Entering the White Cube gallery in London, visitors can hear the whirr of busy machinery. It is not difficult to locate the source of the noise: 100 vintage sewing machines have been lovingly restored and mounted on wooden school desks. A mix of Singer and Butterfly models, they come to life in groups, with those that have needles stitching invisible cloth.
“Capital Corpses” (2019-21, pictured) is the work of Ibrahim Mahama, a Ghanaian artist best-known for large-scale patchworks of jute sacks. Made in south-east Asia, jute sacks are used in Ghana to transport cocoa beans. When the cocoa is emptied into containers for export, the sacks are used by maize and rice traders and, finally, for transporting charcoal. An earlier generation of Ghanaian artists used fresh, clean jute sacks as their canvas. Mr Mahama prefers old ones that hint at their past. “My interest was in the character, the history and the politics,” he says. Through these works he invites the viewer to ponder his country’s place in the world economy, both historically and today.
Mr Mahama, 34, has moved on from jute sacks, but as “Lazarus”, the title of his new show, suggests, he is no less interested in reviving ghosts and resurrecting the dead. Aside from the sewing machines (which allude to the way many women, having been failed by Ghana’s education system, earn a living), the focus is on Nkrumah Voli-ni, a derelict grain silo the artist acquired in his home city of Tamale, afterwards breathing new life into it as a cultural centre.
The silo is one of a number built in the heady optimism of the independence era and left to rot after Kwame Nkrumah, Ghana’s first president, was deposed in a coup in 1966. Rumours suggested that Nkrumah had intended them as prisons or was building tunnels to link them to Accra, the capital. “My father’s generation grew up with the myth that these buildings were a place of doom,” Mr Mahama says.
A short film couples the laborious task of resurrecting Voli-ni with the patient craftsmanship of restoring the sewing machines. Along with bucket after bucket of sludge, out went snakes, frogs and their fossilised remains, but the resident bats remain: photographed and flipped from their hanging position to stand upright, they are comical equivalents of saints in a baroque frieze. The bats are pictured in beautiful collages made from colonial-era maps and bank records, and commercial invoices from the post-independence years.
Mr Mahama’s arrival at Kwame Nkrumah University of Science and Technology’s college of art in 2006 coincided with that of a group of radical young professors, most notably Kari’kacha Seid’ou, who was eager for his students to address the inequalities of both the art world and the world at large. He taught them to draw and paint, but texts by Walter Benjamin, Karl Marx and Jacques Rancière were the starting point of any discussion. “In most art schools, students are trained to produce for the market,” Mr Mahama says. “For us it was more about producing work that would somehow change the relationship between art and the market—and create new forms of the market in the future.”
Collaboration was encouraged and exhibitions could happen anywhere, from cemeteries to warehouses, factories to marketplaces, even buses. Mr Mahama stayed on to do a doctorate and today he is part of blaxTARLINES KUMASI, a staff-student collective. Wearing that hat, he will have a collage included in “Ubuntu, a lucid dream”, a joint show which opens at the Palais de Tokyo in Paris in November. “Ubuntu”, a Bantu term suggesting reciprocity and interdependence, was popularised by Nelson Mandela, but before that it was an idea that underpinned pan-Africanism at the time of independence. “Ibrahim is playing a huge part in decolonising the imagination,” says Marie-Ann Yemsi, the exhibition’s curator. “It was natural for me to invite him to be in a show that speaks about the notion of building the world together.”
The Design Museum in London has commissioned Mr Mahama, too. For “Waste Age: What can design do?”, which opens on October 23rd, he has produced a wall of 40 televisions, retrieved, like the sewing machines, from Agbogbloshie, a scrapyard in Accra where much of Europe’s electronic waste is dumped, then coaxed back to life. The TVs will run films of their own repair, while copper frames made from their wiring highlight the precious minerals e-waste contains. What caught the eye of the curator, Gemma Curtin, was Mr Mahama’s “interest in the process of making things, the labour that goes into it and the impact of that process on people and place”.
From October 24th the artist will also have work on show at the Museum of Fine Arts in Houston. “Afro-Atlantic Histories”, an exhibition which will tour to Washington, Los Angeles and other American cities, will use a mix of fact and fable in the spirit of Portuguese historias to reclaim often buried stories of “the black Atlantic” and the nations involved in slavery. It will pair a jute work by Mr Mahama with an 18th-century Gobelins tapestry presenting idyllic images of plantation life. “Ibrahim’s work is a very important corrective to that idealised colonialist vision,” says Alison de Lima Greene, one of the curators.
