Ângela Ferreira, structures et gestes — Indépendance Cha Cha & #BucketsystemMustFall

Exhibition from 04 July 2021 to 25 September 2021

#BucketsystemMustFall - Centre d’art Ygrec-ENSAPC, Aubervilliers (93)

-Opening on Saturday 03 July from 2.30 pm to 7 pm

-Open from Wednesday to Saturday from 1pm to 7pm 

Indépendance Cha Cha  - Centre d’art de l’Abbaye de Maubuisson, Saint Ouen-L’Aumône (95)

-Opening on Sunday 04 July from 2.30 pm to 6.15 pm 

-Booking mandatory - 01.34.33.85.00 

Open each day except for Tuesday from 1pm to 6.15pm Wednesday 9.30am - 11.45am and 1pm - 6.15pm


From July 4 to September 25, 2021, the exhibition  Ângela Ferreira, structures and gestures - Independence Cha Cha & #BucketsystemMustFall unfolds on two sites: the art center of the Abbaye de Maubuisson, located in Saint Ouen-L’Aumône (95) and Ygrec-ENSAPC, art center of the Ecole nationale supérieure d’arts Paris-Cergy located in Aubervilliers (93).  Ângela Ferreira proposes two distinct installations in relation to the two specific contexts: on the one hand the architectural heritage of the abbey’s gardens, and on the other hand the urban density and the history of migration in Aubervilliers.

In the barn of the Maubuisson Abbey Art Center,  Ângela Ferreira presents Independence Cha Cha, an installation composed notably of a large-scale wooden sculpture. Inspired by her participation in the Lubumbashi Biennial (Democratic Republic of Congo) in 2013, the sculpture borrows its modernist form from that of the façade of a service station located in the center of Lubumbashi created by the Belgian architect Claude Strebelle in the late 1950s. This sculpture serves as a support for the projection of two videos. The first documents a performance organized by the artist during the Lubumbashi Biennale, in which two singers sing the song «Je vais entrer dans la mine» (I’m going to enter the mine). In the second, which gives its title to the work, the musical group of the Hôtel du Parc of Lubumbashi interprets «Independence Cha Cha», an emblematic hymn of the African Francophone independence movement. Interacting with the sculpture is a series of collages that include photographs and various documents related to the events presented in the videos.

At Ygrec-ENSAPC,  Ângela Ferreira proposes a new installation specially designed for the art center. Entitled #BucketsystemMustFall, it refers to the South African student protest movement #RhodesMustFall, initially directed against the memorial statue of Cecil John Rhodes (British colonialist, 1853-1902), a symbol of the persistence of institutional racism within the University of Cape Town. On March 9, 2015, in order to call for its removal, activist Chumani Maxwele grabbed a bucket of excrement and dumped it on the statue. This highly publicized gesture led to the removal of the statue and initiated a strong mobilization across South Africa advocating for the decolonization of education and universities. By bringing together the images of the fallen statue with precarious latrines, Ferreira articulates the ideas of debunking, political activism with the symbolism of the “bucket system toilet”, a blatant revelation of social inequalities and segregation. Finally, “and by implication only, it points to the question and meaning of using human feces as a tool for political statement. An image which seems to have become central to South African urban problems.”

From facades to monuments,  Ângela Ferreira’s double exhibition bears witness to her interest in architecture and the investigative work that the artist carries out to make visible the political agendas and ideologies that constructions - in all their forms - convey. Combining research and artistic experimentation, her works - be they sculptural, video or photographic - explore the survivals and ghosts of colonialism and post-colonialism in contemporary society. They contribute to uncovering unofficial memories and narratives and the insidious mechanisms of oppression, while problematizing the revolutionary utopias of the euphoric period surrounding African independence movements and nation building.

In order to share the artistic and social interrogations inherent to  Ângela Ferreira’s work beyond the two exhibition sites, a series of discussions and a seminar will be organized with the Théâtre de La Commune d’Aubervilliers in the fall of 2021, inviting students, researchers and associations. 

Curated by: Corinne Diserens, Marie Menèstrier et Guillaume Breton

*Ângela Ferreira 

Originally from Mozambique, where she was born in 1958, Ângela Ferreira grew up in South Africa where she received her MFA at the Michaelis School of Fine Art at the University of Cape Town. She lives and works in Portugal and teaches at the University of Lisbon where she completed a PhD in 2016. 

