Madagascar is adding a new destination on it contemporary art map. Founded by Malagasy art collector Hasnaine Yavarhoussen, through the HY Endowment Fund created in 2019, HAKANTO CONTEMPORARY is a 300m2 art space located in the Ankadimbahoaka district— south of the capital Antananarivo in Madagascar. Currently managed by contemporary artist and artistic director, Joël Andrianomearisoa, its ongoing exhibition programme showcases both local and international artists. Each exhibition accompanied by an educational programme including workshops and guided tours. Besides, HAKANTO offers dedicated artist residency spaces.
LARRY’S LIST spoke with Joël Andrianomearisoa, who explained how he and collector Hasnaine Yavarhoussen work together; how artworks from Yavarhoussen’s collection are exhibited in HAKANTO; how HAKANTO is supporting Malagasy artists. He also spoke about the upcoming group exhibition next year with a theme related to independence; as well as his visions for HAKANTO CONTEMPORARY in future.
Background
What motivated collector Hasnaine Yavarhoussen to set up a contemporary art space?
It is important to affirm the location of the space: Antananarivo, Madagascar.
I believe that his conviction to support Malagasy contemporary art, and in general, to support Madagascar made him come to the idea of creating such a space. It is all about timing. After supporting the first Malagasy pavilion at the 58thVenice Biennale, it was the right time to create HAKANTO CONTEMPORARY.
How did you become the artistic director?
I met him at the 58thVenice Biennale, he was one of the biggest supporters of the project. From there, we wanted together to confirm Madagascar’s position in the international art scene— therefore he invited me to become artistic director of HAKANTO.
Why this location in Antananarivowas chosen for opening the art space there? Why is it called HAKANTO CONTEMPORARY?
Hasnaine and I are Malagasy, so for us it was natural to create the space in Madagascar and not in Paris or New York, where things are already crowded.
HAKANTO means aesthetics in Malagasy, the name is questioning the idea of the Malagasy contemporary art aesthetics.
What is the mission of the HAKANTO CONTEMPORARY? What are the ways to achieve this mission?
The main mission is the Malagasy artists (supporting, revealing, professionalizing them) and introducing them to the Malagasy population and international audience.
We support them through new productions. There are some important residencies. We are organizing meetings with professionals, and the main action is that we organize three or four shows per year where we often commission new pieces.
Our main goal is to guide them in becoming artists. We are willing to give them keys and advice, allowing them to grow as artists.
The programming
How many works from Hasnaine Yavarhoussen’s collection are displayed there? Or what proportion of the artworks exhibited will enter into his collection?
In each show, almost 80% of the works are coming from his collection, and sometimes new productions are bought.
For the first show HERE WE REACH ALL THE DREAMS OF THE WORLD, the MentalKlinik piece, as well as the pieces from Alexandre Gourçon, Donn and Domi Sanji are part of Hasnaine’s collection.
What are the programs at HAKANTO CONTEMPORARY?
We are currently working on the next show, and we try to present at least three shows per year.
The first show was entitled, HERE WE REACH ALL THE DREAMS OF THE WORLD. Next year, we will present a show called NOTRE AMOUR with 26 young Malagasy artists questioning the idea of independence. Then, a monographic show by Ramily, one of our most renowned photographers, and in September 2021, the first invitation of an international artist.
We also plan 12 residencies with international and Malagasy artists, alongside workshops and conferences.
Can you tell us more about the artist residency? How does it contribute to the development of local artists?
Each selected artist is invited to HAKANTO CONTEMPORARY and is given a space to produce, create, or think about his work. At the same time, they are invited to meet professionals to discuss and understand the keys of the art world. They are also given a financial support without any expectations during the time of the residency.
Today, there is nothing in Madagascar for artists to develop themselves and their practice. We really wanted to create a safe space for them and give them the confidence they need to thrive.
How is the relationship between you and collector Hasnaine Yavarhoussen? How closely do you work together on deciding the programs?
We are friends, and we believe in our country, and we are invested in creating a greater future for artists which will in the end be part of the development of Madagascar.
