Rosy Noah and Magali Ohouens
An image of Rosy Noah (left) and Magali (right) taken by Zainab Floyd at Cecile Fhakoury in Abidjan.
This piece was written over a year ago.
During my last days in Abidjan, I met with Rosy Noah and Magali Ohouens. Magali Ohouens is the modern art specialist and exhibition coordinator at Cecile Fhakoury in Abidjan, she gave me a tour in the two large gallery spaces that held Romeo Mivekanin’s Effractions and Thibaut Bouedjoro Camus’s Bonne Nouvelle exhibition. Romeo Mivekanin’s Effractions consisted of sculptures and large scale self portrait paintings that were re-interpretations of European art historical paintings. Mivekanin’s Effractions deconstructed the Western gaze by placing himself as the subject and witness. The exhibition was deeply fascinating and moving. Bonne Nouvelle is Thibaut Bouedjoro Camus’s first solo exhibition. was an exhibition that consisted of small and large scale paintings. Each painting is in conversation with one another detailing identity and Ivorian history. The exhibition has referenced Marie Koré who is an activist and the leader of the women’s revolt in Grand Bassam in 1949. There are themes of mixed identities and French colonization in an African nation. Both of the exhibitions were really moving and informative. After the tour we walked back into her shared office with Rosy.
Magali Ohouens has worked at the gallery for a year. Sitting behind her wooden desk that has carefully organized books, press releases and to-do foot notes with her arms crossed she leaned forward as she spoke about art being apart of her life. She stated “Art has always been a part of my life, thanks to my parents.” While she was pursuing a degree in law, she took an art history course and it was from there that she decided to pursue her studies and career in the arts. She knew instantly that she wanted to work within the art world because she was excited by her readings and also heavily impacted by her parents introducing art and music into her life at a young age.
Roméo Mivekannin, Algérienne et son esclave, d'après Jean-Baptiste Ange Tissier, 2022.
Rosy Noah sat on the opposite side of their shared office. Her wooden desk included a notebook, a press release and her laptop. Noah has worked at the gallery for two weeks. She pursued a bachelor's degree in anthropology and political science in Switzerland. At the end of her degree she knew she wanted to work in a cultural center, particularly a museum. After interning at a small independent cinema in Geneva she did a MA in African studies. She states “I knew I wanted to work in the art world.” Her thesis is about the lack of Cameroonian photographers in biennales and it led her to intern at the OH gallery in Dakar, Senegal. The OH gallery in Senegal is one of the leading contemporary galleries in West Africa. After her experience the gallery, she wanted to continue her career within the art gallery world. Art has always been a part of Rosy Noah and Magali Ohouens life, from film to playing piano and lastly their family influences. They understand the importance of art institutions and are continuing to support, advocate, research, and further contribute to art intuitions in highlighting Ivorian and African artists. Interviewing Magali and Rosy provided a reference of how spaces can be heavily influenced by women of African descent who have a nuanced understanding of the art productions created by African artists in an African country.
Thibaut Bouedjoro-Camus, left MARIE KORÉ, 2022.
Rosy Noah sat on the opposite side of their shared office. Her wooden desk included a notebook, a press release and her laptop. Noah has worked at the gallery for two weeks. She pursued a bachelor's degree in anthropology and political science in Switzerland. At the end of her degree she knew she wanted to work in a cultural center, particularly a museum. After interning at a small independent cinema in Geneva she did a MA in African studies. She states “I knew I wanted to work in the art world.” Her thesis is about the lack of Cameroonian photographers in biennales and it led her to intern at the OH gallery in Dakar, Senegal. The OH gallery in Senegal is one of the leading contemporary galleries in West Africa. After her experience the gallery, she wanted to continue her career within the art gallery world. Art has always been a part of Rosy Noah and Magali Ohouens life, from film to playing piano and lastly their family influences. They understand the importance of art institutions and are continuing to support, advocate, research, and further contribute to art intuitions in highlighting Ivorian and African artists. Interviewing Magali and Rosy provided a reference of how spaces can be heavily influenced by women of African descent who have a nuanced understanding of the art productions created by African artists in an African context.
