History always repeats itself 0.1

This drawing presents an alternative interpretation of Sir Joshua Reynolds' portrait, "The Viscountess of Townsend," originally depicting "Anne Viscountess." In this rendition Ilunga inserts herself in the position of the viscountess, adding personal elements to the composition. She portrays herself with elf ears, wearing her afro hairstyle, and exuding a cheerful expression. The dress she wears features a left-side slit, revealing her shin and a high-heeled leg. While the overall layout remains largely faithful to the original, several subtle details distinguish this version.

In the bottom left corner of the artwork, a stone structure depicts a group of enslaved individuals being led by an overseer. Notably, all the slaves, except the one in the front, have their heads replaced with large brains. This commentary addresses the enduring effects of slavery on the descendants' minds, underscoring the profound impact of historical injustices on contemporary consciousness. Furthermore, the cloth on which Ndaya leans no longer resembles animal hide, but instead appears as faux animal hide, offering a symbolic critique of the commodification and appropriation of cultural artifacts.

Lastly, in the bottom right corner, a black man finds himself encircled by a snake with the head of King Leopold III. This element highlights the lack of authentic representation and recognition of Congolese history, suggesting that politics often shape and distort historical narratives.

Ilunga prompts reflection on the erasure of marginalized voices and the manipulation of history for political ends. By reimagining the original portrait, Ilunga invites viewers to consider the complexity of power dynamics, the lasting consequences of colonialism, and the importance of reclaiming and preserving authentic narratives.