ARTISTS
Alioune Diagne: Jokko
After the resounding success of Alioune Diagne鈥檚 Senegalese pavilion at the 60th Venice Biennale international art exhibition, TEMPLON New York unveils the very first show of this rising star of the African art scene on American soil.
As soon as the visitors step through the door, they are immersed in the dynamic universe of the artist filled with an infinite array of 鈥渦nconscious signs鈥� that blend writing and enigmatic symbols. They reveal complex and personal perspectives on the African diaspora, from scenes of local markets to seascapes populated by boats used for clandestine immigration.
Diagne focuses on the intermingling of cultures between Afro-American and continental African communities. The thousands of pastel-colored calligraphic patterns illustrate the artist鈥檚 unique standpoint, one that emphasizes the similarities between these communities, which have been scared by centuries of colonial violence and are now in search of a new identity on the international stage. Diagne reflects on one facet of this forged identity: sports and its culture. The Afro-American basketball players subtly revealed in his canvases represent the American dream, success, and the very essence of freedom. They serve as a source of inspiration for the younger generation of Senegalese, who, when asked about their future, gaze across the Atlantic.
In other paintings, scenes of wrestling 鈥� one of the most popular combat sports in Africa and a practice taught at American universities 鈥� can also be observed. Through this cultural lens, Alioune Diagne portrays a shared culture, a pan-African identity increasingly asserted in the vibrant protests of Black Lives Matter.
鈥淭he younger generations in Africa no longer envisage a career on their continent,鈥� explains Alioune Diagne. 鈥淭heir sights are set on the success of the Afro-American community in cultural fields such as sports and music. I want to show them that there is a future for them on the African continent. They need to believe and invest in their countries. There鈥檚 no reason there can鈥檛 be an African dream, just like the American dream.鈥�
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After the resounding success of Alioune Diagne鈥檚 Senegalese pavilion at the 60th Venice Biennale international art exhibition, TEMPLON New York unveils the very first show of this rising star of the African art scene on American soil.
As soon as the visitors step through the door, they are immersed in the dynamic universe of the artist filled with an infinite array of 鈥渦nconscious signs鈥� that blend writing and enigmatic symbols. They reveal complex and personal perspectives on the African diaspora, from scenes of local markets to seascapes populated by boats used for clandestine immigration.
Diagne focuses on the intermingling of cultures between Afro-American and continental African communities. The thousands of pastel-colored calligraphic patterns illustrate the artist鈥檚 unique standpoint, one that emphasizes the similarities between these communities, which have been scared by centuries of colonial violence and are now in search of a new identity on the international stage. Diagne reflects on one facet of this forged identity: sports and its culture. The Afro-American basketball players subtly revealed in his canvases represent the American dream, success, and the very essence of freedom. They serve as a source of inspiration for the younger generation of Senegalese, who, when asked about their future, gaze across the Atlantic.
In other paintings, scenes of wrestling 鈥� one of the most popular combat sports in Africa and a practice taught at American universities 鈥� can also be observed. Through this cultural lens, Alioune Diagne portrays a shared culture, a pan-African identity increasingly asserted in the vibrant protests of Black Lives Matter.
鈥淭he younger generations in Africa no longer envisage a career on their continent,鈥� explains Alioune Diagne. 鈥淭heir sights are set on the success of the Afro-American community in cultural fields such as sports and music. I want to show them that there is a future for them on the African continent. They need to believe and invest in their countries. There鈥檚 no reason there can鈥檛 be an African dream, just like the American dream.鈥�
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The Senegalese artist merges heritage and hope in his U.S. debut 鈥淛okkoo,鈥� which is filled with striking, pointillist scenes that point to a bold vision of shared futures.
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