{"id":1463,"date":"2021-06-06T14:00:12","date_gmt":"2021-06-06T12:00:12","guid":{"rendered":"https:\/\/bis-art.com\/?page_id=1463"},"modified":"2024-08-03T09:49:14","modified_gmt":"2024-08-03T07:49:14","slug":"kokou-ferdinand-makouvia","status":"publish","type":"page","link":"https:\/\/bis-art.com\/index.php\/kokou-ferdinand-makouvia\/","title":{"rendered":"Kokou Ferdinand Makouvia"},"content":{"rendered":"\n
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Kokou Ferdinand Makouvia<\/span><\/h2>\n

N\u00e9 \u00e0 Lom\u00e9 (Togo) en 1989
Vit et travaille entre Paris et Amsterdam<\/p>\n

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Kokou Ferdinand Makouvia a pass\u00e9 son enfance et son adolescence \u00e0 Lom\u00e9 (Togo) o\u00f9 il a fait ses \u00e9tudes en r\u00e9seaux informatiques et t\u00e9l\u00e9coms. Persuad\u00e9 de sa passion pour l\u2019art, il poursuit ses \u00e9tudes aux beaux-arts, inexistants dans son pays d\u2019origine. Apr\u00e8s Abidjan et Valenciennes, il est dipl\u00f4m\u00e9 des Beaux-Arts de Paris et est actuellement en r\u00e9sidence aux Ateliers d’Amsterdam. Laur\u00e9at de plusieurs prix, dont le prix “R\u00e9v\u00e9lation 2017” de l’ADAGP, l\u2019artiste a \u00e9galement particip\u00e9 \u00e0 la Biennale Jeune cr\u00e9ation europ\u00e9enne en 2017-2019, et a plusieurs expositions \u00e0 son actif.<\/span><\/p>\n<\/div>\n

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Depuis son arriv\u00e9e en France en 2014, l’influence lointaine de la culture traditionnelle Mina a conduit Kokou Ferdinand Makouvia \u00e0 poursuivre son enqu\u00eate sur la mat\u00e9rialit\u00e9 subtile qui compose l\u2019existant. D\u00e8s lors, il se conditionne \u00e0 une collaboration \u00e9troite avec la mati\u00e8re dans tous ses \u00e9tats\u00a0: il fait de son \u00e9nergie une \u00e2me s\u0153ur dans le dialogue, il se confronte \u00e0 sa substance incarn\u00e9e comme une r\u00e9alit\u00e9 persistante avec laquelle il est vital d\u2019apprendre \u00e0 composer, il l\u2019utilise enfin comme un m\u00e9dium pour communiquer avec l\u2019invisible.<\/span><\/p>\n<\/div>\n

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\u00ab\u00a0Entre l\u2018\u00e9l\u00e9vation et la bille de bois, entre \u00ab le vide et le plein \u00bb s\u2019installe une communication qui s\u2019op\u00e8re par le biais de la structure en cuivre donnant l\u2019id\u00e9e de la coulure continue d\u2019une substance solidement liquide. S\u2019agira-t-il d\u2019eau cristallis\u00e9e, solidifi\u00e9e ou arr\u00eat\u00e9e par le temps rendant impossible tout acc\u00e8s ? <\/span><\/p>\n<\/div>\n

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En effet, c\u2019est l\u2019une des formes, qu\u2019\u00e9tant enfant, je m\u2019amusais \u00e0 r\u00e9aliser avec des feuilles de papier en partant de simples pliages et d\u00e9coupes aux ciseaux. Alors, mon exercice consisterait-il, \u00e0 partir de ces manipulations infantiles de la mati\u00e8re, de cr\u00e9er une forme sculpturale plus complexe ?\u00a0 Et si le mat\u00e9riau \u00ab feuille de papier \u00bb avait grandi autant que moi, que serait-il devenu aujourd\u2019hui ?<\/span><\/p>\n<\/div>\n

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Des rouleaux de cuivre sont contraintes dans des formes occasionn\u00e9es par les m\u00eames gestes d\u2019enfance. Ces formes cette fois, coupl\u00e9es avec la d\u00e9formation monumentale, en opposition \u00e0 la forme miniature, subissent ici plusieurs actions telles que la torsion, la tension, l\u2019\u00e9tirement, le d\u00e9coupage, pression.\u00a0\u00bb<\/span><\/p>\n<\/div>\n

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Dans un face \u00e0 face qui tient autant du ballet guerrier que de la transe animiste, l\u2019artiste se fait tour \u00e0 tour fa\u00e7onneur d\u00e9vou\u00e9 et alchimiste acharn\u00e9. Tant dans sa pratique de la sculpture que de la performance, il est l\u2019intercesseur d\u2019une dichotomie entre le faire et le laisser-faire.<\/span><\/p>\n

