Salifou Lindou

Salifou Lindou, 2019

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Salifou Lindou is a self-taught artist born in 1965 in Foumban (Cameroon), who lives and works in Douala. He attended a year of training in theater scenography at the School of Decorative Arts in Strasbourg. A committed artist, he is a founding member of the Kapsiki Circle, a collective of five plastic artists from Douala. Salifou is constantly experimenting with new materials, often recovering, shaping, structuring and deconstructing matter. Sheet metal, clay, leather, glass, steel, burlap; he likes to sand, to erase, to see what is behind the material. He expresses himself through sculpture, painting, installation, performance, action painting and drawings. His favorite theme, born from his encounters with the Doual’Art association, is ‘urban’.


Literatures; Visual Arts; Arts scene; Cinematography; Curatorial practices, Performances.


  • Living Together at Galerie Doual’Art, Douala in Cameroon, 2018
  • Entre le souffle et le trait at Galerie Mam Douala Cameroun, Douala in Cameroon, 2014


  • Aujourd’hui,  at National Museum of Yaoundé, Cameroon, June 2019 to February 2020
  • REVIVING HUMANITY as part of the international collective exhibition of sculpture for the inauguration of the WORL YOUTH FORUM 2018 at SHARM EL CHECH in Egypt, 2018
  • RAVY 2018, URBANITUDE at Galerie d’Art Contemporain de Yaoundé, Cameroon, 2018
  • AKAA Contempory artfair 2016 at Careaux du Temple Paris, France, 2016
  • ‘’624 ‘’ Exhibition-OFF, Biennale of Dakar DAK’ART 2016 Foundation Donwahi and Mam Galerie, Dakar, Sénégal, 2016
  • ‘’1.54‘’ Contempory Artfair by Galery Mam, London, 2015
  • Exhibition in duo with Claudie Poinsard, Foundation Donwahi Abidjan, Republic of Côte d’Ivoire, 2015
  • Residence at Frans Masereel Centre (Print Art Centre), Belgium, 2014
  • Joburg Art Fair 2010, Johannesburg, South Africa, 2010
  • Salon International Libr’art , Libramont in Belgium, 2009
  • Émotions Partagées, in duo with Christian Hanussek, Doual’art, Douala, 2009
  • Joburg Art Fair 2009, Johannesburg, South Africa, 2009
  • Émotions Partagées, in duo with Christian Hanussek, Dak’art-Off, ENDA-Ecopole Dakar, Senegal, 2008
  • Joburg Art Fair 2008, Johannesburg, South Africa, 2008
  • Delices du Wouri, in duo with Christian Hanussek, Galerie Foderkoje, Berlin, Germany, 2007
  • Une Vision Contemporaine II, World Bank, Yaoundé in Cameroon, 2007
  • Une Vision Contemporaine, World Bank, Yaoundé in Cameroon, 2006
  • The Last Picture Show GONDWANA III, Maison du Parti at Douala; Hall Ségur-Palais de l’Unesco in Paris, France, 2006
  • ARCO Madrid in Madrid, Spain, 2006
  • ART INTERNATIONAL in Zürich, Switzerland, 2005
  • ARCO Madrid, Salon International d’Art Contemporain Espagnol, Madrid, Spain, 2005
  • Museum of modern art, Tarragona, Spain, 2005
  • Residence at Âme d’Afrique gallery, Strasbourg, France, 2005
  • ‘El Bostashy’ Cercle Kapsiki, Douala; in the context of Les scénographies urbaines, Alexandria, Egypt, 2004
  • Ewolé, Lomé, Togo, 2003
  • Boulev’Art, Cotonou in Bénin, 2003
  • Scénographies Urbaines, Cercle Kapsiki, Douala, 2003
  • Salon International d’Art Contemporain du Sud at Palais du Congrès, Paris, France, 2002
  • Dak’art-OFF at the Museum IFAN Dakar, Sénégal, 2002
  • Collective exhibition at the National Museum of Yaoundé, Cameroon, 2002
  • Dedans–Dehors at Goethe Institute, Yaoundé in Cameroon, 2002
  • Exposition Quatrième Parallèle at Atelier Salo; in the context of La Semaine de la Francophonie à l’Hôtel d’Albret et à la Maison du Parti Communiste, Paris, France, 2001
  • ‘De Douala à Berlin’ Cercle Kapsiki at Kuntsfabrik, Berlin, Germany, 2001
  • Braderie de l’Art, Roubaix in France, 2001
  • Cabines de Relookage; in the context of Biennale SELEST’ART Cercle Kapsiki, Sélestat in France, 2001
  • Bourse aux odeurs; in the context of Cercle Kapsiki at Galerie du Syndicat Potentiel (Exhibition ESAD), Strasbourg, France, 2000
  • Residence at École des Beaux-Arts Décoratifs de Strasbourg, Strasbourg, France, 2000
  • Atelier de Salo, Central African Republic, 2000
  • Ville Etat – Vil Etat – Ville et Tas; Cercle Kapsiki, Bonendalé in Douala, Cameroon, 2000
  • Part of the official selection of Dak’art ’98, Biennale de l’Art Africain Contemporain at Musée d’Art Africain of IFAN Cheikh Anta Diop, Dakar, Sénégal, 1998
  • La ville dans tous ses états; Cercle Kapsiki, at Espace Doual’Art, Douala, Cameroon, 1998
  • Hors les Murs; Cercle Kapsiki, Atelier org. by Doual’Art, exhibition Douala principal street, Cameroon, 1998
  • Festival national de l’art contemporain; Atelier OFF organized by Doual’Art, Ebolowa, 1998
  • Iconoclast Masters at the Goethe Institute, in Yaoundé and at Espace Doual’art in Douala, Cameroon, 1997
  • Tele Miso at Galerie Mam in Douala, Cameroon, 1996
  • La recherche at the Symposium Kulturgiesserei, Schöneiche in Germany, 1996
  • Ressource Art at Goethe Institute, Yaoundé, Cameroon, 1996
  • La chaise, atelier and exhibition in collaboration with Doual’art at Centre culturel français, Douala, Cameroon, 1995


