DIPTIQUE Part 4

Another Africa and K.L.V. have collaborated on a series of diptychs that compare an intensely rich source of inspiration born in Africa with the realms of the worldwide arts and fashion. On view, the ingenuity of African masqueraders, gleaning mother nature's closet to create visually arresting disguises.  Juxtaposed with contemporary art and fashion images, the pairings highlight the qualities that connect, complement and contrast, but ultimately celebrate creative ingenuity. This is the final part of the DIPTIQUE series.

 

 (L) Yaie Masquerade, Burkina Faso. Photographer unknown. Source | artismyhustle

(R) Guido Palau, 'Mohawk V2' for the “Alexander McQueen: Savage Beauty” exhibition. Photographs by Graeme Montgomery. Courtesy of the New York Times, T Magazine.

(L)  Phyllis Galembo, Minor Ekpe Masquerade with Mango Leaves, Calabar South, Nigeria, 2005. Image courtesy of the artist and Tang Museum.

(R) BLESS, N°43 Know Howowow, 14.03.2011, Hélène.

(L)  Phyllis Galembo,  Agot Dance Group, Etikpe Village, Cross River, Nigeria, 2004 Image courtesy of the artist and Tang Museum.

(R) Issey Miyake. Photo | Irving Penn.

(L)  Phyllis Galembo,  Burkina Faso, 2006. Image courtesy of the artist and LN-CC.

(R) Henrik Vibskov, The Fringe Project #10.

(L)  Phyllis Galembo, Gwarama Masquerade, Yegueresso Village, Burkina Faso, 2006. Image courtesy of the artist and Tang Museum.

(R) Iris Van Herpen, Mummification A| W 2009 collection.

 

 (L) The Beri - Nyâna, or men's devil of Western Liberia (The Bundu of Sierra Leone), circa 1906. Source: NYPL Digital Gallery.

(R) Nick Cave, Soundsuit 2011. Courtesy of the artist and Jack Shainman Gallery, New York.

  

(L)  Phyllis Galembo, Sierra Leone, 2008-2009. Image courtesy of the artist. 

 (R) Killian Loddo, Fantastic Goodbuy - Entity.

 

(L) Phyllis Galembo, Baby Dance of Etikpe, Cross River, Nigeria, 2004. Image courtesy of the artist and Tang Museum.

(R) Lucas Simões, Desretratos series. 

(L) Phyllis Galembo, Akata Dance Masqueraders, Ogoja, Nigeria, 2004. Image courtesy of the artist and Tang Museum.

(R) Rozalb de Mura S|S 2010 Collection.

 

(L) Phyllis Galembo, Abora Traditional Masquerade, Cross River, Nigeria, 2004. Image courtesy of the artist and Tang Museum.

(R) Michael Lau S|S 2010. Photo | Getty.

ANOTHER AFRICA

Another Africa is an online platform and magazine that showcases contemporary Africana through arts, culture, design, fashion, music , literature and film. Another Africa as its namesake, proclaims that another dimension to Africa exists.

Pattern

Painting the face is an ancient form of body adornment. The oldest example still practising their form of body painting are the peoples of the Andaman Islands in the Indian Ocean, though of course it is a world wide cultural institution. All patterns imaginable, often but not always, with highly intricate symbolism denoting rank, status or reflection of inner characteristic. The art of guise meets its very roots at the application of the earth to the face but of course a vast evolution has taken place throughout all peoples, including the permanent body paint that is the tattoo. More in depth posts will follow shortly.

Through no particular inspiration I applied a spontaneous design to my face before my roast dinner with Katie and Dan. A small photoshoot followed:

Images by Daniel & Katie Churchill. Collage by KLV

The Body Adorned - Horniman Museum

Whilst visiting London/Horley recently, the Churchills and I visited the Horniman Museum in Forest Hill before our own exhibition in Bermondsey. I had previously visited the museum back in June 2010 with Katie but the particular draws this time were the current temporary exhibition 'The Body Adorned: Dressing London' and the fact it was Katie's birthday! As the title of the exhibition suggests both body adornment and body modification were the focus, with a wide range of each on display and all of it captivated me especially the headwear but also the full outfits and garments, such as the seal gut parka. What was (unsurprisingly) immediately noticeable to me was the abundance of animal based adornment and by that I mean both the actual use of animal parts for decoration or just as an influence on patterns etc. This was no end of inspiration and again reaffirms the importance of nature in anthropology as all the cultures of all continents can be historically united through flora and fauna. The traditional half to the exhibition is intended as a window into London's evolution of body adornment and how Londoners originally learnt of and viewed the vast range of peoples dressing the body around the world, though as contemporary viewers we can now identify much of this as politically incorrect or racist. However, past the horn bill headdresses, kimono and puffer fish/coconut attire, we are presented with contemporary London and the dressing habits therein. You can also find one large screen in front of four smaller ones, each playing a looped video of a static people on various London streets and most of which are accompanied by a vox pop on their outlook of the way they dress. I thoroughly enjoyed the exhibition and found it very insightful, especially through its intention of encouraging visitors to really think about clothing and all the other aspects of how we present and define our own image. 

