| Dates: | born 1962
| | Biography: | 1962 Born in Benin.
Lives and works in Porto-Novo, Benin
SELECTED SOLO EXHIBITIONS
1999 Dany Keller Galerie, Munich
Museum fur Konkrete Kunst, Ingolstadt,
The Projet, New York
1998 The Art Gallery of New South
Wales, Sydney
1991 Kanister Masken II, Centre Culturel
Francais, Bamako, Mali; Centre Culturel
Francais, Dakar, Senegal; Museum der
Franziskaner, Werl, Germany; K. G. des
Kunstmuseums Bonn; Centre Culturel
Francais Abidjan, Ivory Coast
1990 Kanister Masken II, National
Museum Accra, Ghana; Centre Culturel
Francais, Lagos, Nigeria Afrika Forum,
Heidelberg
Sahara Impressionen, Centre Culturel
Francais, Cotonou, Benin
1989 Kanister Masken II, Centre Culturel
Francais, Cotonou, Benin; Centre
Culturel Franco-Nigerien,
Niamey, Nigeria
Musique Tribale pour Sept Insectes,
Porto-Novo, Benin
SELECTED GROUP EXHIBITIONS
1996 An Inside Story: African Art of Our
Time, Tokoshima Modern Art Museum,
Tokoshima (1996); Setagaya Art
Museum, Tokyo (1995)
Himeji City Museum of Arts, Himeji
Koriyama City Museum of Art, Koriyama
Marujame Inokuma: Genichiro Museum
of Contemporary Art, Japan,
The Museum of Fine Arts, Gufu
Geographies Tapissees, Musee National
des Arts Africains et Oceanniens, Paris
1995 Africus: Johannesburg Biennale,
Johannesburg | | | Source: | "Trace, 1st Liverpool Biennial of Contemporary Art", Festival catalogue | | | Date of source: | 1999 |
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| | Description: | Romauld Hazoume explores signs,
symbols and mythologies of West
African culture. In Benin, where he lives
and works, these things are not to be
taken lightly. His works carry traditional
and coded information, but they are also
accessible to a wider public as aesthetic
vehicles of a powerful history.
Hazoume's art is steeped in cultural and
personal experience. His themes are
derived from the 'oracle' of life, which is
to be found in ancient rock engravings
between Nigeria, Benin and Ghana. The
artist considers his designs for a long
time before executing them very rapidly.
Hazoume is also known for his lively
characterisations based on the subtle
modification or re-orientation of found
objects. His choice of discarded plastics
and implements always reflects the
place and community in which the works
were made.
In Liverpool the artist has developed a
sculptural installation piece that relates
both to the site at Bluecoat Arts Centre
where his work is being exhibited, and to
his experience of Liverpool, including
objects found during his stay. Salvaged
from rubbish dumps and from the
streets, these objects include old plastic
bottles, buckets, brushes and even old
cameras. Through a process of minimal
re-configura¬tion he transforms this
urban detritus into masks, which - like
their more traditional West African
counterparts - represent characters from
daily life.
| | Description Source: | "Trace, 1st Liverpool Biennial of Contemporary Art", Festival catalogue | | Gender: | male | | Type: | person |
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