Her work has been presented in Portugal, Africa and internationally in solo exhibitions which include: A Spontaneous Tour of Some Monuments of African Architecture, Hangar, Lisbon (2021); Talk Tower for Forough Farrokhzad, Tensta Konsthall, Stockholm (2021); 1 Million Roses for Angela Davis, Staatliche Kunstsammlungen, Dresden (2020); Dalaba: Sol d’Exil, Fidelidade Arte, Lisbon (2019); Pan African Unity Mural, MAAT – Museu Arte Arquitetura Tecnologia, Lisbon, (2018); Boca, Centre Régional de la Photographie, Douchy-les-Mines (2016); Wattle and Daub, Old School, Lisbon (2016); Hollows Tunnels, Cavities and more…, Filomena Soares Gallery, Lisbon (2015); A Tendency to Forget, Museu Berardo, Lisbon (2015); Messy Colonialism, Wild Decolonization, Zona MACO SUR, Mexico (2015); Revolutionary Traces, Stroom, Den Haag (2014); SAAL Brigades, Museu de Serralves, Oporto (2014); Independance Cha Cha, Galeria do Parque, Vila Nova da Barquinha (2014); Political Cameras (from Mozambique series), Stills, Edinburgh (2012); For Mozambique, Michael Stevenson Gallery, Cape Town (2008); Hard Rain Show, Berardo Museum, Centro Cultural de Belém, Lisbon and La Criée art center, Rennes (2008)… 

She has participated in numerous group exhibitions as well as several international biennials such as the 3rd Lubumbashi Biennial (2013), the 28th São Paulo Biennial (2008)  the 52nd Venice Biennial (2007).

02.07.2021 | by Alícia Gaspar | #bucketsystemmustfall, ângela ferreira, Art, exhibition, indépendance cha cha, South Africa

Performa Gala Honors Okwui Enwezor

11.07.2016 | by martalanca | Okwui Enwezor, South Africa

Call for Papers - The (un)making of Southern Africa beyond and across borders

The conference CIRCULATIONS - The (un)making of Southern Africa beyond and across borders”, between 3 and 4 November 2016, in Johannesburg, invites scholars from a variety of disciplinary backgrounds (history, sociology, anthropology, area studies, cultural studies, art history, etc.) to rethink the region’s past and present in its multiple transnational intricacies and complex maps of connectivity, beyond and across borders. We encourage interested scholars to send paper proposals for 20 minutes presentations in any of the following indicative, but not exhaustive, areas:

– Borderlines: the making and unmaking of borders in Southern Africa.

– Of Settlements and Diaspora: rethinking migration and settler colonialism.

– Dangerous liaisons: security and circulation under colonialism and apartheid.

– Migrating power: networks and movement during liberation struggles.

– Pathways of circulation: social histories of infrastructure (roads, railways, etc).

– Bodies on the move: histories of legal and illegal migration, for labor and leisure.

– Intersections: the politics of race, gender and class in transnational movements.

– Knowledge unbound: scientific cooperation and circulation of scholars and ideas.

– Celebrating togetherness: the politics of cultural diplomacy and official visits.

– Moving objects: consumption, material cultures and the social worlds they make.

– Moving words: circulation of newspapers, correspondence, books, etc.

– Moving images: photography, film, art, and visual culture across borders.

– Moving sounds: the making and circulation of music beyond borders.

– Entangled representations: circulation of writers, artists, filmmakers, etc.

Potential contributors should submit a short abstract (no more than 200 words) and a career description (one paragraph, no more than 15 lines) no later than May 31, 2016. Notification of acceptance will be sent out on June 15, 2016. Draft papers are expected on October 1, 2016, and will be pre-circulated amongst participants. We intend to publish a collection of essays in an edited volume or journal issue.

Abstracts should be sent to both the organizers:

Caio Simões de Araújo (caio.simoes@graduateinstitute.ch)

Ana Balona de Oliveira (ana.balona.oliveira@gmail.com)

For more information, click here.

