Barthelmy Toguo

Exhibition catalogue
The Insiders, a selection of works (1989 to 2009) from the Jean Pigozzi collection of African art
Fondation Louis Vuitton & Dilecta
Paris, 2017

Barthélémy Toguo was born in 1967 at Bandjoun in Cameroon, where he still lives when not in Paris. He very early began to draw everyday scenes inspired by the bustling life of the markets, nding himself fascinated by the dealings in cocoa, coffee, wood... After going to art school in Abidjan in Ivory Coast, he attended the École des Beaux-Arts, Grenoble, and afterwards the Kunst- akademie, Düsseldorf. During this time, he copied from Classical models, sculpted in wood, familiarized himself with multimedia, developed a conceptual approach of his own and discovered what he calls “German realism.”

Moving freely between drawing, sculpture and video, installation and performance, he draws on his own expe- rience, his travels and encounters, his work displaying a uidity of form and a multiplicity of cultural in uences. Once described as a “transcultural producer,”1 he brings heterogeneous materials into contact, introduces one tradition into another, and observes the new languages and identities that emerge. This engagement with the cultural and the social is also re ected in the Bandjoun Station art center that he set up in Cameroon in 2013.

Drawing, especially in watercolor on paper, has been a constant in his work. From the late 1990s to the present he has used it to express his thoughts and feelings, featur- ing it in his books, ceramics, installations and scenery for performance. For him,“Drawing is ... an intimate artistic discipline, sincere and fair, through which no lying or cheating is possible. It is also a child’s rst language. It’s a very rich discipline, as it can be carried out with only a pencil and a small or big piece of paper, in painting or watercolor. It is infinitely adaptable.”2 Watercolor would seem to be for Toguo a favored medium for the representation of the body and of sexuality.

The “Baptism” series of 1999–2000, 24 of whose drawings are presented here, is the first of Toguo’s watercolor series. Created in reaction to a crucial personal experience – when, still single at 33, he was pushed by his family into seeing a healer – it affords fragmentary visions of a mystical ceremony of entangled bodies and ecstatic hallucinations, of raw and joyous sexuality. Between phys- iological description and phantasmagoria, these hybrid, fragmented bodies echo the tradition of the écorché or f layed anatomical figure. “In these drawings,” he says,“there is physical suffering, ecstasy, delirium, the absurd and the imaginary.”3 Oscillating between the violence of the gures and gestures and the delicacy of watercolor, they play on deep reds and washes of translucent pink. Charged with a sense of the intimately personal, of the body caught in the ux of desire, they recall in the nature of their expressive power the works of Annette Messager or Louise Bourgeois. 

The series celebrates the emancipatory power of desire as it enables us to escape others’ expectations, to reject the demands of institutions and the con nes of prescribed roles, and in that same movement describes the violence of the body’s throes when constrained and denied.

Paying tribute to “the human body in all its splendor in sketching bodies amputated, incomplete, gestures left in suspense for fear of rendering their irrefutable beauty,”4 this series prefigures the blue and green watercolor drawings of the “Dream Catchers” (2002–2003) and “Strange Fruit” (2016) series, whose aggressively corporeal complexity verges on the explosive.

1. Peter Doroshenko, “Producteur transculturel,” in Barthélémy Toguo. The Sick Opera, exh. cat., Paris: Palais de Tokyo, 2004, p. 17.
2. Barthélémy Toguo, cited in Jérôme Sans, “Toguo digère le monde, entretien avec Barthélémy Toguo,” in ibid., p. 7.
3. Barthélémy Toguo, speaking on 9 January 2016.
4. Jérôme Sans, “Toguo digère le monde,” p. 7.





Anaïs Lepage is an independent curator, writer, art historian and lecturer.

Trained in art history at the École du Louvre, in museum studies at the University of Quebec in Montreal and in curatorial studies at the Sorbonne University, she has multiplied her experiences in France and abroad. She began at the Maison Rouge in Paris, at the Museum of Contemporary Art in Montreal, and alongside Guillaume Désanges at the Verrière - Hermès Foundation in Brussels. Then, she became involved as assistant curator at the Museum of Contemporary Art in Chengdu in China, at the Museum of Modern Art in Paris and at the Louis Vuitton Foundation.

