View of “Georges Adéagbo,” 2020.

View of “Georges Adéagbo,” 2020.

Georges Adéagbo

Barbara Wien

Georges Adéagbo is a one-trick artist. But the outcome of that trick is endlessly variable. His method consists of making assemblages of objects: mostly books, magazines, newspaper articles, record covers, and wooden sculptures, but also the occasional pair of underwear. These items are pinned to the wall, as in a teenager’s bedroom, with what looks like a contrived messiness: Everything’s askew, with no apparent relation between one thing and another. So open does Adéagbo’s structure appear that for a second you might think you can just pick anything up, perhaps even take it home. But then it is art, after all, and so you start to look for distance, permanence, design.

The exhibition’s title, “‘L’Abécédaire de Georges Adéagbo: la civilisation parlant et faisant voir la culture’ . . !” (“The Alphabet of Georges Adéagbo: the civilization is talking and making culture visible” . . !), was a

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