Permeating the daily life of one of the great orchestras of the current generation, "Rumba Rules“proposes an incursion into the arcanes of a monumental African music. Through studio work, rehearsals and concerts, different portraits offer a foray into the dynamics and stories of this highly acclaimed Congolese music. (ISAN 0000-0005-FC9C-0000-Z-0000-0000)

This immersive video offers a foray into the world of Congolese rumba. Restoring a few moments of an“acoustic” rehearsal of the Sarbati Hercules Brigade Orchestra, Rumba Spaces emerges the viewer into Kinshasa, an African megalopolis.

A contemporary kasala on expropriations of diamond diggers and international vultures is rythmed by a set of instruments. The performance is recorded and transposed into an experimental video wherein archival images, X Ray scans of sculptures and minerals, word and music collide.

As dusk fades and another night without electricity falls, Kinshasa's neighbourhoods reveal the unstable environment amidst violence, political conflict and uncertainty of the Grand Inga3 hydrœlectric dam, which promises one day to bring a permanent source of energy to the Congo.

A fictional satire about collusion of state and media powers in the form of a Soul Train-esque show. Between self-indulgent interviews and musical interludes, the film carries us into the atmosphere of propagandistic television in Africa during the 80’s and 90’s.

Tales of the Copper Cross Garden: Episode 1, visualizes the the processing of copper as a choreography of black workers” bodies, transforming raw material into a product in an industrialized space for the global market.

The video Pungulume focuses on Sanga chief Mpala and his court elders while they are rendering the oral history of the Sanga people, against the backdrop of the industrial destruction of the landscape that anchors Sanga memory and identity.

A guided tour by “Docteur”, the owner and maker of an enigmatic and programmatic building, offers a reflection on the legacy of colonial modernist architecture in Kinshasa, the social afterlives of colonialist infrastructure, and different historical and contemporary utopian visions of the city.

Following Congo’s central African culture to Cuba on the tracks of inherited religious practices, in which trance plays an important role, this video breaks open ossified cultural attributions made during the long history of racist constructions.

The sinuous movements of the brilliant dancer and choreographer Faustin Linyekula against the backdrop of a deindustrialized wasteland and the soundtracks of political speeches provide the setting for a commentary on the failed promises of past and present leaders and the recoiling of time in a postcolonial nation-state.

“Other Tales” is the catalogue accompanying Sammy Baloji’s first solo exhibition in both Sweden and Denmark. While presenting an overview of Baloji’s most recent productions, it also offers a broad insight into his investigative methodology.

This book was produced as part of the exhibition "Arracher quelques bribes précises au vide qui se creuse“at the Galerie Art & Essai (Rennes). It is the result of the collaboration with the class of the Master Métiers et Arts de l'Exposition (2017-2018) of the University Rennes 2.

Focusing upon the 'urban now', a moment suspended between lingering precolonial references, the broken dreams of a colonial past, and the not yet realised promises of neoliberal futures, this book provides an ethnographic and photographic investigation of the complex meanings of living - and living together - in Congo's urban worlds today.

This book transforms the numerous layers of the exhibition Hunting & Collecting into a experimental visual essay wherein the seemingly distant realities of art history and global economies closely intermingle.

In this photobook, the Mémoire ond Kolwezi series boldly invite the oppressed of yesterday to engage in dialogue with the ruins of today. Far from presenting an impasse, it invites us to rethink society, as if to exorcise its demons, allowing the dead to find peace so they haunt us no more.