Sammy Baloji
"Best of 2020" de Brook Andrew, ARTFORUM [ENG]

In “Kasala: The Slaughterhouse of Dreams or the First Human, Bende’s Error”—elements of which were exhibited in “NIRIN”—Baloji plays with the museum as a colonial structure to critically reflect on how people and cultures from the southern Congo have been classified and displayed as the region has been devastated by empire and resource extraction. A tomogram of a power figure, early colonial
photographs printed on sculptural mirrors, scarified hunting horns, and a touch-screen interface appear alongside a film of the writer Fiston Mwanza Mujila performing a kasala, a Luba poem that entwines genealogy, mythology, and cosmology to release “missing voices” and awaken repressed histories.


Sammy Baloji
Digby Warde-Aldam, review of the exhibition "Kasala: The Slaughterhouse of Dreams or The First Human, Bende’s Error" [ENG]

Nothing in this exhibition is as it seems: everything has a double meaning, speaking for former colonised and former coloniser in separate visual languages. For two decades,
Congolese artist/academic Sammy Baloji has investigated his country’s cultural and political history. This latest, gripping chapter focuses on the shaky ethics surrounding colonial collecting and exhibiting, addressing both the connoisseurs who brought dr Congo’s cultural heritage to Europe and the historically voiceless people who created it.