{"id":1174,"date":"2026-10-17T09:00:00","date_gmt":"2026-10-17T08:00:00","guid":{"rendered":"https:\/\/regartmag.com\/?p=1174"},"modified":"2026-10-30T00:39:01","modified_gmt":"2026-10-29T23:39:01","slug":"fictions-fleurs-et-figures-quatre-regards-croises","status":"publish","type":"post","link":"https:\/\/regartmag.com\/en\/fictions-fleurs-et-figures-quatre-regards-croises\/","title":{"rendered":"Fictions, flowers and figures: four intersecting perspectives"},"content":{"rendered":"

Les images circulent aujourd\u2019hui plus vite que jamais. Face \u00e0 ce flux, certains artistes choisissent de ralentir, de construire, de mettre en sc\u00e8ne. Quatre pratiques venues du Nigeria et de la diaspora congolaise dialoguent ici autour d\u2019une m\u00eame question. Celle de rendre \u00e0 la figure sa souverainet\u00e9.<\/p>\n\n\n\n

VELMO : la photographie comme fiction<\/h2>\n\n\n\n

VELMO<\/a> refuse le documentaire passif. Ses photographies sont des fictions visuelles \u00e0 haute densit\u00e9 narrative, la composition, la lumi\u00e8re dramatique et l\u2019architecture du cadre d\u00e9cident de la place du sujet. Une danseuse suspendue en plein saut au-dessus d\u2019une machine \u00e0 coudre, une silhouette renvers\u00e9e dans une eau dor\u00e9e\u00a0: l\u2019image devient une sc\u00e8ne, et la sc\u00e8ne interroge le pouvoir.<\/p>\n\n\n\n

Adedamola Onadeko : la fleur comme m\u00e9moire<\/h2>\n\n\n\n

In the work of Adedamola Onadeko<\/a>, collage, peinture et assemblage num\u00e9rique s\u2019articulent autour du motif v\u00e9g\u00e9tal. Les visages c\u00e8dent la place \u00e0 des fleurs, les corps se couvrent de p\u00e9tales, des colibris et des papillons tournoient sur des fonds satur\u00e9s. La fleur est un r\u00e9ceptacle o\u00f9 s\u2019inscrivent l\u2019identit\u00e9 et le souvenir.<\/p>\n\n\n\n

Iman Hassan : l\u2019archive du sensible<\/h2>\n\n\n\n

Trained in graphic design at Obafemi Awolowo University, Iman Hassan<\/a> compose des images num\u00e9riques charg\u00e9es de textures organiques et de pigments terrestres. Une femme assise sur un banc devant un mur rose ; trois figures qui se couvrent les yeux, la bouche, les oreilles. Le quotidien devient un refuge, et la figure f\u00e9minine s\u2019extrait des st\u00e9r\u00e9otypes pour habiter une po\u00e9tique du repos et de la souverainet\u00e9 de soi.<\/p>\n\n\n\n

\n

Constructing the image rather than submitting to it.<\/p>\n<\/blockquote>\n\n\n\n

Merry Masheka : la figure qui r\u00e9siste<\/h2>\n\n\n\n

From the space of the diaspora, between the DRC and Kenya, Merry Masheka<\/a> peint \u00e0 l\u2019acrylique des sc\u00e8nes \u00e0 haute charge \u00e9motionnelle. La figure y devient le si\u00e8ge d\u2019une r\u00e9sistance int\u00e9rieure ; vuln\u00e9rabilit\u00e9 et appartenance sont fix\u00e9es dans une grande \u00e9conomie de moyens. En 2025, ce travail a \u00e9t\u00e9 pr\u00e9sent\u00e9 lors de l\u2019exposition en ligne de la Threads Conference, au Qu\u00e9bec.<\/p>\n\n\n\n

What connects them<\/h2>\n\n\n\n

Quatre m\u00e9diums, quatre trajectoires, une m\u00eame exigence : construire l\u2019image plut\u00f4t que la subir. Chacun \u00e0 sa mani\u00e8re, ces artistes rendent au sujet africain la ma\u00eetrise de sa propre repr\u00e9sentation, ce que Reg\u2019Art s\u2019attache \u00e0 documenter.<\/p>","protected":false},"excerpt":{"rendered":"

From Nigeria to the Congolese diaspora, four artists build images in which the figure takes back control. Intersecting perspectives on VELMO, Adedamola Onadeko, Iman Hassan and Merry Masheka.<\/p>","protected":false},"author":1,"featured_media":1150,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[17],"tags":[],"class_list":["post-1174","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-rencontre"],"_links":{"self":[{"href":"https:\/\/regartmag.com\/en\/wp-json\/wp\/v2\/posts\/1174","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/regartmag.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/regartmag.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/regartmag.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/regartmag.com\/en\/wp-json\/wp\/v2\/comments?post=1174"}],"version-history":[{"count":2,"href":"https:\/\/regartmag.com\/en\/wp-json\/wp\/v2\/posts\/1174\/revisions"}],"predecessor-version":[{"id":1258,"href":"https:\/\/regartmag.com\/en\/wp-json\/wp\/v2\/posts\/1174\/revisions\/1258"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/regartmag.com\/en\/wp-json\/wp\/v2\/media\/1150"}],"wp:attachment":[{"href":"https:\/\/regartmag.com\/en\/wp-json\/wp\/v2\/media?parent=1174"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/regartmag.com\/en\/wp-json\/wp\/v2\/categories?post=1174"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/regartmag.com\/en\/wp-json\/wp\/v2\/tags?post=1174"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}