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By using the Site following any modifications to the Terms, you agree to be bound by such modifications. We encourage you to check our Site frequently to see the current Terms in effect and any changes that may have been made to them. The provisions contained herein supersede all previous notices or statements regarding our Terms with respect to this Site. We may modify the Terms from time to time without notice to you. If you do not agree to these Terms, you may not access or use the Site. Your use of the Site indicates that you have read, understood and agree to these terms of use ("Terms"). Thank you for visiting (the "Site") owned and operated by Artspace LLC. Samba lives and works in Kinshasa, Democratic Republic of Congo.Įffective date: February 12, 2014. Followed the Pompidou Center (Africa Remix), Fondation Cartier, Guggenheim Museum in Bilbao, The Venice Biennale, Museum Kunst Palast in Dusseldorf, National Museum of African Art in Washington DC, Museum of Fine Arts Houston, Museum Ludwig in Cologne, Provincial Museum Voor Moderne Kunst in Ostende. His breakthrough was the exhibition Les Magiciens de la Terre (curated by Jean Hubert Martin) at the Centre Georges Pompidou in Paris in 1989, which made him known internationally. Indeed, the popularity of his paintings soon went beyond Kinshasa's city limits by the mid 1980s his work was gaining an international audience. In the early 1980s the artist began signing his paintings "Chéri Samba: Artiste Populaire".
For Samba, this is not an act of narcissism rather, like an anchor on TV news broadcasts, he places himself in his work to report on what it means to be a successful African artist on the world stage. From the late 1980s on, he himself became the main subject of his paintings. This canvases offer a running commentary on popular customs, sexuality, AIDS and other illnesses, social inequalities, and corruption. Samba's paintings of this period reveal his perception of the social, political, economic and cultural realities of Zaïre, exposing all facets of everyday life in Kinshasa.
At the age of sixteen he left his village to find work as a sign painter in the capital Kinshasa, where he began to develop a body of works that combined representational painting and text. Africa must ezonga ndenge na tango ezalaka is kala, kasi na na kaka Makila you bwania (Africa must find its former configuration, in peace and not in war).Painter Chéri Samba was born in 1956 in the Democratic Republic of Congo to a blacksmith father and a farmer mother, one of ten children.
The fall of the towers of Babel is thus a benefit, taking form in the reunification of the communities that had been fragmented, or giving sovereignty to those who had been mixed. The current paradox is that the international community hardly ignore that Central Africa is and remains the largest tower of Babel that does not let the world at peace. Let's cite Germany (before the fall of the Berlin wall), Korea, Yemen, USSR, Yougoslavia. This image has a resonance today as it evokes nations that have either been fragmented and divided, or arbitrarily united as one nation. The tower of Babel has a negative connotation of confusion and discord between people. In this work by Samba, we can see a modern version of it. The tower of Babel mentioned in the Bible is not the only one.