CATPC is critical of the plantation system, an extractive and exploitative colonial construct with dangerous labor conditions, low wages, and environmental devastation among its faults.
[2] CATPC’s sculptures have gained international recognition, with exhibitions at renowned venues including SculptureCenter, Kunsthal Charlottenborg Biennale, 22nd Biennial Sesc_Videobrasil, SCCA Tamale, KOW, Hayy Jameel, EYE Filmmuseum, among others.
They worked with Kinshasa-based artists Michel Ekeba, Eléonore Hellio, and Mega Mingiedi to exchange ideas and develop the creation of critical art.
[5] CATPC comprises 25 members:[6] Djonga Bismar, Alphonse Bukumba, Irène Kanga, Muyaka Kapasa, Matthieu Kasiama, Jean Kawata, Huguette Kilembi, Mbuku Kimpala, Athanas Kindendi, Felicien Kisiata, Charles Leba, Philomène Lembusa, Richard Leta, Jérémie Mabiala, Plamedi Makongote, Blaise Mandefu, Daniel Manenga, Mirra Meya, Emery Muhamba, Tantine Mukundu, Olele Mulela, Daniel Muvunzi, Alvers Tamasala and Ced’art Tamasala.
[9] These conferences brought together academics, artists, curators and CATPC members to engage in critical discussions covering a wide spectrum of activities in Congo – from art to society to the economy.
Designed by OMA, the architecture and nomenclature draw on the modernist art historical tradition of white cube galleries and the privileges and gatekeeping associated with these types of institutions.
"[13] The White Cube museum, central to CATPC’s artistic and social initiatives, is complemented by various facilities, including a conference center, atelier for art creation, and ecological farming gardens and fields.
[18] The making of the NFT sparked a controversy in the press, addressing concerns about CATPC’s loan requests and their usage of the VMFA’s photograph of the Balot sculpture.
In Daniel Boffey's The Guardian article, a VMFA spokesperson was quoted for saying that the “image was lifted directly from the museum’s website without permission, which violates our open access policy and is unacceptable and unprofessional”.
The book provides an initial report on CATPC's activities, portraying the uniqueness of its members and partner institutions, aiming to challenge postcolonial power relations within the global art world.