Interviews door Sinzo Aanza: #6 Sim Simaro

Tentoonstellingszicht ‘Een gesprek tussen collecties uit Kinshasa en Oostende’ (episode 1): Sim Simaro & Jef Geys (c) Kristien Daem

Sinzo Aanza is cocurator van de tentoonstelling ‘Een gesprek tussen collecties uit Kinshasa en Oostende’. Hij interviewde acht kunstenaars die leven en werken Kinshasa en wiens werk in langdurige bruikleen in Mu.ZEE aanwezig is. De gesprekken gaan voornamelijk (gedeeltelijk) door in het Lingala omdat dit de kunstenaars toelaat op een vrijere manier te spreken over hun werk. Voor de vertaling werkt Mu.ZEE samen met Universiteit Gent. De acht interviews zullen allemaal beschikbaar worden gemaakt via deze blog.

# 6: Sim Simaro


0:00-0:03        I’ll introduce myself:
0:03-0:08        Nsingi Ndosimao Simon
0:08-0:11        Alias: ‘Sim Simaro’,
0:11-0:13        ‘The Prophet of Popular Painting’.
0:13-0:16        That’s my slogan.
0:17-0:20        I practice popular painting.
0:20-0:22        I’m one of the great
0:23:0-26        popular painters from Congo.
0:27-0:29        Because popular painting began…
0:30-0:33        It began a long time ago,
0:34-0:36        in the time of our grandparents.
0:37-0:38        But it was not well known.
0:39-0:41        If it is well known today,
0:42-0:44        then it is thanks to us.
0:45-0:47        Today, people know that
0:47-0:49        popular painting exists.
0:50-0:52        And that is thanks to me.
0:52-0:54        I can list the colleagues with whom
0:54-0:55        I started popular painting
0:55-0:57        here in Kinshasa.
0:58-0:59        I am one of them.
0:59-1:00        There is also Chéri Samba,
1:00-1:02        Chéri Benga,
1:03-1:06        Bodo, Ange Kumbi…
1:08-1:12        And also Chéri Chérin.
1:12-1:13        Even though he is younger than us.
1:14-1:17        And a few more who came after us.
1:18-1:19        People like Matshuela.
1:20-1:21        There are literally too many of us
1:21-1:22        to list.
1:23-1:24        Sinzi is another one.
1:25-1:28        We are the ones who started popular painting,
1:29-1:30        as it is known today
1:31-1:33        in Kinshasa, and the whole world.
1:34-1:38        We are the professionals in this kind of painting.
1:40-1:42        As far as my work is concerned…
1:42-1:44        When I left school
1:44-1:46        I could not find work.
1:47-1:49        I didn’t know what to do.
1:49-1:51        But I said to myself that I
1:51-1:53        was actually good at drawing.
1:53-1:55        From when I was little, at school,
1:55-1:57        I was good at drawing.
1:58-2:00        I thought, ‘I have no work
2:01-2:04        but I am good at drawing’.
2:05-2:07        We were eating somewhere
2:07-2:08        on Avenue Bokasa
2:09-2:13        and I saw the writing, ‘Artista Pintor’.
2:13-2:17        Artista Pintor is a man who
2:17-2:20        makes murals.
2:21-2:23        He decorates signs.
2:24-2:27        I told him that I was also good at drawing
2:28-2:30        and asked him if
2:30-2:34        I could be his apprentice
2:34-2:38        in order to build a future for myself.
2:39-2:43        He said that I could certainly come
2:43-2:45        and learn something from him.
2:45-2:48        So I helped him, for example,
2:48-2:50        at the textile manufacturer Utex Africa.
2:50-2:53        Sometimes we worked nights
2:53-2:54        and I came to the studio during the day.
2:54-2:56        I followed him everywhere he went to decorate walls
2:56-2:58        or went to make stamps.
2:58-3:01        Or illuminated signs.
3:03-3:07        So I already made sketches for him,
3:07-3:11        of animals, of dilemmas, of the mermaid …
3:12-3:14        I did that for a year.
3:15-3:17        Then his business went bust.
3:18-3:20        I didn’t want to stay idle.
3:21-3:22        So I built a shed.
3:22-3:25        And on the wall I painted a drawing
3:26-3:28        of myself as a needy person,
3:29-3:33        begging for charity.
3:34-3:35        Many people came to ask,
3:35-3:38        ‘Where does that poor wretch come from…?’
3:38-3:41        So many people came
3:42-3:43        that it became bothersome.
3:44-3:46        Many young people from Kingasani
3:47-3:48        also begged me:
3:48-3:50        ‘Give me the mermaid’s powers!’
3:50-3:52        I said, ‘But I don’t have them!’
3:52-3:54        ‘They’re just drawings.’
3:54-3:56        For me the mermaid is just beautiful to draw.
3:57-3:59        It’s a beautiful girl, that’s all.
3:59-4:01        That’s the only reason why I draw her so often.
4:02-4:03        But I don’t have her magic powers.
4:04-4:06        The women from the street
4:07-4:09        come and help me with their beauty
4:09-4:10        to draw the mermaid.
4:10-4:12        In a positive sense.
4:12-4:14         As regards my work…
4:15-4:17        I mainly work with oil on canvas.
4:17-4:19        And acrylics.
4:19-4:21        That is my technique.
4:21-4:24        Sometimes one part in oil paint and another in acrylic
4:24-4:26        but always on canvas.
4:29-4:33        I really love everyday themes.
4:33-4:35        So a variety of themes.
4:36-4:38        Markets, for example.
4:39-4:40        There are always lots of people there.
4:41-4:44        Like one of my drawings that’s now being exhibited.
4:44-4:46        ‘The atmosphere at Kinshasa’s central market’
4:47-4:49        I often draw the bustling scene
4:49-4:51        on the central market in Kinshasa.
4:52-4:54        The beautiful things that
4:55-4:56        people buy and sell.
4:57-4:59        And then a thief that is stealing there!
5:00-5:03        Before he steals, he prays to God.
5:04-5:06        ‘God, help me.’
5:06-5:07        ‘I’m about to steal.’
5:07-5:12        ‘Help me and I will donate part of it to the priest.’
5:13-5:17        So thieves who pray when they steal.
5:18-5:23        I don’t know if God actually helps thieves.
5:24-5:25        Because God is great.
5:25-5:29        Does he actually allow that?
5:30-5:36        But I draw that, because I see them doing it.
5:37-5:39        I often draw animals too.
5:40-5:46        Like in my work ‘Animal Football’.
5:47-5:50        I enjoy that.
5:50-5:53        So I make the animals play football.
5:54-5:56        I give it the title:
5:56-5:58        ‘The rules have to be amended.’
5:59-6:00        Because the arbitration doesn’t always run smoothly.
6:02-6:04        The referee is only human.
6:04-6:06        He has his feelings.
6:07-6:08        In some cases I don’t agree with him.
6:09-6:10        It would be better if the referee was electronic
6:10-6:12        or a robot.
6:13-6:15        With a human, the feelings are too dominant.
6:16-6:18        He can wrongly whistle for offside.
6:18-6:19        That’s why I have created that work.
6:20-6:24        So that is what I, Sim Simaro,
6:24-6:26        can briefly say today.
6:27-6:29        If you can come again
6:29-6:30        I’ll tell you the rest.

