{"id":22060,"date":"2026-11-04T14:55:05","date_gmt":"2026-11-04T14:55:05","guid":{"rendered":"https:\/\/www.diptykmag.com\/decolonize-but-what\/"},"modified":"2026-11-04T14:55:46","modified_gmt":"2026-11-04T14:55:46","slug":"decolonize-but-what","status":"publish","type":"post","link":"https:\/\/www.diptykmag.com\/en\/decolonize-but-what\/","title":{"rendered":"Decolonize\u2014but what?"},"content":{"rendered":"\t\t
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The Caen Memorial brings together some 40 modern and contemporary African artists in a particularly educational exhibition, which nonetheless raises questions about the selection of works on display.<\/b><\/p>

By Olivier Rachet<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Omar Victor Diop, Thiaroye, 1944<\/i>, s\u00e9rie Liberty<\/i>, 2016, impression jet d\u2019encre sur papier Hahnem\u00fchle, 120 \u00d7 163 cm. Courtesy Galerie Magnin-A, Paris. \u00a9 ADAGP, Paris, 2026.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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The location is no coincidence. Situated near the D-Day beaches in Normandy, the Caen Memorial, dedicated to the history of World War II, attracts more than 500,000 visitors each year. Many are American, and most of its French visitors do not typically visit art museums. Conversely, \u201c <\/span>art lovers are just as likely to skip a historic site like the Caen Memorial<\/span><\/i> “, notes Jean-Yves Marin, co-curator with Ayoko Mensah of the exhibition “(De)colonizations: African Artists Question History.” Formerly director of the Geneva Museums of Art and History, he organized the 2025 exhibition \u201cBeyond Appearances\u201d there, dedicated to the CBH\u2019s (Compagnie Bancaire Helv\u00e9tique) collections of modern and contemporary African art. The CBH is one of the main lenders for \u201c(De)colonizations,\u201d along with a few galleries such as C\u00e9cile Fakhoury and MAGNIN-A, but above all the Gandur Foundation, which, incidentally, is preparing to open a space in 2030 just a few steps from the Memorial to showcase its collections, after a Swiss referendum had previously prevented it from doing so.<\/span><\/p>

These unforeseen circumstances do not, on their own, explain why the current exhibition is taking place, but they do help put into perspective the overwhelming presence of artists from the Congo or French-speaking Africa. One will always be surprised by the absence of artists from the Maghreb in a general exhibition devoted to Africa, but, as Jean-Yves Marin explains, \u201c<\/span> it\u2019s simply that these artists do not appear in these collections<\/span><\/i> .\u201d That being said, but an exhibition of contemporary African art that overlooks\u2014even if only\u2014artists from the Casablanca Art School or the Tunis School, whose modernist quest is inseparable from the struggles for independence and the fight against an Orientalist worldview, now represents a shortcoming.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Steve Bandoma, Emprise<\/i>, s\u00e9rie Opium<\/i>, 2023, technique mixte sur papier, 150 \u00d7 150 cm. Courtesy de l\u2019artiste et Galerie Angalia, Paris. \u00a9 ADAGP, Paris, 2026.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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The Limits of the Collections<\/b><\/p>

The highlight of this exhibition, however, is its educational aspect. A first section devoted to the \u201cSenegalese riflemen\u201d effectively ties the exhibition into the museum\u2019s historiographical narrative. The paintings by the Franco-Beninese artist Rom\u00e9o Mivekannin\u2014including a series of acrylic portraits on newspaper\u2014serve as an excellent introduction to the subject. They are accompanied by textual references, some of which are drawn from Senghor\u2014whom Jean-Yves Marin reminds us spent the last twenty years of his life in Verson, near the Memorial. Opposite the 360\u00b0 screening room for the film <\/span>*Europe: Our History*, which recounts the history<\/span><\/i> of 20th-century<\/span>e <\/span>century, the self-portraits by Omar Victor Diop (Senegal)\u2014depicting historical figures linked to colonial histories, drawn from the series <\/span>Diaspora<\/span><\/i>, hit the mark. Shouldn\u2019t we, by contrast, also tell another story in which Europe plays a part\u2014that of Africa? Echoing this are Samuel Fosso\u2019s self-portraits from the photo series <\/span>African Spirits<\/span><\/i>, in which the Cameroonian-Nigerian artist embodies, in turn, the historical figures of Kwame Nkrumah, Patrice Lumumba, and Angela Davis. But this didactic approach sometimes falls short due to the inclusion of works whose allegorical dimension somewhat weighs down the message. While the painting <\/span>Vultures<\/span><\/i> by Sokey Edorh\u2014the only Togolese artist in the exhibition\u2014or the digital mural by Malagasy artist Malala Andrialavidrazana stand out for their visual inventiveness, the works by Congolese artists Steve Bandoma and Ch\u00e9ri Samba remain far too literal in their intent.<\/span><\/p>

