Sérgio Afonso The boy with the camera and the camcorder

Sérgio Afonso The boy with the camera and the camcorder And he answers that the production company that he is part of, Generation 80, was born under a very good star: “there is a crisis in the world, money is for some people ever more difficult to get, but technology is also more at hand for everybody. There are advantages in these days of bureaucracies and problems getting a foot in the door – you don’t need an investment of millions to work in this field and to make a film with a camcorder.”

23.07.2012 | by Marta Lança

AFRICAN MUSIC IS GOING TO GET AN EVER HIGHER INTRNATIONAL PROFILE

AFRICAN MUSIC IS GOING TO GET AN EVER HIGHER INTRNATIONAL PROFILE He paid a visit to studios in the musseques (local neighbourhoods), he had talks with producers to give support for his Akwaaba Music, a digital platform dedicated to African music and pop culture, providing visibility for quality people in music who don’t have the structure needed to go far in the business. In the last 3 years, Lebrave has produced works with more than 70 artists from 15 African countries and has been working on the development of a global network covering the production of contents, digital distribution, marketing and licensing.

23.07.2012 | by Marta Lança

Yonamine, from Luanda to the world

Yonamine, from Luanda to the world Yonamine is very spontaneous in his work: he thinks about pictures or objects, old photographs, cigarettes packs, or curious textures, then follows their trail to create, to subvert certain applications and to give them other semiotic readings, by reinventing the fragments of different memories in a register of composed intelligibility. Conflict and unpredictability abound in his work and it’s this not classifiable side that troubles, in a good way, who watches it. You can immediately feel the urgency, and this may come largely from living in Angola.

14.04.2012 | by Marta Lança

Risking what opens the way, interview with António Pinto Ribeiro

Risking what opens the way, interview with António Pinto Ribeiro A particular cultural expression results from an expectation that a group has in relation to the culture and the world, but also in its hereditary burden, in what, in the English-speaking world, is well called heritage. Of course, because of tradition or expectation, many of these cultures and groups come into conflict. It may be productive, since it is assumed as a normal part of democracy. As there is negotiation between groups and cultural expressions, where the intervention in the city and political and social issues cannot be replaced by culture, we find ourselves in a rich and democratic situation. Cultural productions should translate that.

06.10.2011 | by Marta Lança

The Future of Arab Revolts: interview with Samir Amin

The Future of Arab Revolts: interview with Samir Amin Isn't only about toppling the reigning dictators, but it is an enduring protest movement challenging, at the same time, both various dimensions of the internal social order, especially glaring inequalities in income distribution, and the international order, the place of Arab countries in the global economic order.

19.09.2011 | by Samir Amin

Urban Africa: Pan-African View

Urban Africa: Pan-African View David Adjaye, one of the leading architects from his generation, living between London and New York, returned to Lisbon. 'Urban Africa - A Photographic Journey' was the reason why. This exhibition, recently launched at the Black Pavilion of Lisbon City Hall Museum, is a photographic tour but also a retrospective of memories from an architect who never left Africa. 
Born in 1966, in Tanzania, from a family of diplomats, he was soon forced to understand the inevitability of travelling, the need to readapt and redefine oneself. Nevertheless, the nomad lifestyle didn’t break his strong relation with the African continent. His work confirms his deep relationship with its landscapes and its places. In Urban Africa (and also in this conversation) David shares his panoramic view of this vast territory and his – spoken – will to live there again.

01.06.2011 | by Rita Palma

How The Zebra Got Its Stripes

How The Zebra Got Its Stripes Why am I not black. Or rather, how did I end up a Mozambican? These questions about identity are normal. They come up more often when I’m not in Mozambique due to (I assume) lack of historical knowledge. But what does a Mozambican look like? Mozambique, as a nation, didn’t exist until 1975. It was then it was born, a carrier of other nations within its borders, of ethnicities as varied as Shangana, Makonde, descendants from Swahili and Arabs from the North, descendants from Goan, Pakistani, Portuguese, Ronga and so on. With that new country came a new nationality — Mozambican.

27.04.2011 | by Rui Tenreiro

Fragments of Reality. Interview with Mário Macilau

Fragments of Reality. Interview with Mário Macilau Mário Macilau is a photographer (of fragments) of reality. Macilau is a teller of stories and as he narrates he meditates through his images on the social, political and economic environment in his country and in the world, which he explores in its unfeigned naked and raw form. As he states himself, he does not stage or create the photographic moment. His images are instantaneous. He does not seek them, he finds them. Camera in hand, he approaches the countless anonymous people who appear in his work – it is the movement of contemporary man and his relationship with space that interest him.

11.04.2011 | by Sílvia Vieira

Kiluanji Kia Henda to me

Kiluanji Kia Henda to me Interview carried out by online chat, at various times and on various days, punctuated by continual breaks in the Internet connection that maps out the transatlantic and ex-colonial triangulation between Luanda, Angola – Kiluanji Kia Henda’s home, a city that I have never visited; São Paulo, Brazil – my temporary home and the place where I first met Kiluanji, a place that is close to the origin of the series presented here; Lisbon, Portugal – my permanent home, source of the schedule drawn up by my computer and Kiluanji’s ex-temporary home.

