For more than ten years now, one of Africa’s most pertinent contemporary artists, Meschac Gaba, has been rewriting the contemporary history of his motherland. In a recent solo exhibition (Kassel, Las Palmas) a collection of works spelled out his vision. Remixing clichés that run rampant in the art world, Gaba deconstructs conventional wisdom and transforms such accepted notions as the museum in order to adapt them to his personal view of the world. It is a vision made up of conceptual collages which imbue his universe with an immediacy that refers to neither place nor origin. Through humor and a perspective which he has acquired from years of artistic experimentation that has taken him across the globe, Gaba presents a world in the making. At its essence his work reminds me of the epigraph to “L’ecume de jours” by Boris Vian: “This story is true since I invented it from the beginning to the end.” Gaba draws a fine line between fiction and reality, redirection and invention. The story he tells is an ancient one going back to the beginning of time, like a paradoxical archaeology of the possible. His wig cars and his contemporary archaeology are emblematic of the way he decodes the signs around him. In both series he plays with the juxtaposition of opposites.