In the project Culture Lost and Learned by Heart, I initiated the development of a series of installations, such as Untitled Black, with the aim of creating a platform for contemplation concerning the construction of a nation’s epistemology through its institutions and architecture. During my initial engagement with Senegal’s National Iconographic archives in 2019, I began to explore how these materials could be used to raise inquiries related to the current state of affairs in Senegal and, more broadly, within society. Instead of approaching the archive materials as a predetermined linear historical narrative, I considered them as a realm for scrutinizing the institution itself, drawing inspiration from Derrida’s Archive Fever. It’s worth noting that the National Archives of Senegal, established in 1913 by the French colonial administration, provided intriguing insights into the emphasis placed on the examination of land and urban spaces as tools of hegemony through development. The emphasis was evident in the majority of images found within the section of the national iconographic archives, which predominantly featured construction sites. These images resonated with the contempo- rary urban landscape of Dakar, where one often finds oneself surrounded by construction sites in numerous locations. This environment became the starting point for my creation of a personal archive dedicated to Dakar’s public spaces. The juxtaposition of images from the national archive with those from my collection served as a platform for exploring a specific thread of historical continuity. Additionally, it provided a means to reflect on the experience of living in an ever-changing, transient space and to contemplate the intentional construction of a linear narrative that, in itself, disregards many other historical descriptions.

Resuming the exploration of aspects of contemporary society, specifically in the context of Senegal, I found it remarkable to observe the numerous initiatives undertaken by the Chinese government and Chinese corporations within Senegal’s borders. These initiatives encompass a wide array of projects, such as the construction of railways, highways, the Museum of Black Civilisation, and the National Theatre. It’s important to note that Senegal was the first West African country to participate in the Belt and Road initiative, which is today’s Silk Road. Additionally, Senegal hosted the 8th FOCAC conference, the Forum on China-Africa Cooperation. This conference convened multiple African nations and China to discuss and determine future financial commitments from China to the African continent. While highlighting these collaborative efforts between China and Senegal, I want to clarify that my intention is not to draw a direct parallel between French colonization and China’s involvement in Senegal, as such a comparison would be misleading. Instead, I symbolically question the kind of surface a nations chooses to imprint its cultural heritage, using silk as a metaphorical tool to explore this concept. An interesting aspect worth mentioning in this con- text is that the silk used was sourced from a company in Como, Italy. Como has historical significance as a part of the Silk Road dating back to the 15th century and continues to be a major global hub for silk production today.

A significant portion of my inspiration is drawn from the realm of architecture. Given my interest in the construction of a national epistemology through architecture, I aimed to reflect this concept into the very essence of my visual language. In this context, the metal structure serves as a dual symbol, evoking both a city skyline and the mechanical precision of an industrial machine. Much like the tenets of rationalist architecture, I see the industrial world as a wellspring of inspiration for architectural creativity. Just as silk functions as a printing surface for a cultural heritage, the metal structure, akin to architecture, acts as the machinery that facilitates this representational process.

The inspiration for this title comes from Vincenzo Agnetti’s work, specifically his piece titled The Culture lost over time and forgotten by heart is our genetic inheritance. I have always found Agnetti’s exploration of language to be exceptionally thought-provoking. His work brings to mind Zen Buddhist koans, where sentences brimming with paradoxes and contradictions create a space for meditation, evoking a realm where logical thinking falls short in resolving such paradoxes. Although Agnetti is recognized as a prominent conceptual figure in the contemporary Italian art scene, I have consistently perceived his work as a challenge to the limitations DP23 of language in describing fundamental societal elements. In my opinion, this approach of delving into paradoxes and boundaries resonate deeply with what I aimed to convey through my own artistic endeavours.