Atelier BUALA à Kinshasa

19 juin - 10h - 15 espace culturel Aw’Art

Presentation du BUALA 

“Memorialisation: moyens de produire de la mémoire dans l’art et la ville” / Rencontre avec Marta Lança 

Nous examinerons les moyens de produire et de remettre en question la mémoire collective et la transmission de l’histoire, par le biais de monuments commémoratifs, de musées, de pratiques artistiques et documentaires. Notre mémoire culturelle et collective résulte de l’ensemble des politiques commémoratives et de leur rhétorique de légitimation, de culture visuelle, de pédagogies dominantes, d’artefacts et de symboles. Pour connaître les éléments qui interviennent dans la construction et la transmission de certaines mémoires collectives, nous devons comprendre les forces en jeu ici, ce qu’il est choisi de mémoriser, comment et par qui. À titre d’exemples de commémoration, nous tiendrons compte de l’histoire de sa controverse, puisque la mémoire s’articule avec la politique actuelle et accorde une valeur au côté plus subjectif, lié à l’expérience. Montrons des exemples d’artistes apportant de nouveaux visuels et contribuant à déconstruire certaines mémoires collectives, tels que des projets de conservation, des musées, des mémoriaux et des registres aux villes de pays lusophones.

“Vive ensemble : l´exposition d´art contemporain en tant qu expérience collective”/Rencontre avec Marta Mestre 
On discutera les enjeux de la mise en place d´une exposition d´art contemporain par le biais de son écologie sociale. 
Exercice collective, expérimentation, pratique sociale, art et vie, une exposition tien un rapport direct avec une pluralité de savoir-faire et avec des réseaux artistiques locales et internationaux qui peuvent se développer hors institution (musée, marché, et). 
A partir de quelques exemples de projets artistiques au Brésil et au Portugal, on présentera des démarches artistiques collaboratives.

Discussion sur e champ artistique/ critique d´art et la memoire. 

18.06.2019 | par martalanca | Art, Kinshsa, memoire

Re-Lembrar | Re-Membering | MAPUTO

O ponto de partida da exposição internacional Re-Lembrar (Mystery of Foreign Affairs) é uma reflexão sobre a vida entre culturas diferentes de vinte mil trabalhadores moçambicanos que trabalharam e moraram na República Democrática Alemã. Contudo, o projeto almeja também, de forma mais abrangente, contribuir para uma reflexão sobre as relações entre Europa e África, no passado e no presente.

A primeira parte da exposição decorreu em vários lugares da cidade de Schwerin, na Alemanha, entre setembro e novembro de 2017, com a participação de artistas de Moçambique, Angola, África do Sul e Alemanha. Nesta exposição, as obras de artistas como Dito Tembe, Iris Buchholz Chocolate e Katrin Michel abordam a temática das relações de intercâmbio da República Democrática da Alemanha com trabalhadores moçambicanos, conhecidos como Madgermans. Por seu turno, as obras de artistas como Matias Ntundo ou Gemuce proporcionam uma revisitação do passado colonial, enquanto os trabalhos de Edson Chagas e Zanele Muholi representam a presença e a questão de estereótipos e atribuições culturais no mundo atual.

A segunda parte da exposição decorre em dois espaços da cidade de Maputo, no Camões – Centro Cultural Português e na Fortaleza de Maputo, e estará patente entre 14 de junho e 27 de julho de 2018. Em Maputo, a exposição passa a incluir dois trabalhos sobre a Namíbia: Towards Memory, de Katrin Winkler, um projeto de vídeo e pesquisa que surgiu de uma colaboração com mulheres da Namíbia que foram enviadas em crianças para a RDA em 1979, aquando da luta da libertação e anti-apartheid no seu país. O segundo trabalho é intitulado Namibia Today, de Laura Horelli, e recorda a edição do jornal homónimo impresso na então RDA.

Em Maputo, são ainda apresentadas obras de Jorge Dias, Maimuna Adam, Gemuce, Dito Tembe, Luís Santos, Matias Ntundo, Iris Buchholz Chocolate, Edson Chagas e Katrin Michel. Através de diferentes meios, da instalação à pintura, passando pela escultura e vídeo, a exposição pretende contribuir para um trabalho de memória sobre o passado comum, bem como para uma reflexão sobre as relações atuais entre África e Europa.

