Authentically African. Sarah Van Beurden

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СКАЧАТЬ Figure 5.3. IMNZ buildings on Mont Ngaliema, Kinshasa, 1970s

       Figure 5.4. IMNZ storeroom with Kuba masks, 1976

       Figure 5.5. Early exhibition on Mont Ngaliema, IMNZ, Kinshasa, early 1970s

      Figure 5.6. Yaka rattle mask, ABA exposition space, Kinshasa.

       Figure 5.7. ABA exposition space, Kinshasa

       Figure 5.8. FIKIN exposition, Pende statue of mother and child, Kinshasa, July 1976

       Figure 5.9. FIKIN exposition, Kinshasa, July 1976

       Figure 5.10. FIKIN exposition, Kinshasa, July 1976

       Figure 5.11. Front cover of Initiation à l’art plastique Zairois d’aujourd’hui (Introduction to contemporary zaïrian visual art), published for the AICA modern art exhibition; painting by Chenge Baruti

       Figure 5.12. Le Militant (The militant), by Liyolo

       Figure 5.13. Badi-Banga in his office at the IMNZ, Kinshasa, n.d. [1970s]

       Figure 5.14. Kuba sculptor Sham Kwete with three ndop reproductions, 1974

       Figure 6.1. Art of the Congo, Walker Art Center, 1967

       Figure 6.2. Art of the Congo, Walker Art Center, 1967

       Figure 6.3. Art of the Congo, Walker Art Center, 1967

       Figure 6.4. Art of the Congo, Walker Art Center, 1967

       Figure 6.5. Art of the Congo, Milwaukee Art Museum, 1969

       Figure 6.6. Art of the Congo, Milwaukee Art Museum, 1969

       Figure 6.7. Catalog covers for Art of the Congo (Walker Art Center and RMCA, 1967) and Art from Zaire (AAI and IMNZ, 1976)

       Figure 6.8. Lengola figure, Art from Zaire, Indianapolis Museum of Art, 1977

       Figure 6.9. Art from Zaire, AAI, 1976

       Figure 6.10. Art from Zaire, AAI, 1976

       Figure 6.11. Kuba objects, Art from Zaire, Indianapolis Museum of Art, 1977

       Figure 6.12. Pende objects and image of dancer wearing a Gitenga mask, Art from Zaire, Indianapolis Museum of Art, 1977

       Figure 6.13. Kuba masks and images of masked Kuba dancers, Art from Zaire, Indianapolis Museum of Art, 1977

       Figure 6.14. Museum shop flyer, Los Angeles County Museum of Natural History, 1976

       Figure 6.15. Ethnic Arts Shop advertisement, Los Angeles County Museum of Natural History, 1976

       Figure 6.16. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981

       Figure 6.17. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981

       Figure 6.18. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981

       Figure 6.19. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981

       Figure 7.1. Salle Joseph Aurélien Cornet, IMNC, 2011

       Figure 7.2. Leopold II statue, IMNC, 2011

      PLATES

       FOLLOWING CHAPTER 6

       Plate 1. Front cover of Initiation à l’art plastique zaïrois d’aujourd’hui (Introduction to contemporary Zairian visual art), published for the AICA modern art exhibition; painting by Chenge Baruti

       Plate 2. Art of the Congo, Milwaukee Art Museum, 1969

       Plate 3. Art of the Congo, Milwaukee Art Museum, 1969

       Plate 4. Catalog covers for Art of the Congo (Walker Art Center and RMCA, 1967) and Art from Zaire (AAI and IMNZ, 1976)

       Plate 5. Kuba objects, Art from Zaire, Indianapolis Museum of Art, 1977

       Plate 6. Pende objects and image of dancer wearing a Gitenga mask, Art from Zaire, Indianapolis Museum of Art, 1977

       Plate 7. Kuba masks and images of masked Kuba dancers, Art from Zaire, Indianapolis Museum of Art, 1977

       Plate 8. Museum shop flyer, Los Angeles County Museum of Natural History, 1976

       Plate 9. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981

       Plate 10. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981

       Plate 11. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981

       Plate 12. The Four Moments of the Sun: Kongo Art in Two Worlds, National Gallery of Art, 1981

       Acknowledgments

      A great many people and institutions supported this project along the way.

      There are simply no words for the thanks I owe the staff of the IMNC in Kinshasa and Lubumbashi, and the many people who helped me during my stays in Congo. Désiré Kapata, and especially Dr. Muya wa Bitanko of the IMNC in Lubumbashi, made my stay there very productive. I thank Nicole Sapato and Kiat Wandand for helping me get to know the city. Also in Lubumbashi, Léon Verbeek generously shared the transcripts of his interviews and his wealth of knowledge about modern Congolese art with me. At the IMNC in Kinshasa, André Kule, Françoise Toyeye, N’Kanza Lutayi, and especially museum director Prof. Joseph Ibongo greatly facilitated my research. Francklin Mubwabu helped with access to the newly digitized images of the museum. Dr. Henry Bundjoko was generous with his time and knowledge and helped me both at the museum in Lubumbashi and in Kinshasa after his move there. Vera Melotte, Marius Mihigo, the late Guy Efomi, Liesbeth Bernaerts, and Koen Vanden Driessche helped make my stays in Kinshasa possible. A special thanks goes to Chantal Tombu, for being such a generous host and friend. Most of all, I thank Augustin Bikale, whose support was crucial to my stays in Congo, and whose conversation helped shape this book. Kinshasa mboka té!

      I have benefited tremendously from the expertise and support of the staff of the Royal Museum for Central Africa in Belgium. Nancy Vanderlinden, Julien Volper, Mathilde Leduc-Grimaldi, Mathieu Zana Aziza Etambala, Anne Welschen, Hein Vanhee, Maarten Couttenier, Viviane Baeke, and of course director Guido Gryseels, who supported this project from the very beginning, have all helped make this book possible. Raf Storme and Pierre Dandoy helped me navigate the African Archive at the Ministry of Foreign СКАЧАТЬ