'Ultimately we invite you to look at how you dress your body and why.'

Images by KLV

'The exhibtion features a specially commissioned film by the innovative, internationally renowned filmmakers and designers The Light Surgeons.'

DIPTIQUE Part 3

DIPTIQUE 3

Another Africa and K.L.V. have collaborated on a series of diptychs that compare this intensely rich source of inspiration with the realms of the arts and fashion. On view, the ingenuity of African masqueraders, gleaning mother nature's closet to create visually arresting disguises.  Juxtaposed with contemporary art and fashion images, the pairings highlight the qualities that connect, complement and contrast, but ultimately celebrate creative ingenuity. This is part three of the ongoing DIPTIQUE series.

 

(L) Phyllis Galembo, Baby Dance of Etikpe, Cross River, Nigeria, 2004.  Image courtesy of the artist and Tang Museum.

(R) Vogue Homme Japan Beauty.  Photo  | Willam Selden. Styling | Nicola Formichetti. Hair & Make-up | Katsuya Kamo. Photo courtesy of Vogue Homme Japan.

(L) Photo courtesy of Eliot, Elisofon and The National Museum of African Art, Washington, D.C.
Masked performers wearing Chi wara headdresses known as N'Gonzon Koun (antelope) circa Bamako, Mali, 1970.

(R) Bamana Chi wara pair from Mali. Image courtesy of Discover African Art.

(L) Phyllis Galembo, Affianwan, Calabar South, Nigeria, 2005. Image courtesy of the artist and Tang Museum.

(R) White Crested Black Polish Hen, Studio Series. Image courtesy of My Pet Chicken.

(L) Phyllis Galembo, Panther Masquerade, Samaga Village, Burkina Faso, 2006. Image courtesy of the artist and Tang Museum.

(R) Agate Drusy Ring by Joya, South Africa

 

(L) Phyllis Galembo,, Jaquar style of Ekong-Itaghafon, Calabar, Nigeria, 2005. Image courtesy of the artist and Tang Museum.

(R) Image credit unknown | source | barriobajero

(L) Phyllis Galembo,  Ngar Ball Traditional Masquerade Dance, Cross River, Nigeria, 2004. Image courtesy of the artist and Tang Museum.

(R) Issey Miyake by Irving Penn, S/S 1994 - The Flying Saucer.

 

 

(L) Phyllis Galembo, Egungun, Djidjimbo Safou Ognon Warrior, Adandokpodji Village, Benin, 2006. Image courtesy of the artist and Tang Museum.

(R) Gabríela Friðriksdóttir , Endless Light. Courtesy of the artist and Osram.

 

(L)  Phyllis Galembo,  Burkina Faso, 2006. Image courtesy of the artist and LN-CC.

(R) AKATRE, Kreyol Factory, Contest for La Vilette.

(L)  Phyllis Galembo, Ekpe, Calabar South, Nigeria, 2005. Image courtesy of the artist and Tang Museum.

(R) Francis Montesinos, A | W 2009. Source | Trend De La Creme.

(L)  Phyllis Galembo, Atam Masquerader, Alok Village, Nigeria, 2004. Image courtesy of the artist and Tang Museum.

(R) Nicole Dextras, Cabbage Smock, Weedrobes Wardrobes, Weedrobes - Summer. Image courtesy of the artist.

(L)  Phyllis Galembo, Gwarama Masquerade, Yegueresso Village, Burkina Faso, 2006. Image courtesy of the artist and Tang Museum.

(R) Yam & Walnut packaging, Package Design in Japan, Taschen, 1989.

(L) The Beri - Nyna, or men's devil of Western Liberia (The Bundu of Sierra Leone), circa 1906. Source |  NYPL Digital Gallery.

(R)Walter Van Beirendonck, Paris, A/W 2011 Menswear.  Photo: Umberto Fratini / GoRunway.com. Courtesy of style.com

 ANOTHER AFRICA

Another Africa is an online platform and magazine that showcases contemporary Africana through arts, culture, design, fashion, music , literature and film. Another Africa as its namesake, proclaims that another dimension to Africa exists.