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Congo Style: how two dictators shaped the DRC's art, architecture and monuments – The Conversation Indonesia

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7 months ago

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What kind of art is left behind by totalitarian regimes? A new free-to-read book called Congo Style: From Belgian Art Nouveau to African Independence explores the visual culture, architecture and heritage sites of the country today known as the Democratic Republic of Congo (DRC). It does so by exploring two now-notorious regimes: King Leopold II’s rule (1885-1908) of Belgium’s Congo colony and Mobutu Sese Seko’s totalitarian Zaire, established when he seized power in a military coup in 1965 after five years of political upheaval. We asked artist and visual culture scholar Ruth Sacks five questions about her book.

What did you set out to achieve?

Years ago, while I was in Belgium on an art residency, I became interested in the early modernist art nouveau movement (1890-1914). In architecture and art, this period is part of 20th century modernism, known for a minimal, clean aesthetic that’s influenced by new technologies and the advent of machines. Art nouveau is distinctive because it’s highly decorative, while still using the new building materials of iron and glass.

A book cover showing a structure with a looming tower and curved concrete bridge.


University of Michigan Press

What interested me was the colonial nature of art nouveau. Art nouveau came with a very strong sense of defining newly formed (or unified) nation states in western Europe. It was the style used at world fairs. These were grand exhibitions showing off western countries’ scientific and cultural achievements, including the acquisition of colonies.

A colonial pavilion in the art nouveau style at the 1897 Brussels world fair in Belgium helped establish one of the names for Belgian art nouveau: “Style Congo”.

The style is distinctive for its curling, plant-like shapes and is a major tourist feature today. The years in which it was implanted in Brussels (about 1890-1905) directly coincided with the brutal Congo regime of Belgium’s King Leopold II.

Travelling to the DRC, I located actual art nouveau buildings from the early colonial period. But it was the state sites of the early Mobutu Sese Seko regime (1965 to 1975) that captured my attention. Like art nouveau, they are steeped in a sense of nationalism and aimed at impressing. For example, the Limete Tower (in use from 1974) on Boulevard Lumumba is a massive monument intended to be a museum celebrating national culture. A tower made up of a huge raw cement tube is topped by an organic floret shaped crown, with a curving walkway leading off from its rounded lower sections.

A pink, red and white illustration of a tower and an elephant with curved, plantlike lines.

Art nouveau style.
Artwork Ruth Sacks

My experience of the capital city, Kinshasa, made me rethink what cities were and could be. Buildings like Limete Tower that were designed for very different infrastructures (far more ordered, European and US systems) have weathered in fascinating ways that are often related to extremely violent historic events.

I didn’t want to present a conventional study that only analyses the design of the architecture and its functionality. The book attempts to read sites like this within the particularities of their city, its streets, plants and histories.

What did you conclude about the Leopold period?

In Leopold II’s time, the king himself was cast as the villain of the “red rubber regime” in the Congo. The Belgian colonial regime under Leopold II committed atrocities connected to the rubber industry. (The 1897 Congo Pavilion was a pavilion within the Brussels World’s Fair dedicated to displaying how the Congo provided a lucrative and exotic resource to Belgium.)

Movements like the Congo Reform Association (mainly US and British) protested against horrific conditions, including torture and mutilation, that left at least a million Congolese people dead. A great deal of the focus was on Leopold II himself and his greed, which distracted attention away from the greater system of capitalist colonial expansion that was fully endorsed by Euro-American powers.

An old building with a statue in the foreground, behind it a wooden structure that is a curved frame.
A wooden structure from the 1897 Congo Pavilion.
Courtesy Ruth Sacks

Famously, Leopold II never set foot in the Congo and neither did the art nouveau designers who fashioned buildings and exhibition pavilions relating to the Congo. I believe this distance from the realities of life in the Congo itself allowed for the fantastical forms that were created in Belgium.

What did you conclude about the Mobutu period?

Mobutu Sese Seko was widely maligned by the Euro-American press. What’s often ignored, to this day, is that he was put in place by Belgium and the US. He was painted as the villain of the African story, fulfilling the ultimate caricature of the African kleptocrat, yet he wouldn’t have come to power without the nature of the colonialism that came before him.

Belgian colonialism followed a logic of extractivism (removing natural resources to export them) that forced the Congolese economy to supply raw materials to the west (especially Belgium), which continues today.

A concrete pathway with curved sides leads to a large tower with a flower-like top.

Tower of Exchange in Limete, Kinshasa.
Courtesy Ruth Sacks

Mobutu is considered corrupt in the Congo today and his military dictatorship was indeed brutal and controlled the Congolese people with fear. However, his commandeering of a cultural blooming in Kinshasa in the late 1960s and early 1970s was important. Instead of dismissing what he built as only the work of a dictator, my book draws out some of the complexity of this time and what it meant to celebrate African craft, art forms and traditional culture.

The process of appropriating Euro-American artistic ideas and architectural styles in order to celebrate Africanness, as an anti-colonial statement, still holds weight today. Many of Mobutu’s towering monuments are considered objects of pride in the city.

How does this live on today?

There is something to be gained from looking at what is left in the wake of tragically violent regimes and how their structures are treated within both their societies and their immediate surroundings. How material culture is made is as important as what is made. Reckoning with monuments and memorials, and considering how these are maintained in the city, can shed often unexpected insights into the ways histories are told.



Read more:
Retracing Belgium’s dark past in the Congo, and attempts to forge deeper ties

My hope is that the book remains relevant as a sign there is value in picking apart material remains of regimes that aimed for total control, but never fully achieved it. The associations that build up around public spaces and exhibitions are not necessarily only to do with the circumstances of their making, but how these stories have been filtered over time. They can alienate people but they can also engender pride.

The extractivist attitudes I describe throughout the book, which see the Congo as a resource with bountiful raw natural materials, are still very much present in our day-to-day life. The cobalt in our smartphones, computers and electric cars is mined by labourers working in near slave conditions to feed our need for the latest technology. While Congo Style stays with historical examples in Kinshasa, the built material that follows colonial ecocide is the main topic.

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

3 days ago

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September 13, 2024

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In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

 on

September 2, 2024

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Ukrainian sells art in Essex while stuck in a warzone  BBC.com

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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

4 weeks ago

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August 18, 2024

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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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