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Hazoumè, Romuald

Ati

Dimensões
44.0 x 45.0 cm

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Romuald Hazoumè: Benin artist using recycled materials to create powerful sculptures & masks reflecting Yoruba heritage & critiquing consumerism. Explore his iconic 'La Bouche du Roi'.
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A obra de arte exibida nesta página é protegida por leis de direitos autorais, o que significa que não podemos criar ou vender legalmente uma reprodução idêntica. Esta proteção é aplicada por meio de acordos internacionais, tais como a Convenção de Berna e pelas leis nacionais, incluindo as estabelecidas por Lei de Direitos Autorais dos EUA - Título 17.

Este método cumpre plenamente as regulamentações de direitos autorais, pois não envolve a cópia ou duplicação da obra protegida. Em vez disso, trata-se de uma reinterpretação criativa — uma nova pintura que é influenciada pela original, mas não idêntica a ela.

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Tamanho padrão
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Preço Total

€ 56

Ati

Giclée / Impressão de Arte

Tamanho da Reprodução

-

Preço Total

€ 56

Romuald Hazoumè (born in 1962, Porto Novo, Benin), who is of Yoruba origin, grew up in a Catholic family, but remained in contact with the Vodun society of his forbears; this dual cultural heritage finds expression in both his masks and installations. In the mid-1980s, he began an extended series of works made from discarded plastic containers, and in particular from gasoline canisters. After slight modifications, these objects became masks which subtly reveal Hazoumè’s critical vision of political systems. He has said of his work: “I send back to the West that which belongs to them, that is to say, the refuse of consumer society that invades us every day.”Hazoumè’s masks conform more to the recovery of their materials than to Yoruba traditions; however, there are also important links with this heritage. He has said about his masks that he sees them “exiting” or “departing.” “Exiting” the masks, explains the Mali scholar Youssouf Tata Cissé, means that they “recapitulate all the stages of creation.” For example, one of the most important masks in Bambara rituals is the “Whirlwind” mask. It stands for the primordial whirlwind that governed the emergence of life. Hazoumé’s Zanzibrrrrace (2003) suggests a parallel reading and illustrates how the artist draws on the vocabulary of the initiated to give character to his creations. What distinguishes Hazoumè’s assemblages is that they are also specifically tied to his vision of society and global problems. Unlike the traditional masks which tended to strip the wearer of his personality, Hazoumè’s expose the wearer’s true nature. Indeed, his masks can be understood as a modern reinterpretation of the phenomena of trances, revealing without reserve the madness of current events. Hazoumè has extended these themes in his most recent works, monumental installations which address the history of slavery and the present practices of the black market.

Perguntas e Respostas

A imagem de "Ati", de Hazoumè, Romuald pode ser reproduzida livremente?

Informação de direitos autorais para "Ati", de Hazoumè, Romuald: a obra está em ainda protegido por direitos autorais. Isso determina se reproduções da imagem podem ser feitas livremente.

Quais são as dimensões da obra original "Ati"?

As dimensões registradas de "Ati", de Hazoumè, Romuald são 44 x 45 cm. Reproduções podem ser encomendadas em outros tamanhos, mantendo as mesmas proporções.

Quão saturada é a paleta de "Ati"?

As cores de "Ati", de Hazoumè, Romuald possuem uma saturação Muted. A saturação descreve o quão vívidas ou suaves são as cores.

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Biografia do Artista

Romuald Hazoumè: A Voice of Yoruba Heritage and Critique

Romuald Hazoumè, born in Porto Novo, Benin in 1962, stands as a prominent figure within contemporary African art, recognized for his distinctive approach to sculpture and mask making—a practice deeply rooted in Yoruba traditions. His artistic vision transcends mere aesthetic beauty; it’s imbued with a potent critique of consumer culture and a profound engagement with the legacy of colonialism and slavery. Hazoumè's work powerfully communicates these themes through innovative use of recycled materials, transforming discarded objects into monumental forms that resonate with spiritual significance.
  • Early Life & Artistic Beginnings: Hazoumè’s formative years were spent in Benin, where he absorbed the rich cultural heritage of the Yoruba people—a tradition characterized by elaborate rituals and symbolic imagery. These influences are immediately apparent in his artistic style, which prioritizes storytelling and conveying complex ideas through visual language.
  • The Iconic ‘La Bouche du Roi’ Hazoumè gained international acclaim with his reworking of Gustave Dore’s 1869 engraving “The Slave Ship Brookes.” This ambitious project wasn't simply a reproduction; it was an intervention—a deliberate reimagining that confronted viewers with the brutal realities of transatlantic slavery and its enduring impact on African societies. The monumental sculpture, crafted from reclaimed metal sheeting, serves as a visceral reminder of this history.

Material Innovation & Yoruba Symbolism

Hazoumè’s artistic process distinguishes him from many contemporary sculptors. Rather than relying on traditional materials like stone or wood, he champions the repurposing of discarded items—primarily aluminum cans and scrap metal—to create his sculptures. This decision carries significant symbolic weight, reflecting a core Yoruba belief in reincarnation and the cyclical nature of existence. The artist sees himself as “returning to the West what belongs to it,” namely “the rejection of society of consumption that invades us all.” He argues that these recycled materials embody resilience and transformation—mirroring the spirit of Yoruba cosmology.
  • Mask Making Tradition: Hazoumè’s artistic journey began in the mid-1980s with a series of masks crafted from repurposed gasoline canisters. These masks are not merely decorative objects; they are conduits for ancestral spirits and instruments of ritual performance—practices central to Yoruba religious life. The artist meticulously replicates traditional mask designs, honoring the heritage of his culture while simultaneously questioning established artistic conventions.

Recognition & Influence

Hazoumè’s work has garnered considerable attention within the international art community and is featured prominently in Jean Pigozzi's Contemporary African Art Collection (CAAC). His commitment to addressing social issues through art—particularly his critique of consumerism—has solidified his position as a leading voice in contemporary African artistic discourse. Hazoumè’s pioneering use of recycled materials has inspired artists globally, demonstrating the transformative potential of artistic practice when driven by ethical considerations and cultural awareness.

Concluding Thoughts

Romuald Hazoumè's oeuvre represents more than just skillful craftsmanship; it embodies a profound engagement with history, spirituality, and social responsibility. Through his monumental sculptures and evocative masks—created from humble materials—he compels viewers to confront uncomfortable truths about colonialism, slavery, and the pervasive influence of consumer culture. His artistic legacy continues to inspire artists worldwide, reaffirming the power of art as a vehicle for cultural preservation and critical reflection.
Hazoumè, Romuald

Hazoumè, Romuald

1962 - , Benin

Dados Rápidos

  • Full Name: Romuald Hazoumè
  • Nationality: Beninese
  • Date Of Birth: 1962
  • Place Of Birth: Porto-Novo, Benin
  • Notable Artworks:
    • La Bouche du Roi
    • Atchao
    • Zanzibrrrrace
  • Artistic Movement Or Style: Contemporary African Art