List of public art in Douala

Two triptychs, those by Mony and Koko Komégné, that were installed at the 4th Rond point (roundabout) in Akwa, have been degraded by advertisers and have now disappeared. The other panels are still visible rue du Tribunal, in Bonanjo.

carved in wood. This figurehead, drawn in close collaboration with some young people of the neighborhood of Bonapriso, consists of signs which assert the contemporary identity of the city of Douala. The work is an interrogation on the complexity of the relation between tradition, memory and contemporaneity in this 21st century. La Pirogue Céleste, which attractiveness was improved thank to benches and flowers, was installed on the esplanade of the Former Airport… and is now one of the rare green public gardens of the city with a public equipment.

Ndogpassi III is an isolated and marginalized informal settlement out of Douala, inhabited by immigrant population since the last ten years. The area inspiring Philippe Aguirre's work was a multi-level depression ground of mud over the only source of water of Ndogpassi III. The natural water is located at the ground level of Le théâtre source in a central position, and it remains an important landmark for locals, especially women and children, who used to meet there for chatting and playing football. The lateral stairs of the installation facilitate the passage between two dirty roads, which were disconnected earlier.
Artwork commissioned in the frame of SUD Salon Urbain de Douala. The work was presented during the SUD Salon Urbain de Douala 2013.

For the production of artworks, C.A.I.R.E. further opened the boundaries of the neighborhood, inviting a group of national and international artists, including Salifou Lindou (living and working in Bonamouti-Deido), Romuald Dikoumé (CM), Aser Kash (CM), Leah Touitou (FR) and Malala Andrialavidrazana (MG), to enter locals’ private spaces, involving them in the art process. Featured artists proposed graffiti, stamps, poetries, and innovative photographic techniques to reshape and give value to the entire neighborhood. Artwork produced within the artist group C.A.I.R.E. and commissioned in the frame of SUD Salon Urbain de Douala. The work was presented during the SUD Salon Urbain de Douala 2013.

Caravane d’images created a permanent visual pathway into Ndogpassi III, leading from the house of the neighborhood's chief to Le théâtre source, the amphitheater near the water source, produced by Philippe Aguirre. Inauguration: SUD Salon Urbain de Douala 2013

1. Where the streets have no name : To create more identity in the area, names were given to the streets, because they only had a number.
2. Journal de l’eau : Everyday a bottle of water from the source and one from the river to symbolize the duration of the project in Ndogpassi III
3. Le Plongeoir : A laboratory that functions as a growing presentation for all interventions during the stay in Ndogpassi III
4. La Piscine : pixel-art sur la recidence auto-créé en Ndogpassi III.

voices of children and the Douala symphonic choir with songs about the river Wouri and, of course, the unceasing rain in July.The work was presented during the SUD Salon Urbain de Douala 2010.

A location between a bridge and a water pump in front of Thomas Salon was identified as a site for the project. This circular public space extend in a linear way along the river into the valley, providing a sense of ‘spatialisation’ for a performative spectacle, in varied staged events. Thomas’ sustained connection to the landscape and his myriad creative talents enabled the idea of a performative collaboration and event. The intervention took place over a period of six days, where a selected group of participants (chosen by Thomas for their particular life journeys) inspired a varied range of hair and fashion styles. The Event did not have conventional control mechanisms for positioning the audience in relation to the performance. However, the neighborhood mushroomed in and around the event site, blocking the pathways and preventing cars and motorbikes from crossing the bridge. Up to 3.000 stop frame stills per participant were accumulated. The lens captured the emotional and psychological transformation of the person being styled and evolution of the form of the hair. The head served as a base landscape and the layers of braiding as a foundation for Thomas’ sculpture. The work was presented during the SUD Salon Urbain de Douala 2013.