Aston’s Manifesto: Waste As Art
In the vibrant cultural landscape of Benin, contemporary artist Aston, born Serge Mikpon, presents ‘Sources,’ a penetrating exhibition that invites audiences to confront societal issues through unconventional materials. Displayed at Le Centre, a prominent cultural space, Aston’s work transcends mere aesthetics and challenges viewers to reassess their daily habits and collective responsibilities. Utilizing discarded capsules, cigarette butts, and rusted padlocks, Aston crafts artworks that offer stark reflections on the human condition. His technique propels spectators into a dialogue with their environment, urging a re-evaluation of the overlooked aspects of daily life.
Community Engagement and Artistic Relevance
Among the display, an installation, collaboratively created with local children from the Lobozounkpa neighborhood, highlights the transformative power of art. The installation, ‘Death Train,’ composed of empty cigarette packs, serves as both a visual metaphor and a community project. Such initiatives emphasize Aston’s commitment to engaging with and enriching his community through art, making societal concerns accessible to broader audiences.
Art as a Catalyst for Discourse
The piece ‘Sources’ features 48 vials containing various liquids—holy water, palm oil, bleach, urine—each a symbol of dual-use substances. This potent tableau underscores the nuanced worlds these fluids inhabit, sparking dialogues on purity, transformation, and vice. Also attracting significant attention during the opening was the installation ‘Aston Formule One,’ which employs the racing car motif to critique the hidden elements of modern sports, such as doping and the relentless pursuit of wealth and success.
Government Recognition and Aspirations for Cultural Growth
Benin’s Minister of Culture, Babalola Jean-Michel Hervé Abimbola, recognized the value of Aston’s work as a cultural touchstone. His words during the exhibition’s vernissage underscored the burgeoning global interest in Beninese contemporary art, suggesting it as a catalyst for further cultural and creative development within the region. The minister emphasized on leveraging the cultural renaissance to elevate the local and international reputation of Benin’s artistic community.
Aston’s Philosophy: Art Beyond Commerce
Aston’s installations delve into pressing topics such as public health and exploitation, as exemplified by ‘Fumer Tue,’ a coffin shrouded in cigarette filters. ‘Immigration’ and ‘Exploitation of Man by Man’ grapple with perennial social issues, while ‘Sweet Information = Wrong Information’ challenges the veracity of modern media narratives. Each piece embodies Aston’s philosophy—art as a means of addressing societal woes rather than achieving commercial success. ‘I want people to see what it says,’ Aston reflects, underscoring the importance of message over marketability.
Spiritual and Cultural Exploration
Aston’s oeuvre also traverses spiritual realms, with works like ‘Hêvioso’ and ‘Shango’ drawing inspiration from the vodun pantheon. These sculptures invoke deities to underline themes of justice and tradition. ‘Hêvioso,’ referencing the god of thunder, sparks discourse on both seen and unseen justice, while ‘Shango,’ an assemblage of reclaimed materials, pays homage to revered ancestral spirits. Such works illuminate the intersection of cultural heritage and contemporary expression.
