Maman Joue 2011

Editor: Aboudia's "Maman Joue," created in 2011, employs a striking mixed-media approach. It’s almost overwhelming – so chaotic and energetic. I'm immediately drawn in by the rawness of it all. What do you see in this piece from a historical context? Curator: It's easy to be captivated by the immediate energy, isn't it? However, considering the historical and socio-political factors shaping Aboudia's work adds significant depth. Aboudia emerged during a period of intense political upheaval in Côte d'Ivoire. What do you think that context might suggest, looking at this piece? Editor: Given that history, and seeing what looks like almost graffiti, maybe the chaotic elements reflect the instability and social unrest he experienced and witnessed? Curator: Precisely. His style resonates with a kind of visual activism, taking the rawness of street art and channeling it into a powerful commentary on the experiences of children during conflict. Do you notice any repeating figures, or any that especially grab your attention? Editor: I see several child-like figures sketched amidst the collage elements. They seem both vulnerable and defiant at the same time. It's really complex! Curator: Yes. Now think about where this is exhibited, perhaps in a Western gallery. What kind of dialogue does it create between the socio-political circumstances and a global audience? Aboudia challenges traditional notions of art spaces and highlights social disparities. Editor: So, exhibiting "Maman Joue" in a Western context encourages dialogue. It transforms the piece from a personal narrative to a shared story, confronting audiences with realities often ignored. Curator: Exactly. And how those institutions respond is as much a part of the artwork as the paint. Editor: I never considered that exhibiting the art would be part of the statement itself, thanks for helping me view it from this angle! Curator: My pleasure, it is always interesting to explore how we view art, in our context, or any context.