Bodys Isek Kingelez

Acquired directly from the artist by the present owner in 2000

In the summer of 2000, Bodys Isek Kingelez travelled to the seaside commune of Sète in the south of France to participate in a residency at the Musée Internationale des Arts Modestes. Whilst there, he created one of his most renowned large-scale maquettes inspired by the quiet coastal town, Ville de Sète 3009. It was during this productive and inspired time that the artist also created the present work, Credit. With a powerful colourful tower protruding over the futuristic glittering base, composed of painstakingly and intricately assembled commonplace materials, Credit is a testament to Kingelez’s utopic vision and delicate hand. Entitled Credit, the present lot slots into the artist’s wider narrative surrounding rampant capitalism and economic inequity. 2000 marked the final year of Kingelez’s most prolific period, whilst in Sète, Kingelez was diagnosed with cancer which would significantly impact his creative output.

In 2018, MoMa hosted a complete retrospective of Bodys Isek Kingelez’s work, making him the first black African artist to ever enjoy a solo show at the renowned institution. Spanning over three decades of creation, Kingelez: City Dreams featured a selection of works by the Congolese artist, much of which had rarely been seen before.

Bodys Isek Kingelez (1948-2015) was born in the rural village of Kimbembele-Ihunga in the Democratic Republic of the Congo (then the Belgian Congo). Growing up with eight siblings in a family of agricultural laborers, Kingelez became aware of his creative potential at a young age. He excelled in calligraphy, a skill that was to have a lasting influence on his work. Leaving behind his rural home at the age of 22, Kingelez studied in the bustling city of Kinshasa, working first as a teacher. In 1978, Kingelez abandoned this profession due to the realisation that he wanted to contribute, in his own way, to the fight for a decolonised Africa. The artist recounts:

‘I combined all my efforts so that Africa would always be heard. I had the conviction to find the best way of obtaining my objectives, and so I began a repertoire of ideas within the little room I was living in at that time. Then, for about a month, I went through a troubled and vague period and it was at that moment that I was overcome with an almost obsessive desire to pick up a pair of scissors, a Gillette razor, glue and paper.'

During the 70s and 80s, Kingelez’s artistic practice was bolstered by his work as an art technician at the Institut des Musées Nationaux du Zaïre (IMNZ, now the Institut des Musées Nationaux du Congo); where he honed his craftsmanship through repairing artworks from the collection. Additionally, the systematic cataloguing approach employed by the museum likely influenced the numbering system which he used to label his artworks.

Kingelez worked during an era of tremendous change. Straddled between colonial and post-colonial periods, he used his work to envision a forward-thinking, peaceful and prosperous future, untainted by economic disparity. His political engagement continually manifests itself in his sculptures.

The artist used brightly coloured commercial packaging and commonplace materials, such as milk cartons, bottle caps and razors, to create utopian worlds complete with dream-like pavilions, skyscrapers, pagodas and even completely original constructions. The artist’s cityscapes are flamboyant and fantastical metropolises; worlds where racial and geopolitical barriers come tumbling down. Kingelez’s 'extreme maquettes' echo the physicality of the industrialized city that he grew up in. His vibrant yet orderly cities reflect the impact of Space Race-influenced Soviet architecture on a newly post-colonial Africa as well as the Art Deco buildings of colonial times. Kinshasa presented Kingelez with a patchwork of structural and design inspiration.

In 1989, Kingelez was invited to participate in the landmark contemporary art exhibition Magiciens de la Terre, held at the esteemed Centre Georges Pompidou and the Grande Halle de la Villette. The artist exhibited six sculptures in the highly influential exhibition, which placed ‘Western’ and ‘Non-Western’ artists on an equal footing. Works by Kingelez can continued to be found in many prominent private collections and have been featured in numerous key international exhibitions such as the Johannesburg Biennale (1997), Documenta 11 (2002), Beauté Congo at the Foundation Cartier (Paris), African Art Now: Masterpieces from the Jean Pigozzi Collection at the Museum of Fine Art Houston (2005) and the traveling Africa Remix: Contemporary Art of a Continent (2004).

References:

Beauté Congo, Fondation Cartier, Paris, 2015-2016, p. 253

Bodys Isek Kingelez, The Museum of Modern Art, New York, 2018, pp. 20 -23

Suzuki. S, Kingelez Visionaire, MoMA Post Notes on Art in a Global Context, Africa, 12 September 2018