MAGNIN-A

PATHY TSHINDELE



Né en 1976 à Kinshasa, République Démocratique du Congo
Vit et travaille à Kinshasa

Pathy Tshindele fait partie de cette nouvelle génération d’artistes  congolais engagés passés à l’Académie  qui « s’emparèrent » de l’institution pour en faire leur terrain d’expérimentations.  Le groupe EZA POSSIBLE réunit une poignée d’agitateurs qui ont vite « oublié » ce qu’ils avaient appris et affirment avec une liberté conquise, leurs paroles, leurs attitudes et leurs gestes, réactifs et radicaux, contre toutes formes d’art conventionnel et établi. Reliant l’art et la vie, Pathy Tshindele veut poser des actes, questionner le monde et  laisser  la violence,  l’urgence prendre part aux œuvres. Les carcasses et épaves d’automobiles devenues décors de Kinshasa « Kin la Belle » se retrouvent à l’école des Beaux Arts. Façon de faire entrer à l’académie et dans l’art, les questions de la vie quotidienne, les instantanés d’un pays aussi immense que ses richesses, de croiser culture et politique. Ce fut un réel choc à Kinshasa. Le spectacle de la capitale et du monde inspirent directement, consciemment ou non, ses installations, ses performance, son art, son mode de vie. Mais c’est peut-être finalement ses peintures qui condensent le mieux, la révolte, la langue, la vie, la rue, la lumière où s’insinue son histoire personnelle, celle du peuple, du monde dont il se sent citoyen.

« EZA POSSIBLE signifie : tout est possible. Nous pensons pouvoir développer un art contemporain et une situation en Afrique. L’ambiance, l’agitation,  la vitesse, la lumière, la fureur de cette mégalopole  sont contenues dans mes peintures ».


Born in 1976, Kinshasa, Democratic Republic of Congo
Lives and works in Kinshasa

Pathy Tshindele belongs to the new generation of Congolese artists. Most of them studied at the Fine Arts Academy, but Pathy says he had to unlearn what he'd been taught there to develop his own way of working. Tshindele's work straddles several artistic media, which he blends. He changes his medium whenever he feels that things become too easy for him. A way of being inventive in a country where art had two distinct poles: one that is static and academic, and the other, the popular painting that he grew up with from early childhood, and of which one sees traces in the event-oriented qualities of some of his canvases. The most important thing, he says, is to define an action, to question the world.


This ceaseless questioning led him to start, with his friends from the Eza Possibles collective, the "Kinshasa Wenze Wenze" artistic event in August 2003. It involved recovering wrecked cars from all over the city and turning them into sculptures. A way of questioning the decaying state of the city, the difficulties of everyday life, and the attitude of its inhabitants. It was a seminal moment and a shock for Kinshasa, especially as it was time for the Congolese to make a statement. The young artists made the most of this area of risk, confrontation and freedom that their creativity had offered them.

Tshindele's works can easily be understood. He borrows from situations, context, and especially from expressions and elements of the Kin language. He says that he is making a dictionary of this unwritten language, which is being made up from day to day. But in this respect, his paintings question things. They are like screams, like punches. They are related to a context, but a context in the broad sense of the word. Especially as Pathy says himself that issues related to race, nationality or even gender are the least of his worries, and that he feels he's citizen of the world.