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.

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.

Forage

The Bermondsey based exhibition 'Urbandsey' took place on 14th April and as the name suggests it followed an 'urban' theme. As a follow up to my 'Ancestors' collection from the previous exhibition (see here for the images) Open/Closed, I modified a set of men's hats with natural materials that I scavenged from my local area and from this the name 'Forage' was born. The key materials were fox bones, wood pigeon feathers, a dead sparrow, faux fur and foliage. My intention was to give this urban associated headwear a feral edge, these pieces can be seen as both a signifier of the rural reclaiming the urban but also the rural bending to the will of the urban. In either case these hats are neither one or the other and a possible ideology of the balance between human and nature. 

Cervid

Cervid was constructed on a sports cap with final shape, and materials used, being reminiscent of some form of hunting attire. With a cervid being the name of an animal from the deer family, combined with mammal inspired qualities and especially the antlers, it seemed an appropriate name and acts as a representative for fur and mammals in this collection. A transgression from the leather to fur and finally the deer head.

Columba 

This was the first hat I completed out of the four, comprising of wood pigeon feathers and one of two dead sparrows I have. The name derives from the genus of 'typical pigeon' that includes the species that provided the feathers, reconstructed from singular findings to form a bird like entity. Through Cervid we have the covering of the head in fur and leather, with Columba it is feather that takes the centre stage and an to show the more refined look of the pigeon.

Vertebrae 

This bowler hat has been adorned with my most important materials that border on spiritual, a fox spine that I found almost in the state you see it though there were several cleaning processes inbetween of course. The human race has historically used and continues to use bone in body adornment all over the planet, so bringing this tradition into the urban setting is satisfying for me. Also important to this design are the highly symbolic connotations of the fox as an animal with associations as the trickster, fire bringer or creature of the afterlife. As a final point, you will frequently see examples of the fox taking on human qualities or the the creature actually transforming into a man in popular culture. With this my hat is a result of urban meets rural, human meets animal. 

Strobilus 

 The final hat, another sports cap, is based around the true name for pine cone - Strobilus. The Strobilus or Megastrobilus is the female sexual organ of the conifer tree, so in affect I have constructed a mohawk shape of plant genitalia. This ties in with the notion of Mother Nature and the reproduction of plant life to take back the urban should the time of humans pass, with the buds of other trees and bushes beginning to emerge.

 

All Images and Headwear by KLV

DIPTIQUE Part 2

DIPTIQUE 2

 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. This is part two of the ongoing DIPTIQUE series.

 

(L) Photo courtesy of Simon Ottenberg and The National Museum of African Art, Washington, D.C. Player toward the end of the line at an Njenji parade, dressed as a missionary and wearing Beke mask of the Igbo people circa Ukpa village, Afikpo area, Nigeria, 1959-1960.

(R) Kevin Mackintosh, Monsters and Props, 2011. Editorial in Wonderland Magazine.

 

(R) Masquerade image, author unknown. Source | artismyhustle.

(L) Author unknown

(L) Photo courtesy of Eliot, Elisofon and The National Museum of African Art, Washington, D.C. Igbo mask dancers performing during the Onwa Asaa festival, Ugwuoba village, Nigeria, 1959.

(R) Pieter Hugo, Nollywood Series, Chigozie Nechi. Enugu, Nigeria, 2009. Courtesy of the artist and Steveson Gallery.

 

(L) Photo courtesy of Eliot, Elisofon and The National Museum of African Art, Washington, D.C. Minganji masqueraders from the Pende peoples circa near Gungu, Democratic Republic of Congo, 1970. The Minganji mask’s primary role is as guardian of the initiation encampment embodying death, uncertainty, and darkness.

(R) MARIOS A | W 2011 Banners Collection 

(L) Photo courtesy of Eliot, Elisofon and The National Museum of African Art, Washington, D.C. Minganji masqueraders from the Pende peoples near Gungu, Democratic Republic of Congo, 1970.

(R) Keith Haring, circa unknown.

(L) Photo courtesy of Simon Ottenberg and The National Museum of African Art, Washington, D.C. Logholo masquerader in its variant form known as Okwo in the Njenji parade of the Igbo people circa Ukpa village, Afikpo area, Nigeria, 1959-1960.

(R) Athi-Patra Ruga, The Death of Beiruth 1, 2009. Courtesy of the artist and Whatiftheworld Gallery.

 (L) Photo courtesy of Léon de photographer Sousberghe. and The National Museum of African Art, Washington, D.C. Masquerade at Ngashi of the Pende people circa Gungu, Democratic Republic of Congo, 1970.

(R) Jean-Paul Goude, Untitled, felt-tip on paper, Paris, 1983.

