Do you say I am lying? - Jimmie Durham

Do you say I am lying? -  Jimmie Durham Jimmie Durham brings to the surface the issue of the truth of the artwork, probably one of the most relevant themes in a world that is constantly forgetting about the fictional nature of art – not necessarily implying that it lacks an intrinsic paradoxical truth in its materiality and representational nature.

04.12.2019 | by Delfim Sardo

I am not here. I am here Notes on an accidental body-place

I am not here. I am here  Notes on an accidental body-place Pathological states such as ‘land disease’, ‘tired head disease’ and even ‘disease caused by the hand’ allude to the states of anxiety, instability and vulnerability suffered by these communities, but also the loss of location in relation to the cultural and geographical space occupied by the subjects. They also convey the state of intense negotiation that exists between ‘negative supernatural forces’ and unequal social and political structures, in a place halfway between the land of origin and the land of arrival.

04.10.2019 | by Rita Fabiana

Union Jacking. The voice of the voiceless

Union Jacking. The voice of the voiceless Yonamine has theatrically composed the gallery walls with posters made out of a selection of articles from Zimbabwean newspapers, paintings and video animations, showing several graphic references of power such as Napoleon figure and the Ku Kux Klan uniform presented in a navy blue adulterated version colour that evokes the uniforms of Zimbabwe's workers. All these elements are presented as political propaganda in the eve of an election, personifying the conqueror's evil thirst to reach power and control by keeping the opposition voiceless.

26.08.2019 | by Cécile Bourne-Farrell

A brief reflection on the the Portuguese prison photo project exhibition at the Museum Aljube - resistance and freedom

A brief reflection on the the Portuguese prison photo project exhibition at the Museum Aljube - resistance and freedom This space, therefore, has huge symbolic significance as a place to host an exhibition about contemporary prisons, and it matters that the two distinct narratives are not confounded. The Portuguese Prison Photo Project invites its viewers to consider the work of two photographers on regular prisons in Democratic Portugal of the 21st century, accompanied by other photographs of prisons selected from diverse national archives.

19.08.2019 | by Fátima da Cruz Rodrigues

"Africa and the end of the black atlantic" - Paul Gilroy

"Africa and the end of the black atlantic" - Paul Gilroy My talk will discuss the altered ecology of belonging that has emerged into Africa’s diasporas during the decades since “Black Atlantic” was published. My discussion of the problems that this has raised will centre on several key themes. They include the fortification of the overdeveloped countries, the impact of new communicative technologies on conceptions of solidarity, relationality and mutuality, the resurgence of extractive capitalism, and the export of generic racial identities from the USA to the whole world.

08.07.2019 | by vários

Black In/Visibilities contested

Black In/Visibilities contested The title of the conference incorporates the tensions, ambiguities and paradoxes of Blackness in Europe. At the same time as black histories, cultures and social conditions are made invisible in hegemonic accounts on Europe, there is a hypervisibility and presence of black stereotyping in European popular culture. Also, while the concept of race has largely disappeared from political, sociological and administrative discourses (in continental Europe), and while the disengagement with institutional and structural racism has been reframed in new capitalist post racial rhetorics, racial markers still have currency, and black bodies continue to be invoked as either tolerated guests at best, or threatening intruders at worst. The consequence is the practice of “embodying an identity that is declared impossible even though lived by millions”, namely as non-white Europeans, and specifically as Black Europeans. This identity has become even more conditioned by a new mainstreaming of right-wing discourses and the tightening immigrant and refugee policies that affect people of African descent.

24.06.2019 | by vários

Lost Lover: what would we say if we could tell the story

Lost Lover: what would we say if we could tell the story The exhibition Lost Lover speaks about the political, historical and geographical conditions through which knowledge is produced and controlled. The screening program assembled by Lara Koseff was originally presented in Rio de Janeiro, in the courtyard of Lanchonete, now in Rampa, Porto. In the front room, 11 single-channel video pieces are projected in a loop. The authors, who are mostly from South Africa, confront us with the abandon of fear, thus calling to action topics that are often and strategically silenced.

12.06.2019 | by Eduarda Neves

"The Unbalanced Land" by Adrián Balseca

"The Unbalanced Land" by Adrián Balseca The title of the exhibition refers to Trotsky’s theory of uneven and combined development and, particularly, to its rereading by Harvey through the concept of “uneven geographical development”. If Marx considers that space is annihilated by time in the capitalist system, The Unbalanced Land carries out a reflection on the modalities of space production and the spatio-temporal relations in late capitalism.

21.05.2019 | by Raquel Schefer


(RE)MEMBERING / (FOR)GETTING by Rita GT No centro de todos os poderes imperialistas, Portugal incluído, existiu sempre uma incrível habilidade para esquecer, uma fábrica incrível de esquecimento. A tarefa dos artistas, escritores e pensadores é de analisar este processo de ‘lembrar e esquecer’.

23.01.2019 | by George Shire

Interview with Myriame Morel-Deledalle, exhibition curator of Connectivities

Interview with Myriame Morel-Deledalle, exhibition curator of Connectivities This exhibition addresses the question of cities and their connectivity in the Mediterranean over two radically different time periods. The first section follows a well known historical and geographical sequence through time and space, the Mediterranean of the 16th and 17th centuries, by exploring the connections between six cities (three from the Hapsburg Empire, and three from the Ottoman Empire) which were allied, in opposition, or in a power dynamic of domination. Here the itinerary of the exhibition reflects the geographical space of the Mediterranean : visitors enter in the east by Istanbul, circulate towards Venice and Algiers, before approaching the western part of the Mediterranean, from Genoa to Seville, concluding in Lisbon, the opening to the Atlantic. In the second section, the exhibition presents the cities of the contemporary Mediterranean : two metropolises (Marseille and Casablanca) and two megacities (Istanbul and Cairo).

