{"id":11064,"date":"2016-04-05T12:04:02","date_gmt":"2016-04-05T11:04:02","guid":{"rendered":"http:\/\/www.revuenoire.com\/en\/?p=11064"},"modified":"2016-10-10T16:12:24","modified_gmt":"2016-10-10T15:12:24","slug":"pume-bylex-art","status":"publish","type":"post","link":"https:\/\/www.revuenoire.com\/en\/pume-bylex-art\/","title":{"rendered":"Pume Bylex – Art"},"content":{"rendered":"
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\"Pume<\/a>
Pume Bylex, 'Maternity', sculpture mix media, 1992<\/figcaption><\/figure>\n<\/div>\n<\/div><\/div><\/div>
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ART<\/h3>\n

(Kinshasa, D.R.Congo)<\/p>\n

born in\u00a01968<\/p>\n

\u00a0<\/p>\n

lives\u00a0and works in\u00a0Kinshasa<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n

Born into a family of craftsmen, his father is a carpenter, he attended school and received a diploma as a teacher. Pume little attracted by education of children decided to follow his destiny.<\/p>\n

\u00a0<\/p>\n

He says that his fascination of logic, cause and effect, and sciences comes from his observation of film projectors, that he looks run tirelessly in cinemas. \u00a0'Those who invented this machine are neither God nor angels, ... so why not me ?'. He invented his own solar energy machine, sold at a fair. With the winnings, he bought a film projector ...<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div>

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[run the slideshow below]<\/p>\n

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  • \"Pume
    Pume Bylex, la 'Maternit\u00e9, la statue Byl'<\/div><\/div><\/li>\n
  • \"Pume
    Pume Bylex, la 'Maternit\u00e9 \u00e0 Suites Africaines<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'L'Ange Gardien', sculpture mix media, 60x38,50x20cm, 2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Regard crois\u00e9', sculpture mix media, 56x37,50x37,20cm, 2010<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'L'\u0152il', sculpture mix media, 50x43x22cm, 2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Le Hibou Menac\u00e9', sculpture mix media, 41x37,50x17,50cm, 2001<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Crabe Horloge', sculpture mix media, 87x103x105cm, 2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Souris M\u00e9tallis\u00e9e', sculpture mix media, 87x103x105cm, 2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'La Mouche aux Multi-Radars', sculpture mix media, 31,50x38x22cm, 2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'La Mouche aux Multi-Radars', croquis d'\u00e9tude et sculpture mix media, 31,50x38x22cm, 2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Baiser de Cochons', croquis d'\u00e9tude, 12,25x11x10,50cm, 2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Baiser de Cochons', sculpture mix media, 12,25x11x10,50cm, 2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, portrait en sapeur sur damier<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Tenue Ba\u00efcel', sculpture mix media, 12,75x10x9cm, 2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Tenues Sunlight & Oiseleur', sculpture mix media, 51x43,20x23,50cm, 2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'La Chaussure Croissante', croquis d'\u00e9tude, 2\u00e8me version, 1997<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'La Chaussure Croissante', 2\u00e8me version, sculpture mix media, 20,75x37,21cm, 1997<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Botte Pivalo', sculpture mix media, 45x45x19,50cm, 2002<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Chaussure T9', sculpture mix media, 2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, serie de chaussures, sculpture mix media, 1997-2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Thermos M\u00e9ga', sculpture mix media, 53,50x35,50x25cm, 2011<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Thermos Pengouin', sculpture mix media, 43,50x26,25x18,25cm, 2010<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Drapeau Bylex', textile appliqu\u00e9, 133x205cm, 1997<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, 'Drapeau Bylex', textile appliqu\u00e9, 133x205cm, 1997<\/div><\/div><\/li>\n
  • \"\"
    Pume Bylex, Chez l'artiste, \u00a9 photo revue Noire 2011<\/div><\/div><\/li>\n <\/ul>\n <\/div>\n \n <\/div>\n<\/div><\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    In 1988, a voice (the voice of Byl, the 'man' who does not want to waste time) whispers that anything is possible, he must be calm, he did not come on Earth for nothing. 'Born into a wealthy family, I never been inspired to push so far. But we are still not come into the world to embrace suffering.'<\/p>\n

    \u00a0<\/p>\n

    But what? For four years he will meditate on the 'statue Byl', symbolic representation of his time at art. He says: 'Women have a hidden wealth. They fondly cherish their child for nine months. If you don't become an artist, you will never be able to pay their invoice to thank them for putting us in the world. Before, I was as nothing. Today I am a person talking.'<\/p>\n

    \u00a0<\/p>\n

    In 1995, Pume participated in an exhibition at the French Cultural Centre with a sculpture, 'The Maternity', allowing Revue Noire team to meet him. An article and the cover of the issue about Kinshasa will highlight him. All his codes are then defined in the various works he realizes then : desk, chair, costume, 'Pigs-Kiss', 'The Tourist City'\u2026 are already there. Just as the formal codes that he continues to develop as the grid (black and white board) of order and science, the showcase that protects the precious prototype and its color codes including the famous 'black-coral' or 'white-oyant' (a bright white) .<\/p>\n