 

(L) Photo courtesy of Eliot, Elisofon and The National Museum of African Art, Washington, D.C. Dyomo masqueraders during the Dama ceremony circa Sanga, Mali, 1970.

(R) Polly Borland, Bunny Nose, 2009. Courtesy of the artist and Other Criteria, London.

(L) Photo courtesy of Eliot Elisofon and The National Museum of African Art, Washington, D.C. Masked dancer during a Gelede performance, Meko, Nigeria, 1971.

(R) Madame Peripetie Photography, freak love triangle, December 2010 for Umbigo Magazine, Portugal.

(L) Pair of Chi wara dancers, Mali. Image courtesy of Dr. Pascal James Imperto, 1970.

(R) Author unknown | source barriobajero

(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) Serge Lutens. Image from the book, L’Esprit Serge Lutens: The Spirit of Beauty.

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.

DIPTIQUE

DIPTIQUE

Once you begin to scratch the surface of African masquerade visuals, you're met with an explosion of natural influence, comical appearance and otherworldy figures. 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. Artists such as Damien Hirst and Nick Cave are cast against the disguised creations of Mali and Liberia to highlight the qualities which connect the two. On the other end of the spectrum we have the masquerade images which are compared with natural forms, in particular insects, which proves once more the prominence of nature in visual aesthetics.

Left

Photo courtesy of Eliot, Elisofon and The National Museum of African Art, Washington, D.C.

Minganji masqueraders from the Pende peoples circa near Gungu, Democratic Republic of Congo, 1970.

Right

Thierry Despont, Mask 73, 2006. Courtesy of the artist and Marlborough Gallery, New York.

 Left

Photo courtesy of Eliot, Elisofon and The National Museum of African Art, Washington, D.C.

Dyomo masqueraders during the Dama ceremony circa Sanga, Mali, 1970.

 Right

 Damien Hirst, Flumequine, 2007. Courtesy of the artist.

Left

Photo courtesy of Eliot, Elisofon and The National Museum of African Art, Washington, D.C.

Masked performer with Ntomo mask,  Bamako, Mali, 1971.

 Right

Unknown 

Left

Photo courtesy of Léon de photographer Sousberghe. and The National Museum of African Art, Washington, D.C.

Masquerae at Ngashi of the Pende people circa Gungu, Democratic Republic of Congo, 1970.

Right

Poul Beckman, Living Jewels - The Natural Design of Beetles, 2001

 

 Left

Photo courtesy of Eliot, Elisofon and The National Museum of African Art, Washington, D.C.

Masked performer wearing Chi wara headdresses circa Bougouni, Mali, 1970.

Right

Keith Haring, circa uknown. 

 

Left

Photo courtesy of Eliot, Elisofon and The National Museum of African Art, Washington, D.C.

Pair of masked dancers during a Gelede performance of the Yoruba people circa Meko, Nigeria, 1971.

Right

Sophie Taebuer-Arp  & her sister, Erika Teuber, Zürich, 1922. 

 

 Left 

Photo courtesy of Simon Ottenberg and The National Museum of African Art, Washington, D.C.

Player wearing a female Ibibio mask at the Okumkpa performanceof the Igbo people circa Mgbom village, Afikpo area, Nigeria, 1959-1960.

Right

(Benin) The sacred python, grasping its tail in its mouth, signifies continuity and the eternal return. Image source: unknown. 

Left

The Beri - The men's devil of Western Liberia (The Bundu of Sierra Leone), circa 1906

Source: NYPL Digital Gallery

Right

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

 Left

Photo courtesy of Simon Ottenberg and The National Museum of African Art, Washington, D.C.

Logholo masquerader in its variant form known as Okwo in the Njenji parade of the Igbo people circa Ukpa village, Afikpo area, Nigeria, 1959-1960.

Right

Athi-Patra Ruga, the naivety of Beiruth 3, 2008. Courtesy of the artist and Stevenson Gallery, Johannesburg.

 Left

Photo courtesy of Eliot, Elisofon and The National Museum of African Art, Washington, D.C.

Minganji masqueraders from the Pende peoples circa near Gungu, Democratic Republic of Congo, 1970.

Right

Portrait of Jean Arp 

Left

Photo courtesy of Simon Ottenberg and The National Museum of African Art, Washington, D.C.

Initiated boys dressed up in the Hihi Masquerade of the Igbo people circa Mgbom village, Afikpo area, Nigeria, 1959-1960.

Right

Nick Cave, Square Wire Scarf. Courtesy of the artist and soundsuitshop.com 

Left

Pair of Chi wara dancers, Mali. Image courtesy of Dr. Pascal James Imperto, 1970.

Right

Poul Beckman, Living Jewels - The Natural Design of Beetles, 2001


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.