Cyrus Kabiru

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Cyrus Kabiru
Born1984 (age 39–40)
Nairobi, Kenya
OccupationVisual artist
Known forSculptural eyewear and other wearables made of found objects
MovementAfrofuturism

Cyrus Kabiru (born 1984) is a Kenyan visual artist, who is self taught.[1] He is known for his sculptural eyewear made of found objects,[2] and is part of the Afrofuturism cultural movement.[1][3][4]

Biography[edit]

Kids from Casablanca, Morocco, visiting the art show "Material Insanity" (2019) at Marrakech's Museum of African Contemporary Art Al Maaden (MACAAL). Work by Cyrus Kabiru.

Cyrus Kabiru is a visual artist born in 1984 in Nairobi, Kenya;[5][2] one of six children who lived in a small home opposite a garbage dump.[6] Inspired by a story about his father repairing glasses with discarded materials, he became interested in creating objects by upcycling found objects and trash.[6] Kabiru's self-taught exposure to artistic thinking began at an early age, despite his father's wishes to pursue a separate career in electronic engineering. Kabiru attributes much of his incentive for his ongoing works to his father and their shared experiences.[6]

Kabiru is known for his signature style, usually constructing his sculptural works with found objects.[1] By using found objects, Kabiru gives a new life to the old materials, and the work deals with topics such as transformation and imagination of the future.[1] After creating his sculptures, he often photographs them as self-portraits.[7] Kabiru's art practice intersects sculpture, craftsmanship, photography, design and fashion.[8] Though much of his experience with art is self-taught, his career officially began in 2007 when he first exhibited in the Kuona Trust Visual Arts Centre in Nairobi, Kenya.[6]

Besides his production of serial artworks, Kabiru has attended various exhibitions and workshops. Notable solo exhibitions by Kabiru include Upcoming (2010) Kuona Trust, Nairobi, Kenya; Cyrus Kabiru (2011) Kunstpodium T Gallery, Tilburg, Netherlands; and C-Stunners & Black Mamba (2015) SMAC Gallery, Cape Town, South Africa.[8] His works are featured in museum collections, including Studio Museum Harlem and the Metropolitan Museum of Art.[3]

Afrofuturism[edit]

Kabiru's particular usage of discarded materials—often electronic parts, junk or other debris— is meant to evoke a sense of cyberpunk futurism with some visual similarities to African jewelry and mythology. Identifying as an Afrofuturist, he aims to construct his works in a way that combines science-fiction and traditional aesthetics, maintaining a consistent personal style.[9] His work is praised for using its unique style to change viewer perspectives, advancing discourse amidst discussions of African intellectual fields, and exploring the relationship between the past and future.[10][11][12] Kabiru's work has been featured in several Afrofuturist publications, including the Metropolitan Museum of Art's Before Yesterday We Could Fly: An Afrofuturist Period Room.[13]

Notable artwork[edit]

C-Stunners series[edit]

The C-Stunners series—which is among his most well-known sets—is an ongoing collection of irregular, futuristic eyeglass sculptures with various designs. Kabiru began official production of this series in 2011, but has been making similar sculptures of this manner since his childhood. Similarly to a considerable portion of his physical artwork, his C-Stunners are constructed with recycled materials, such as discarded electrical parts and other refuse.[2] According to Kabiru, the name 'C-Stunners' is meant to signify the artist's name (Cyrus) followed by a statement of how it affects the audience; a "stunned" reaction. The C-Stunners series has received appraisal for inviting new perspectives from viewers upon how they perceive African culture.[14]

Self-portrait photography of Kabiru wearing these pieces are often displayed as their own works, such as the Macho Nne collection.[15]

Black Mamba series[edit]

The Black Mamba series is an assortment of assembled sculptures made to resemble the Indian-based bicycle brand of the same name. Kabiru created this series as an homage to the brand, which saw considerable usage as a method of transport in Kenya, though these bikes have gradually seen less activity due to urbanization in African neighborhoods. Kabiru also maintains a personal connection with the bicycles, having ridden one himself as a child.[16] This series of artworks has seen considerable public exposure, being linked to the inception of The End of Black Mamba, a documentary series also produced by Kabiru.[17]

Miyale Ya Blue, 2020[edit]

Miyale Ya Blue (2020) is a 60 x 65 x 15cm. assembled sculpture made with electronic waste and junk-like materials, decorated with vibrant coloration and noticeable adornments,[13] and is one of a series of sculptures that resemble custom-fashioned radios. Kabiru drew inspiration for this series from his own personal experiences with transistor radios; this specific piece gets its name from the Swahili word 'miyale' (meaning 'rays') to invoke the rays of the sun.[18] Miyale Ya Blue is on display at the Metropolitan Museum of Art in New York City and is featured amongst a collection of Afrofuturist artworks.[13]

Exhibitions[edit]

Solo exhibitions[edit]

  • (2015) C-Stunners & Black Mamba, SMAC Gallery, Cape Town, South Africa.[8]
  • (2011) Cyrus Kabiru, Kuntspodium T Gallery, Tilburg, Netherlands.[8]
  • (2010) Constructions (Upcoming), Kuona Trust, Nairobi, Kenya.[19]

