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Mayangani

Prisca Tankwey

The installation by Paulvi Ngimbi and Prisca Tankwey is conceived as an interaction of media from different artistic worlds, creating a language that is carried by the symbolic elements present. There are many questions that have to do with appearance, spirituality and the relationship to the divine in their immediate surroundings. The question of life and death is also answered by universal symbols such as the white, illuminated skulls. This large installation, where light and colour collide, contains a kind of dome inspired by cupolas or medieval European church architecture, wrapped in a print of stained glass windows with non-biblical narratives. Here, Prisca invites viewers into eclectic conversations against a backdrop of old family photographs, asking personal questions that focus on resolving the psychosocial complexities that pervade her society. A kind of collective exorcism.

Prisca Tankwey was born in 1997 in Kinshasa, where she works with the collective Laboratoir’Art. In 2019, she graduated in sculpture from the Académie des Beaux-Arts Kinshasa.

She is currently an adjunct lecturer in the painting department at the Académie des Beaux-Arts. Since 2015, she has been active as an artist in various group exhibitions and workshop residencies, both in DR Congo, in Germany, Brazzaville and others. She works as a multidisciplinary artist, painter, illustrator, photographer and sculptor. Tankwey participated in an exchange at the Hochschule für Bildende Künste in Dresden in 2019. She was involved in the exhibition “Return to Africa” in Bandjoun Station, Cameroon.

ARTISTIC APPROACH

Confronted with a void, a loss that has always affected her both personally and artistically, Tankwey explores the notion of unexpected change, using autobiographical experience as a starting point. From positive to negative, from negative to positive, from rise to fall, from bottom to top…. Changes, ruptures, but also questions about the brutal and unexpected upheavals in the history of her continent and the world. It provokes and proposes a different look, both at Congolese social constructs and universal conventions.