Ruth Belinga’s artistic and curatorial practice interrogates the history of traditional and contemporary art from sub-Saharan Africa and questions the place women occupy therein.
The subjects and methodologies respond to each other over time, between yesterday and tomorrow, art and science, creation and transmission. Belinga questions these worn-out distinctions. In other words, she explores new, or renewed, convergences between art, science, and education. Interested in the process of the materialization of artwork, she recontextualizes the performative quality of African ceremonies and rituals through the memory of gestures and expressions that history has exploited. In an age of overconsumption, Belinga’s work carries aesthetic, existential, and spiritual obligations.
« My work evoques childhood traumas. In a way, my works are purification rituals designed for the liberation of humanity. »
Belinga’s performative practice carries a historical awareness. This awareness is embodied through her presence, bearing witness to the memory and disappearance of the known world, to challenge an audience buried in indifference. Belinga endeavours to recall the history of modernity in a now globalized world that is divided between comfort and devastation.
Through her curatorial practice, Belinga is interested in the necessary conditions for the emergence and sustainability of Cameroonian visual arts. Attentive to the training and pedagogy of artistic professions, she insists on the role of teacher and curator in the dissemination and transmission of knowledge. Belinga also questions the strategies of museums towards conservation.