20.07.2018 | par martalanca | Africa, african art, african artist, Art, Book art, Book objects, Conceptual art, contemporary art, diáspora, exhibitions, Found Objects, freedom, Installation, Maputo, migration, mozambique, post colonial

Post Doctoral/ Pre-Doctoral Fellowships in the Wits Art Museum, University of the Witwatersrand, Johannesburg

‘We invite applications for 2 Fellowship in the WITS ART MUSEUM at the University of the Witwatersrand, Johannesburg. These fellowships are funded by The Andrew W Mellon Foundation and will be situated in the Wits Art Museum. The positions will preferably be filled by Postdoctoral candidates, but we will consider strong applications from candidates with MA degrees intending to enroll for, or currently enrolled for PhDs. The fellows will work with the curators of the Wits Art Museum and the Chair in the Centre for the Creative Arts of Africa on a research-driven re-engagement with the collections of historical and contemporary African arts in the Wits Art Museum. We are therefore looking for fellows with research experience in one or more of the following fields: African visual art, African music, African performance arts, African dress. One of the main tasks of the fellows will be to help academic divisions in Wits and at other institutions access, engage with, and use the collections in teaching and research. They will have to outline and drive a series of seminars which will, at the end of the project, be published as a collection of essays. Fellows will be expected to participate in exhibitions and publications planned within the Wits Art Museum.
Each Fellowship will be for a period of 36 months (although we may consider terms shorter than that) and will include a stipend, a shared office with own computer, library access and a small research grant per year. The fellowship project will start in July 2012, and will end in July 2015.
Applications must be sent to Julia Charlton, (Senior Curator at WAM) Julia.Charlton@wits.ac.za, and should include:
Title and abstract of the doctoral thesis, or master’s thesis/research report
Copies of degree certificate (or a signed letter from a supervisor saying that the degree will be completed before the candidate is due to take up the position)
Copies of completed articles or published essays (if any)
A Curriculum Vitae (Resumé)
A letter of motivation.
The names and email addresses of two referees, one of whom should be the supervisor of the doctorate/MA dissertation.
Submission deadline 15 July 2012.’

15.06.2012 | par joanapereira | Art, Johannesburg, museum, university

"Hantologie des colonies"

Jeudi 10 novembre à 19h / entrée libre
Médiathèque de Noisy-le-Sec
Dixième soirée Hantologie des colonies
REJOUER L’HISTOIRE
Séance ouverte par Pauline Curnier-Jardin, artiste en résidence à la Galerie de Noisy-le-sec, qui présentera deux courtes vidéos La Vision de Dédé et Ami. Elle fera le récit de sa rencontre avec la question coloniale et l’impact de celle-ci sur certains de ses travaux.

Avó (Muidumbe)
(10 min, v.o. sous-titrée en français, 2009)

Nshajo (O Jogo)
(8 min, v.o. sous-titrée en français, 2010)
de Raquel Schefer
Dans Avó, Raquel, une étudiante en documentaire à Buenos Aires, réinterprète le passé colonial de ses grands-parents au Mozambique. Elle s’approprie, monte et manipule l’archive familiale super8 enregistrée par son grand-père, ex-administrateur colonial. L’artiste scrute l’imagerie pour en extraire les signes les plus marquants de la domination déguisée derrière la normalité apparente du quotidien familial. Elle essaie de reconstruire la vie familiale qu’elle n’a pas vécu et qu’elle sait être une partie de sa propre histoire. L’artiste convoque ainsi le temps mythique de l’épopée impériale portugaise et opère un mouvement de colonisation de l’imagerie et, au-delà, de l’espace de représentation circonscrit par son grand-père.

et

Joal la portugaise
(6 min, v.o. sous-titrée en français, 2004)
d’Ângela Ferreira
Joal la portugaise est filmé à Joal-Fadiouth, au Sénégal. La vidéo raconte, à la première personne, une des versions de l’histoire de la femme qui donna son nom à la ville, colonisée successivement par les Portugais, les Hollandais, les Français et les Anglais. L’œuvre fait référence aux « signares », femmes d’origine portugaise ayant joué un rôle important dans la politique et l’économie locales, source d’inspiration du poète Léopold Senghor, premier président du Sénégal indépendant, né précisément à Joal en 1906.
Projection en présence de Raquel Schefer suivie d’une discussion avec Pauline Curnier Jardin (artiste en résidence à la Galerie)
Pour en savoir plus sur ce film et avoir accès aux infos pratiques,
rendez-vous sur www.hantologie.com
Retrouvez aussi le Journal fantôme des colonies
sur le blog de Khiasma

08.11.2011 | par joanapires | Art, histoire, mozambique, senegal, vidéos

Trash Anthology - Anthology Trash by Yonamine

 Eduardo Aquino Eduardo Aquino

Yonamine was born in Luanda in 1975 and lived in Angola, the Democratic Republic of Congo, Brazil, UK and Portugal. His spatial installations and video works deal with Angolan history, simultaneously they are also inspired by popular culture and pop-art itself. The archeology of images from the collective archive is challenged by ironical comments concerning the present situation in Africa, playing with icons and heroic figures. Starting point for the installation Anthology Trash – Trash Anthology was the publication archive of the Iwalewa-Haus, whioch is deconstructed and questioning.

