Maurice Mbikayi Paintings & Artwork for Sale | Maurice Mbikayi Art Value Price Guide

Sep. 18, 2024
Maurice Mbikayi; Congolese 1974-; Ndoto Ya Baba (The Dream of a Mute)
Est: R30,000 - R50,000
Maurice Mbikayi Congolese 1974- Ndoto Ya Baba (The Dream of a Mute) 2016 from an edition of 7 + 1AP C-print on a Dibond mount 109 by 164cm excluding frame; 114,5 by 168,5 by 5cm including frame
Strauss & Co
Mar. 19, 2024
Maurice Mbikayi; Congolese 1974-; Bilele-Dressing Up for an Occasion
Est: R25,000 - R35,000
Maurice Mbikayi Congolese 1974- Bilele-Dressing Up for an Occasion accompanied by a Gallery MOMO digital certificate of authenticity, inscribed with the artist's name, title, numbered 3/5, dated 2016, and inscribed with the title and medium C-print image size: 108,5 by 164cm; 113 by 169 by 5cm including frame
Strauss & Co
Nov. 16, 2023
MAURICE MBIKAYI (DEMOCRATIC REPUBLIC OF CONGO 1974-) | UNTITLED
Est: R60,000 - R80,000
ink, collage and found objects assemblage on card | signed and dated bottom right
Aspire Art
Sep. 14, 2022
NICOLA HOLGATE AND MAURICE MBIKAYI (SOUTH AFRICA 1969 –; SOUTH AFRICA 1974 –), TWO RISES AND FALLS (MOBUTU)
Est: R40,000 - R60,000
Two Rises and Falls (Mobutu),
Aspire Art
Sep. 14, 2022
NICOLA HOLGATE AND MAURICE MBIKAYI (SOUTH AFRICA 1969 –; SOUTH AFRICA 1974 –), TWO RISES AND FALLS (LUMUMBA)
Est: R40,000 - R60,000
Two Rises and Falls (Lumumba),
Aspire Art
Oct. 12, 2021
Maurice Mbikayi (Democratic Republic of Congo, born 1974) The Guardian 1 (2017)
Est: £3,000 - £5,000
Maurice Mbikayi (Democratic Republic of Congo, born 1974) The Guardian 1 (2017) C-print, Edition of 5 + 3AP 180 x 120cm (70 7/8 x 47 1/4in). For further information on this lot please visit the Bonhams website
Bonhams
Sep. 22, 2021
Maurice Mbikayi; Congolese 1974-; Mbula Matari II
Est: R60,000 - R80,000
2019 Edition of 2 C-print 100 by 72cm excluding frame; 114 by 77 by 5cm including frame
Strauss & Co
Jun. 15, 2021
¤ Maurice MBIKAYI né en 1974, République Démocratique du Congo Untitled Tirage chromogène
Est: €3,000 - €4,000
¤ Maurice MBIKAYI né en 1974, République Démocratique du Congo Untitled Tirage chromogène Edition 1/2 d'une série de 5 ex. Un certicat signé de l'artiste sera remis à l'acquéreur h: 88,50 w: 133,50 cm Provenance : Galerie MOMO, Cape Town Acquis auprès de cette dernière par l'actuel propriétaire Collection particulière, Cape Town Commentaire : C-print Edition 1/2 from a series of 5 Estimation 3 000 - 4 000 €
Artcurial
Aug. 04, 2020
MBULA MATARI II
Est: R50,000 - R80,000
Maurice Mbikayi (Congolese 1974-) MBULA MATARI II Accompanied by a certificate of authenticity, signed by the artist, edition 1 of 5 C-print 114 by 77cm Congolese by birth but residing in South Africa, Maurice Mbikayi is a prominent contemporary artist who has held three notable solo shows in recent years, including Coucou Crumble at Gallery MOMO in 2019, Masks of Heterotopia at Officine dell’Immagine in Milan and Mupia-Mupia at Fondation Friedrich Naumann in Dakar, the last two in 2018. Furthermore, Mbikayi’s works are included in a number of noteworthy collections including that of the Iziko South African National Gallery, the Scheryn Art Collection, and Progressive Art Collection. The artist’s art and philosophy place him within Afrofuturism, a term that includes artists who seek to reclaim African identity by imagining possible futures, or either alternative histories or present day realities. The term was originally coined as a genre for African-American fiction writers, but has extended to include all creatives across the globe who work