Zambian skull (plus Zambian guide) in a London art gallery

The Thai-born artist, Pratchaya Phinthong, mines Zambia's colonial history to explore how historical narratives are performed through objects.

Pratchaya Phinthong, Broken Hill, 2013. Commissioned by Chisenhale Gallery. Photo: Mark Blower.

The gallery description of Pratchaya Phinthong’s 2013 art-work, ‘Broken Hill’, includes the body of a living Zambian man. ‘Plinth, perspex, replica skull, paper document, copper nails, postcard and a guide – Kamfa Chishala.’ The Thai-born artist’s work has transported Chishala, a museum guide from the Lusaka National Museum, to the Chisenhale Gallery in east London (until September 1st). Phinthong’s work is concerned with the ways in which human bodies become the material of history, “examining” the exhibition leaflet says, “how historical narratives are performed through objects”. In ‘Broken Hill’, the opposite is also true: an object is performed through a human narrative. This work presents a replica of the ‘Broken Hill’ skull, a unique and contested object in the history of pre-history.

The visitor enters the space where the replica skull is presented alongside its custom-made box, and the museum guide springs to work, giving his own introduction to the object. Chishala takes the visitor to one wall where the official documentation allowing the replica skull to leave Zambia is presented. And when he has finished we talk informally about his journey here and experience of London until another visitor enters.

Discovered in 1921 in Broken Hill, Northern Rhodesia (now Kabwe, Zambia), the original skull resides in the National History Museum in London, who made this replica for the Lusaka National Museum. The skull, also called the Kabwe skull or fossil, was used to describe Rhodesian man, or homo rhodensiensis. This species lived between 300,000 and 125,000 years ago, and are considered to be the direct contemporaries to the homo heidelbergensis, reconstructed from the remains found near Heidelberg in Germany. The ‘Broken Hill’ skull has been a critical object in the identification of the ancestors of homo sapiens in both Africa and Europe. The difference, now, is that a European museum does not entrust to Zambia care of the pre-history of their land.

In order to remove the replica from Zambia, Phinthong had to offer a replacement – the replica skull is, apparently, a major attraction at the museum – which the artist found on the internet. Bringing the replica to London, Phinthong and the Chisenhale Gallery have manufactured a superfluity for the city which should embarrass the National History Museum. London now has an excess of ‘Broken Hill’ skulls. The second, replica skull may teach us more – about pre-history, and its politics in the present – than the original skull.

Further Reading

The sound of revolt

On his third album, Afro-Portuguese artist Scúru Fitchádu fuses ancestral wisdom with urban revolt, turning memory and militancy into a soundtrack for resistance.

O som da revolta

No seu terceiro álbum, o artista afro-português Scúru Fitchádu funde a sabedoria ancestral com a revolta urbana, transformando memória e militância em uma trilha sonora para a resistência.

Biya forever

As Cameroon nears its presidential elections, a disintegrated opposition paves the way for the world’s oldest leader to claim a fresh mandate.

From Cornell to conscience

Hounded out of the United States for his pro-Palestine activism, Momodou Taal insists that the struggle is global, drawing strength from Malcolm X, faith, and solidarity across borders.

After the uprising

Following two years of mass protest, Kenya stands at a crossroads. A new generation of organizers is confronting an old question: how do you turn revolt into lasting change? Sungu Oyoo joins the AIAC podcast to discuss the vision of Kenya’s radical left.

Redrawing liberation

From Gaza to Africa, colonial cartography has turned land into property and people into populations to be managed. True liberation means dismantling this order, not redrawing its lines.

Who deserves the city?

Colonial urbanism cast African neighborhoods as chaotic, unplanned, and undesirable. In postcolonial Dar es Salaam, that legacy still shapes who builds, who belongs, and what the middle class fears the city becoming.

Djinns in Berlin

At the 13th Berlin Biennale, works from Zambia and beyond summon unseen forces to ask whether solidarity can withstand the gaze of surveillance.

Colonize then, deport now

Trump’s deportation regime revives a colonial blueprint first drafted by the American Colonization Society, when Black lives were exiled to Africa to safeguard a white republic.