conform to certain imperatives dictated by its intended use: height, size, resistance, etc. The exhibition opens with a selection of photographs from the Kings of Africa series by Daniel Lainé, which immortalize African chiefs and kings in proximity to their material seats of power. The show’s theme is launched by a group of asipim chairs created for notables of the Asanti of Ghana. These derive meaning from the fact that their inclined backrests and flat, stretched antelope-hidecovered seats fastened with brass nails suggest European influence. Nearby are beautiful and refined stools from various societies in the Democratic Republic of Congo. Sometimes enhanced by a caryatid figure, especially among the Hemba and the Luba, these can evoke the female’s role as progenitor as well as a link with the ancestors, thus transcending their utilitarian aspects as seats to become true emblems of power. The care with which these objects were created is also evident in the objects presented on the upper floor, particularly in the refined and sculpturally pure headrests of the Tellem and Dogon of Mali, as well as others from the horn of Africa. Also here are backrests made by the Ngombe, Mongo, and Djonga from what was Zaire, and FIG. 5 (left): Vincent Niamien, Sie chair, 1996. Côte d’Ivoire. Wood, metal. H: 150 cm. Private collection. © Archives Musée Dapper and Dominique Cohas. FIG. 6 (right): Jules- Bertrand Wokam, Timbuktu stool, 2005. Cameroon. Wood (wenge), hand carved and polished. H: 40 cm. Private collection. © Archives Musée Dapper and Hughes Dubois. FIG. 3 (above): Daniel Lainé, Oseadeeyo Addo Dankwa III, King of Akropong-Akuapem, Ghana. © Daniel Lainé/Cosmos. FIG. 4 (left): Iviart Izamba, Mobutu chair, 2005. DR Congo. Metal, skin. H: 85 cm. Musée royal de l’Afrique centrale, Tervuren, inv. no. HO.2011.54.1. Photo © Jo Van de Vyver, MRAC Tervuren.
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