Boekclub ‘Wanneer we spreken over kolonisatie’

Een fotoverslag van de boekclub ‘Wanneer we spreken over kolonisatie’ in Mu.ZEE op 30 juni 2018:

Boekclub ‘Wanneer we spreken over kolonisatie’ op 30 juni 2018 in Mu.ZEE met Laura Nsengiyumva, Emmanuel Iyamu, Sandrine Ekofo, Seckou Ouologuem en Mohamed Barrie.

Bekijk vanaf 14 augustus 2018 in Mu.ZEE de integrale opname van de boekclub of klik hier:

Heb je de activiteit in Mu.ZEE gemist? Framer Framed organiseert op 26 juli 2018 een vervolg op deze boekclub met schrijver Heleen Debeuckelaere en kunstenaar Quinsy Gario. Meer info:

Interviews door Sinzo Aanza: #5 Chéri Benga

Tentoonstellingszicht ‘Een gesprek tussen collecties uit Kinshasa en Oostende’ (episode 1): Chéri Benga (c) Kristien Daem

Sinzo Aanza is cocurator van de tentoonstelling ‘Een gesprek tussen collecties uit Kinshasa en Oostende’. Hij interviewde acht kunstenaars die leven en werken Kinshasa en wiens werk in langdurige bruikleen in Mu.ZEE aanwezig is. De gesprekken gaan voornamelijk (gedeeltelijk) door in het Lingala omdat dit de kunstenaars toelaat op een vrijere manier te spreken over hun werk. Voor de vertaling werkt Mu.ZEE samen met Universiteit Gent. De acht interviews zullen allemaal beschikbaar worden gemaakt via deze blog.