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L\u2019\u0153uvre Akossiwa <\/i>est faite de 120 kg de cuivre d\u00e9coup\u00e9 en trois parties. \u00ab\u00a0Le temps d\u2019une routine<\/span>\u00a0\u00bb <\/span><\/span>est \u00e0 la t\u00eate d\u2019un<\/span>trio <\/span><\/span>compos\u00e9 de \u00ab\u00a0Caution-deux-Bande<\/span>\u00a0\u00bb <\/span><\/span>et <\/span><\/span>\u00ab\u00a0Le Point Retour\u00a0\u00bb. Elle a voyag\u00e9 pendant deux ans et a \u00e9t\u00e9 <\/span>expos<\/span><\/span>\u00e9e dans sept pays d\u2019Europe lors de la Biennale de la Jeune Cr\u00e9ation Contemporaine.<\/span><\/p>\n

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Kokou Ferdinand Makouvia spent his childhood and adolescence in Lom\u00e9 (Togo) where he studied computer networks and telecommunications. Convinced of his passion for art, he continued his studies in fine arts, which did not exist in his country of origin. After Abidjan and Valenciennes, he graduated from the Beaux-Arts de Paris and is currently in residence at the Ateliers in Amsterdam. Winner of several awards, including the ADAGP “Revelation 2017” award, the artist also participated in the Biennale Jeune cr\u00e9ation europ\u00e9enne in 2017-2019, and has several exhibitions to his credit. <\/span><\/span><\/em><\/p>\n<\/div>\n

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Since his arrival in France in 2014, the distant influence of traditional Mina culture has led Kokou Ferdinand Makouvia to pursue his investigation into the subtle materiality that makes up the existing. From then on, he conditioned himself to a close collaboration with matter in all its states: he made its energy a soul mate in dialogue, he confronted its embodied substance as a persistent reality with which it is vital to learn to compose, he finally used it as a medium to communicate with the invisible.<\/span><\/em><\/p>\n<\/div>\n

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“Between the elevation and the wooden ball, between “the void and the full”, there is a communication that takes place through the copper structure that gives the idea of the continuous flow of a solidly liquid substance. Will it be crystallized water, solidified or stopped by time making access impossible? <\/span><\/span><\/em><\/p>\n<\/div>\n

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Indeed, this is one of the shapes that, as a child, I used to have fun making with sheets of paper, starting with simple folding and cutting with scissors. So, would my exercise consist, from these childish manipulations of the material, in creating a more complex sculptural form?  And if the material “sheet of paper” had grown as much as I have, what would it have become today?<\/span><\/span><\/em><\/p>\n<\/div>\n

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Rolls of copper are forced into shapes caused by the same childhood gestures. These forms this time, coupled with the monumental deformation, in opposition to the miniature form, undergo several actions such as twisting, tension, stretching, cutting, pressure.\u201d<\/span><\/span><\/em><\/p>\n<\/div>\n

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In a face-off that is as much a warrior’s ballet as an animist’s trance, the artist is in turn a dedicated shaper and a relentless alchemist. In both his sculpture and performance practice, he is the intercessor of a dichotomy between doing and not doing.<\/span><\/span> <\/span><\/em><\/p>\n<\/div>\n

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The work Akossiwa is made of 120 kg of copper cut into three parts. “Le temps d’une routine’ is the lead in the trio ‘Caution-deux-Bandes’ and ‘Le Point Retour’. It travelled for two years and was exhibited in seven European countries during the Biennale of Young Contemporary Creation.<\/span><\/em><\/p>\n

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> Retour Artistes 2021<\/strong><\/a><\/span><\/p>\n<\/div>\n\n\n\n

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Akossiwa, le Temps d\u2019une Routine, 2017<\/strong>
Cuivre, Bois
Dimensions variables
Courtesy de l\u2019artiste et de la Galerie Sator<\/span><\/a><\/span><\/p>\n<\/div>\n<\/div>\n\n\n\n

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Kokou Ferdinand Makouvia N\u00e9 \u00e0 Lom\u00e9 (Togo) en 1989Vit et travaille entre Paris et Amsterdam Kokou Ferdinand Makouvia a pass\u00e9 son enfance et son adolescence \u00e0 Lom\u00e9 (Togo) o\u00f9 il a fait ses \u00e9tudes en r\u00e9seaux informatiques et t\u00e9l\u00e9coms. Persuad\u00e9 de sa passion pour l\u2019art, il poursuit ses \u00e9tudes aux beaux-arts, inexistants dans son pays …<\/p>\n

Kokou Ferdinand Makouvia<\/span> Lire la suite \u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"default","ast-global-header-display":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"disabled","ast-breadcrumbs-content":"disabled","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"default","adv-header-id-meta":"","stick-header-meta":"default","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":""},"_links":{"self":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1463"}],"collection":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/comments?post=1463"}],"version-history":[{"count":6,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1463\/revisions"}],"predecessor-version":[{"id":3592,"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/pages\/1463\/revisions\/3592"}],"wp:attachment":[{"href":"https:\/\/bis-art.com\/index.php\/wp-json\/wp\/v2\/media?parent=1463"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}