30r364 boek.qxd:awards book 11 - Prince Claus Fund

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Exposing the Limitations of Categoriesby Jan HoetMy first impression of Ousmane Sow’s sculptures was strangely ambiguous: I was overwhelmedand fascinated. This encounter took place during the time of the First Gulf War in 1991 when I waspreparing Documenta IX. It was a time characterised by terrible media revelations which stilldefine our globalised world to this day: poverty became an undeniable fact, the limits of sexualfreedom were determined by AIDS and Chernobyl was a reminder of a conceivable end. Thedangers of an anonymous threat entered our collective awareness which suddenly became aglobal awareness. It seemed very likely to me that this palpable threat influenced my perceptionof Ousmane Sow’s sculptures.His sculptures do not fit into any known categories. His moulded figures of men, womenand suckling children do not hide their African roots; they are defined by a certain kind ofarchaic ponderosity. However, at the same time they convey a strangely floating transparency.The structure immediately reminded me of the nervously moulded surface of a Giacometti.His works’ appearance also instantly brought to mind Rodin’s Adam with his hanging shouldersand his downcast glance.At that time, I intuitively felt the prophetic signals of an advancing era in his works. I sensedvery strongly that Africa was part of our creation within our globalised world. Back then, Africawas still largely seen in connection with the foreign and archaic. An increasingly open kindof approach towards art and the world can be sensed in Ousmane Sow’s work. This perceptionis not based on the western mechanism of cultural exclusion. The abundance of Classic Modernismis prevalent in his works. However, at the same they render the limitations of categorical classifi -cations pointless. The genuineness of his figures is a genesis in more ways than one. Whilerevealing themselves in archetypal figurations, they hide their secret by referring to a world farbeyond their own artistic context. The self-involvement of Ousmane Sow’s figures not onlydefines his art but also poses a challenge. The foreignness and the irritations underneath thesurface become a mirror which activates inner observations.The autonomy of art does not reside in the airless bubble of speculative ideas but in theconflict with our world. Today, its conceivable collapse seems like a true portent.882008 <strong>Prince</strong> <strong>Claus</strong> Awards
Ousmane Sow with a ‘Standing Warrior’from ‘The Masai’ seriesPhoto © Béatrice SouléOusmane Sow with one of the‘Stick Fighters’ from ‘The Nuba’ seriesPhoto © Béatrice Soulé
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Prince Claus Fund forCulture and De
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2008 PrinceClaus AwardsPrix PrinceC
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Forewordby HRHPrince FrisoandHRH Pr
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The 2008 Prince Claus Laureates rem
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92 Elia SuleimanLike Nazareth or Ra
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IntroductionThrough its diverse pro
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From the series ‘Road to National
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and innovation, to appreciate audac
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2008 Theme: Culture and the Human B
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‘Dadawa concert’, costume desig
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IndiraGoswamiPortrait of Indira Gos
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Writer, Woman, Activistby Supriya C
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Religion, especially the practices
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Extract 1 from The Moth-Eaten Howda
Page 38 and 39: Extract 2 from The Moth-Eaten Howda
Page 40 and 41: LoveWhen my beloved diedI felt as i
Page 42: Ten 2008Prince ClausAwards
Page 45 and 46: Tania BrugueraCubaUsing the human b
Page 47 and 48: ‘Poetic Justice’ by Tania Brugu
Page 49 and 50: Images from a performance of ‘The
Page 51 and 52: Carlos Henríquez ConsalviEl Salvad
Page 53 and 54: Indigenous People Rights activity i
Page 55 and 56: Carlos Henríquez Consalvi, alias
Page 57 and 58: Li XiantingChinaCurator and critic,
Page 59 and 60: Li Xianting at an exhibitionPhoto:
Page 61 and 62: Portrait of Li XiantingPhoto: court
Page 63 and 64: Ma KeChinaA bold voice in contempor
Page 65: From the collection ‘WUYONG, the
Page 68 and 69: VenerablePurevbatLama Purevbat plac
Page 70 and 71: Master Artist of Mongolia’s Moder
Page 72 and 73: of the sacred image is never determ
Page 74 and 75: JeanguySaintusPortrait of Jeanguy S
Page 76 and 77: Passion, Courage and Perseveranceby
Page 78 and 79: the Artcho Danse school. This is ve
Page 80 and 81: DayanitaSinghPortrait of Dayanita S
Page 82 and 83: Through the Cracks of a Mirrorby Sh
Page 84 and 85: ‘Untitled’ from the series 'Go
Page 86 and 87: OusmaneSowOusmane Sow with one of h
Page 91 and 92: Ousmane Sow in his workshopin Dakar
Page 93 and 94: Elia SuleimanPalestineBorn into a P
Page 95 and 96: Elia Suleiman at workPhoto © Marce
Page 97 and 98: Elia Suleiman at workPhoto © Marce
Page 99 and 100: James Iroha UchechukwuNigeriaJames
Page 101 and 102: Photographs at a slaughterhouse in
Page 103 and 104: ‘Vaseline Beads’Photo © James
Page 106 and 107: An OverviewThe Prince Claus Fund is
Page 108 and 109: Artistic ProductionsInnovative cult
Page 110 and 111: One of the fashion shows at Alokpa
Page 112 and 113: Capoeira action in the roda in Sout
Page 114 and 115: Provoking the audience on the stree
Page 116 and 117: Stage on Redondo Beach, PeruPhoto
Page 118 and 119: 118 2008 Prince Claus AwardsFilm st
Page 120 and 121: Essam Marouf, ‘Untitled’, 2007,
Page 122 and 123: ‘Buddhist Religious Representatio
Page 124 and 125: Metis participants at the XVII Inte
Page 126 and 127: Poster for a performance in Burkina
Page 128 and 129: Rajanikara Leng Kaewdee in ‘Spiri
Page 130 and 131: Damage to cultural heritage at the
Page 132 and 133: ‘Hidden Afghanistan: The Collecti
Page 134 and 135: Contributing AuthorsShahidul Alam i
Page 136 and 137: Els van der Plas, art historian and
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The 2008 Prince ClausAwards Committ
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Rahul Mehrotra studied at Ahmedabad
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Laureates of the Prince Claus Fund
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The 1998 Prince Claus AwardsThe Pri
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Faustin Linyekula, the 2007 Princip
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AcknowledgementsThe Prince Claus Fu
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The Prince Claus FundThe Board of t
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Published and produced by the Princ
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