Group exhibitions[edit]

Collections[edit]

Publications[edit]

  • (2015) The End of Black Mamba, Han Nefkens H+F Collection.[23]

Honors and awards[edit]

  • (2016) Quartz's Africa Innovators Award, Nairobi, Kenya.[8]
  • (2013) TED Fellowship @ The Young, The Gifted, The Undiscovered, USA.[8]

See also[edit]

References[edit]

  1. ^ a b c d Marshall, Julia; Stewart, Connie; Thulson, Anne (2021). Teaching Contemporary Art with Young People: Themes in Art for K-12 Classrooms. Teachers College Press. p. 61. ISBN 978-0-8077-6574-6.
  2. ^ a b c Musanga, Mukanzi (2022-03-05). "Cyrus Kabiru". AFRICANAH.ORG. Retrieved 2024-02-23.
  3. ^ a b c Alteveer, Ian; Beachler, Hannah; Lawrence, Sarah; Commander, Michelle D. (2022-02-04). Before Yesterday We Could Fly: An Afrofuturist Period Room. Metropolitan Museum of Art. p. 11. ISBN 978-1-58839-745-4.
  4. ^ Akintobi, Lamide (2021-07-28). "From the 'C-Stunner' to the 'Black Mamba,' Kenya's Cyrus Kabiru rides wave of success with new creations made from scrap". CNN. Retrieved 2023-06-16.
  5. ^ Artnobel. Revista 8: María Ignacia Edwards: Replicando el orden del universo (in Spanish). Artnobel.es. p. 52.
  6. ^ a b c d "CyrUs kaBIrU". nataal.com. Retrieved 2024-05-05.
  7. ^ Rinehart, Richard (2022-01-21). Screen Time: Photography and Video Art in the Internet Age. Rutgers University Press. p. 45. ISBN 978-1-68448-415-7.
  8. ^ a b c d e f g h i j "Cyrus Kabiru". Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA). Retrieved 2023-06-16.
  9. ^ Bigoni, Clara (2019-09-14). "Afrofuturism: Liberation and inclusion beyond literature with N. K. Jemisin". roots§routes. Retrieved 2024-03-28.
  10. ^ Klein, Amelie (2015). "What Design Can and Should Be Doing in the 21st Century: Ten Proposals" (PDF). Making Africa: A Continent of Contemporary Design: 26–33.
  11. ^ Constandius, Elmarie; de Villiers, Gera; Van Rooi, Leslie (2023). "Visual Redress in Africa from Indigenous and New Materialist Perspectives". Routledge, Taylor & Francis Group. ISBN 9781032368535.
  12. ^ Pirker, Eva Ulrike; Rahn, Judith (2023-02-28). Afrofuturism’s Transcultural Trajectories: Resistant Imaginaries Between Margins and Mainstreams. 605 Third Avenue, New York, NY: Taylor & Francis. ISBN 9781003358374.{{cite book}}: CS1 maint: date and year (link) CS1 maint: location (link)
  13. ^ a b c Alteveer, Ian; Beachler, Hannah; Lawrence, Sarah; Commander, Michelle D. (2022-02-04). Before Yesterday We Could Fly: An Afrofuturist Period Room. Metropolitan Museum of Art. pp. 4–17. ISBN 978-1-58839-745-4.
  14. ^ Oboe, Annalisa (2019). "Sculptural Eyewear and Cyberfemmes: Afrofuturist Arts" (PDF). From the European South: A Transdisciplinary Journal of Postcolonial Humanities. 4: 31–44. ISSN 2531-4130 – via JSTOR.
  15. ^ Langué, Yvon (2019-09-02). "Material Insanity". The Journal of Modern Craft. 12 (3): 275–280. doi:10.1080/17496772.2019.1678887. ISSN 1749-6772.
  16. ^ Kuo, Lily (2016-07-19). "An artist remembers Africa's disappearing "Black Mamba" bicycles with his own whimsical designs". Quartz. Retrieved 2024-03-29.
  17. ^ "Presentation of "The End of Black Mamba I" by Cyrus Kabiru | Activities". CCCB: Centre de Cultura Contemporània de Barcelona. 2016-06-03. Retrieved 2024-03-29.
  18. ^ "Meet the Artists: Cyrus Kabiru | Perspectives". The Metropolitan Museum of Art. 2022-04-19. Retrieved 2024-03-30.
  19. ^ Njathika (2010-08-02). "Art Exhibition: Constructions, Aug 7-31 2010 @ Kuona Trust". Nairobi Now :: Arts, Culture and Events. Retrieved 2024-05-05.
  20. ^ Kermeliotis, Teo (2013-11-13). "Lagos photo festival puts mega city in the spotlight". CNN. Retrieved 2024-05-05.
  21. ^ a b "The Shadows Took Shape". Studio Museum in Harlem. Retrieved 2024-05-05.
  22. ^ a b c d e f g h "Africa First | Cyrus Kabiru". Africa First. Retrieved 2024-05-05.
  23. ^ a b "The End of Black Mamba | H+F". H+F. Retrieved 2024-05-05.

External links[edit]

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