At once material and spiritual, the art of Romuald Hazoumé attests to a freedom that plays a central role in animist and Christian cultures. Through the combination of African ceremony with modern materials in his performances, totems (made with a power saw), and masks (made with found objects), Hazoumé incites an atmosphere of both conflict and rest. “I know very well that the initiated take care that tradition is respected,” Hazoumé once said. (Before the opening of his exhibitions, the artist invokes the spirits and the Great Priest who controls access to them.)
Organized by The Menil Collection (in conjunction with African Art Now: Masterpieces from the Jean Pigozzi Collection at the Museum of Fine Arts, Houston), Romuald Hazoumé: La Bouche du Roi is, in the artist’s words, “art installation as a warning against all forms of modern slavery—in all manner of forms…more sophisticated than those of the past, that apparently will provide fewer sleepless and guilt-ridden nights.”
The project reflects the complexity of slavery within history, considered by the artist as a game that has been played by many participants. The exhibition consists of four distinct parts representing several hundred slaves and two kings: some 300 masks, arranged on the floor, represent the way slaves were disposed in the holds of ships. A litany of slave names in Yoruba, Mahi and Wémé, and an improvisation of slave singing, will be played on loud speakers; the aroma of caraway, pepper, cloves, and tobacco leaves will permeate the gallery.
The exhibition is generously supported in part by Nancy C. Allen, Shell Oil Company, and Nina and Michael Zilkha with additional support from the City of Houston.
La Bouche du Roi, 1999–2004 (details)
Sound and mixed media (plastic, glass, pearls, tobacco, fabrics, mirrors, cauris, calabashes)
Collection of the artist