within this framework that either reflects on the past or envisions a future where historical structures of oppression due to race no longer apply. Mbikayi experienced first hand in the Congo, the country of his birth, the dependence the world has on Africa for developing information technology, from which cobalt, coltan and gold are mined to produce and power smartphones and computers. It is these same African countries where these minerals are mined, that are simultaneously used as scrap yards to dump redundant technological goods. Vast scrapyards are formed from this dumped debris, often under the guise of a donation of technological parts from other, usually Western, countries. The result is landfills that emit hazardous substances and toxic pollutants to those living near the dumping grounds. The artist’s production primarily consists of constructing costumes out of discarded computer parts which either serve as costumes to be worn during a filmed performance or a constructed/posed photograph, or simply as sculptures embodying the exhibition space. Mbikayi re-appropriates discarded computer parts to form his suits as a means of imagining a time where E-waste is recycled and refurbished, resulting in a radical reinvention of the status quo. Mbula Matari I and Mbula Matari II two c-prints, each only an edition of five, were originally created for Coucou Crumble, the artist’s solo exhibition at Gallery MOMO in Cape Town in 2019. The two prints depict the artist dressed in clothing of the colonial elite as well as a jacket and a large pigs mask both made of black computer keys. In both images, a large woven blanket half covers the performer and strips of grey computer keys spill out from behind the blanket, like entrails. While the artist has been producing suits and sculptures made from discarded computer parts for a number of years, the edition of the woven blanket is new. Materiality is key to the artist and all objects he utilizes in his sculptures hold their own significance. Mbikayi wove the blanket used in both prints from rolls of mutton cloth, the original purpose of this cloth is to manually clean cars. After carefully cutting the material into long strips he weaves the blanket together on a large loom 3 meters by 1,5 meters. The blanket is permanently part of another work, After Me, the Flood, which was purchased by the Smithsonian Institution/The National African Contemporary Art in the USA. The work was first exhibited at the World Bank Art Program in Washington in 2019 at a show called The Art of Resilience. Mbula Matari is a Swahili word meaning statesman, it was also used by the Congolese to refer to Belgian colonialists. The pig’s head that appears in these works refers to a number of colonial dictators, as well as corrupt African leaders in a system where the artist feels that “…corruption (is) set as policy to succeed.” The pigs head also refers to a piggy bank, referencing Mbikayi’s concerns around cryptocurrency and digital marketing, as he asks what will happen when these technologies fail? Much of his artwork from his 2019 Coucou Crumble exhibition at Gallery MOMO stated that the imaginings of Western dystopian fiction were already at play in many African countries. Looking back, after many months of a worldwide spread virus, many of Mbikayi’s works from this show seem prophetic. https://mauricembikayi.com/portfolio/coucou-crumble-2019/ https://mauricembikayi.com/about/ Based on communication with the artist on 27 July 2020. https://africanarguments.org/2018/03/06/this-is-afrofuturism/ .
