 20th, th exhibition Dakar, Dakar curated by MAGNIN-A Gallery will be presenting the work of two Senegalese artists rarely promoted on the Parisian scene.
While the Musée du Quai Branly’s exhibition Senghor et les arts explores the major influence of different artforms in Senegalese politics from 1960 to 1980, Dakar, Dakar focuses on the long metal sculptures of Ndary Lo (1961-2017) and the vibrant paintings of Assane N’Doye (1952-2019).
Both Ndary Lo and Assane N’Doye aim to depict the human body and its movement while approaching it from two radicly different perspectives. Ndary Lo’s rectilinear and monochrome sculptures illustrate very direct and linear movement using clean shapes and materials, contrasting perfectly with the colorful and sensual waviness used in Assane N’Doye’s curvaceous bodies. Both born of the same nation and almost from the same generation, their art meet here for the first time to challenge tradition and modernity in Senegal.
Hosties Noirs, one of Ndary Lo’s major artpiece presented at the Musée du Quai Branly pays homage to Senghor’s work of the same name and it is therefore interesting to question his and Assane N’Doye’s distinct aspirations, whether it is conscious or unconscious. On the one hand, N’Doye’s method, without being affiliated with the School of Dakar takes part in the wake of this movement and this way before leaving the country at a relatively young age. On the other hand, Ndary Lo spends a significant part of his life in Dakar yet pursues emancipation from it throughout his entire career.
Dakar, Dakar gathers Ndary Lo’s most historical pieces. From his mythical linear iron walkers to his men with arms reaching to the sky, his busts or full women’s bodies answering to the soft curves, feminine figures and flamboyant colors of Assane N’Doye’s paintings.
Magnin-A
118 Bd Richard-Lenoir, 75011 Paris, France