Cheick Diallo (Malian, born 1960). Sansa Chair in Red, 2012. Steel, nylon, 31 1/2 x 31 1/2 x 35 7/16 in. (80.0 x 80.0 x 90.0 cm). Brooklyn Museum, Bequest of Mrs. Carl L. Selden, by exchange, gift of Mary Babbott Ladd and Frank L. Babbott, Jr. in memory of their father, Frank L. Babbott, gift of John D. Rockefeller, Jr. and Mrs. H.A. Metzger, by exchange, Ella C. Woodward Memorial Fund, John B. Woodward Memorial Fund, and Designated Purchase Fund, 2013.26.1. © artist or artist's estate (Photo: Brooklyn Museum, 2013.26.1_overall_PS9.jpg)
Cheick Diallo (Malian, born 1960). Sansa Chair in Red, 2012. Steel, nylon, 31 1/2 x 31 1/2 x 35 7/16 in. (80.0 x 80.0 x 90.0 cm). Brooklyn Museum, Bequest of Mrs. Carl L. Selden, by exchange, gift of Mary Babbott Ladd and Frank L. Babbott, Jr. in memory of their father, Frank L. Babbott, gift of John D. Rockefeller, Jr. and Mrs. H.A. Metzger, by exchange, Ella C. Woodward Memorial Fund, John B. Woodward Memorial Fund, and Designated Purchase Fund, 2013.26.1. © artist or artist's estate (Photo: Brooklyn Museum, 2013.26.1_three_quarter_PS9.jpg)
Sansa Chair in Red
Arts of Africa
ART OF DESIGN
African artists have a long history of responding to fresh design concepts, while always revising them to ends both practical and novel. Together, these three works trace the evolution of a single form: first, as an imported idea became African, and then as contemporary artists adapted this African form for a global market.
Most seats in sub-Saharan Africa are low stools, carved from a single block of wood. Yet, as early as the sixteenth century, Portuguese traders and explorers introduced chairs with backs to southern and eastern Africa. Chokwe artists soon began to produce similar chairs, adding sculptural scenes and Chokwe motifs. This wood chair was carved as an object of status for a chief.
In fact, none of these three chairs were meant for sitting. Gonçalo Mabunda's Harmony chair uses decommissioned handguns, bullet belts, and other munitions collected from the estimated 7 million weapons left in Mozambique following the end of its civil war in 1992. Its design references a coastal East African tradition of high-backed chairs that were symbols of power and prestige, discussion and debate.
The Sansa chair, an inventive deconstruction of the chair form, is among the original creations that have established Cheick Diallo as one of Africa's leading contemporary designers. Built at Diallo's direction by artisans from Bamako, the half-reclining Sansa chair seems to sit midway between a European notion of the chair as a leisure object and a West African idea of the chair as a support for displaying a person of status.
African artists have a long history of responding to fresh design concepts, while always revising them to ends both practical and novel. Together, these three works trace the evolution of a single form: first, as an imported idea became African, and then as contemporary artists adapted this African form for a global market.
Most seats in sub-Saharan Africa are low stools, carved from a single block of wood. Yet, as early as the sixteenth century, Portuguese traders and explorers introduced chairs with backs to southern and eastern Africa. Chokwe artists soon began to produce similar chairs, adding sculptural scenes and Chokwe motifs. This wood chair was carved as an object of status for a chief.
In fact, none of these three chairs were meant for sitting. Gonçalo Mabunda's Harmony chair uses decommissioned handguns, bullet belts, and other munitions collected from the estimated 7 million weapons left in Mozambique following the end of its civil war in 1992. Its design references a coastal East African tradition of high-backed chairs that were symbols of power and prestige, discussion and debate.
The Sansa chair, an inventive deconstruction of the chair form, is among the original creations that have established Cheick Diallo as one of Africa's leading contemporary designers. Built at Diallo's direction by artisans from Bamako, the half-reclining Sansa chair seems to sit midway between a European notion of the chair as a leisure object and a West African idea of the chair as a support for displaying a person of status.
DESIGNER
Cheick Diallo, Malian, born 1960
MEDIUM
Steel, nylon
DATES
2012
DIMENSIONS
31 1/2 x 31 1/2 x 35 7/16 in. (80.0 x 80.0 x 90.0 cm) (show scale)
COLLECTIONS
Arts of Africa
ACCESSION NUMBER
2013.26.1
CREDIT LINE
Bequest of Mrs. Carl L. Selden, by exchange, gift of Mary Babbott Ladd and Frank L. Babbott, Jr. in memory of their father, Frank L. Babbott, gift of John D. Rockefeller, Jr. and Mrs. H.A. Metzger, by exchange, Ella C. Woodward Memorial Fund, John B. Woodward Memorial Fund, and Designated Purchase Fund
EXHIBITIONS
MUSEUM LOCATION
This item is not on view
CAPTION
Cheick Diallo (Malian, born 1960). Sansa Chair in Red, 2012. Steel, nylon, 31 1/2 x 31 1/2 x 35 7/16 in. (80.0 x 80.0 x 90.0 cm). Brooklyn Museum, Bequest of Mrs. Carl L. Selden, by exchange, gift of Mary Babbott Ladd and Frank L. Babbott, Jr. in memory of their father, Frank L. Babbott, gift of John D. Rockefeller, Jr. and Mrs. H.A. Metzger, by exchange, Ella C. Woodward Memorial Fund, John B. Woodward Memorial Fund, and Designated Purchase Fund, 2013.26.1. © artist or artist's estate (Photo: Brooklyn Museum, 2013.26.1_overall_PS9.jpg)
EDITION
Edition: 1/8 pieces, 2 prototypes, and 2 APs
IMAGE
overall, 2013.26.1_overall_PS9.jpg. Brooklyn Museum photograph, 2014
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RIGHTS STATEMENT
© Cheick Diallo
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