Mr Mahama ploughs the profits from sales of his art back into cultural infrastructure projects in Ghana (Voli-ni is his third). He is proud of the fact that young Ghanaians are saying: “If this artist can do it with scrap materials, how much can we achieve?” Soon the galleries that want a piece of him may have to form a queue. ■
Ibrahim Mahama’s work is on display at White Cube, London, until November 7th; the Design Museum, London, from October 23rd to February 20th; Museum of Fine Arts, Houston, from October 24th to January 17th; and Palais de Tokyo, Paris, from November 26th to February 20th
In the pre-dawn hours of March 18, 1990, following a festive St. Patrick’s Day in Boston, two men dressed as police officers walked into the Isabella Stewart Gardner Museum and walked off with an estimated $500 million in art treasures. Despite efforts by the local police, federal agents, amateur sleuths and not a few journalists, no one has found any of the 13 works lost in the largest art theft in history, including a rare Vermeer and three precious Rembrandts.
The legacy of the heist is always apparent to museum visitors who, decades later, still confront vacant frames on the gallery walls where paintings once hung. They are kept there as a reminder of loss, museum officials say, and in the hope that the works may eventually return. Last month, Richard Abath, the night watchman who mistakenly allowed in the thieves, died at 57. He was a vital figure in an investigation that remains active, but where the trails have grown cold.
Here are five oddities that make this one of the most compelling of American crimes.
The thieves took a really strange array of stuff.
Important paintings were taken from their frames during the heist. But other items that were stolen were not nearly of the same caliber: a nondescript Chinese metal vase; a fairly ordinary bronze eagle from atop a flagpole; and five minor sketches by Degas. The thieves walked past paintings and jade figurines worth millions, including a drawing by Michelangelo, yet they spent some of their 81 minutes inside fussing to free the vase from a tricky locking mechanism.
The handcuffed guard was later scrutinized.
Abath, one of two guards on duty, was handcuffed and gagged with duct tape. He was never named a suspect. But over the years investigators continued to review his behavior because he had, against protocol, opened the museum door to the thieves. (The second guard, who is still living, was never a focus of investigative interest.) The F.B.I. monitored Abath’s assets for decades but never saw any suspicious income. He consistently said he told investigators everything he knew, and an F.B.I. polygraph he voluntarily took was deemed “inconclusive.”
The empty frames have stayed on the walls.
The museum was once Gardner’s home and she wanted to ensure that her expansive art collection was displayed in the same manner she had arranged it. She stipulated in her will that not a thing was to be removed or rearranged, or the collection should be shipped to Paris for auction, with the money going to Harvard University. Though it’s long been reported that the empty frames are left hanging to accord with that will, the museum says that is actually a long uncorrected mistake. “We have chosen to display them,” it said in a statement “because 1.) we remain confident that the works will someday return to their rightful place in the galleries; and 2.) they are a poignant reminder of the loss to the public of these unique works.”
The thieves left behind a prized Rembrandt.
A self-portrait of Rembrandt at 23 was taken down by the thieves but left leaning against a cabinet. “I really believe they probably forgot it,” said Anthony Amore, the museum’s current security chief. The work was on an oak panel, making it heavier than the paintings on canvas that they stole. But it was about the same dimensions as Govaert Flinck’s “Landscape With an Obelisk,” which was also on oak, and stolen.
The list of suspects has been a dizzying stew.
Investigators have looked at all manner of burglars and art thieves and dismissed all sorts of theories. Did Whitey Bulger steal the art to help the Irish Republican Army raise money for arms? No. Did the Mafia want a bargaining chip to help free a member from prison? Maybe. In 2015 the F.B.I. named two long-dead, Boston-area criminals, George Reissfelder and Lenny DiMuzio, as the likely bandits. They have never publicly discussed why.
Investigators still hope to recover the art. The museum upped its reward to $10 million in 2017 from $5 million in 1997 and $1 million in 1990. It has devoted several sections of its website to educating the public about the crime. It embraces publicity in the hope that someone, someday, somewhere will recognize one of the artworks and contact it.
“We have followed every lead and continue to check out new leads,” Amore said, adding, “All that matters is finding out where they are today and getting them back.”
Banksy is back with his first confirmed installation of 2024.
The anonymous British street artist posted on his Instagram account on Monday that he was behind a mural that was first spotted in Finsbury Park in London over the weekend.
In the artwork, a stenciled figure of a woman appears to have sprayed green paint over a white wall behind a pollarded tree, thus giving an optical illusion effect of foliage.
Others suggested it was a pessimistic take on the environment or a commentary on greenwashing, the tactic the United Nations defines on its website as “misleading the public to believe that a company or other entity is doing more to protect the environment than it is.”
Documentarian James Peak, the creator of the BBC’s “The Banksy Story” radio series, said the message is “clear” that “nature’s struggling and it is up to us to help it grow back.”
“When you step back, it looks like the tree is bursting to life, but in a noticeably fake and synthetic way,” he told the broadcaster. “And it’s pretty subtle for a massive tree, I’d say.”
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