In formally diverse works, Christophe Ndabananiye (b. 1977 Lubumbashi Democratic Republic of the Congo, lives and works in Berlin) deals with themes of traumatic experience relating to escape, family and native language, connecting them to his current life in Europe. As Bonaventure Soh Bejeng Ndikung fittingly describes Christophe Ndabananiye not only burrows deep into history, but into his own soul as well. Ndikung describes how Ndabananiye looks back in order to consider the past and find his own place in something that could probably be described as the present.
For his exhibition 1° 40′ S 27° 29′ O at the Kunstverein in Hamburg, Ndabananiye presented a number of paintings that shifted between abstraction, representation, and indexicality. These hinged on his experiments in the relation between paint and canvas, the medium and its support—using the medium to distort, twist, and contract the canvas surface. The result is a surface that is more topographical than flat. On this “landscape”, Ndabananiye placed the motif of coordinates referring to important locations in his life story. His unique works, which are exclusively for the Kunstverein in Hamburg, continue these formal experiments, using a heavy application of acrylic paint on paper collages that tip between landscape and pure abstraction.
- 1° 40′ S 27° 29′ O, #UNFINISHEDTRACES, Villa Romana, Kunstverein in Hamburg (E)
- Ukumbusho: Remembrance Work, SRISA Gallery Project Space, Florenz (G)
- Would Have Been II, Palazzo Ziino, Palermo (G)
Would Have Been, Villa Romana, Florenz (G)
Villa Romana-Preisträger 2018, Villa Romana, Florenz (G)