Une rétrospective de l’artiste soudano-suédois Mohamed Abu Sabib a été présentée au public soudanais à l’Institut français de Khartoum du 4 au 18 octobre 2015.

"Art, as one of the basic components of culture, fulfils a myriad of aesthetic, social, intellectual and psychological functions in human community. One formidable function of art is its role as a critical tool. Here, the language of art has the capacity to transcend all ethnic and linguistic barriers and communicate with human mind and feeling to convey the message it carries. This is why art is feared by undemocratic political regimes, irrational trends and fanatics of all kinds. In my work, I am trying to combine these main artistic traits, touching on Sudanese and African themes with special focus on social, political, religious and gender issues. I start from the idea and search for the form, and if the form is not aesthetically convincing the piece will not be consummated. This is how all of these pieces came out." Mohamed Abu Sabib

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Al-Ja’ali and skinheads. 1999. Acrylic sur papier. 50x70 cm.
DR IF Soudan

Once upon a time in Europe a Sudanese Jaali was chased by skinheads. The following piece of poem tells the story :
"The Jaali, son of the noble tribes,
The warrior who was rescued only by his speedy legs,
With widening eyes and trembling ears, he, unashamed, took to his heels.
Thanks to God, you were far away that Alabbas has not heard of it.
Five skinheads blocked the road in front of him,
They were Neonazi targeting him,
Nigger ! Go home !! And swearing at him unspeakable words,
And their clanking chains add to his ordeal.
They didn’t know that our friend is a record holder,
And we thought that our friend was brave heart.
He professed the Islamic testimony and set to action, for facing death is hard,
To be sure, as he swept past them, he beat Karl Lewis, the Kenyan and Gabraselasi,
Once the Jaali take to his heels he vanishes in a second."

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Our People’s Parliament. برلمان أهلنا Acrylics on paper. 60 x 80 cm. برلمان أهلنا

إلى عهد قريب كانت تقف شجرة سيال ضخمة في قرية أبودوم في شمال السودان. لأكثر من قرنين كان أهل القرية يجتمعون تحتها لمناقشة قضاياهم الإجتماعية والزراعية والإدارية والسياسية. وهذا نموذج تقليدي منتشر في أنحاء السودان.
"Until recent years this huge Sayyal tree was standing in Abudoam village in northern Sudan. For more than two centuries the people have been using it as an assembly where they discuss social, agricultural, administrative and political issues. Its example is found throughout Sudan."

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Lights of the forest أضواء الغابة 1980. Mixed media on paper. 50 x 70 cm

للغابة جمالها وإثارتها. "The forest has its special beauty and excitement."

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Sudanese Sufi song يا ليلة. 1997. Acrylics on paper. 50 x 70 cm.

"This work is made up of eight pieces. They all have the same tomb-like form with different texts written in stylized Arabic calligraphy and designed in a circular form which is placed inside the form. The initial Arabic letter “A” is written in the classical thuluth style and used as a unit to build this three-dimensional form which simultaneously resembles a tomb and human torso with the circular text suspended in the hollow of this form. This tomb-torso-like form together with the written text, which speaks of a specified Sufi holy man, is intended to symbolize the dead holy man as if embodied in his tomb. The tomb as a shrine belongs to a pedigree of Sudanese religious buildings and the beliefs they represent, such as the pyramid in the central Nile Valley and shrines of the Sudanese peoples of the grasslands around the valley. The tomb together with the practices conducted in and around it by the Muslim holy man’s followers, such as votive offerings and invocations, attest to the historical interblending process of the local Sudanese faiths and newly arriving religions. This is one aspect of the interaction between cultures and civilizations throughout history. The texts, which many of them date back to the seventeen century, are extracts from a book written by Mohamed Alnur ibn Deifalla (1727-1810) and recounts stories about early Sudanese Sufi figures and their “miracles” and “conduct” which some of it do not conform with the Islamic canons. The whole work is intended to bring to light the historical, cultural and social contexts in which the Sudanese of the day received and reacted to the newly arriving Sufi version of the Islamic faith. "

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Mother, Child and the Great Ancestor, الأم والطفل والجد الأعظم 2001. Acrylics on paper. 60 x 80 cm.
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Our identity هويتنا. 2014. Acrylics and watercolour on paper. 60 x 80 cm.
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“Out of Africa”, Message for Michael Angelo. 1997, 60x80 cm.

The hand of the Creator is repainted black. In 1997 scientists in European, Chinese and South African universities simultaneously used DNA technique to prove that all human races of today belong to the same human species who came out of Africa some 200,000 years ago. The scientists coined the slogan “Out of Africa” to refer to this reality.
في عام 1997 إستخدم علماء الأجناس في بعض الجامعات الأوروبية والصينية والجنوب أفريقية الحامض النووي لإثبات النظرية القائلة بإنتماء كل السلالات البشرية الراهنة إلى سلالة بشرية واحدة خرجت من أفريقية قبل حوالي 200000 عام، وإستخدموا شعار "الكل خرج من أفريقية" للدلالة على ذلك.
أعيد تلوين يد الخالق في لوحة مايكل آنجلو "خلق آدم" باللون الأسود.

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Circumcision, sex on the edge of the blade, 1997. Acrylics on paper. 60 x 80 cm.
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Message for Da Vinci. 1998 60 x 80 cm.رسالة إلى دافنشي The veil is repainted in watercolour.
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Inauguration de l’exposition. De gauche à droite L’Ambassadeur soudanais Nourredine Sati, Directeur général de la bibliothèque Nationale du Soudan, l’Ambassadeur du Canada,Salah Eddine Bendaoud et l’artiste Mohamed Abu Sabib


Dernière modification : 30/10/2015

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