Culture

The Other Cross: A Journey into Kongo Cosmology

The cross was everywhere in the Kingdom of Kongo, and for the European missionaries who found it, the meaning was obvious. It was a sign from their God, a relic of a shared past.
They saw everything but the truth.
For the Bakongo people, this symbol was no mere icon. It was a key; a map that unlocked the path of the soul, the journey of the sun, and the very structure of the universe. This is the story of a truth hidden in plain sight, and the world that comes into view when we learn to see it through the eyes of “the insiders.”

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The academy is dead
Culture

The Academy is Dead, Long Live the Streets: Notes on Art Education in Kinshasa

You think the title exaggerates? Consider the evidence. The San Francisco Art Institute is gone. Prestigious academies worldwide are closing. Those that persist are calcifying into irrelevance.Like monarchies: ceremonial, expensive, and increasingly detached from reality. They keep issuing diplomas like royal titles. Impressive to their own circle, meaningless to everyone else.
In Kinshasa, this irrelevance takes perfect form. The Académie des Beaux-Arts still requires students to copy European masters while the street painters it refuses to recognize fill MoMA and the Pompidou. The workshops teach through practice what the Academy buries in theory. The streets didn’t overthrow the institution. They simply built something better alongside it. Merit beating privilege, necessity breeding innovation. The revolution already happened. The Academy just hasn’t noticed.

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A book cover with the title: Beaute congo 1926-2015 Congo Kitoko. FondationCartier pour l'art contemporain
Culture

The Hangover of a Triumph: Inside the Kinshasa Art Scene, 10 Years After “Beauté Congo”

An exhibition celebrating Congolese art where Congolese people owned basically none of it. A market boom that left local artists poorer than before. Master painters who no longer touch a brush. Galleries where most of the paintings are Pinterest copies. Welcome to Kinshasa’s art world a decade after “Beauté Congo”—where success became the architect of failure, where being discovered by the West meant losing yourself, and where the cure turned out to be worse than the disease. This is what cultural extraction looks like in the 21st century: not with colonial officers and forced labor, but with champagne openings, international acclaim, and prices so inflated that an entire community can no longer afford its own culture.

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