# 5: Chéri Benga


00:06               My name is Chéri Benga, I’m a painter 00:10/
00:12               I’ve been in this profession a long time 00:15
00:16               It’s already been thirty-five years 00:20/
00:21               since I started doing this professionally 00:22/
00:23               I’m self-taught 00:25
00:26               The work that I make 00:27
00:27               isn’t something that I learned at school 00:28/
00:30               At school, I followed other subjects 00:34/
00:35               But to become a painter 00:36
00:37               I consulted the elders 00:39
00:40               in order to learn from them 00:41
00:42               how to make the paint solution  00:46
0046:               and how to develop the drawing. 00:51/
00:54               I learnt everything from the elders in 1977. 01:01/
01:02               I went to study with someone who was more experienced. 01:03
01:03               His name was … 01:05
01:05               … on his panel he wrote Publi-Kubama 01:10
01:10               the ‘Publi’ stands for publicity. 01:12
01:13               He was an advertiser 01:14/
01:15               who didn’t make drawings 01:16
01:16               but publicity. 01:17
01:17               Advertising murals, stamps 01:20
01:21               portraits and silkscreens. 01:25/
01:26               Since then, 01:27
01:27               I’ve been developing 01:32
01:33               my own art 01:34
01:35               Even when I reached the same level, … 01:38
01:39               I still continued to work with these artists 01:41
01:42               but I was talented 01:42
01:43               and the best draughtman in the workshop. 01:51/
01:54               I then learned 01:57
01:57               the techniques of advertising murals, 01:58
01:59               silkscreen printing 02:02
02:04               and how to make stamps. 02: 06 /
02:07               That’s why, after three years, 02:11
02:12               I was able to set up my own studio. 02:13
02:14               This was in… 1979. 02:19
02:20               I started my own studio in 1979. 02:23
02:23               Back then, we were called naive painters. 02:28
02:29               Street painters, so not real painters. 02: 36 /
02:37               But around that time,
Badibanga Nemwina, 02:40
02:40               an art critic, 02:41
02:42               convinced us, 02:44
02:44               the popular painters, 02:46
02:46               to have an art exhibition. 02:48
02:49               So that we’d be recognised 02:50
02:50               as painters. 02: 52/
02:52               The exhibition was a great success 02:56
02:57               and the value of our work 02:58
02:58               and of us, as painters, became clear. 03: 01/
03:02               Now even the academics recognise 03:07
03:07               us as visual artists 03:09
03:10               We are all visual artists 03:12
03:12               and recognised as masters. 03:17
03:18               As artists, we work without problems 03:19
03:19               We can now assert ourselves 03: 21/
03:23               We quietly practice our profession 03:26
03:27               and thanks to God 03:29
03:29               we continue, to this very day, 03:31
03:31               to participate in exhibitions abroad. 03: 33/
03:37               We make our work here 03:39
03:40               but our clients are often foreigners 03:44
03:44               as are the collectors. 03:46
03:47               Only the whites appreciate 03:48
03:48               the value of our paintings. 03: 50/
03:51               Locally, it’s more difficult. 03: 53/
03:53               In the beginning, we sold to local clients 04:01
04:01               but at very low prices. 04:04
04:05               The white clients 04:06
04:06               have really valorised our works. 4:08
04:09               We now sell them at higher prices, 04: 11/
04:12               to the extent that 04:13
04:13               Congolese paintings are bought up 04:20
04:21               and resold to whites. 04:23/
04:24               This is why there are almost no paintings left 04:27
04:27                in the houses around here. 04:29
04:30                  Intermediaries purchase them 04:36
04:36               to resell them to whites. 04:37/
04:38               This has helped to elevate our art. 04:41/
04:32               But we’ll sometimes  04:33
04:33               have problems 04:45
04:48               with certain customers. Some customers 04:52
04:55               will suggest working together. 04:57
04:57               But usually we have problems 04:58
04:58               with whites, and especially with collectors. 05:03
05:03               But we always solve these problems. 05:09
05:10               These are our biggest issues. 05:13/
05:14               We occasionally have problems with gallery owners in Europe 05:17
05:18               to whom we send paintings for sale. 05:19
05:20               The money transfer is sometimes a problem. 05:26
05:30               Yet this remains our profession. 05:32
05:32               We certainly can’t give up. 05:33
05:33               We must continue to practice 05:36
05:37               so as to guide and encourage our young people. 05:43
05:43               We must encourage the young people 05:47
05:47               to continue and make progress. 05:49/
05:50               There aren’t many of my colleagues left any more, 05:52
05:52               a lot have already died. 05:53
05:53               But there’s a handful still left. 05:55
05:55               We, the popular painters, 05:56/
05:56               have to persevere 05:58
05:58               so that young people will continue the profession 06:02
06:02               and so that popular art doesn’t disappear 06:06
06:06               and will continue to advance. 06:11
06:12               That’s what I had to say. 06:16

Publicatie ‘Words Matter’

Het Tropenmuseum in Rotterdam stelde op 28 juni 2018 de publicatie ‘Words Matter / Woorden doen ertoe’ voor. Het biedt een handleiding voor het taalgebruik door musea. Het Tropenmuseum ontwikkelde een woordenlijst met uitleg waarom bepaalde woorden gevoelig of discutabel zijn, met voorstellen hoe ermee om te gaan binnen de museumpraktijk. Het boek vormt een pleidooi voor meer inclusieve instituten en kan gezien worden als een ‘tool of empowerment’. Het is geen kant-en-klare lijst met ‘slechte’ of ‘goede’ woorden, maar het wil binnen de sector wel het bewustzijn rond de onderliggende betekenis van sommige woorden aanmoedigen. De makers nodigen lezers uit om aanvullingen te maken en in discussie te gaan.

Je kan de publicatie hier gratis bekijken en downloaden.