Abstract
This article explores the installation art of the Beninese artist Georges Adéagbo who is based in Cotonou. His work focuses on themes of slavery, archaeology, socialism, art, space, religion, or historical figures, and is made up of diverse materials collected by the artist in his home country and in the West, including local and global consumer goods, African sculptures, natural objects, and texts. Schmidt-Linsenhoff criticizes the Western reception of the artist for being dependent on preconceived notions of “primitive” art and on the readability of Adéagbo’s installations in terms of contemporary artistic tendencies and postcolonial theories. The author then examines how his work might resist aesthetic integration into Western models of taste and interpretation by considering his work in the context of its production in Cotonou.
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