Object lessons: from a Rubik’s Cube Mona Lisa to a Surrealist animal bone sculpture

Prince Gyasi's Fatherhood (2018). Nil Gallery at 1-54 Contemporary African Art Fair, Marrakech, 20-23 February .€8,000. Courtesy of the artist and Nil Gallery

Instead of expensive camera equipment, the 24-year-old Ghanaian artist Prince Gyasi uses an iPhone to shoot highly saturated photographs around his home city of Accra. These vivid images concentrate on the people of his local community, particularly its marginalised figures, and dwell on the overarching human themes of motherhood, childhood and, as here, fatherhood. Hugo Zeitoun, the co-founder of the Paris-based Nil Gallery, says Fatherhood is “representative of the Afro Pop movement that is emerging from western Africa now”, and Gyasi is one of a number of Ghanaian photographers who has disseminated his images and achieved global recognition via Instagram—he currently has around 98,300 followers. Gyasi also co-founded BoxedKids, an arts and education charity helping underprivileged children from Jamestown, Accra.

Remedios Varo's Homo Rodans (1959). Gallery Wendi Norris at ADAAs The Art Show, New York, 27 February-1 March. Estimate: $325,000-$2.5m.

The only surviving three-dimensional work by the 20th-century female Surrealist artist Remedios Varo, this animal bone sculpture riffs on the mythical Ouroboros figure of a serpent eating its own tail. Varos created the work in connection with De Homo Rodans, a pseudoscientific text—also on offer alongside the sculpture—that she wrote under the pen name Halikcio von Fuhrängschmidt, postulating a new theory of human evolution based on this magical creature of her own creation.

Invader, Rubik Mona Lisa (2005). Urban Art Sale, Artcurial, Paris, 25 February. Estimate: €120,000-€150,000.

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