A vivid display of contemporary African art

The “Non-Art Crowd” exhibition at Eclectica Contemporary in Cape Town builds on the gallery’s thought-provoking 2023 exhibit at 1-54 London, “Icons in the White House”. The London exhibit featured a body of work depicting black leaders from Africa and the diaspora in the US presidential house, exploring themes of sovereignty and representation. Now, “The Non-Art Crowd” continues this exploration by challenging established narratives in African art and pushing conventional boundaries.

The show presents contemporary artistic practices that question whether the often elitist art world genuinely accepts African artists and how these artists can forge a new narrative amid shifting global politics. Gallery director Shamiela Tyer said the gallery aimed to engage with the broader narrative of inclusion and exclusion within the art industry, inviting viewers to reflect on who was considered part of the inner circle and who was relegated to the margins.

Participating artists were selected from an open call and bring a rich tapestry of perspectives. They include Ayogu Kingsley, Adegboyega Adesina, Callan Grecia, Didier Viodé, Shaquille-Aaron Keith, and Thebe Phetogo from Botswana, Nigeria, Ivory Coast, SA, and London. Their works inspire reflection on diverse themes in African art, such as the black body, the politics of blackness, heritage, internet aesthetics and artists’ emotional lives.

Eclectica Contemporary has consistently welcomed artists from across the African diaspora, acknowledging the unique perspectives each region brings. Diversity and how the cultural heritage of each artist enriches their work and the artistic landscape are important.

Kingsley, the creative mind behind “Icons in the White House”, has two artworks from the series featured in the exhibition: Teacher Don’t Teach Me Nonsense and Lucky Dube. Another piece of his, Saturday Morning, critiques the passive objectification of the black body and questions societal norms and standards.

Commenting on the significance of featuring works from “Icons in the White House” in this exhibition at this time, as the elections are approaching, Tyer said, “This work gains new relevance as global politics shift and the White House faces scrutiny, urging the art world to adapt for continued impact.”

Adesina and Viodé also explore narratives surrounding the black body in their work. Adesina captures the everyday experience of the black body through intimate portraiture, offering a contrast to the highly conceptualised tropes often found in the contemporary art scene.

By deliberately obscuring the identity of his subjects, Viodé raises questions about the visibility of black artists and black lives in the three artworks featured.

The exhibition further delves into the intersection of culture and identity through Phetogo’s visually striking work, which draws inspiration from the intricate landscape of Botswana’s folk tales, focusing on the belief that the first man emerged from a cave in the mountains. The cave drawings that serve as evidence of these ancient narratives add layers of depth and complexity to his work.

Keith’s mixed media piece, The Artist Burnout, highlights the fragility of artists’ emotions and lives, featuring recognisable figures who died tragically. “The work prompts reflection on the pursuit of recognition and acknowledgment, suggesting that true fulfilment may lie in self-discovery rather than external validation,” the artist explained.

Grecia’s work takes a different approach by blending Y2K internet aesthetics, early-2000s TV, pop culture, and consumer capitalist culture, embodying an “ultra-nostalgia” for the recent past. He blends millennials’ dreams with their discontents.

This exhibition also underscores the gallery’s deeper intent to not conform to established norms. “We refuse to be confined by the dictates of a select few who dominate the industry. While our approach may seem assertive and outspoken, we are imbuing art with a fresh perspective. The pretext of colonialism was to assert dominance by convincing others of their inferiority. These young artists reject such subjugation with fervour,” said Tyer.

The exhibition statement, penned by Cape Town-based academic Ashraf Jamal, invites quiet reflection into the nuanced evolution of contemporary African art and its deep historical roots. It emphasises the challenges and opportunities facing the continent’s artistic expressions, invoking Steve Bantu Biko’s vision of Africa offering the world a “human face”.

Overall the “Non-Art Crowd” exhibition is a vivid display of contemporary African art, encouraging viewers to explore the multifaceted themes of African identity and the evolving artistic practices across the African diaspora. While African art is gaining prominence, this exhibition highlights the ongoing journey to fully understand its impact and place within the broader art world.

• The “Non-Art Crowd” exhibition at Eclectica Contemporary gallery in Cape Town runs until May 31.