GENERAL OF TIVOLI 2018

Curator: Here we have Yinka Shonibare's "General of Tivoli," created in 2018 using mixed media. It stands as a striking example of contemporary sculpture. What are your initial thoughts? Editor: Oh, it's wonderfully unsettling! That globe for a head throws everything into question, and the vibrant fabric makes me think of movement, even though it’s a static form. Like a classical statue warped by a dream. Curator: Precisely. The headless figure, dressed in Dutch wax fabric, is a recurring motif in Shonibare's work. It is ripe with art historical references—classical sculpture, the legacy of colonialism, and contemporary postcolonial critique. The fabric itself becomes a signifier. Editor: Absolutely! Those so-called "African" wax prints are actually Dutch-made, appropriated, and sold back to Africa. It’s this gorgeous, dizzying layer cake of cultural exchange. And the globe—it's so matter-of-fact and absurd. Is it about the burden of global leadership? The head being the weight of the world...cliché, but potent here. Curator: One could read it as a statement on the power dynamics inherent in globalization, certainly. But it’s equally pertinent to note that Shonibare often utilizes humor to address weighty themes. His work isn't simply didactic; there's an element of the carnivalesque. Editor: True! It's subversive fun. That flamboyant fabric softens the austerity of the pose, undercuts the grandeur we expect. I wonder if he chose Tivoli deliberately – Tivoli conjures up the romantic landscapes and aristocratic indulgence... it deepens the critique of power. Curator: It does. By juxtaposing signifiers of Western art and culture with African identity and history, Shonibare presents a complex narrative of hybridity and postcolonial identity. Editor: The tension of this piece stays with you. A fragmented, re-assembled vision of the world, like a fever dream of history and cultural inheritance! Curator: I agree. "General of Tivoli" leaves one questioning history, identity, and representation long after one has left its presence.