Curatorial Voices: African Landscapes, Past and Present

Live Virtual Auction, 19 February 2024

Curatorial Voices: African Landscapes, Past and Present
About the Session

From Thomas Baines to Jake Aikman, Curatorial Voices: African Landscapes, Past and Present will showcase art by pioneering modernist and trailblazing contemporary artists, spanning 175 years of visual landscape painting on the African continent. This comprehensive auction reveals a nuanced understanding of the diverse cultural, historical, and environmental contexts that have shaped artistic representations of the landscape. Through an examination of various themes, the auction seeks to engage viewers in a dialogue that transcends time and space, connecting past representations to contemporary perspectives. The auction attempts to engage with the diversity of artists that have shaped and continue to shape the depiction of Africa through time.

The auction invites viewers on a captivating journey through the artistic expressions that mirror the multifaceted nature of African terrain. Through meticulous  curation and insightful analysis, the catalogue aspires to be a valuable resource for scholars, art enthusiasts and anyone eager to embark on a thought-provoking exploration of Africa’s rich and complex artistic heritage.

Curatorial Voices
Recognising the dynamic discourse surrounding African Landscape, both past and present, the auction features texts by invited contemporary curators responding to the auction selection and themes. As external voices, they provide critical insights into the complexities of the landscape theme. By amplifying these contemporary perspectives, the exhibition seeks to bridge the gap between traditional representations and the ever-evolving discourse on the role of African art within the global art market.

Azza Satti, Independent Curator, Kenya
Azu Nwagbogu, Founder and Director of the African Artists’ Foundation (AAF), Nigeria
Camilla van Hoogstraten, Head of Sales, Latitudes Online
Ugoma Ebilah, Curator, Gallerist & Founder of Bloom Art
Nkgopoleng Moloi, Independent Curator, South Africa

Sold for

ZAR 41 038
Lot 45
  • Beau Disundi Nzazi; Déléstage, five
  • Beau Disundi Nzazi; Déléstage, five

Lot Estimate
ZAR 40 000 - 60 000
Selling Price
Incl. Buyer's Premium & VAT
ZAR 41 038

About this Item

Congolese 1993-
Déléstage, five

each bronze signed; cardboard figure: signed and inscribed with the title

bronze with a blue and brown patina, codfish cardboard and found objects
(1) height: 24cm; width: 25cm; depth: 25cm; (2) height: 26m; width: 51cm; depth: 24cm; (3) height: 50cm; width: 60cm; depth: 38cm (4) height: 32cm; width: 50cm; depth: 15cm (5) height: 26cm; width: 25cm; depth: 23cm


The present lot is in Brussels, Belgium. For shipping enquiries, please contact Please note that delivery costs and any additional import or other taxes are the responsibility of the buyer.

The DRC is one of the most resource-rich countries in the world, but it has been plagued by conflict. Paramilitary groups from Rwanda and Uganda have infiltrated the country, taking over towns to extract coltan and cobalt inexpensively. Funded by the West, these militants have created a situation characterised by extreme violence, with millions of internally displaced persons affected. The blue patina in the present lot is a subtle nod to the terrible consequences of cobalt mining and our society’s tendency to extract from, versus to respect and nurture, the environment and its people.

Disundi’s Déléstage (‘Detour’) draws attention to the most powerful hydrological dam: Inga. Inga can provide electricity and energy to the rest of the African continent, yet many nearby towns often experience power cuts. The centrality of Déléstage revolves around resource distribution and how electrical energy, which is vital for the existence and/or survival of people, is, in fact, a daily battle. The work also evaluates the perceived anarchy that has led to the proliferation of alternative modes of energy production such as; (a) generators for those who can afford it, (b) but also people who divert (therefore, steal) electrical cables from electrical poles, or (c) the battery of an electric car, especially in rural areas. One ought to bear in mind that resource distribution is seldom in favour of previously marginalised groups, particularly where forced displacement has taken place, rendering them the most vulnerable. Thus, Disundi terms his figures as the ‘nameless’; the people most affected by political, economic, social, and environmental changes, yet with no voice or power to change their situation.

Déléstage incorporates a carefully constructed ‘Nameless’ made from codfish cardboard. The impact of cod is hard to fathom, yet here it is at the heart of our universe. Numerous maritime expeditions, motivated by economic expansion, have left their mark on history. Discoveries, conquests, colonisation, slavery – so many events shared by people, with cod as a common denominator. Today, Disundi is developing a project that lays the foundations for his reflections by revisiting the birth and development of capitalism in our cultures through the history of cod. The artist’s exploration enables him to better understand the interrelationships between economics, history, and cultural impact.

This lot has been selected by Curatorial Voice: Camilla van Hoogstraten.


Scac Marestaing, Toulouse, Collective Amnesia, July 2021.

View all Beau Disundi Nzazi lots for sale in this auction

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