With a fondness for collective dynamics, she co-founded the Heiwata curatorial platform, based in Paris, Mexico City and Toronto, and participates in the queer and feminist workshop How to Suppress Universty Writing led by Émilie Noteris. Recently, she has collaborated with AICA International, CNEAI, the Palais de Tokyo, the Cité Internationale des arts and the Drawing Lab in Paris. Since 2019, she is teaching exhibition curating at the Paris 1 Panthéon-Sorbonne University. 

Her research focuses on the excesses and secrets of art history linked to sensitivities and spiritualities as well as postcolonial, gender and feminist studies. She is particularly attached to words, forms and gestures generated outside of a rationalist thinking : drawing on occult and mystical sources; or being inspired by affective flows, emotions and the sentimental life. Practices that often cross issues of resistance, struggle, healing, and relationship to the living. She has developed projects with artists such as Madison Bycroft, Julien Creuzet, Ad Minoliti, and Daniel Otero Torres, among others.

Deploying a holistic conception of curating, she also reflects on the forms of writing about art by shifting the critical, fictional and intimate registers during collaborations, performances and podcasts.

Inspired by radical pedagogies, she began researching the “emotional labor” that operates in the positions of curator,  lecturer, and art worker.

Over the course of meetings and projects, she has developed a particular interest in the artistic scenes of the Americas and the Caribbean, Scandinavia and South Africa.


Anaïs Lepage est curatrice indépendante, autrice, chercheuse et enseignante. 

Formée en histoire de l’art à l’École du Louvre, en muséologie à l’Université du Québec à Montréal et en études curatoriales à l’Université Paris I Panthéon-Sorbonne, elle multiplie les expériences en France et à l’étranger. Elle débute à la Maison Rouge à Paris, au Musée d’art contemporain de Montréal et aux côtés de Guillaume Désanges à la Verrière – Fondation Hermès à Bruxelles. Elle s’investit ensuite en tant que commissaire assistante au Musée d’Art Contemporain de Chengdu en Chine, au Musée d’Art Moderne de Paris, et à la Fondation Louis Vuitton.

Affectionnant les dynamiques collectives, elle a cofondé la plateforme curatoriale HEIWATA, basée entre Paris, Mexico et Toronto, et participe à l’atelier d’écriture queer et féministe How to SupPRESS Universty Writing mené par Émilie Noteris. Récemment, elle a collaboré avec l’AICA International, le CNEAI, le Palais de Tokyo et la Cité Internationale des arts à Paris. Depuis 2019, elle enseigne le commissariat d’exposition à l’Université Paris 1 Panthéon-Sorbonne.

Ses recherches portent sur les excès et les secrets de l’histoire de l’art en lien avec des sensibilités et des spiritualités ainsi que les études postcoloniales, de genre et féministes. Elle s’attache particulièrement aux mots, aux formes et aux gestes générés hors d’une pensée rationaliste : puisant dans des sources occultes et mystiques ; ou s’inspirant de flux affectifs, d’émotions et de la vie sentimentale. Des pratiques qui traversent souvent les questions de résistance, de lutte, de réparation, et de relation au vivant. Elle a ainsi développé des projets avec des artistes tels que Madison Bycroft, Julien Creuzet, Ad Minoliti, et Daniel Otero Torres, entre autres.

Déployant une conception holistique du commissariat, elle réfléchit également aux formes d’écritures sur l’art en déplaçant les registres critique, fictionnel et intime lors de collaborations, de performances et de créations radiophoniques.

Inspirée par les pédagogies radicales et engagées, elle commence une recherche sur le “travail émotionnel” à l'oeuvre dans les rôles de commissaire d'exposition, d'enseignante et de travailleuse de l’art.  

Au fil des rencontres et des projets, elle a développé un intérêt particulier pour les scènes artistiques des Amériques et des Caraïbes, Scandinave et d’Afrique du Sud.

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