A new show, called “I Am Speaking, Are You Listening?”, scorches visitors the moment they enter the court of the Legion of Honor museum
THE NEOCLASSICAL facade of the Metropolitan Museum in New York was designed with four niches for statues that stood unfilled for more than a century. In 2019, when the Met finally unveiled its first ever “Facade Commission”, the alcoves were occupied by four regal female figures cast in bronze.
She had travelled back to Kenya to make a performance film based on the east African legend of the water women, a kind of siren known as the. Shortly thereafter she opened a second studio in Nairobi, and plunged back into sculpture, making female figures and busts out of wood, feathers, gems and, above all, the red soil of her homeland. “For the longest time my identity was as an immigrant,” she says.
Beneath Auguste Rodin’s “The Thinker”, which dominates the court, Claudia Schmuckli, the curator, has positioned “Shavasana I & II”, two bronze pieces depicting dead women covered with mats, stiletto heels dangling from their feet . Just beyond, two huge female beasts—Mama Ray, a sweeping sea creature, and Crocodylus, a hybrid woman-crocodile—appear ready to lunge through the portal marked “Honneur et Patrie”.
Ms Mutu is sometimes described as an Afrofuturist, imagining a diasporic African future enabled by technology. But her view is broader: her own “dual mind” and study of anthropology help her see how seemingly separate traditions are in fact intertwined. She realised that “cultures and things that seem intact have actually been created from all of these bits and pieces and parts. Their wholeness is held together by peoples’ consensus” about hierarchies and prejudices.
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