The Belvedere in Vienna is hosting the first European museum exhibition of the Ghanaian artist Amoako Boafo. This event is a clear indication of the changing attitudes over the past few years, which are moving away from a narrow canon dominated by European perspectives. There is now a greater focus on black artists, who have historically been underrepresented in traditional gallery spaces. Starting in the 2020s, there has been a growing interest in black depiction, and the commercialization of black portraiture has accelerated alongside this trend. Boafo's rapid rise to prominence aligns with these developments, making him a key figure in the contemporary appreciation of black portraiture.
Boafo's journey to fame was not a smooth one. While living and working in Vienna, he faced numerous challenges, with his works often being dismissed as 'too black.' This led him to temporarily stop painting subjects that reflected his identity. However, he understood the importance of creating self-portraits and portraits of loved ones. His path to fame was a testament to his resilience; he worked tirelessly to ensure that his stories about identity and skin color were heard.
It is essential to recognize that this exhibition is not the final step in the rise of representational politics in Europe; instead, it serves as a building block toward establishing a new canon that celebrates the voices of artists from the African diaspora. This exhibition also highlights the richness and depth of Boafo's artistic practice, its variety, and dynamism that will stand the test of time.
The current exhibition is notably reflexive, particularly in the last room, which focuses on the artist's experience. In Vienna, he frequently faced the question of why he only paints Black people, a query that never surfaced during his studies in Ghana. Boafo's 2017 painting, "Why Do You Only Paint Black People," is displayed in this space. The artwork features a fashionably dressed individual whose features are nearly indistinguishable; where a face would typically be, there is only a uniform black spot. The subject holds a sign displaying the title question, effectively returning it to the viewer and prompting them to examine their own perspective. Additionally, Yelvilaa Bodomo's poem "To See Is An Act Of Love" is included, which initiates a dialogue about the concepts of invisibility and hiper-visibility while also criticizing the limitations of a Eurocentric perspective. The exhibition, titled "Proper Love," encourages us to engage with the artist's body of work with an open mind, inviting us to witness his personal and universal struggles culminating in this current installment at the Belvedere.
The exhibition follows a reverse chronology, transitioning from the interior to the outside. It begins with early images that explore themes of self-discovery and finding his own voice. The "Self-Portraits" section features a selection from Boafo's years of study in Vienna. During this time, he frequently created intimate portraits of himself, often nude, sometimes seated on a chair, and at other times in a three-quarter profile, gazing at himself in the mirror with his eyes fixed on the viewer. In many of these compositions, he holds a book. These images reveal not only how the artist perceives himself but also how he wishes to be seen by others. These works can be interpreted as responses to past rejections while simultaneously reflecting the hyper-sexualization of the Black male body. In his work, Boafo captures physicality and intellectuality, creating a nuanced depiction of Black identity that challenges Eurocentric stereotypes.
The exhibition is fascinating as it explores both personal identity and gender issues, presenting masculinity and feminism as distinct thematic units. In Amoako Boafo's works, men are depicted in colorful clothing, bold accessories, nose rings, vibrant colors, and painted nails, often surrounded by symbols related to sexuality, such as strawberries. The artist challenges traditional social norms and questions gender stereotypes, connecting black masculinity with vulnerability and sensitivity. The use of vibrant colors and intricate patterns highlights the significance of fashion as an important aspect of identity.
In his compositions featuring women, Amoako Boafo expresses a desire for decorativeness, resulting in a sense of elegance combined with a certain ambiguity. At the Vienna Academy of Fine Arts, he painted numerous female figures from Viennese cultural and artistic life. This not only served as a gesture of respect but also created a "portrait gallery" that highlights these women and integrates them into the Viennese art canon.
This exhibition is a celebration of Amoako Boafo's deep connection to the traditions of the African diaspora, a connection that is beautifully intertwined with his influence from Viennese modernism. His pursuit of decorative elements, frequent use of patterns, and strict frontal depictions evoke styles reminiscent of Art Nouveau and the works of Klimt. Additionally, his nuanced portrayal of masculinity and the gazes that elicit complex emotions bring to mind the art of Schiele. The painterly details and textural play also echo the work of this Austrian artist. The exhibition complements this dialogue by including some pieces from these modernist artists, creating fascinating conversations between creators from different times and places. Notably, in the Belvedere's permanent exhibition, you can find an Amoako Boafo painting displayed alongside works by Klimt, Schiele, and Monet.
Amoako Boafo's paintings focus on love—love for art, love for oneself, and love for the black community. His subjects are often loved ones, friends, and recognized members of the artist's community. Boafo typically places these figures against a monochrome, abstract background, with only a few personal objects included alongside them. This approach shifts the emphasis to the individuals themselves.
The intense gaze of the depicted figures creates a powerful connection with the viewers. Their expressions radiate self-confidence, strength, and serenity, inviting interpretations of solidarity, support, and togetherness. Moreover, these faces encourage us to reflect on our own perspectives, helping us step outside our bubbles.
The exhibition is open until 12/01/2025 Photos: Johannes Stoll / Belvedere, Wien and by the author