140 x 94 cm
Moké’s Sans Titre (1994) depicts the everyday life of the suburbs from a distant and elevated perspective. Looking down on a residential area we see groups of children playing in the street, we see cars and trucks loaded with produce backed up on the road that runs through the center of the tableau. We see two Skol adverting billboards that line the road; Skol being the fifth biggest beer brand by volume in the world that was established in the Democratic Republic of Congo in 1965. An outward flying plane glides closely over the scene. Sans Titre (1994) is, above all, a scene of the various structures and functions of society seemingly peacefully co-existing.
Moké (the acronym of Monsengwo Kejwamfi) was a pivotal figure in establishing the style of ‘Popular Painting’ in Kinshasa following Congo’s independence in 1960. Moké had no formal training and his early works were often executed on found materials, such as discarded cardboard. Soon, his lively and dynamic paintings of Kinshasa garnered the attention of the public and in 1965 he painted a portrait of General Mobutu (president of the DRC, 1965–1997). Moké became a reporter of urbanity through his painting, and installed his workshop at the crossroads of Kasa-vubu and Bolobo, in the heart of the city. His realistic and exuberant painting testifies to his meticulous observation of everyday life in Kinshasa: street scenes, bar scenes, sappers, nocturnal feasts, and neighbourhood disputes. These scenes and stories that are found in his paintings are full of humour, alive and always colourful.
Interview with Wang Chong for "Made In China 2.0" | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia Articles Mark Pritchard March 23, 2020 The following review is made possible through a Critical Residency programme supported by By Nabilah Said (1,000 words, 6-minute read) Experimental Chinese theatremaker Wang Chong presented a work-in-progress showing of his newest work, Made in China 2.0 , at Asia TOPA in February...
J’ai pleuré devant la fin d’un manga — Edouard-Manet de Gennevilliers Gallery — Exhibition — Slash Paris Login Newsletter Twitter Facebook J’ai pleuré devant la fin d’un manga — Edouard-Manet de Gennevilliers Gallery — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Previous Next J’ai pleuré devant la fin d’un manga Exhibition Ceramic, drawing, film, lithography / engraving.....
The black-and-white projection, Araf by Didem Pekün, begins, as a lithe man stands high up in the middle of the grand, rebuilt 16th-century Ottoman bridge in Mostar, in Bosnia and Herzegovina...
Shot in the streets of Tokyo, Collapse , is a meditation on the passing of time and on the complicated way in which we are smashed between the past and the future...