    \u00a0<\/p>\n

    In 1997, first journey to Europe in Paris for the Revue Noire exhibition 'Suites Africaines'. Then snaps a series of prestigious group shows including 'Partage d'exotismes' at the Lyon Biennale 2000, and from 2004 'Africa Remix' (Dusseldorf in Germany, Centre Pompidou in Paris, London, Tokyo,...). A major solo exhibition 'The World According to Bylex' in Brussels in 2008 precedes the exhibition 'Why not Bylex ? Pume' at the gallery Revue Noire.<\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    \u00a0by Jean Loup pivin, 2012<\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    solo Exhibitions<\/h2>\n

    \u00a0<\/p>\n

    2012 \/\u00a0'Pourquoi\u00a0pas\u00a0Bylex\u00a0?\u00a0par\u00a0Pume',\u00a0Revue\u00a0Noire\u00a0galerie,\u00a0Paris and\u00a0Halle\u00a0de\u00a0la\u00a0Gombe,\u00a0Kinshasa, D.R.Congo<\/p>\n

    2008 \/\u00a0'The World According to Bylex', Bruxelles, Belgium<\/p>\n

    2007 \/ 'God\u00a0is\u00a0no\u00a0Bylex',\u00a0Cargo\u00a0Media\u00a0Store,\u00a0Ostende,\u00a0Belgium<\/p>\n

    2006 \/ 'Pume\u00a0Bylex',\u00a0CCF\u00a0La\u00a0Halle\u00a0de\u00a0la\u00a0Gombe,\u00a0Kinshasa, D.R.Congo<\/p>\n

    \u00a0<\/p>\n

    \u00a0<\/p>\n

    collective Exhibitions<\/h2>\n

    \u00a0<\/p>\n

    2010 \/ 'Afropolis',\u00a0Rautenstrauch-Joest\u00a0Museum,\u00a0Cologne,\u00a0Germany<\/p>\n

    2006 \/ 'Africa\u00a0Remix',\u00a0Mori\u00a0Art\u00a0Museum,\u00a0Tokyo,\u00a0Japon<\/p>\n

    2005 \/ 'Africa\u00a0Remix',\u00a0Centre\u00a0Pompidou,\u00a0Paris and Contemporary\u00a0Art\u00a0of\u00a0a\u00a0Continent,\u00a0Hayward\u00a0Gallery,\u00a0London<\/p>\n

    2004 \/ 'Africa\u00a0Remix',\u00a0Museum\u00a0Kunst\u00a0Palast,\u00a0D\u00fcsseldorf,\u00a0Germany<\/p>\n

    Espace\u00a0crois\u00e9,\u00a0Centre\u00a0d\u2019art\u00a0contemporain\u00a0de\u00a0Roubaix,\u00a0France<\/p>\n

    2003 \/ 'L\u2019Europe\u00a0fant\u00f4me',\u00a0Espace\u00a0Vertebra,\u00a0Forest,\u00a0Belgium<\/p>\n

    2000 \/ 'Partages\u00a0d\u2019exotismes',\u00a05e\u00a0Biennale\u00a0de\u00a0Lyon,\u00a0France<\/p>\n

    1999 \/ 'Tr\u00e9sors\u00a0d\u2019Afrique',\u00a0MC2a,\u00a0Bordeaux,\u00a0France<\/p>\n

    1997 \/ 'Suites\u00a0africaines',\u00a0Couvent\u00a0des Cordeliers, Revue Noire exhibition, Paris<\/p>\n

    \u00a0<\/p>\n

    Bibliography
    \u00a0<\/h2>\n

    Revue\u00a0Noire\u00a0RN\u00a021 'Kinshasa', March\u00a01996<\/p>\n

    Revue\u00a0Noire\u00a0RN\u00a024,\u00a0dossier 'Suites\u00a0africaines', December\u00a01997<\/p>\n

    Anthologie\u00a0de\u00a0l\u2019Art\u00a0africain\u00a0du\u00a0XXe\u00a0Si\u00e8cle, October\u00a02001<\/p>\n

    Anthology\u00a0of\u00a0African\u00a0Art,\u00a0The\u00a0XXth Century, October\u00a02001<\/p>\n

    The\u00a0World\u00a0According\u00a0To\u00a0Bylex, book\u00a0and video CD, pbyr\u00a0Filip\u00a0De\u00a0Boeck\u00a0&\u00a0Koen\u00a0Van\u00a0Synghel,\u00a0Bruxelles,\u00a02008<\/p>\n

    \u00a0<\/p>\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"

    Pume Bylex (1968-) , visionary sculptor from Kinshasa, D.R.Congo<\/p>\n","protected":false},"author":2,"featured_media":9131,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_exactmetrics_skip_tracking":false,"_exactmetrics_sitenote_active":false,"_exactmetrics_sitenote_note":"","_exactmetrics_sitenote_category":0,"footnotes":""},"categories":[69],"tags":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/11064"}],"collection":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/comments?post=11064"}],"version-history":[{"count":0,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/posts\/11064\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media\/9131"}],"wp:attachment":[{"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/media?parent=11064"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/categories?post=11064"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.revuenoire.com\/en\/wp-json\/wp\/v2\/tags?post=11064"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}