In 1-54 in New York, North African artists shine

The burden of expectation is blue and weighs its value of gold, according to the photography of Moroccan artist Sarah Bennadel, and it is one of the most prominent Nil Gallery Stellar. The French uniform brought a dreamer and dreamer of the coating, sculpture and mixed media pieces that explore personal tensions within the complex cultural contexts. Benab Allah, who was present at the exhibition, explained that she would be a single woman throughout a certain era in her twenties in checking the Moroccan courts; Even there is a term in the Arabic language, as if individualum was tangible for the soul. Is marriage the ointment? Benabdallah’s accurate writings suggest a kind of appearance: the window drawn for a strange person’s house, through which some vibrant history is clear but unknown.

Some of the best acrylic and oil works in the exhibition near: Malik Thomas Distinguished with salvation (embrace), 2025, is a generous experience on the heartache, as layers of bleeding brush are the gift of these lovers no beginning or goodbye. Tunisian artist Seliman Elcamel, who is also a poet and has a way to paint, makes art more secret but striking. in Nervana time (2025), its weak subjects appear woven in a biological tissue or caught in the Rip Movement at the time.

The Lis10 will host a single show of Kenyan artist Ashnis Wargoro, a victory for anyone who could not reach the Venice Biennial last year, as it showed its accurate manipulation of colors, cotton, needle and water. I have seen pictures Understanding weather in the head (2024), a series of huge, dyed paintings, suspended in Arsenal, but those images have reduced little of justice for the materials, which, at the conceptual and fair level, have turned through their confrontations with pastel, paint, salt and saffron. Closely, the color and bleeding bloom, but from afar, the enthusiastic viewer can distinguish the shapes of the landscape, albeit not the type that can be reached on this time plane. Waruguru, which works through embroidery, sculpture and installation, but apparently determines its practice by any of these media, abandons the entire design. Her salary is a study of the materials granted by memory and intention.

It explores the best work in the Larkin Durey booth how political systems dictate from what is remembered and how, as well as what constitutes resistance against the enemy, such as omission. Masoud Hyun, an Egyptian -Egyptian painter and talent worthy of follow -up, suggests a “radical rejection” of such a alleged history. His latest work depends on the oral stories that his community elders shared to create a properly complex image of people who survived exile and a loss with their own privacy. This reality, though, is very similar to a dream. It draws with a technical painting that prefers distinctive blue shapes that fill Tunisian engineering (whose invention can return to ancient Egypt). Like dreaming and individual and collective memory coexists. One of the protagonists sits in the bed of his girlfriend, the bed hides a ghost-lion, and perhaps the last barbarian lion known in Tunisia was killed in 1891. Habib Hajjali, a mixed media artist in Sierra Leone, and like antique plans, and the Arabs that were milked or rotated. toAny your prayers, take your vitamins and are not racist (2021), he drew a bodybuilder who displays physical fitness directly to the 1936 document, as if the man refused to be reduced to printing.

Fridman Gallery has wiped 12 artists who compose the limits of acting and abstraction to study the self -dictate concepts of reality – soldier, race, sexual activity, power, time. In 2011, the colorful and Linocot screen from Kerry James Marshall, entitled “Bat” save CultureHe has a gravitational pull. It depicts a family home from Afrofturist, completed with modern furniture in the middle of the century and the glossy crawl of the compressed space on the window part. Children sitting on the sofa inspect a 3D ball – from the viewer’s point of view – woven for the view of Africa, simultaneously, an axis and the context of this narration.

In a dilemma (2024), from Fidelis Joseph, his memories collapse from Nigeria and the United States, where he enrolled in the School of Arts, to a sweet painting and one and one and a single and bitter painting. Visually, do not try any of them, which means that there is no place in full. What is here is the heart of permanent crossing. Or, life as an immigrant. Also displayed: Jerome Lagrreej, black and blue Night swimming (2024). Lagarrigue, who is famous for his sharp interpretations of psychological spaces, should be clearly remembered the threat of summer nights and excitement – when adults disappeared, in a blink, you are alone in the dark, except for the consolation of imagination.

Regarding quality and quantity, photography led this edition of 1-54, and floats at the height of that summit is definitely a picture of British Ghanaian artist James Parner. For six decades, he traveled between London and Ukra to pick up societies in Flux: Ghana in the 1950s was on the lips of independence from England, while in England, he recorded the emerging African diaspora. In this edition of the exhibition, Galerie Clémentine de la féronière assembled an elegant summary of his lines, including some amazing images of his return to Accra in the 1970s after their colonial liberation, where the supreme powers were conveying a consecutive coup d’Atat and people led a revolution in sensitivity. American music and fashion were integrated into Ghanaian traditions, for a fleet cultural age, partly due to Barnor, forever.