Through his unique installations, Georges Adéagbo is able to investigate the mysteries underlying the evolution and destiny of a person, a city or a country. This often means tracing as many as several hundred aspects, each represented by an object, to reveal these forces that combine to form a culture. Georges does not consider himself a painter or a sculptor. Instead, he stands apart from the art scene, simply trying to think about -- and find solutions -- inherent in our present world. As a neutral bridge between races and by revealing universal aspects of cultures he seeks to serve as a catalyst for mutual understanding. Respecting and celebrating worldwide diversity, Georges is constantly searching for evidence of sources common to all to present in his compositions. His hope is that all of us will be able to sense stages of our evolution and gain an insight into our destiny.
After studying law in Abidjan (Ivory Coast) and Rouen (France), Adéagbo returned to Benin in the end of the 60s. By the time he was discovered in 1993 by a European curator by accident, he made daily complex installations in his yard without calling himself an artist. In 1994 he was invited to his first exhibition. From then on he implements his site-specific installations with a team of craftsmen in Benin. In 1999 he participated in the Venice Biennale and was the first artist from Africa to be given an award for his installation at the Campo Arsenale. Since at least 2002, when he presented an In-Situ-Installation as part of the documenta 11, curated by Okwui Enwezor in Kassel, Adéagbo has become one of the most renowned artists of Africa. The work from Kassel went later in modified form into the collection of the Museum Ludwig in Cologne. His works can be found in other major collections, i.e. Philadelphia Museum of Art, Toyota City Museum and KIASMA Helsinki. The exhibitions are supported and co-curated by Stephan Köhler (Cultural Forum South-North Hamburg-Cotonou).