Toutes les fautes qu’il y avait dans le monde, je les ai ramassées
(All of the wrongs that were in the world, I gathered them up)
RAW Material Company
Koyo Kouoh and Dulcie Abrahams Altass
Artists: Papisto Boy, Maïsama, Leonore Mau, Thierno Seydou Sall, Isabelle Thomas


The conference and exhibit held in Dakar are based on Hubert Fichte’s book Psyche, which forms part of the so-called “Glosses” volumes of The History of Sensitivity and as such is unnumbered. Fichte himself was unable to complete this volume himself. The textual collection edited by Ronald Kay of S. Fischer Verlag in 1990 largely follows the last draft outline as sketched out by Fichte in February 1986, shortly before his death. The textual collection is based upon the photo volume Psyche, as conceived by Fichte and his partner, the photographer Leonore Mau, in 1985, which only appeared in this form (posthumously) in 2006.


The volume Psyche covers the greater part of Fichte’s travels in Africa in the 1970s and 1980s, during which he made repeated trips to Senegal, along with Tanzania, Kenya, Togo, and Dahomey (today’s Benin). Fichte’s literary-ethnological investigations are devoted to cultural and political upheavals and the impact of both the colonial Modern and neo-colonialism. The primary object of study is the treatment of mental illness in a field contested by Western-derived psychiatry and traditional rites and healing methods.


The core of the book consists of conversations with psychiatrists and healers, which then lead Fichte to Togo and then Dakar, specifically to the psychiatry wing of the Fann Hospital, which was well known throughout Europe for its experimental treatments which included traditional healing methods. Fichte contrasts these interviews with his conversations with the painter Pap Samb (aka Papisto Boy), whose murals were cited by Fichte to exemplify his interest in the popular forms of expression of an syncretic African Modern, along with interviews with the presidents of Tanzania and Senegal, respectably the former freedom fighter Julius K. Nyerere and the poet-politician Léopold Sédar Senghor.

02/10/2018  Koyo Kouoh and Dulcie Abrahams Altass  Dakar
All of the wrongs that were in the world, I gathered them up

Ramasser; to gather, pick-up or collect. What does it mean to gather, pick-up or collect the wrongs of the world? Who is brave or sensitive enough to not only confront these wrongs, but to actively search a proximity to them? To stare them in the eye and not turn the other cheek. And, if reflecting from an artistic perspective, how do artists use the force of their aesthetic to gather, collect, and then act on these wrongs? The exhibition All of the wrongs that were in the world, I gathered them up at RAW Material Company in Dakar explores the work of five artists – Papisto Boy, Maïsama, Leonore Mau, Thierno Seydou Sall and Isabelle Thomas – whose practice over the last forty years helps us to answer these questions, and more. More…

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02/10/2018  Thierno Seydou Sall  Dakar
Voyage dans l’océan de la schizophrénie

Pendant les années que Fichte faisait des recherches à l’hôpital psychiatrique à Fann, l’artiste Thierno Seydou Sall cultivait en même temps sa propre pratique à Dakar. Sall et Fichte se seraient presque croisés à Fann quand l’artiste et poète était patient au centre psychiatrique par lequel Fichte était fasciné. Après avoir rencontré l’artiste et co-fondateur de Laboratoire Agit’Art Issa Samb, Sall se voyait encouragé à exprimer sa perspective unique à travers des spectacles et l’écriture. Le “poète errant” Sall développait ce qu’il appelle une “poésie de l’électrochoc”, une référence à ses expériences avec des traitements psychiatriques – et un hommage au Théâtre de la Cruauté d’Antonin Artaud. More…

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01/10/2018  Hubert Fichte  Dakar
Aufzeichnungen aus einem psychiatrischen Dorf (Psyche, Auszug III)
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01/10/2018  Hubert Fichte  Dakar
Zweites Gespräch mit Maurice Dorès am 29. Mai 1976 (Psyche, Auszug II)
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