15.10.2018 | by vários

Nova Lisboa

Nova Lisboa Taking these portraits as a starting point, what segregation does is to create contradictory sentiments between the delectable nostalgia of a privileged minority and the disavowal of a brutally exploited majority. All of history can be interpreted in multiple ways, like a work of art, and in Jasse’s work the myriad readings available to the observer are left open in an approach that is utterly unpretentious.

14.09.2018 | by Kiluanji Kia Henda

Festa do Avante, although hidden, conflicts exist over all three days

Festa do Avante, although hidden, conflicts exist over all three days Creating this illusion of a post-utopian world that conceals war has a price: the absence in those three days and in that space of any type of explicit conflict, even contradiction: there is no place for the conflict of generations, gender, music, of tents of national and international producers, and so on.

09.09.2018 | by António Pinto Ribeiro

Behind the Scenes at the Museum

Behind the Scenes at the Museum The newly modernised Central African Museum at Teruvren does not do away with the old, nor does it resolve the question of what purpose an African museum serves in Europe, today. Instead, those visiting when it re-opens will be confronted with the uneasy relationship between past and present that Tervuren will always embody - and with the lingering presence of King Leopold's ghost.

26.05.2018 | by Ana Naomi de Sousa

On "Learning to live with the enemy", by Pedro Neves Marques

On "Learning to live with the enemy", by Pedro Neves Marques Permanecemos incapazes de escutar e compreender o diálogo entre uma androide ameríndia e o milho transgénico – a quem pertence a humanidade, afinal de contas? Para a coexistência destas diferentes cosmologias – modernas, animistas ou tecnofílicas – não existe sonho ou ficção capaz de as apreender num todo, apenas a perceção de que o mundo lhes dá lugar incessantemente e que a posição de inimigo, mais do que a natureza ou a cultura, marca as suas fronteiras.

10.07.2017 | by Pedro Lapa

Panoramic in Moving Fragments, or Mónica de Miranda’s Twin Visions of (Un)Belonging

Panoramic in Moving Fragments, or Mónica de Miranda’s Twin Visions of (Un)Belonging Miranda’s work is deeply marked by family memories and experiences and, more broadly, by the collective histories of Portugal and Angola. In Panorama, her focus on the psychic and physical remnants of several pasts – colonial, post-independence, post-Cold War, post-civil war – within natural, urban and architectural landscapes of Luanda and beyond serves the larger purpose of examining the contradictions of the present and imagining alternative futures.

05.07.2017 | by Ana Balona de Oliveira

Looking After Freedom?

Looking After Freedom? The idea of freedom as a point of arrival – an accomplishment that lies behind us, materialized and monumentalized; freedom as a ballot, a single gesture hinged to a turning point; freedom carved in stone, set on a hill, allegorized in a recognizable form; freedom as a lofty place we ascend to, is one that can be counterpoised to freedom as departure, as work and process; an immaterial, contingent ideal; an ambition and responsibility which escapes and evades one’s grasp, but to which one continuously commits.

08.06.2017 | by Nancy Dantas

The Promised Land

The Promised Land For centuries enslaved Africans were taken to Europe and America to serve as workforce. These individuals were forced into submission and considered sub-human. They were brutalized and treated worse than animals by other individuals, and their institutions, which thought of themselves as civilized and modern. These enslaved men and women suffered and despaired, and dreamt of a life before, and of a land more familiar and kind. So, out of the insanity of misery and helplessness, they would eat the soil in the hope of being taken back to that time and land of before.

10.11.2016 | by Ana Rita Canhão

An interview with the Zimbabwean gallerist Jimmy Saruchera

An interview with the Zimbabwean gallerist Jimmy Saruchera For other mediums such as sound art and video art to gain traction in Afrika, I think they need to be taken out of the gallery or museum environment and put into the mobile environment where people are. This entails modifying the model of collecting, where alternative commercial models better suited to mobile consumption of content come to the fore. The onus is on these new art platforms in Afrika to look deep within their cultures and societies and innovate the mediums themselves to make art more relevant for their communities.

14.10.2015 | by Inês Valle


Brasil BRASIL is a photobook project that is the result of eight years of photographing culture, landscape, architecture and the visual magic I found in Rio de Janeiro, Sao Paulo and Salvador de Bahia. Made on analog film, the photographs are personal portraits that illuminate a fluid, syncopated, and complex contemporary Brazil, seen through the lens of my Rolleiflex camera.

30.09.2015 | by Kristin Capp

Lonesome Warriors. About Africa at the Olympic Winter Games

Lonesome Warriors. About Africa at the Olympic Winter Games The Olympic Winter Games in Sochi, Russia started on February 7 with the Opening Ceremony, where 88 athletes bearing the flags of their respective nations led their national delegations into the Olympic Stadium. When a lonely man representing Zimbabwe entered on position 26, one could have asked two questions: Why is a Zimbabwean the 26th, if there is an alphabetical order? And, probably more interesting, what is a man from the southern Africa doing at Olympic Winter Games?

26.02.2014 | by Robin Nuss