学化学的凤凰男很多# Chemistry - 化学
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我转载的，觉得有意思。大家点评一下。
http://aperture.org/blog/samuel-fosso-emperor-africa/?utm_sourc
Samuel Fosso: Emperor of Africa
A master of theatrical self-portraiture turns toward China.
By Olu Oguibe
Samuel Fosso, Self-Portrait as Mao Zedong, from the series Emperor of Africa
, 2013 © Samuel Fosso. Courtesy Jean Marc Patras, Paris
As a teenage photographer and commercial portrait–studio owner in Bangui,
Central African Republic, in the 1970s, Samuel Fosso took turns between
client sittings in his studio to reel off self-portrait after self-portrait,
modeling the fashion of the day: colorful platform shoes, bell-bottomed
pants, huge dark sunglasses, tight-fitted shirts, and blowout Jimmy Cliff
rude-boy fisherman hats typical of postcolonial African urban youth of the
period. Using his own body and the nonchalant, adventurous power that only a
teenage studio proprietor could wield, Fosso produced a formidable look
book of African urban youth style in the wealthy, immediate postindependence
decade.
Samuel Fosso, Self-Portrait as Mao Zedong, from the series Emperor of Africa
, 2013 © Samuel Fosso. Courtesy Jean Marc Patras, Paris
After those images were discovered in the 1990s, their cultural significance
brought Fosso into a vibrant circle of young African intellectuals: writers
, international curators, and artists like Simon Njami and Bili Bidjocka,
Okwui Enwezor, Iké Udé, Yinka Shonibare and this author, and Congolese
urban chronicler Chéri Samba, among others. He inadvertently became part of
a larger conversation, an emerging postcolonial African cultural movement,
no less, that was searching for new languages and meanings, and engaged in
deeper historical preoccupations relevant not just to the youthful, curious
ego, but even more so to that great task that Frantz Fanon posed their
generation: to discover its mission, fulfill it, or betray it.
Samuel Fosso, Self-Portrait as Mao Zedong, from the series Emperor of Africa
, 2013 © Samuel Fosso. Courtesy Jean Marc Patras, Paris
The matrix of social, historical, and conceptual investigations that this
movement engaged in began to steer Fosso’s application of the self in front
of the camera beyond his earlier preoccupation with the adolescent ego.
Before him, Udé was also using self-portraiture, or what he referred to as
“the regarded self,” in even more diverse ways—to not only construct
critiques of race and representation but rediscover and reinvent the
complexities and subtleties of traditional West African ideas of beauty,
gender fluidity and role reversal, and theater. Udé’s engagement with his
native Igbo traditions of body art and performance, especially Igbo
masquerade traditions, certainly held profound meaning for Fosso, who shares
the same Igbo heritage, and it was by performing the persona of his late
grandfather, an Igbo deity priest, in his series Le rêve de mon grand-père
(The dream of my grandfather) in 2003 that Fosso completed his conceptual
transition.
Samuel Fosso, Self-Portrait as Mao Zedong, from the series Emperor of Africa
, 2013 © Samuel Fosso. Courtesy Jean Marc Patras, Paris
Subsequently, in the series African Spirits (2008), in which he reenacts
iconic images of African independence and liberation struggle leaders like
Kwame Nkrumah, Samora Machel, Haile Selassie, and Nelson Mandela, Fosso in
fact created a parallel to the Igbo tradition in which adepts or community
members don masquerade costumes to channel ancestral spirits during festive
seasons. By donning the costume and transforming oneself into a masking
figure, one took on the persona of a visiting ancestor and served as a
symbolic or ritual bridge between the past and the present, and even between
the sacred and the quotidian. In African Spirits, Fosso transformed himself
into a masquerade of sorts, through which the spirits of the guardians of
African liberation were made manifest.
Samuel Fosso, Self-Portrait as Mao Zedong, from the series Emperor of Africa
, 2013 © Samuel Fosso. Courtesy Jean Marc Patras, Paris
In Emperor of Africa (2013), his most recent series, Fosso channels a
different spirit by restaging iconic images of Chinese leader Chairman Mao
not only as a liberator who, like the subjects of Fosso’s African Spirits
series, is highly admired in Africa, but also as the founder and symbol of a
modern imperial behemoth that is currently engaged in an expansive long
march across Africa. Though China’s growing economic and cultural presence
is eagerly embraced by many African leaders, it has raised concerns,
especially among the continent’s intellectuals. In a complex, richly
layered performance worthy of an African masquerade, Fosso’s Mao is both
ancestral figure and absent dictator, almost like the patriarchal leader in
Gabriel García Márquez’s 1975 novel Autumn of the Patriarch, who’s never
seen yet looms large over his dominion. Fosso, as performer, is both
subject and inquisitor, the man behind the mask who interrogates empire and
postcolony alike, the ultimate Fanonian “man who questions.”
Olu Oguibe is a professor of art at the University of Connecticut.