Stephan Welz & Co
Aug. 04, 2020
MBULA MATARI I
Est: R50,000 - R80,000
Maurice Mbikayi (Congolese 1974-) MBULA MATARI I Accompanied by a certificate of authenticity, signed by the artist, edition 1 of 5 C-print 104 by 154cm Congolese by birth but residing in South Africa, Maurice Mbikayi is a prominent contemporary artist who has held three notable solo shows in recent years, including Coucou Crumble at Gallery MOMO in 2019, Masks of Heterotopia at Officine dell’Immagine in Milan and Mupia-Mupia at Fondation Friedrich Naumann in Dakar, the last two in 2018. Furthermore, Mbikayi’s works are included in a number of noteworthy collections including that of the Iziko South African National Gallery, the Scheryn Art Collection, and Progressive Art Collection. The artist’s art and philosophy place him within Afrofuturism, a term that includes artists who seek to reclaim African identity by imagining possible futures, or either alternative histories or present day realities. The term was originally coined as a genre for African-American fiction writers, but has extended to include all creatives across the globe who work within this framework that either reflects on the past or envisions a future where historical structures of oppression due to race no longer apply. Mbikayi experienced first hand in the Congo, the country of his birth, the dependence the world has on Africa for developing information technology, from which cobalt, coltan and gold are mined to produce and power smartphones and computers. It is these same African countries where these minerals are mined, that are simultaneously used as scrap yards to dump redundant technological goods. Vast scrapyards are formed from this dumped debris, often under the guise of a donation of technological parts from other, usually Western, countries. The result is landfills that emit hazardous substances and toxic pollutants to those living near the dumping grounds. The artist’s production primarily consists of constructing costumes out of discarded computer parts which either serve as costumes to be worn during a filmed performance or a constructed/posed photograph, or simply as sculptures embodying the exhibition space. Mbikayi re-appropriates discarded computer parts to form his suits as a means of imagining a time where E-waste is recycled and refurbished, resulting in a radical reinvention of the status quo. Mbula Matari I and Mbula Matari II two c-prints, each only an edition of five, were originally created for Coucou Crumble, the artist’s solo exhibition at Gallery MOMO in Cape Town in 2019. The two prints depict the artist dressed in clothing of the colonial elite as well as a jacket and a large pigs mask both made of black computer keys. In both images, a large woven blanket half covers the performer and strips of grey computer keys spill out from behind the blanket, like entrails. While the artist has been producing suits and sculptures made from discarded computer parts for a number of years, the edition of the woven blanket is new. Materiality is key to the artist and all objects he utilizes in his sculptures hold their own significance. Mbikayi wove the blanket used in both prints from rolls of mutton cloth, the original purpose of this cloth is to manually clean cars. After carefully cutting the material into long strips he weaves the blanket together on a large loom 3 meters by 1,5 meters. The blanket is permanently part of another work, After Me, the Flood, which was purchased by the Smithsonian Institution/The National African Contemporary Art in the USA. The work was first exhibited at the World Bank Art Program in Washington in 2019 at a show called The Art of Resilience. Mbula Matari is a Swahili word meaning statesman, it was also used by the Congolese to refer to Belgian colonialists. The pig’s head that appears in these works refers to a number of colonial dictators, as well as corrupt African leaders in a system where the artist feels that “…corruption (is) set as policy to succeed.” The pigs head also refers to a piggy bank, referencing Mbikayi’s concerns around cryptocurrency and digital marketing, as he asks what will happen when these technologies fail? Much of his artwork from his 2019 Coucou Crumble exhibition at Gallery MOMO stated that the imaginings of Western dystopian fiction were already at play in many African countries. Looking back, after many months of a worldwide spread virus, many of Mbikayi’s works from this show seem prophetic. https://mauricembikayi.com/portfolio/coucou-crumble-2019/ https://mauricembikayi.com/about/ Based on communication with the artist on 27 July 2020. https://africanarguments.org/2018/03/06/this-is-afrofuturism/ .
Stephan Welz & Co
Oct. 04, 2018
TP MAURICE MBIKAYI (DEMOCRATIC REPUBLIC OF CONGO, BORN 1974) The Guardi
Est: £3,000 - £5,000
TP MAURICE MBIKAYI (DEMOCRATIC REPUBLIC OF CONGO, BORN 1974) The Guardian 1 (2017) C-print, Edition of 5 + 3AP 180 x 120cm (70 7/8 x 47 1/4in).
Bonhams