| 词条 | Julien Sinzogan |
| 释义 |
}} Julien Sinzogan (born 27 January 1957 in Porto Novo, Republic of Benin) is a contemporary Benin painter and graphic artist whose work actively engages the impact of the Atlantic Slave Trade on his native Benin, one of the largest slave-trading posts of West Africa. He currently lives and works in Paris, France.[1] He has exhibited widely throughout Europe and Africa. Sinzogan's education began studying architecture at the Art School of Tashkent, Uzbekistan from 1978-79. He studied architecture in Paris at the École Spéciale des Travaux Public, Paris, France till 1982. A year later, Sinzogan studied at Laboratoire International de Calcul et d’Informatique Appliquée (L.I.C.I.A.), Paris, France, where he ran the department of computer images before turning to painting professionally.[2] Now as a professional artist Sinzogan's techniques and references move from areas of monochrome pen and ink into glimpses of full-color scenes. Influence, themes and stylesJulien Sinzogan is inspired by the Yoruba Divinatory and Ifá.[2] In this he explores the journeys between the tangible world of Aye as well as the departure to the spirit world Orun and are then reborn, and portrays how closely they are related.[2] Sinzogan also has two parallel themes seen this work: belief in the transmigration of African “soul” and the return of the spirits of slaves to African shores; “real crime”[1] of slavery was in the loss of protective ancestral spirits of the communities that remained in Africa.[1] Sinzogan's technique reflects the interaction between the different worlds such as the ‘Western’ world, in which Sinzogan's use of symbolism evolves according to well-defined traditions and the African world and the rich sculptural history of Benin art. Symbolism is very important to Sinzogan as he describes it “…the symbol has a amplitude immeasurable and opens the imagination by wearing colors and philosophies of life.[3]” A trademark symbol of Sinzogan's is the portrayal of complex realities with a black circular symbol signifying remembrance of the dead, and by those still living.[4] Career highlightsSinzogan had a solo at the October Gallery, in the celebration of black history month in United Kingdom. For this exhibition, Sinzogan was commissioned to create a piece he calls “Gates of Return” in response to his previous piece “Gates of No Return.” In the “Gates of No Return” Sinzogan depicts the slave-trading nations that affected the West African coastline for centuries. The gates symbolize prison gates. Sinzogan says, “there are voyages which should never have been-the Middle passage for example. There are spiritual voyages, such as a meeting with babalawo [a divining priest] well known for traveling between visible and invisible worlds…and there are imaginary voyages, through Gates of Return, and Gates of no Return.”[1] Sinzogan's vision attempts to reconcile and bring closure to this chapter in history.[4] ExhibitionsSelected solo exhibitions
Selected group exhibitions
References1. ^1 2 3 {{cite journal|last1=Highet|first1=Juliet|title=Emerging from the "Gates of No Return"|journal=New African|date=2010|issue=499|pages=34–36}} {{DEFAULTSORT:Sinzogan, Julien}}2. ^1 2 3 4 {{cite web|title=October Gallery|url=http://www.octobergallery.co.uk/artists/sinzogan/index.shtml}} 3. ^{{cite journal|last1=Houghton|first1=G. E. R. A. R. D|title=J. U. L. I. E. N. Sinzogan, and M. Tippett. "Fourth Dialogue: The Power of the Image."|journal=CROSS CULTURES|date=2006|issue=83}} 4. ^1 {{cite web|title=Victoria and Albert Museum|url=http://www.vam.ac.uk/content/articles/g/gates-of-return-julien-sinzogan/}} 3 : Living people|1957 births|African artists |
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