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/
Slade Lectures 2018 (4): Correggio: The Dome of Parma Cathedral
History of Art: Slade Lecture Series
55 minutes
7 years ago
Slade Lectures 2018 (4): Correggio: The Dome of Parma Cathedral
art, drawing, painting, visual arts, italy David Ekserdjian is the Slade Professor 2017-18 and he presented a series of lectures titled 'From Drawing to Painting in the Italian Renaissance'.
David Ekserdjian is a world-renowned authority on Italian Renaissance painting, with particular specialities in the artists Correggio and Parmigianino, the subjects of two Yale monographs of 1998 and 2006. He is also an expert on the history of collecting and this informs his work as an adviser to auction houses like Sotheby's and Christie's, international museums and galleries such as the National Gallery and Tate Britain, as well as private collectors. Bronze sculpture is another of his areas of expertise and it formed the topic of the most recent of the many exhibitions that he has conceived and curated. 'Bronze' at the Royal Academy (co-curated with Cecilia Treves) drew international acclaim and almost a quarter of a million visitors. His book of the exhibition was described by the Wall Street Journal as "the most beautiful book published anywhere in the world this year", and went on to win the Association for Cultural Enterprises award for best new publication.
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/
