Professor Chika Okeke-Agulu argues that the extravagant hypermodernity of Isek Bodys Kingelez’s architectural sculptures, as with segments of popular arts, constitute a distinctive form of imaginative resistance to official culture under Mobutu. In this lecture, Professor Chika Okeke-Agulu discusses Mobutu Sese-Seko who, as president of the Democratic Republic of Congo (1965-1996), exemplified the theatrical Big Man ruler in postcolonial Africa. By deploying anti-Communist rhetoric, he secured Western Bloc support of his spectacularly kleptocratic regime and, through his anti-Western Authenticité program, created a national culture in his own image. Against Mobutu’s repressive political practice and ideology, Okeke-Agulu reads the architectural sculptures of Isek Bodys Kingelez (1948-2015). He argues that their extravagant hypermodernity, as with segments of popular arts, constitute a distinctive form of imaginative resistance to official culture under Mobutu. Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/
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Professor Chika Okeke-Agulu argues that the extravagant hypermodernity of Isek Bodys Kingelez’s architectural sculptures, as with segments of popular arts, constitute a distinctive form of imaginative resistance to official culture under Mobutu. In this lecture, Professor Chika Okeke-Agulu discusses Mobutu Sese-Seko who, as president of the Democratic Republic of Congo (1965-1996), exemplified the theatrical Big Man ruler in postcolonial Africa. By deploying anti-Communist rhetoric, he secured Western Bloc support of his spectacularly kleptocratic regime and, through his anti-Western Authenticité program, created a national culture in his own image. Against Mobutu’s repressive political practice and ideology, Okeke-Agulu reads the architectural sculptures of Isek Bodys Kingelez (1948-2015). He argues that their extravagant hypermodernity, as with segments of popular arts, constitute a distinctive form of imaginative resistance to official culture under Mobutu. Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/
Seventh lecture from the series "Style versus the State: Naturalism and Avant-gardism in Third Republic France, 1880-1900" given by Professor Richard Thomson as part of the annual Slade Art Lectures. Richard Thomson, Watson Gordon Professor of Fine Art, University of Edinburgh, gave the Slade Lectures 2009 in naturalism and style in early Third Republic France. This series of podcasts has been released to coincide with the publication of Professor Thomson's book on this subject: Art of the Actual: Naturalism and Style in Early Third Republic France, 1880-1900.
History of Art: Slade Lecture Series
Professor Chika Okeke-Agulu argues that the extravagant hypermodernity of Isek Bodys Kingelez’s architectural sculptures, as with segments of popular arts, constitute a distinctive form of imaginative resistance to official culture under Mobutu. In this lecture, Professor Chika Okeke-Agulu discusses Mobutu Sese-Seko who, as president of the Democratic Republic of Congo (1965-1996), exemplified the theatrical Big Man ruler in postcolonial Africa. By deploying anti-Communist rhetoric, he secured Western Bloc support of his spectacularly kleptocratic regime and, through his anti-Western Authenticité program, created a national culture in his own image. Against Mobutu’s repressive political practice and ideology, Okeke-Agulu reads the architectural sculptures of Isek Bodys Kingelez (1948-2015). He argues that their extravagant hypermodernity, as with segments of popular arts, constitute a distinctive form of imaginative resistance to official culture under Mobutu. Creative Commons Attribution-Non-Commercial-Share Alike 2.0 UK: England & Wales; http://creativecommons.org/licenses/by-nc-sa/2.0/uk/
