In a world shaped by the enduring entanglements of empire, migration, and memory, the question of identity is no longer fixed—it is hybrid, fluid, and contested. Across the Global South, artists are navigating the complex inheritance of colonial histories, not to reclaim a singular past, but to reimagine the futures they make possible. Within this context, art becomes more than expression; it becomes a mode of resistance, a means of rewriting the dominant narratives that have long defined who speaks, who remembers, and who belongs. It is here, at the intersection of cultural collision and creative agency, that Safiotra [Hybridities] unfolds—not as a static exhibition, but as a living inquiry into the ways identity is forged, fractured, and reassembled across time and space.
Yinka Shonibare’s Safiotra [Hybridities] at Fondation H in Antananarivo, Madagascar, marks a quiet yet powerful moment in both the artist’s career and in the broader conversation about identity, history, and cultural hybridity. As his first solo exhibition on the African continent, it is a space where the legacies of colonialism, the complexities of migration, and the realities of the Global South intersect. Safiotra calls for reflection not only on the past but on how it continues to shape the present, and perhaps more importantly, how those affected by it are rewriting their own narratives.
The setting of the Fondation H is key to understanding the exhibition’s significance. The building itself—a striking fusion of colonial and Malagasy architectural traditions—mirrors Shonibare’s themes of cultural intersection. Antananarivo, with its rich tapestry of colonial influence alongside deep Malagasy heritage, offers a fitting backdrop for work that interrogates the entangled nature of history and identity. In this way, Safiotra isn’t just a display of art; it becomes a conversation between the gallery space, the city, and its complex histories.
Central to Shonibare’s work is the Dutch wax fabric—a symbol of colonial trade and postcolonial identity. Its presence in Safiotra invites us to reconsider the fluidity of authenticity and the hybridity inherent in cultural exchange. The fabric, originally manufactured in Europe and marketed to African consumers, complicates our understanding of what is “authentic” and what is “borrowed.” Shonibare uses this material not just as an aesthetic choice but as a tool for reflecting on how colonialism continues to shape cultural identities. Safiotra does not simply show us this fabric; it demands that we reckon with its layers—historical, cultural, and personal.
The standout piece, The African Library (2018), exemplifies this tension. Thousands of books wrapped in Shonibare’s signature fabric form a vast archive of African intellectual history, from revolutionaries like Nelson Mandela to cultural icons such as Kwame Nkrumah.
The library becomes a metaphor for the reclamation of history—an archive not just of facts, but of the stories that have been marginalized, erased, or overwritten. By wrapping these figures in wax fabric, Shonibare connects their revolutionary acts with the ongoing process of rewriting history, while also reminding us of the inescapable ways in which colonialism continues to affect how history is remembered and told.
The exhibition also delves into the current global realities of migration, displacement, and belonging. Sculptures like Alien Woman on Flying Machine (2011) and Refugee Astronaut X (2024) speak directly to the ongoing struggles faced by those who must cross borders—whether geographical, political, or emotional.
The astronaut, suspended in space and wrapped in African fabric, becomes a symbol of the migrant caught between worlds, between histories. Shonibare’s figures are not just relics of a past struggle but reflections of contemporary realities. They remind us that the experience of migration is not just about physical movement, but about navigating the complexities of identity and survival in a world still bound by colonial legacies.
Decolonised Structures, another significant installation, shifts the conversation towards the politics of memory and representation. Shonibare’s statues of colonial figures—draped in African wax fabrics and lowered from their pedestals—invite a rethinking of public monuments and the power they hold in shaping collective memory. The lowering of these statues is not an erasure of history but an invitation to reconsider the narratives these figures represent. In the context of ongoing decolonization movements across the Global South, this work becomes a quiet call to engage with uncomfortable histories, not to forget them but to reshape how they are remembered and represented.
Yet, Safiotra extends beyond the confines of the gallery. Through performances and discussions, the exhibition becomes a space for active engagement—a space that encourages visitors to confront their own relationship with identity, history, and cultural memory. In Madagascar, a country with a burgeoning art scene, Safiotra plays a crucial role in sparking these important conversations, creating a platform for both local and global voices. The vibrancy of the country’s young population—its artists, thinkers, and activists—adds an urgency to these dialogues. This exhibition becomes a reminder of the power of art to spark critical thought and action, to challenge the boundaries of identity and belonging in a world that often seeks to define us by our pasts.
For Shonibare, Safiotra is more than a reflection on colonial history or contemporary migration. It is an invitation to rethink the very nature of identity and cultural exchange in the modern world. The exhibition challenges us to reconsider our relationships with the past, present, and future—acknowledging the entanglements that shape us while also celebrating the agency with which we rewrite our own stories. In a time when the Global South continues to navigate its legacies of colonialism, Safiotra is a timely exploration of how art can act as both a mirror and a tool for change. It is a call to look more deeply at the hybridities of identity and history, and to recognize the possibilities for transformation that lie within them.