Romuald Hazoume: “The issue for African art is not whether people say it’s good or bad, it’s when they don’t say anything”

Romuald Hazoume - Wax Lolo, 2009

Award-winning Beninese artist ROMUALD HAZOUME showcases his legendary masks and photographs depicting ordinary life in contemporary Benin.  The title itself, ‘Made In Porto Novo’ looks towards an emerging art scene in the capital of Benin, as well as West Africa as a whole. Catch a Vibe went to meet the celebrated artist ahead of the opening night of the exhibition.

Romuald Hazoume is one of Africa’s most internationally acclaimed artists with the means to be a collector in his own right, keeping ancient pieces in his native Benin. Yet he’s extremely modest with an agenda that goes beyond the personal. He conceded that ‘Dream’ – the installation that won the prestigious Arnold Bode Prize (2007) – was “not bad” and was surprised to win, though very pleased. The 150 interviews he subsequently did were challenging, though necessary because, as Romauld puts it: “the issue for African art is not whether people say it’s good or bad, it’s when they don’t say anything”.

“I’m not like Western artists; my art – our art – is for the community, talking about our people and the answers for their questions.  These were raised with the old masks; we continue the same role in a different way”.

Questions are a vital part of this exhibition. One wall is devoted to several paintings of Ifa symbols, with each on a designated colour background. Hazoume explained they are the West African Bible or Kor’an answering every conceivable question. They are central to Hazoume’s life – a knowledge that cannot be learnt, only given, and he chose which ones to show with care, as the wrong symbols could be inauspicious. He says: “You must understand the relationship of the oracle to my work. Without the oracle there can be no masks; without the oracle there would be no photographs because if the oracle says stay at home, no one will be out there. I have not signed them because I cannot write on a god”.

Romuald Hazoume

Hazoume’s new petrol canister masks are stunning as stand-alone pieces, all the more so when their full implication is realised – imparting the questions which inform his work. The rarely seen photographs of everyday struggles and the titular installation expand this further, going to the heart of the underground petrol economy which fuels 90% of Benin’s requirements. ‘MIP’ is his most poetic piece to date, with a looped jazz-oic soundtrack emanating from the quartet of towering instruments of ingeniously manipulated canisters.  The effect is playful, the message hard-hitting. Hazoume spent three days recording every aspect of the illegal Nigeria-to-Benin petrol trade from early morning birds & food sizzling to motorcycles and petrol pouring, while constructing the music using only these ‘found sounds’ with a skilled producer.

He states: “I’m showing that sometimes you can be a rebel. I have to say everything the people think against these stupid people who govern us, though I’m an artist, not a political person. Who does the petrol-run? It’s farmers in our lovely country. If (the) Government would only make something for them, do you think they’d keep doing this? But if they stop, nothing would last a week, it’s so corrupt. These traders aren’t robbers, not even new slaves, they have to survive and like everyone else they need proper support”.

‘Dream’ is a canister-created Europe-bound longboat set against a fine Beninois coastal photo, which explores similar questions. Attached, are four bottles filled with photos and messages. Romuald comments: “When the last person dies, they will cut the bottles in case one might float back to Africa, giving families the certainty of death rather than eternally waiting for a phone call. It’s to educate the farmers that it’s hard to travel and even harder in Europe where they are nobody. If we had the education, the hospitals, immigration wouldn not happen. Europeans would come begging us to leave, but everyone would say no! Refuse!”

Asked what keeps him in Benin, Romauld said: “You know what? In France, we’ve got 2000 doctors in Paris alone from Benin. In Benin there’s one doctor for 1000s. When we all leave Africa, it’s terrible. I need to stay to work, to fight for politicians, to make it better for my people. We now have the Fondation Zinsou in Coutonou [a contemporary art space co-sponsored by Sotheby’s], whose most important visitors are children. We were given a bus which can be booked to bring them from anywhere to participate freely”.

At one point I mentioned ‘recycling’ which comes up in many discourses on African contemporary art. Romuald responds: “I hate that word! I don’t recycle, I use found objects. It’s a misconception that African artists are green. I make no compromises in my art. I compromise in every other aspect of my personal and practical life: with my wife, my children, eating bio foods or taking care of my land. In my work I am not green. I do not compromise”.

Made in Porto-Novo is on display at the October Gallery until 28 November