XXIII International Exhibition Triennale Milano
Completed (Temporary installation from )
2022
Milan, Italy
1 500 sqm
Triennale International Exhibition, Milan, Italy
Fabiola Büchele
Andrea Maretto, Odile Tang, Juan Carlos Zapata, Ho Jae Lee
Martine Bapossan Alempoua, Asseta Idogo, Lorenzo Palmeri
SAIE Spa, Milano, IT, Endasoft, Sedegliano (UD), IT, MAP Spa, Corsico (MI), IT
Abdul Dube, Bruno Ruganzo, Fily Mihan, Hanna Abdallah, Jacqueline Nsiah, Kafkaf, Khouloud Soula, Mai-ling Lokko, Mor Talla Ngom, Mia Fumé, Noha Elsaied, Ntare Cesar, Onadja Augustin, Pascal Kéré, Samuel Malgoubi, Teesa Bahana, Tiofi Bagatanga, Touba Badiana, Wayne Snow, Zeineb Sehimi
As part of the curatorial duo for Triennale’s 23rd International Exhibition, Francis Kéré worked primarily on the national pavilions which pushed for an unprecedented presence of African countries. In doing so he curated the first ever Burkinabé pavilion titled “Drawn Together”, designed the centre piece “Yesterday’s Tomorrow”, as well as the tower “The Future’s Present” sitting at the entrance of the main exhibition and in addition collaborated with Lavazza on the installation for Triennale’s café “Under a Coffee Tree”.
Tying all the works together was the wish to delve into the various construction and wall design practices from Burkina Faso as well as the use of architecture for gathering purposes. The immersive audio installation “Yesterday’s Tomorrow” allowed visitors to ponder past, present and future knowledge in and around materiality as they strolled through and around the sculpture interacting with it. The way in which the work wove and folded in upon itself was an invitation to touch it, to step into conversation with it. The exterior tower meanwhile allowed the exhibition to spill into the public realm. The piece stood in close communication with “Yesterday’s Tomorrow”, as both offered and option to gather and both caution that when exploring the next frontiers of human knowledge, the heritage of architectural and natural wisdom that have brought us here should be not forgotten, but built on.
Celebrating this very legacy was the impetus of “Drawn Together”, for which the Burkinabè craftswomen Martine Bapossan Alempoua and Asseta Idogo brought the practice of painting on housing facades in the village of Tiébélé to Milan. Much more than mere decorations, these patterns express the values and beliefs of the village, which was first settled in the 15th century. The symbols showcase traditional fabric patterns, speak of musical traditions and familial bloodlines, and most importantly signify animals and their place in this world. The symbols derive from a worldview that sees all sentient creatures – whether human or non-human – as equals that need to share natural resources in harmony.
And finally “Under a Coffee Tree” simply gave visitors the opportunity come together much like on a public plaza. Much like people in West Africa come together in the shades of trees that create public spaces shaped by the trajectory of the sun, so the practice of meeting for a coffee is one that for many mean communal comfort. An everyday ritual so ubiquitous it is easy to forget how essential it is to the social necessity of communication and exchange.
As part of the curatorial duo for Triennale’s 23rd International Exhibition, Francis Kéré worked primarily on the national pavilions which pushed for an unprecedented presence of African countries. In doing so he curated the first ever Burkinabé pavilion titled “Drawn Together”, designed the centre piece “Yesterday’s Tomorrow”, as well as the tower “The Future’s Present” sitting at the entrance of the main exhibition and in addition collaborated with Lavazza on the installation for Triennale’s café “Under a Coffee Tree”.
Tying all the works together was the wish to delve into the various construction and wall design practices from Burkina Faso as well as the use of architecture for gathering purposes. The immersive audio installation “Yesterday’s Tomorrow” allowed visitors to ponder past, present and future knowledge in and around materiality as they strolled through and around the sculpture interacting with it. The way in which the work wove and folded in upon itself was an invitation to touch it, to step into conversation with it. The exterior tower meanwhile allowed the exhibition to spill into the public realm. The piece stood in close communication with “Yesterday’s Tomorrow”, as both offered and option to gather and both caution that when exploring the next frontiers of human knowledge, the heritage of architectural and natural wisdom that have brought us here should be not forgotten, but built on.
Celebrating this very legacy was the impetus of “Drawn Together”, for which the Burkinabè craftswomen Martine Bapossan Alempoua and Asseta Idogo brought the practice of painting on housing facades in the village of Tiébélé to Milan. Much more than mere decorations, these patterns express the values and beliefs of the village, which was first settled in the 15th century. The symbols showcase traditional fabric patterns, speak of musical traditions and familial bloodlines, and most importantly signify animals and their place in this world. The symbols derive from a worldview that sees all sentient creatures – whether human or non-human – as equals that need to share natural resources in harmony.
And finally “Under a Coffee Tree” simply gave visitors the opportunity come together much like on a public plaza. Much like people in West Africa come together in the shades of trees that create public spaces shaped by the trajectory of the sun, so the practice of meeting for a coffee is one that for many mean communal comfort. An everyday ritual so ubiquitous it is easy to forget how essential it is to the social necessity of communication and exchange.