I show him my ideas and visions, and he trusts me. We talk daily. We share common values and ambitions.
How was the first exhibition early this year?
The first show was called HERE WE REACH ALL THE DREAMS OF THE WORLD. Within the title lies our ambitions and hopes for Madagascar!
ICI NOUS PORTONS TOUS LES RÊVES DU MONDE
ETO ISIKA DIA MANANDRATRA NY NOFIN’IZAO TONTOLO IZAO
HERE, WE CONVEY ALL THE DREAMS OF THE WORLD
A proposal by Joël Andrianomearisoa
I am nothing.
I will never be anything.
I could not wish to be nothing.
That aside, I hold all the dreams of the world within me.
Fernando Pessoa
Here is here. From here, we look out on the world; from here we dream the world too. Let us muse, let us speak of dreams, let us dream – for by dreaming, we can assert a new Madagascan energy through its current creative forms with regard to artists and forms of expression from other places.
There are no prescribed media in the message. The exhibition asserts the polyphony of forms in an exploration of time, with all its illusions and realities.
The menu is not a set one. The menu knows no borders.
Chef Lalaina Ravelomanana sets the tone, offering a fresh take on a popular Madagascan dish to the beat of Kristel’s Nofy rock.
The framework is the game, the diversity, the rule.
A timeless couple from Istanbul, :mentalKLINIK, reinvent a new love, a new game of love, opposite the new words sketched by Môssieur Njo.
With a diversity of lines, the young designer Domi Sanji merges his lands, confronting Alexandre Gourçon’s infinite folds.
Ramily, the half-forgotten father of contemporary Madagascan photography, rediscovers light in his iconic series spanning desert and luxuriant vegetation. Plastic artist Donn sets his work between nightmare and affection, while choreographer Judith Manantenasoa summons up the sweetness of chaos.
All bathed in our wild Madagascan melancholy, with a perpetual literary dialogue between Jean-Joseph Rabearivelo and Elie Rajaonarison.
Improbable encounters that motivate and surprise.
Craft meets song. Photography is dress. Words become canvases. Let us weave literature, light fires, dance architecture, speak of fashion and clothe the present.
Let us embroider cuisine and smell the flowers.
Dreams are my reality, another kind of reality. The dreams of Iarivo. The reveries of the world.
Let us drift away.
Let us dream.
For here in Madagascar, we convey all the dreams of the world
What is the upcoming exhibition about?
The upcoming exhibition is called NY FITIAVANAY / OUR LOVE / NOTRE AMOUR, from 27 February– 30 May 2021. It takes its title from Madagascar’s national anthem and explores concepts of nationalism, politics, dependence, independence, and interdependence— whilst the country marks its 60 years since colonial rule. Presenting 26 Malagasy artists, chosen to reflect the country’s Independence Day (26 June), the multi-disciplinary exhibition questions concepts of independence in the contemporary setting. Artists on show include singer Mota Soa, photographer Rijasolo, visual artist Rina Ralay Ranaivo, to name a few.
How do you plan to publicise the programs and build a local/international audience?
At first, it was mostly our inner circles and our own networks that we brought to Madagascar.
Afterwards, we have a very important strategy locally, and don’t forget that the space is made for the Malagasy people.
From challenge to vision
What are the challenges you have come across so far as the artistic director?
The biggest challenge was to keep the momentum created by the pavilion at the Venice Biennale and use this participation as a ledger.
How has your artistic practice given you insights into operating HAKANTO CONTEMPORARY?
The commitment does not only come from me, but also from my studio. It creates a true energy and dynamism which are beneficial to the project. I work closely with my studio manager, Timothée de Corny, with whom I share a common ambition for HAKANTO CONTEMPORARY. The idea is really to create a state of mind which allow us and the rest of the team to feel implicated and understand the benefits of such a project.
What are your visions for HAKANTO CONTEMPORARY in the next three years?
I wish HAKANTO to reveal new artists, become a space locally settled with an impact in the country as well as internationally.
Facebook: @HakantoContemporary
Instagram: @hakantocontemporary
Twitter: @hakantoc
By Ricko Leung
