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‘LE PASSAGE DU MILIEU’, BY YVES APOLLINAIRE PEDE (1959-2019), AFTER WILLIAM ADJÉTÉ WILSON (b. 1952
奥地利
09月11日 晚上8点 开拍 / 09月09日 下午3点 截止委托
拍品描述 翻译
‘LE PASSAGE DU MILIEU’, BY YVES APOLLINAIRE PEDE (1959-2019), AFTER WILLIAM ADJéTé WILSON (b. 1952 This lot is from a single owner collection and is therefore offered without reserve Benin, Abomey. Of rectangular format, finely worked in appliquéd cloth with bold, vividly colored forms against a black ground and framed by red and turquoise borders. The composition narrates the history of the trans-Atlantic slave trade, with a European coastal building, a ship carrying black figures across a stylized ocean, a procession of chained figures, and abstracted bodies below, rendered in Wilson’s powerful, graphic visual language. Inscriptions: Lower right, signed with the artist’s initials, ‘Y P’. Provenance: Professor Gert Chesi, acquired circa 2010-2015 for the Museum der V?lker (formerly Haus der V?lker, Museum für Kunst und Ethnographie), Schwaz, Tyrol, Austria, and subsequently de-accessed. Gert Chesi (b. 1940) is an Austrian photographer, author, and art collector. In 1995, Chesi founded the Museum der V?lker (formerly Haus der V?lker, Museum für Kunst und Ethnographie), Schwaz, Tyrol, Austria, a museum of art and ethnography whose collection consists mainly of objects acquired during Chesi’s travels through Africa and Asia, most of which were assembled in the 1990s and early 2000s. He also authored several books on African voodoo and magic rituals, including ‘Voodoo. Afrikas geheime Macht’ (1987) and ‘Die letzten Afrikaner’ (1977). Condition: Very good condition with wear, few loose threads, scattered soiling, and traces of wear and use. Dimensions: Size 109 x 171 cm William Adjété Wilson’s Le Passage du milieu forms part of L’Ocean Noir, a cycle of eighteen appliqué hangings tracing the interconnected histories of West Africa, Europe, and the Americas. Conceived by the French-Togolese artist and produced with textile artisans in Abomey, the series employs a technique once used to record important events at the court of Dahomey. Wilson turns this historic African medium toward the Atlantic slave trade, presenting its history from an African perspective while exploring its enduring consequences for the modern world. The composition condenses the successive stages of enslavement into a single image: the fortified coastal trading post, the chained captives awaiting embarkation, the slave ship crossing the turbulent ocean, and the contorted figures at lower right, representing human beings stripped of identity and reduced to merchandise. At the center stands the Pole of Forgetting, around which captives at Ouidah were made to circle in a rite intended to sever them from their former lives, families, and ancestral ties. The varied skin tones broaden the work into a reflection on the lasting effects of slavery upon families and societies throughout the multiracial Atlantic world. The Middle Passage thus becomes both a geographical crossing and an irreversible rupture between freedom and enslavement, personhood and commodity, ancestral memory and diaspora. William Adjété Wilson (b. 1952) is a French-Togolese artist who lives in France and Benin. His work is inspired by the traditions and techniques of Africa and the diaspora. Born in France in 1952, Wilson had little knowledge of his Togolese father's family until he traveled through the Gulf of Guinea as a young man. Though trained as a philosopher and anthropologist, this journey inspired him to pursue an artistic practice. His work has been shown throughout Africa, Europe, the US and Brazil. Yves Apollinaire Pede (1959-2019) was a Beninese Voodoo artist renowned for his appliqué works, large cement sculptures, and cement bas-reliefs. As a former restorer of bas-reliefs in the Abomey Palace, he produced narrative appliqués on canvas that depicted both historical events from the Kingdom of Dahomey and contemporary Beninese life, blending traditional Vodun iconography with modern storytelling. Pede's art often explored themes of cultural heritage and spirituality, contributing to the revival of Vodun visual traditions in Ouidah, Benin's center for Vodun culture. Literature comparison: Compare a closely related wall hanging William Adjété Wilson, number 7 from the series l’Océan Noir exhibited by the George Washington University Museum and The Textile Museum, Stories of Migration: Contemporary Artists Interpret Diaspora, 16 April 2016-4 September 2017.

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