Exhibition Time: 27.11.11 to 04.03.12

Iwalewa-Haus, University of Bayreuth, Germany

 

 

01.11.2011 | par nadinesiegert | angola, Art, Bayreuth, exhibition, Iwalewa-Haus, trash anthology, yonamine

'Ordinary Rendition' / Peterson Kamwathi

Untitled Study, 2011Untitled Study, 2011

Peterson Kamwathi Waweru, born 1980 in Nairobi, has occupied himself for a long time with symbols and their meaning. In the exhibition he shows current drawings, woodcarving and graffiti, negotiating the historical, social and psychological mechanisms of conditioning and manipulation not only in his own society.

There is also a new publication - a cooperation with the Goethe-Institut and Verlag fuer Moderne Kunst Nürnberg, edited by J. Hossfeld and U. Vierke.

Exhibition from 27.11.11 to 04.03.12

Iwalewa-Haus, University of Bayreuth, Germany

 

 

 

01.11.2011 | par nadinesiegert | Africa, Art, Bayreuth, exhibition, Iwalewa-Haus, Kenya, Peterson Kamwathi

'Not in the title' / Sam Hopkins

Not in the title / photocollage 2011Not in the title / photocollage 2011

Sam Hopkins´ installation „Not in the title“ is inspired by Nigerian and Ghanaian horror movies from the collection of the Iwalewa-Haus. A selection of these movies is shown in the original version mixed with manipulated sequences that are integrated digitally. The installation asks about authenticity and searches for the reception of global artworks in a local context.

Sam Hopkins lives in Nairobi (Kenya). His art is concerned with public space and interactivity. Examples are the media collective Slum TV and Urban Mirror Nairobi.

Exhibition from 27-11-11 / 04-03-12

Iwalewa-Haus, University of Bayreuth, Germany

 

 

 

01.11.2011 | par nadinesiegert | Africa, Art, exhibition, Kenya, Nigeria, Nollywood, Sam Hopkins

IWALEWA-HAUS Archive Laboratory Utopia

In October 2011 Iwalewa-Haus celebrates its 30th anniversary - a motive to reflect, celebrate, critically discuss, experiment, imagine and visualize under the headlines of archive, laboratory and utopia. Exhibitions, a workshop and program take place in that context to present the past, present and future of Iwalewa-Haus.

The focal point of the archive tells the history of Iwalewa-Haus with the exhibitions ”Spuren - 30 Jahre Iwalewa-Haus’ and ‘Visions d’ailleurs’. In the laboratory we show three projects developed in the context of short time artist residencies by three young artists from Kenya and Angola. Finally utopia considers the future of Iwalewa-Haus. In an international workshop we discuss important topics such as local and international cooperations, museum pedagogics, teaching and research, exhibition and publication practises and the artist in residence program.

 

Iwalewa-Haus, University of Bayreuth, Germany.

 

 

01.11.2011 | par nadinesiegert | Africa, Art, exhibition

INTERNATIONAL WORKSHOP - New Spaces for Negotiating Art (and) History in African Cities

CFP: INTERNATIONAL WORKSHOP
New Spaces for Negotiating Art (and) History in African Cities
March 14-17, 2012 Point Sud, Centre for Research on Local Knowledge, Bamako, Mali Deadline: October 31, 2011

Prof. Dr. Kerstin Pinther, Art Historical Department, Arts of Africa, Free University Berlin Dr. Larissa Förster, Center for Advanced Studies “Morphomata. Genesis, Dynamics and Mediality of Cultural Figurations”, University of Cologne