  • Affiche UNIFEM (Poster for UNIFEM), 1995
  • At the Scénographie Festival ‘Noir tout couleur’, Pointe à Pitre in Guadeloupe, 2001
  • Artwork realization for the 60th anniversary of the Pasteur Institute, Yaoundé in Cameroon; the artwork is part of the permanent exhibition, 2009
  • Face à l’eau, SUD 2010, 2010


  • Medal ‘Chevalier de l’Ordre et du Mérite Camerounais’ , Order of Merit, 2016
  • Winner for the logo design of The International Symposium ‘lutte contre le SIDA’ (War against AIDS), Yaoundé 89, Cameroon, 1989
  • 1st Price Libr’art, Salon International, Libramont in Belgium, 2009


In his most recent drawings and various creations, he values the body language, the preponderance of free speech, and the dialogue and exchange of knowledge. In the various scenes and portraits he has drawn, despite the fact that his artworks are composed and are resulting in a final form that makes abstraction of sounds and time, his illustrations let the audience feel and see that his characters are exchanging, are in movement, are expressive and are emotional. The drawn identities discourse with the public is open, constant and emotionally overwhelming. They express themselves through their physical expression, their immersive glancing look, their hands and feet, their finality of movement, and their posture; Salifou is able to translate the emotions of his characters on paper and make them able to communicate behind words and verbal languages.

All body parts of his drawn individuals, from the tongue to the ‘inside-outside’ of their human body; in their spiritual and physical existence; become carriers of messages and bring life to his works. Salifou is the creator of fixative worlds that gains movement and expresses themselves through the eye of the public.  The audience is pierced, is feeling ‘oblige to’ and moved by Salifou invitation to give life to his scenes and characters.

His visual works give more space to this ‘non-verbal’ dialogue which is as important or even more than the verbality; this ‘non-verbal’ exchange with the audience his evocative and denouncing of the actual thought of his illustrated characters. In this absence of sound, the spectators can understand the ‘what is going on’ and ‘what is the truth’; permitting them to make abstraction of the ‘false speech’. The ‘Listeners’ are left to their own interpretation without having the language of speech affecting their comprehension.

A powerful testimony that the abstraction of speech can bring more truth; this absence of words leaves room for a clean version of reality without confusion while bringing to our consciousness a tremendous question: Is it better to remain silent or to take a stand?

He who exclaims is not necessarily the bearer of the truth, nevertheless he is the only one that will not be forgotten.

Salifou hopes to give ‘voice’ to those who do not exclaims themselves and who are the true carriers of authenticity and of a forgotten message; the ‘ unspoken ‘. Give courage to those who, like him, want the absence of speech to be revoked; it is now to the ‘unspoken’ to exclaim themselves and to the ‘Listeners’ to interpret this ongoing dialogue. Salifou let you take the choice; his contribution and legacy through his creations is ‘The opening of the dialogue’.