Congo Cube

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Congo Cube

Congo Cube

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Famed Simian Archaeologist, Bongo, has journeyed deep into the darkest jungle on a quest to discover the tomb of his long lost ancestor, Bongohotep in this adventurous puzzler. Help fund Bongo’s expedition by collecting idols to sell to the museum. Snatch up the delicious food the forest offers for even more cash. The more money you collect, the further the expedition can go. Can you find the long lost tomb? Full version features unlimited play. 3 Game Modes: Classic, Timed, and Infinite. Jungle sounds and drums. Wacky characters and animations. In-game tips and trivia.

Congo Cube is a jungle themed “match 3 or more” cube matching game with the innovation of being able to drag the blocks around on the screen instead of click to select, click to move (the standard method for casual games of this type).

With crazy screaming monkeys, multiple levels with lots of crawling wildlife, fruit flies and parrots, there’s a lot of action in this game.

You must give appropriate credit, provide a link to the website, and indicate if changes were made. You may do so in any reasonable manner, but not in any way that suggests the licensor endorses you or your use. You may not use the material for commercial purposes. The license may not give you all of the permissions necessary for your intended use. Feel free to contact us.We supply the wide variety of KPCs (Kimberly process certification scheme) compliant natural rough diamonds. Our rough diamonds are sourced from the legitimate origin in Africa, Australia, and Canada. From the most variety of rough diamonds, we deal in, prominent among them is congo cubes, boats, and river rough diamonds.
Natural Congo cubes rough diamonds are having square cube shape and mostly preferred by rough diamond jewelers and art deco jewelers, whereas another type of rough diamonds varies in their shape and usage. As most of the rough diamonds supplied by us are translucent in clarity, they are not preferred choice for making finest gem quality diamonds, but still, this is the exceptional pieces with their own beauty and used in wide variety of jewelry.
The raw uncut diamonds we supply are mostly used in making natural raw uncut diamond beads, color diamond beads, diamond chips, raw diamond jewelry and art deco usage. Natural rough uncut diamonds are also known as natural rough diamonds, uncut diamonds, raw diamonds, earth mined diamonds and diamond crystal.

Almost ten years after the release of the controversial film Episode III – Enjoy Poverty, [1] Dutch artist Renzo Martens returns to the Democratic Republic of Congo with his Institute for Human Activities (IHA).[2] The new project is an endeavour that maintains that art engagement can redress inequalities. Inaugurated in April 2017, The Repatriation of the White Cube is an exhibition project with political, economic, and social ambitions. It questions the mechanisms of power and resources in a former palm oil plantation in a town located 650km from Kinshasa, called Lusanga, and the rural area that encompasses it, which together are home to some 50,000 people. The town was formerly known as Leverville, after the British Lever Brothers (later Unilever), who were allowed to take control of the plantations in 1911. After decades of providing the capital and labour which colonialists exploited, it is time for the people of Lusanga to reverse the process and use their territory to generate a new economic system with more socially inclusive and ecological purposes and practises. In other words, the plantation workers have helped finance the Western art world, yet art may be the very thing to help invest capital and visibility back in Lusanga.

Since 2014, the Institute for Human Activities (IHA) has collaborated with the Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC; or in English, the Congolese Plantation Workers Art League) to form a micro-economy that can subsist by means of producing and selling art.[3] In early 2017, the workers’ cooperative CATPC 3D-modelled and cast sculptures in chocolate, using the materials taken from the cacao plantations. The works were exhibited and sold at the SculptureCentre and Armory Show in New York, and in Berlin’s KOW gallery, which all generated and returned profits to the Lusanga artists. Not long after, the Lusanga International Research Centre for Art and Economic Inequality (LIRCAEI) was created as a joint initiative between the IHA and CATPC. Together they commissioned the Dutch architectural studio OMA (Office for Metropolitan Architecture co-founded by Rem Koolhaas) to model and construct their White Cube: a structure made of white bamboo that represents the centrepiece of LIRCAEI’s activities. The idea of the white cube as the modernist symbol of white dominance and representation of Western aesthetics acts as a catalyst for LIRCAEI not only to intervene in the plantation system with a post-colonial approach, but also to critically engage with artistic experimentation and cultural diversity.

Curated by CATCP, the inaugural exhibition of LIRCAEI featured works by African artists such as Irene Kanga and Mathieu Kasiama alongside international artists such as Kader Attia, Luc Tuymans, Carsten Höller, and Marlene Dumas. The event also represented the beginning of the “Post-Plantation” model; a five-year programme designed to slowly implement a creative workforce while strengthening the current economic model by allowing local communities to benefit from their lands.

Camille Regli: You are back in Congo with The Repatriation of the White Cube, which aims to bring back socialeconomic, and cultural capital to whence it originates. From the early 20th century onward, multinational organisations spent decades in the area of Lusanga exploiting the plantation territory for their own purposes. The wealth generated by these plantations significantly contributed to financing art, for instance, the Unilever series at Tate Modern. Through this project, you are trying to change the mindset of Lusanga’s people by artistically and economically empowering them. Can you tell me more about how you started working with them, and how you have experienced the project throughout?

Renzo Martens: After having made Episode III – Enjoy Poverty, I felt frustrated that the economic, intellectual and artistic spin-off of that film was in global cities only, and that the film had next to no impact on the lives of the people whose circumstances it documented. In order to still think that art could be meaningful, I felt the need to strategically determine the localities where my art dealing with economic inequality would have an effect. In 2012, I organised IHA’s first activity—a seminar on these matters on a former Unilever plantation in Congo.[4] The participants included Richard Florida, Eyal Weizman, TJ Demos, Marcus Steinweg, Nina Möntmann, Elke Van Campenhout, and more.[5] In the end, IHA was expelled from that site by the company that bought that plantation from Unilever, called Feronia. They said we were inciting civil violence. So René Ngongo—one of the participants of the Opening Seminar—co-founded CATPC in Lusanga, to make sure that they would be major drivers of the economic return that critical art could have.

CR: In the film Episode III – Enjoy Poverty, you state that poverty is Africa’s best export image to the world from which Western societies benefit, but which does not truly improve Africa’s conditions. You’ve also mentioned in an interview that, “These people can’t live off plantation labour. But I think they can live off critical engagement with plantation labour.” (The Guardian, January 2015) From an artistic point of view, what impact or result have you experienced so far from the White Cube’s programme?

RM: The White Cube is always a problem—its perceived neutrality masks the power structures and gross inequalities that allow art, as we know it, to exist. Even if study programmes in many global cities try to understand and critically engage with this problem, it brings hardly any solutions to the other half. It is time for the people who (in economic and ideological terms) have constructed our White Cubes—without ever having been asked whether they wanted one or what they would do with it—to take control over one and decide what to do with it. This is an educational moment for everyone involved. To repatriate the White Cube to Lusanga is an act that unravels white privilege and the blind spots it produces.

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