Pangaea: New Art From Africa and Latin America (Saatchi Gallery)

‘Pangaea: New Art From Africa and Latin America’ is a moving, intriguing exhibition of wide-ranging art from sixteen contemporary artists, often with complex socio-political influences. The diversity of media and raw talent of several of the artists on display promised a successful, unconventional display, something achieved in part. Unfortunately, something is missing.

This issue could relate to the vague curatorial purpose of the exhibition, evident in its very name; Pangaea refers to an ancient supercontinent, which united most continents in one landmass, and began to separate around 200 million years ago. The word roughly translates to ‘all lands’: an alarmingly wide theme to cover. Latin American and African art is rapidly gaining wider recognition, with recent art fairs such as 1:54 setting precedent for further platforms in London, and it is refreshing to see such art on display in such a prominent gallery. However, Saatchi Gallery offers no explanation for the specific combination of Latin America and Africa, other than their roles as former ‘sister continents’, and the ‘parallels between their distinctly diverse cultures and creative practices’. This puts the exhibition at risk of ‘otherising’ its contributors; emphasis is placed upon continent-of-origin rather than preventing generalisation by selecting a narrower curatorial theme.

Aboudia Untitled (Diptych) 2011 Acrylic and mixed media on canvas © All rights reserved - The Saatchi Gallery / Aboudia

Aboudia – Untitled (Diptych), 2011
Acrylic and mixed media on canvas
© All rights reserved – The Saatchi Gallery / Aboudia

Despite this, many of the actual works on display counter generalisation. This is exemplified in Aboudia’s powerful canvases, carried out upon collages of newspaper clippings, including images of hair braiding techniques and African masks. This, juxtaposed with the violence of over-painted imagery of childlike figures brandishing guns, displaces simplistic understanding of culture by bringing to light the trauma of the political state of his native Republic of the Ivory Coast. The cacophony of vibrant colour, combined with an unsettling naivety of figuration, challenges Western expectations of primitivism, displaying instead politically charged imagery of the complexities of contemporary urban life.

Leonce Raphael Agbodjélou - Untitled triptych (Demoiselles de Porto-Novo series) Leonce Raphael Agbodjélou Untitled triptych (Demoiselles de Porto-Novo series) 2012, C-print

Leonce Raphael Agbodjélou – Untitled triptych (Demoiselles de Porto-Novo series) 2012, C-print, © All rights reserved – The Saatchi Gallery / L. R. Agbodjélou

This challenge to the viewer is also evident in the series of large-scale photographs by Leonce Raphael Agbodjélou, entitled ‘Desmoiselles de Porto-Novo’. These works present semi-nude female models in a colonial mansion, addressing the viewer from behind wooden ceremonial masks. The series’ title suggests a play upon Picasso’s ‘Desmoiselles d’Avignon’, referencing the influence of African art and masks upon the development of cubism, yet with a melancholic realism which draws the viewer back to the social reality of life in Porto Novo, and the impact of colonisation.

Rafael Gómezbarros Casa Tomada, 2013 © Gabriela Salgado, © Saatchi Gallery

Rafael Gómezbarros – Casa Tomada, 2013
© All Rights reserved – Gabriela Salgado / Saatchi Gallery

Further highlights include work from Oscar Murillo, who draws on his experience of emigration from Colombia to London to create a chilling examination of class, cultural coding and migration of materials, and Rafael Gómezbarros’ simultaneously playful and macabre installation of oversized ants, referencing the plight of displaced immigrants. However, the exhibition’s overall effect is shaken by curious juxtaposition of such powerful and unconventional works with garish Pop Art inspired canvases and somewhat derivative abstraction. Having said this, any questionable curatorial choices are more than made up for by the quality of several of the artists on display.

Izzie Hewitt is a third year BA at the Courtauld.

Pangaea: New Art From Africa and Latin America is at the Saatchi Gallery until the 2nd November 2014


A response by Jane Scarth


“This is something essential to art: reception is never its goal. What counts for me is that my work provides material to reflect upon. Reflection is an activity.” – Thomas Hirschhorn

Having reflected on my notes from this lecture repeatedly, I am still not quite sure how to make sense of it all. This seems bizarre, because Thomas Hirschhorn’s purpose seemed to be to rationalise his art practise, and specifically his huge, immersive installation for the 2011 Venice Biennale, CRYSTAL OF RESISTANCE, (Fig. 1) which I had seen this summer.

What I understood was that in using a belief system to justify what art is and should be (“because in art it’s a matter of believing”), and so Hirschhorn presented us with the three questions he needed to answer to reach the conclusion of the work. These were set in a framework of ‘The Four Parts of the Form and Force Field: LOVE, PHILOSOPHY, POLITICS, AESTHETICS’, at least two of which, he tells us, must always be present in his work, and all four are found here. Within and from these constant elements, Hirschhorn finds an appropriate motif, which is then integrated to create the whole. Each element leading to more inherent questions and each has an answer specific to the artist (taking the form of motifs, materials, themes, etc.).

To over-simplify the logic, in CRYSTAL OF RESISTANCE they take these forms:


LOVE = the motif of crystal.

PHILOSOPHY = a desire for universality.

POLITICS = urgency and panic.

AESTHETIC = the crystal meth lab/B-movie set.


The result is an artwork that is explosive, an onslaught of ideas and references, fluctuating between being at times enlighteningly coherent and at others impenetrable. But such is the creative mind. It was explained that to enter the installation you go inside the head of the artist, and on leaving you will be taking home ‘a bit of my head in your head’.

The thing I found most inspirational about hearing Hirschhorn was his unrelenting questioning of himself and his position as an artist. He creates intricate mind-maps, which are works of art in themselves, (Fig. 2) to place himself in relation to his work and so he can always refer back and reassess where he is coming from. I think that this is similar to the experience of the visitor to the show in the sense of getting lost in an extreme train of thought and having to hold onto certain reference points to relocate yourself.

Therefore to my understanding, it is entirely appropriate that one of the four banners spray painted with Edouard Glissant quotes was “You have the right not to be understood”. At times in the installation I think I understood, and at times in the talk I certainly did. However now, with the two collected experiences, and retrospect, I am not really sure that I do. Yet I don’t think that it’s a bad or even an ignorant thing, but part of the nature of the work in its process of finding logical, universal conclusions to questions that are at times without answers.