This article was originally published in Aperture issue 221, Winter 2015,
available for purchase or in the Aperture Digital Archive.
http://aperture.org/blog/samuel-fosso-emperor-africa/?utm_sourc
Samuel Fosso: Emperor of Africa
A master of theatrical self-portraiture turns toward China.
By Olu Oguibe
Samuel Fosso, Self-Portrait as Mao Zedong, from the series Emperor of Africa
, 2013 © Samuel Fosso. Courtesy Jean Marc Patras, Paris
As a teenage photographer and commercial portrait–studio owner in Bangui,
Central African Republic, in the 1970s, Samuel Fosso took turns between
client sittings in his studio to reel off self-portrait after self-portrait,
modeling the fashion of the day: colorful platform shoes, bell-bottomed
pants, huge dark sunglasses, tight-fitted shirts, and blowout Jimmy Cliff
rude-boy fisherman hats typical of postcolonial African urban youth of the
period. Using his own body and the nonchalant, adventurous power that only a
teenage studio proprietor could wield, Fosso produced a formidable look
book of African urban youth style in the wealthy, immediate postindependence
decade.
Samuel Fosso, Self-Portrait as Mao Zedong, from the series Emperor of Africa
, 2013 © Samuel Fosso. Courtesy Jean Marc Patras, Paris
After those images were discovered in the 1990s, their cultural significance
brought Fosso into a vibrant circle of young African intellectuals: writers
, international curators, and artists like Simon Njami and Bili Bidjocka,
Okwui Enwezor, Iké Udé, Yinka Shonibare and this author, and Congolese
urban chronicler Chéri Samba, among others. He inadvertently became part of
a larger conversation, an emerging postcolonial African cultural movement,
no less, that was searching for new languages and meanings, and engaged in
deeper historical preoccupations relevant not just to the youthful, curious
ego, but even more so to that great task that Frantz Fanon posed their
generation: to discover its mission, fulfill it, or betray it.
Samuel Fosso, Self-Portrait as Mao Zedong, from the series Emperor of Africa
, 2013 © Samuel Fosso. Courtesy Jean Marc Patras, Paris
The matrix of social, historical, and conceptual investigations that this
movement engaged in began to steer Fosso’s application of the self in front
of the camera beyond his earlier preoccupation with the adolescent ego.
Before him, Udé was also using self-portraiture, or what he referred to as
“the regarded self,” in even more diverse ways—to not only construct
critiques of race and representation but rediscover and reinvent the
complexities and subtleties of traditional West African ideas of beauty,
gender fluidity and role reversal, and theater. Udé’s engagement with his
native Igbo traditions of body art and performance, especially Igbo
masquerade traditions, certainly held profound meaning for Fosso, who shares
the same Igbo heritage, and it was by performing the persona of his late
grandfather, an Igbo deity priest, in his series Le rêve de mon grand-père
(The dream of my grandfather) in 2003 that Fosso completed his conceptual
transition.
Samuel Fosso, Self-Portrait as Mao Zedong, from the series Emperor of Africa
, 2013 © Samuel Fosso. Courtesy Jean Marc Patras, Paris
Subsequently, in the series African Spirits (2008), in which he reenacts
iconic images of African independence and liberation struggle leaders like
Kwame Nkrumah, Samora Machel, Haile Selassie, and Nelson Mandela, Fosso in
fact created a parallel to the Igbo tradition in which adepts or community
members don masquerade costumes to channel ancestral spirits during festive
seasons. By donning the costume and transforming oneself into a masking
figure, one took on the persona of a visiting ancestor and served as a
symbolic or ritual bridge between the past and the present, and even between
the sacred and the quotidian. In African Spirits, Fosso transformed himself
into a masquerade of sorts, through which the spirits of the guardians of
African liberation were made manifest.
Samuel Fosso, Self-Portrait as Mao Zedong, from the series Emperor of Africa
, 2013 © Samuel Fosso. Courtesy Jean Marc Patras, Paris
In Emperor of Africa (2013), his most recent series, Fosso channels a
different spirit by restaging iconic images of Chinese leader Chairman Mao
not only as a liberator who, like the subjects of Fosso’s African Spirits
series, is highly admired in Africa, but also as the founder and symbol of a
modern imperial behemoth that is currently engaged in an expansive long
march across Africa. Though China’s growing economic and cultural presence
is eagerly embraced by many African leaders, it has raised concerns,
especially among the continent’s intellectuals. In a complex, richly
layered performance worthy of an African masquerade, Fosso’s Mao is both
ancestral figure and absent dictator, almost like the patriarchal leader in
Gabriel García Márquez’s 1975 novel Autumn of the Patriarch, who’s never
seen yet looms large over his dominion. Fosso, as performer, is both
subject and inquisitor, the man behind the mask who interrogates empire and
postcolony alike, the ultimate Fanonian “man who questions.”
Olu Oguibe is a professor of art at the University of Connecticut.
This article was originally published in Aperture issue 221, Winter 2015,
available for purchase or in the Aperture Digital Archive.