A section titled \u201cThe Ambiguous Adventure\u201d\u2014a reference to Cheikh Hamidou Kane\u2019s novel\u2014undoubtedly highlights the limitations of the entire exhibition. While it is commendable to highlight the role of the Senegalese riflemen, it must be acknowledged that, aside from the photograph <\/span>Thiaroye, 1944<\/span><\/i> by Diop\u2014which opens the exhibition and depicts the massacre of several hundred Senegalese soldiers by the French colonial army in Dakar\u2014the violence of colonial history remains downplayed. The exhibition\u2019s \u201cdecolonial\u201d theme also raises questions, as it has become a mantra repeated by many curators, failing to provide greater clarity on an aesthetic level. It is unclear whether visitors who do not frequent international art fairs or contemporary art spaces will be receptive to a discourse inviting them to scrutinize what a \u201c[<\/span>deconstructing<\/span><\/i>]<\/span> colonial visions and narratives<\/span><\/i> ,\u201d as Ayoko Mensah asserts in the catalog. The visually striking photographs by Aida Muluneh (Ethiopia) and Thandiwe Muriu (Kenya), however, do not easily lend themselves to such an interpretive framework. Fortunately, a few works with a radical aesthetic stand out, such as an animated video by South African artist William Kentridge and a triptych by Beninese artist L\u00e9once Rapha\u00ebl Agbodjelou from the series<\/span> Les demoiselles de Porto-Novo<\/span><\/i>, drawings by Bruly Bouabr\u00e9 (Ivory Coast), or a painting by Moke (DRC) inspired by <\/span>The Jungle Book<\/span><\/i>, serve as a counterbalance to works that yield more readily to market pressures. Take, for example, the paintings by Aboudia (Ivory Coast), JP Mika (DRC), and even Hilary Balu (DRC), which capitalize on rather conventional Afrofuturist or \u201csapeuse\u201d imagery, far removed from \u201cdecolonial\u201d concerns!<\/span><\/p>

\u2014 \u201c(De)colonizations: African Artists Examine History,\u201d Caen Memorial, through November 11, 2026.<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Rom\u00e9o Mivekannin, Tirailleurs s\u00e9n\u00e9galais \u00e0 Paris<\/i>, 2021, bain d\u2019\u00e9lixirs et peinture acrylique sur toile libre, 147 \u00d7 187 cm. Courtesy de l\u2019artiste et Galerie C\u00e9cile Fakhoury, Abidjan, Dakar, Paris. Photo : \u00a9 Gr\u00e9gory Copitet. \u00a9 ADAGP, Paris, 2026.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

The Caen Memorial brings together some 40 modern and contemporary African artists in a particularly educational exhibition, which nonetheless raises questions about the selection of works on display. By Olivier Rachet Omar Victor Diop, Thiaroye, 1944, s\u00e9rie Liberty, 2016, impression jet d\u2019encre sur papier Hahnem\u00fchle, 120 \u00d7 163 cm. Courtesy Galerie Magnin-A, Paris. \u00a9 ADAGP, […]<\/p>\n","protected":false},"author":2,"featured_media":22061,"comment_status":"closed","ping_status":"closed","sticky":true,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1551,1],"tags":[],"class_list":["post-22060","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cahier-critique","category-non-classe"],"yoast_head":"\nDecolonize\u2014but what? — Diptykmag<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.diptykmag.com\/en\/decolonize-but-what\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Decolonize\u2014but what? — Diptykmag\" \/>\n<meta property=\"og:description\" content=\"The Caen Memorial brings together some 40 modern and contemporary African artists in a particularly educational exhibition, which nonetheless raises questions about the selection of works on display. By Olivier Rachet Omar Victor Diop, Thiaroye, 1944, s\u00e9rie Liberty, 2016, impression jet d\u2019encre sur papier Hahnem\u00fchle, 120 \u00d7 163 cm. 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By Olivier Rachet Omar Victor Diop, Thiaroye, 1944, s\u00e9rie Liberty, 2016, impression jet d\u2019encre sur papier Hahnem\u00fchle, 120 \u00d7 163 cm. 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