Goumbé - Carl-Edouard Keita : Online viewing room

13 February - 13 April 2025
  • GALERIE CÉCILE FAKHOURY 

    Abidjan - Dakar - Paris 

     

    GOUMBÉ

    CARL-EDOUARD KEÏTA

    FEBRUARY 13  -APRIL 12, 2025

  • At the dawn of independence, Côte d'Ivoire experienced an unprecedented economic boom, commonly referred to as the Miracle ivoirien (Ivorian Miracle). Many young people from rural areas (Malinkés from the North) or from neighboring countries (Guinea, Niger, Ghana…) migrated to Abidjan-the brand-new economic capital-full of hope and eager for new adventures, seeking employment, financial stability, and a better future. This utopia found its anchor in the districts of Treichville and Adjamé. Together, these young migrants formed mutual aid associations known as Goumbés. Structured, codified, and hierarchical, these associations-bridging tradition and modernity-organized various activities fostering community cohesion.

     

    Through Goumbé, Carl-Edouard Keïta immerses us in the history of these communities and offers a reflection on regional migrations and their impact on the writing of contemporary Ivorian society.

  • The first Goumbé associations emerged as early as the 1940s, reaching their peak in the 1960s, the pivotal decade of...
    Fin des réjouissances, 2025
    Technique mixte sur toile - Mixed media on canvas
    180 x 121 cm - 70 7/8 x 47 5/8 in

    The first Goumbé associations emerged as early as the 1940s, reaching their peak in the 1960s, the pivotal decade of African independence. Singing and dancing were at the heart of these groups. Through relentless rehearsals and hard work, their choreographic prowess and the magnetism of their songs drew crowds of onlookers and created moments of shared joy during performances held every Saturday night.

  • Reine du Goumbé, 2025
    Reine du Goumbé, 2025 
  • Carl-Edouard Keïta, a true pictorial storyteller, reinterprets these performances and pays homage to these popular figures. Ethnographic filmmaker Jean Rouch,...

    Carl-Edouard Keïta, a true pictorial storyteller, reinterprets these performances and pays homage to these popular figures. Ethnographic filmmaker Jean Rouch, in several of his films-including Moi, un noir (1958), La Pyramide humaine (1961), and La Goumbé des Jeunes Noceurs (1964)-attempted to capture what he described as the blindingly fast, dazzling movements of some of the finest dancers. These films offer glimpses into their daily lives.

     

    In La Goumbé des Jeunes Noceurs, Jean Rouch introduces us to Nathalie, a discreet yet essential presence within the group-a mother by day and a movement magician by night. Inspired by her, new songs were composed every month to celebrate her endless feats. Carl-Edouard chooses to depict her with her child, using an intriguing interplay of shadows, as if to emphasize the limited knowledge we have of her fate.

  • Keïta’s drawings demonstrate a remarkable mastery of composition, with each piece carrying a story, a narrative. The decomposition of the figures’ bodies into multiple geometric elements can be understood as a mimetic gesture, revealing and deconstructing the themes explored in his works—moving from the visible to the hidden.

  • At the crossroads of cinematic, musical, and choreographic references, this new body of work is also distinguished by a richer,...
    Dans l'euphorie du moment, 2025
    Technique mixte sur toile - Mixed media on canvas
    100 x 100 cm - 39 3/8 x 39 3/8 in

    At the crossroads of cinematic, musical, and choreographic references, this new body of work is also distinguished by a richer, more powerful chromatic background. Shades of blue, yellow, violet, and green intertwine, conversing in a masterfully composed visual harmony.

     

    Ivorian women navigated between intricate traditional hairstyles and contemporary Western styles influenced by the yéyé period. This hybridity is also evident in the cinema of Ivorian filmmaker Désiré Ecaré (see Visages de Femmes, 1985), which served as a primary inspiration for the sculptures. During this time, both local magazines (Ivoire Dimanche, Fraternité Matin, Avoura) and French publications (Salut les Copains) dictated trends for a youth caught between two worlds overlapping within them, as filmmaker Timité Bassori described in a conversation with the artist.

  • By capturing the subtleties, complexities, and rich intermingling of Ivorian contemporary history, this exhibition serves as a testimonial journey through the Goumbé universe-a dance of exile that has nearly vanished, even as its songs and movements persist in other forms within Malinkés communities. 

  • À la sortie du C-105, 2025 Technique mixte sur toile - Mixed media on canvas 196 x 130 cm -...
    À la sortie du C-105, 2025
    Technique mixte sur toile - Mixed media on canvas
    196 x 130 cm - 77 1/8 x 51 1/8 in
  • This exhibition in Abidjan is also an opportunity for Carl-Edouard Keïta to further his artistic illumination of diasporic histories. He presents us with major portraits in a profound act of transmission and absolute legacy.

  • Born in 1992 in Abidjan, Carl-Edouard Keïta now lives and works in New York. It was during his studies in...

    Photo : Justin French

    Born in 1992 in Abidjan, Carl-Edouard Keïta now lives and works in New York.
     
    It was during his studies in economics in Atlanta that Carl-Edouard Keïta discovered the history of African art, through a course offered at his university. As he describes it himself, this discovery was a real aesthetic revelation for him. Fascinated since his childhood by lines, straight or curved, he became passionate about drawing, and was inspired by traditional, modern and contemporary references.

     

    From the angular forms of African statuary to the geometric decompositions of cubism, via the Ivorian vohou-vohou, Carl-Edouard Keïta's influences are numerous and create bridges between eras and continents. Initially self-taught, then an art student, Carl-Edouard Keïta perfected his mastery of the pencil over the years, attached to the idea that pencil drawing, behind its apparent simplicity, can become the site of a true search for aesthetic sophistication and conceptual complexity. The sobriety of the pencil is synonymous for the artist with freedom.

  • Contact 

    Francis Coraboeuf

    francis@cecilefakhoury.com