04.05.2016 | by claudiar | borders, call for papers, colonialism, South Africa

Call for Papers - The (un)making of Southern Africa beyond and across borders

Between 3-6 November, Johannesburg will host the conference “The (un)making of Southern Africa beyond and across borders”.

This conference invites scholars from a variety of disciplinary backgrounds (history, sociology, anthropology, area studies, cultural studies, art history, etc.) to rethink the region’s past and present in its multiple transnational intricacies and complex maps of connectivity, beyond and across borders. We encourage interested scholars to send paper proposals for 20 minutes presentations in any of the following indicative, but not exhaustive, areas:

– Borderlines: the making and unmaking of borders in Southern Africa.

– Of Settlements and Diaspora: rethinking migration and settler colonialism.

– Dangerous liaisons: security and circulation under colonialism and apartheid.

– Migrating power: networks and movement during liberation struggles.

– Pathways of circulation: social histories of infrastructure (roads, railways, etc).

– Bodies on the move: histories of legal and illegal migration, for labor and leisure.

– Intersections: the politics of race, gender and class in transnational movements.

– Knowledge unbound: scientific cooperation and circulation of scholars and ideas.

– Celebrating togetherness: the politics of cultural diplomacy and official visits.

– Moving objects: consumption, material cultures and the social worlds they make.

– Moving words: circulation of newspapers, correspondence, books, etc.

– Moving images: photography, film, art, and visual culture across borders.

– Moving sounds: the making and circulation of music beyond borders.

– Entangled representations: circulation of writers, artists, filmmakers, etc.

Potential contributors should submit a short abstract (no more than 200 words) and a career description (one paragraph, no more than 15 lines) no later than May 31, 2016. Notification of acceptance will be sent out on June 15, 2016. Draft papers are expected on October 1, 2016, and will be pre-circulated amongst participants. We intend to publish a collection of essays in an edited volume or journal issue.

Abstracts should be sent to both the organizers:

Caio Simões de Araújo (caio.simoes@graduateinstitute.ch)

Ana Balona de Oliveira (ana.balona.oliveira@gmail.com)

More information here.

27.04.2016 | by claudiar | borders, call for papers, Conference, South Africa

The Futures of Culture, Anthropology Southern Africa Association 2011 Conference

3- 6 September 2011, Stellenbosch University, South Africa
During apartheid, anthropology taught at Afrikaans universities,volkekunde, supported a racist polity through teaching essentialist, biological and evolutionist notions of culture. Such social evolutionist
notions of human difference were what anthropologist Franz Boas wrote against when he referred to habituated knowledge and tradition in his notion of the culture concept. In South African liberation struggle discourse, racial and cultural classifications were also understood to be socially and politically constituted, rather than essential. Now, here in southern Africa as well as elsewhere in the world, ‘culture’ is often again used to mean innate, unconscious drives - so it is sometimes used as
an alibi for misogyny, sometimes as an alibi for race-hatred. Contributing to a popular tendency to redefine both race and culture as biological, genetic scientists tell us that culture can be found in human DNA. Where do we, who study humans past and present, stand in relation to the tradition of a culture concept? Do we write against a notion of culture, presenting our work in terms of ‘community’, income-group, language-group, race, class, citizenship? What are the futures of ‘culture’ as a category to think with? Does the privileging of the ‘culture’ concept end up eliding questions of class, materialities and political economy? And we wonder what the future of anthropology, and other disciplines in which sociality is considered (such as the social sciences more generally, English Literature, Film and Media studies, Race, Gender and Queer Studies, Disability Studies, African Studies, Cultural Studies, Heritage Studies, Archaeology and History) would look like without a notion of culture.
We encourage submissions that concern conceptual frameworks as well as those that present fieldwork analysis.
Keynote speaker: Prof. Achille Mbembe, Prof. Charles Piot
Send proposals for panels to asna@sun.ac.za until 15 April 2011.  The proposed panels and the contact details of the panel coordinators will be circulated once they are available. Abstracts for papers can be submitted to asna@sun.ac.za from 15 April 2011. Early registration is encouraged.
Organisers: Thomas Blaser, Kathleen McDougall, Steven Robins, Eleanor Swartz, Kees Van der Waal, Handri Walters, Tazneem Wentzel

10.03.2011 | by franciscabagulho | african studies, cultural studies, South Africa