08.04.2011 | by Lígia Afonso

The World is an Island

The World is an Island Passando tempo no mercado, a Feira do Ponto da cidade de São Tomé, Olavo pintou várias séries de quadros com vendedoras. Falava com elas enquanto desenhava esboços, retratou-as na sua vida pública de trabalho. Na tela, as mulheres, cestos e bacias à cabeça, crianças nas costas, a luta diária: ganhar a vida, cuidar da família. O confronto com a vivência quotidiana das vendedoras sobrepôs-se ao seu impacto figurativo e os contornos das mulheres emanciparam-se para delinear os estreitos corredores do mercado. As mulheres moldaram-se nos trajectos repisados por elas todos os dias, e mais tarde os trajectos devolveram-se às mulheres na multiplicidade dos seus caminhos interiores, mais extensos e complexos.

15.03.2011 | by Nuno Milagre

AN “OBRONI” IN GHANA From the mouth to the mind

AN “OBRONI” IN GHANA From the mouth to the mind While it is true that African art largely takes place in the Northern hemisphere, and while its major (political, financial, philosophical, aesthetic etc.) advances have taken place here, it is true that the African continent is increasingly asserting itself as an exceptional relational space for cultural agents.

28.02.2011 | by Marta Mestre

Journeys between the lines

Journeys between the lines To interpret what it means to be a traveller – in present day terms – is a multifaceted exercise, put in the spotlight even further by the geography and culture that define the point of departure and that of arrival. Human “latitude” is what you find between the distance travelled from the beginning to the end. For many, it’s an agent provocateur that creates a field of artistic and intellectual experimentation where the force of innocuous space takes us to all sorts of exchanges and the construction of new concepts.

02.01.2011 | by Jorge Rocha

In the city we are almost predators

In the city we are almost predators The beard was long and white and the hair long too but flowing loose. The face was burnt by the sun and an enormous love for the Namibe desert, where he had spent his childhood . He had been enchanted by the dunes, which looked to him like mountains of gold glittering in the distance. Samuel Aço is the main force behind the Centro de Estudos do Deserto (Centre for Desert Studies). This is an association in the heart of Namibe, in southern Angola, delving into the secrets of one of the country's most inhospitable regions.

09.12.2010 | by Pedro Cardoso

Meirinho Mendes, actor extraordinary

Meirinho Mendes, actor extraordinary Meirinho has a voice which conveys conviction, the look in his eye is steadfast, his body unflinching, though bursting at times with a provocative impetuosity. He is an actor with great vitality: his energy spills over and has to be worked on with the discipline that the theatre demands. And this at times is difficult because Meirinho is, as a person, over the top. But this very feature, channelled into the theatre, can give birth to genius.

29.11.2010 | by Marta Lança

The Beauty of elusive Architecture –António Ole's exhibition “In the skin of the city”

The Beauty of elusive Architecture –António Ole's exhibition “In the skin of the city” n his new exhibition project In the skin of the city (Na pele da cidade) António Ole talks about space. It is about his hometown Luanda, but could be any other city as well. A place, where he stopped on one of his many travels, to absorb it's particularity. To absorb and let it be inscribed into his very own skin. In the past years he has seen many places during his travels for various exhibitions in the international art-world.

27.11.2010 | by Nadine Siegert

“The oral tradition is for me a cult”, interview Ana Paula Tavares

“The oral tradition is for me a cult”, interview Ana Paula Tavares born in Huíla, in the midst of an unjust colonial society. There were pastors there. What I owe to the Nyaneka society is poetry, music, the sense of smell, southern orientation. Contact (for anyone in the process of assimilation) was forbidden to us. And it was for this very reason stronger. To learn and to know who they were and who we were was always linked to the paradigm of orality, the flame that wells from being of a place, being aware of the cycles, respect for difference, and an abhorrence of injustice.

07.11.2010 | by Pedro Cardoso

Self-Portrait As a White Man

Self-Portrait As a White Man Fonti Gallery presents the second solo exhibition of the Angolan photographer Kiluanji Kia Henda. The show is a project developed by the artist between Venice and Luanda in the framework of the international residency programme Art Enclosures produced and created by Fondazione Venezia and organized in collaboration with Polymnia and Bevilacqua La Masa Foundation in Venice.

21.10.2010 | by Kiluanji Kia Henda

“What I do best is what is most deeply rooted in us” - Paulo Flores

“What I do best is what is most deeply rooted in us” - Paulo Flores Paulo Flores is a musician, singer and composer. In terms of music in Angola, his voice is unmistakable. His career spans 20 years, he has made 11 records, he has placed his stamp on Angolan music, and he has renovated Angolan culture. His music pays tribute to his homeland, his lyrics put him in the vanguard. His last work is the trilogy “ExCombatentes” (Veterans). The three parts (“Viagem” (Journey), “Sembas” (Semba Music) ande “Ilhas” (Islands) is nothing short of a virtuoso display of talent.

21.10.2010 | by Marta Lança

Carlos Paca “Theatre and its instant feedback is the real deal”

Carlos Paca “Theatre and its instant feedback is the real deal” When it comes to being black, they are much more open minded and the struggle for work is taken seriously. They still complain, of course. But the difference is that a black actor in Brazil is a Brazilian, but in Portugal you feel like an immigrant - and how! If we are excluded from all sectors of society, what can we do? But there’s the other side of the coin: what do black actors do to counteract this situation?

11.10.2010 | by Marta Lança

René Tavares: "(Un)finished"

René Tavares: "(Un)finished" "René Tavares translates lines, dashes, blots, a personal synthesis of his own identity always in process (“unfinished”) set in constant movement in between past and present references". The last exhibition at Galeria Bozart (Lisbon).

07.10.2010 | by Lúcia Marques