Freddy Tsimba, Mabele Eleki Lola! The Earth, Brighter than Paradise

Abstract

There were several reasons to celebrate the temporary exhibition of Freddy Tsimba’s work at the newly renovated AfricaMuseum in Tervuren, a stone’s throw away from the center of Brussels. It was an important occasion as it was the museum’s first large-scale exhibition of contemporary African art and its first oneman show. It is also significant that it was an event recognizing an artist living and working in the Congo, unlike many shows that draw upon selections of works of so-called diaspora artists settled in Europe and North America. What is more, it was curated by In Koli Jean Boffan, an accomplished novelist of Congolese origin, who was not only instrumental in the conceptualization of this exhibition, but whose texts of a book in progress featured as a verbal echo of Tsimba’s life and oeuvres. The opening on October 28, 2020, sadly fell during the pandemic, just the day before the second lockdown in Belgium due to COVID19. But, in keeping with Freddy’s trajectory, battling patiently and persistently for years to make his creative endeavors known beyond his Kinshasa compound, the event reopened on December 1 in defiance of COVID’s relentless onslaught and much to the pleasure of surprisingly many curious visitors. According to some of the attendees, word of mouth spread quickly about this exhibition as it was something new and different for an institution associated with African arts of the past. The exhibition was showcased in the large polyvalent space, off the wide, underground corridor connecting the new entrance pavilion to the old museum building. This huge, white cube, devoid of any mise en scène,1 was appropriated by thirty-seven sculptures, fifteen metal masks, four paintings, and a small selection of historical pieces from the museum’s collection chosen by in-house staff and offered to the artist for selection. Upon entering, one was struck by the monumentality of many of these metal sculptures. For me this stark, sterile space actually enhanced the effect of their dramatic themes and materials relating to conflict and oppression (Fig. 1). The whitewashed environment contributed to an almost palpable silence, periodically disrupted by Freddy Tsimba’s voice at the back of the 1 Two figures of pregnant women in the installation I will not give them my diamond II (2014), largest of the three, H. approx. 210 cm., constructed of discarded keys.