Wiley is part of a movement of young artists establishing residency programs across Africa with the intention of creating spaces and visibility for emerging artists.
“To be able to say that this, too, is a place where a luxury, exciting architectural project can happen,” says Wiley, who grew up in Los Angeles. “This, too, is a space with stunning views and places of solace where great creativity can come to mind, and not just a site of disease, disaster and war — so much of what we’ve been spoon-fed for, certainly, my childhood coming up.”
“Kehinde Wiley: An Archeology of Silence” will open at the Giorgio Cini Foundation, curated by Christophe Leribault, president of the Musée d’Orsay, as a collateral event of the Biennale. The show includes large-scale paintings and sculptures that build upon the artist’s “Down” series from the late Aughts. Many of Wiley’s new works were created while working in Dakar during the pandemic.
“They’re all nibbling around the edges of what you’ll finally see in Venice, which is the coming together of the ‘fallen figure’ in art history. Whether it be fallen soldiers, religious figures in states of repose or in states of ecstasy, there’s this beauty that surrounds it. At the same time, there’s a very deep sadness,” he describes.
“So much of my influence has come from looking at Tiepolo, who’s one of the most quintessential of the Venetian painters, looking at the sense in which light and the religious are codified in a very specific manner,” he says. “You have the depiction of God as these rays of light that shoot through the heavens and bathes itself across skin.
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