GASPING FOR BREATH
Sometimes it’s a good idea to break from something then go back and review the situation. The trip to the Canyons had taken me quite a while to write and then the selection of photos was a difficult job. From over 1500, I went down to 4/500 and probably could delete more. So I decided to go and see an exhibition of a radically different culture. The Congo.
I have never been that keen on African art as in my book it seems to be full of clichés and nothing particular specific about it. How wrong could I be. This exhibition called « Beauté Congo- 1926-2015 - Congo Kitoko » was a very serious eye opener. Kitoko fascinated me. Why? Is it the singer?
The catalogue (which I did not buy) but found this article from it given by the curator. It really is worthwhile reading some of it…..
I have cut a lot out, but those who would like to go further, I invite them to do so on…..
http://fondation.cartier.com/#/en/art-contemporain/26/exhibitions/2408/na/1789/beaute-congo/
As André Magnin says….nothing really prepares you for the initial surprise of these works.
This is unparalleled creativity of the Congo's modern and contemporry artists.
The Young and Emerging Artists in Kinshasa after it had become a place for artistic experimentation gave rise to a new generation of artists….there is a lot of political humor in the work, full of smiles and humor…. I went back to look at again and again….these cannot be compared to European art. They have their own language and their on viewpoint. They are candid, exploring politics and world events not to mention, satirical. I feel sure that they follow the example of their predecessors, the self proclaimed "Popular Painters" who introduced in the 70's a new style of figurative painting in bright colours and drawing on events from their own society.
Early as the mid 40’s, these artists were encouraged to freely exercise their imagination and draw inspiration from their own traditions and their world.
There are more fish than I think I have ever seen in an exhibition but not like our European naive drawings at all. Naive they may be but full of life and laughter. These early paintings are practically the precursors of modern art. It was the Belges who discovered them and gave the artists material to work with rather than seeing their art painted on odd sheets of paper, or anything that could be found. It’s sad to think that there was some disagreement between the artists and the Belgium collectors and art materials were no longer supplied.
And even more suprising, traffic jams without drivers and three shoes,
and just for the fun.....
Films, photos, music. These I did not take in and perhaps I should have done so, but the paintings and work it itself spanning nearly 90 years was so rich that I came out like a fish out of water….gasping for breath.
I have never been that keen on African art as in my book it seems to be full of clichés and nothing particular specific about it. How wrong could I be. This exhibition called « Beauté Congo- 1926-2015 - Congo Kitoko » was a very serious eye opener. Kitoko fascinated me. Why? Is it the singer?
The catalogue (which I did not buy) but found this article from it given by the curator. It really is worthwhile reading some of it…..
« 90 YEARS OF MODERN AND CONTEMPORARY ART IN CONGO André Magnin
Excerpt from the catalog Beauté Congo – 1926-2015 – Congo Kitoko
« Chance and need brought this exhibition to fruition. Chance encounters between Congolese and Europeans separated by their roots and culture, and a need to follow the thread of a ninety-year-long story to present what they have produced— […]
Upon arriving in Kinshasa in 1987 ..… There was a thriving artistic scene there that Chéri Samba had described as “popular”, choosing this word because the paintings of the local artists were meant for everyone.
These artists, who had begun as billboard painters, decorators and illustrators, had set up their studio on the busy streets of Kinshasa so that their canvases would be seen by everyone….. I was struck by the freedom, variety, humor and beauty of the paintings that were passing before my eyes. In Africa, only the Congo could inspire such exciting sensuality and radicalism. I was at the heart of an art form that required no theorizing or explanation, revealing a whole new cultural lifestyle by evoking political and social moments, whether tiny or overwhelming. Kinshasa, the ardent and rebellious capital of a disjointed and violent country, provided a home for popular artists displaying in their seriously amusing way the stamina of their society. […]
[…]
Amazed by the modernity of these works, I couldn’t stop searching for them and learning about their history.
My second aspiration was to tell the story of ninety years of Congolese art which had always been described partially, and was visually familiar, but only fragmentarily so until now…..In displaying this large number of works, I have strived to invite people on a journey, to prompt an experience of being faced with something they do not know, to fill them with wonder and create a bond that fuses after the initial surprise of these works has passed, or through the shock of that surprise. »
Paris, April 2015
I have cut a lot out, but those who would like to go further, I invite them to do so on…..
http://fondation.cartier.com/#/en/art-contemporain/26/exhibitions/2408/na/1789/beaute-congo/
As André Magnin says….nothing really prepares you for the initial surprise of these works.