In most African countries, cultural institutions like museums and art galleries, archives and art academies were established either by the colonial state or in the context of postcolonial nation building. Hence, the cultural field has often been shaped according to national aesthetics and/or thematic concepts and guidelines. Although many artists and activists have repeatedly criticized and distanced themselves from state-initiated cultural politics – as, for example, community archives and community art centres in Apartheid South Africa or initiatives like the “Laboratoire Agit-Art” in post-independence Senegal – from early on, it seems that particularly during the last two decades a series of new spaces and initiatives were created. They set themselves apart from municipal and/or state-affiliated institutions as well as from commercial (art) markets and created alternative models and platforms for negotiating art (and) history, reflecting upon and archiving art, visual culture and (cultural) history. Cases in point are the Contemporary Image Collective (Cairo), Doula’art (Douala), the District Six Museums (Cape Town) or Zoma Contemporary Art Centre (Addis Ababa), to name but a few.
Some of these initiatives aim to establish self-organized, non-hegemonic and experimental fields and orders of knowledge, others deliberately question institutions established by the postcolonial nation state, still others attempt at filling in where public institutions are undermined. In many cases, scholars, cultural practitioners, curators and artists as well as activists join to collaborate in these spaces. New forms of south-south- cooperation and transnational networking – including diasporic communities – are developed. This inter- and transdisciplinary workshop intends to take these independent spaces and initiatives as a starting point to discuss and analyze the expanding and diversifying field of cultural production and reflection in African cities.
We invite scholars and practitioners (founders, members and users of such spaces as well as artists and curators) to present case studies or comparative analyses with one or more of the following (research) focuses:
1) Histories
Against which historical backgrounds must the emergence of such spaces be read in different countries? How did they develop in different fields (art, culture, history), and in which ways are their histories connected?
2) Modi operandi: approaches, (curatorial) practices and strategies
How are these spaces organized and maintained? What curatorial practices, scientific and/or aesthetic strategies do they employ? Which media do they work with?3) Addressing and archiving the past
How do they reflect upon history? How and to what end do they acquire and work with (historical) collections and build (historical) archives?
4) Questioning canons
In what ways do such spaces comment on or even question canons of historical and art historical knowledge, e.g. established historical narratives or boundaries between art and (popular) culture etc.? Which theoretical and/or methodological debates do they draw upon or feed their work into?
5) Urban spaces and urban publics
How do these sites relate to the specific urban spaces and situations in which they have emerged? How do they engage with the broader urban public, with different audiences and groups of interested users and/or contributors? How do they affect the access and use of public space in African cities?
6) Revisiting state and municipal institutions
How do these initiatives position themselves vis-à-vis, relate to or collaborate with municipal or national institutions?
At the end of the workshop, possibilities and perspectives for a long-term cooperation between the workshop participants in the field of African Studies, Visual Culture Studies, Art History, Museum and Archive Studies will be explored. A publication of the workshop proceedings is envisaged.
We particularly encourage younger scholars and practitioners to submit a short CV and an abstract of no more than 500 words by October 31, 2011 to kerstin.pinther@fu-berlin.de and larissa.foerster@uni-koeln.de. Papers can be given in English or French. Contributors to the workshop will be asked to additionally chair one of the resulting 6 panels. Keynotes will be given by five invited speakers (t.b.a.) and will partly focus on alternative spaces in other regions than Africa. The project, which runs under the name “Programme Point Sud” of the German Research Foundation, will cover travel expenses and accommodation for all speakers.

22.09.2011 | par joanapires | african cities, Art, workshop

Between Art and Anthropology - Contemporary Ethnographic Practice

Between Art and Anthropology provides new and challenging arguments for considering contemporary art and anthropology in terms of fieldwork practice. Artists and anthropologists share a set of common practices that raise similar ethical issues, which the authors explore in depth for the first time.

The book presents a strong argument for encouraging artists and anthropologists to learn directly from each other’s practices ‘in the field’. It goes beyond the so-called ‘ethnographic turn’ of much contemporary art and the ‘crisis of representation’ in anthropology, in productively exploring the implications of the new anthropology of the senses, and ethical issues, for future art-anthropology collaborations.

The contributors to this exciting volume consider the work of artists such as Joseph Beuys, Suzanne Lacy, Marcus Coates, Cameron Jamie, and Mohini Chandra. With cutting-edge essays from a range of key thinkers such as acclaimed art critic Lucy R. Lippard, and distinguished anthropologists George E. Marcus and Steve Feld, Between Art and Anthropology will be essential reading for students, artists and scholars across a number of fields.

Arnd Schneider is Professor of Social Anthropology at the University of Oslo. Christopher Wright is Lecturer in Anthropology at Goldsmiths College, University of London.

27.08.2010 | par martalanca | Anthropology, Art