The NFT was the collective’s first attempt to reclaim the sculpture under the Doctrine of Fair Use and, in Kasiama’s words, “reclaiming its powers” originally designed to protect the land and its people. In February, members waited outside the White Cube at dusk while ghostly images of the sculpture - captured from a photo on the Museum of Fine Arts website - were imprinted onto the blockchain. With the help of some web developers in Berlin, the CATPC decided to create a non-fungible token. The Virginia Museum of Fine Arts, which owns the sculpture, had declined to lend it to the White Cube for the foreseeable future, instead supplying low-resolution images. His assassination in 1931, not far from Lusanga, sparked a revolt by the Pende, hundreds of whom were subsequently killed by gunfire.
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Martens was just completing a series of six short videos documenting Kasiama and Tamasala’s attempt to secure a small wooden sculpture made in Congo depicting Maximilien Balot, a Belgian colonial officer. “Being an artist, you could say, gets you off the hook.” “It takes some of the pressure off of making something successful,” Bishop said. “Primarily funding, but also freedom.” An academic would need the approval of an ethics committee, and a development worker would need demonstrable proof that their efforts were successful. “What do you get out of saying you’re an artist?” she asked. As is the case with many socio-practical projects, it can seem impossible to judge Martens’ work in Lusanga from an aesthetic point of view: there is real money in circulation and people’s livelihoods are at stake.
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