This is unparalleled creativity of the Congo's modern and contemporry artists.
The Young and Emerging Artists in Kinshasa after it had become a place for artistic experimentation gave rise to a new generation of artists….there is a lot of political humor in the work, full of smiles and humor…. I went back to look at again and again….these cannot be compared to European art. They have their own language and their on viewpoint. They are candid, exploring politics and world events not to mention, satirical. I feel sure that they follow the example of their predecessors, the self proclaimed "Popular Painters" who introduced in the 70's a new style of figurative painting in bright colours and drawing on events from their own society.
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| Pierre Bodo (1953-2015) |
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| Sapeur 2010 |
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| Mudinda Choc, 2010 |
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| Mopanzi Star, 2011 |
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| Femme surchargée |
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| Chéri-Cherin 2011 |
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| Sape 2011 |
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| Chéri-Cherin- Les Nouveaux Maitres du monde 2008 |
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| Trio du 6ème Continent |
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| Monsengo Shula (1959-) |
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| Amour & Pasteque - Chéri Samba, 1984 |
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| Little Kadogo, "I am for Peace, That is why I like Weapons, 2004 |
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| Pathy Tshindele, (1976-) It's my King, 2012 |
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| Mandela, dignité pour l'Afrique, 2014 J.P. Mika |
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| La Nostalgie, 2014 |
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| Maudina Choc, 2010 |
Early as the mid 40’s, these artists were encouraged to freely exercise their imagination and draw inspiration from their own traditions and their world.
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| La Sape, 2014 |
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| Bodys Isek made fantasy cities |
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| Bodys Isek made fantasy cities |
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| Bodys Isek made fantasy cities- looking at a whole |
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| This lit up |
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| Bodys Isek made fantasy cities |
There are more fish than I think I have ever seen in an exhibition but not like our European naive drawings at all. Naive they may be but full of life and laughter. These early paintings are practically the precursors of modern art. It was the Belges who discovered them and gave the artists material to work with rather than seeing their art painted on odd sheets of paper, or anything that could be found. It’s sad to think that there was some disagreement between the artists and the Belgium collectors and art materials were no longer supplied.
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| Jean-Bosco Kamba, 1958 |
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| Jean-Bosco Kamba, 1957 |
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| Raphaël Kalela, 1950 |
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| Raphaël Kalela |
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| Le Calendrier lunaire de Luba, 1979 |
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| Le Travail, 1982 |
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| L'envol des oiseaux, 1980 |
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| Bela, 1960 |
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| Bela, 1960 |
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| Bela, 1950 |
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| Bela, 1950 |
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| Bela, 1950 |
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| Bela, 1950 |
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| Albert Libaki, 1929 |
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| Albert Libaki, 1929 |
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| Albert Lubaki, 1929 |
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| Mwenze, 1954 |
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| Pilipili Mulongoy |
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| Albert Libaki, 1929 |
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| Albert Libaki, 1929 |
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| Antoinette Lubaki |
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| Ngoma, 1930 |
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| Ngoma, 1930 |
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| Mwena, 1929 ? |
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| Ngoma, 1931 |
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| Djilatendo,( 1895-1950) |
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| Ngoma, 1931 |
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| Mywema, 1950 |
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| N'Kulu, dans les années 40 |
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| Yumba, dans les années 50 |
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| Lukanga dans les années 50 |
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| Kayembe, |
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| Sylvesre Kabalia dans les années 50 |
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| Sylvesre Kabalia dans les années 50 |
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| Kaballa.S |
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| Llunga |
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| Llunga, 1950 |
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| Norbert Ilunga |
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| Kalaga Illunga, founder of the Luba Realm, 1974 |
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And even more suprising, traffic jams without drivers and three shoes,
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| P. Moke, 1977 |
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| P. Moke, 1979 |
and just for the fun.....
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| Pathy Tshindele, 2009 |
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| Pathy Tshindele, 2009 |
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| Part of the maquette above by Rigobert Nivii |
Films, photos, music. These I did not take in and perhaps I should have done so, but the paintings and work it itself spanning nearly 90 years was so rich that I came out like a fish out of water….gasping for breath.
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