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Beauté Congo 1926-2015

Congo Kitoko

  • Exhibition, Paris
  • Sat 11 Jul 2015 → Sun 10 Jan 2016
Vue de l'exposition Beauté Congo 1926 2015 Congo Kitoko   2015
Vue de l'exposition Beauté Congo 1926-2015 Congo Kitoko Photo © Luc Boegly © Pierre Bodo

Location

Fondation Cartier pour l'art contemporain

261 boulevard Raspail

75014 Paris

A place of extraordinary cultural vitality, the creative spirit of the Democratic Republic of the Congo will be honored in the exhibition Beauté Congo – 1926-2015 – Congo Kitoko presented at the Fondation Cartier pour l’art contemporain with André Magnin, Chief Curator.

Taking as its point of departure the birth of modern painting in the Congo in the 1920s, this ambitious exhibition will trace almost a century of the country’s artistic production. While specifically focusing on painting, it will also include music, sculpture, photography, and comics, providing the public with the unique opportunity to discover the diverse and vibrant art scene of the region.

As early as the mid-1920s, when the Congo was still a Belgian colony, anticipating the development of modern and contemporary art. Figurative or geometric in style, their works represent village life, the natural world, dreams and legends with great poetry and imagination. Following World War II, the French painter Pierre Romain-Desfossés moved to the Congo and founded an art workshop called the Atelier du Hangar. In this workshop, active until the death of Desfossés in 1954, painters such as Bela Sara, Mwenze Kibwanga and Pili Pili Mulongoy learned to freely exercize their imaginations, creating colorful and enchanting works in their own highly inventive and distinctive styles.

Vue de l'exposition Beauté Congo 1926 2015 Congo Kitoko   2015
Vue de l'exposition Beauté Congo 1926-2015 Congo Kitoko Photo © Luc Boegly © Pierre Bodo

Twenty years later, the exhibition Art Partout, presented in Kinshasa in 1978, revealed to the public the painters Chéri Samba, Chéri Chérin, and Moke and other artists, many of whom are still active today. Fascinated by their urban environment and collective memory, they would call themselves “popular painters.” They developed a new approach to figurative painting, inspired by daily, political or social events that were easily recognizable by their fellow citizens. Papa Mfumu’eto, known for his independent prolific comic book production and distribution throughout Kinshasa in the 1990s, also explored daily life and common struggles throughout his work. Today younger artists like JP Mika and Monsengo Shula, tuned-in to current events on a global scale, carry on the approach of their elders.

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