DÁ FALA

Exposição de Yonamine

no Espaço Cultural Elinga Teatro

OPENING 11-12-13, 19H 

Largo Tristão da Cunha 17   Luanda, Angola 

“Curating: Expectations and Challenges”

SAVVY | art.contemporary.african. (ISSN 2191-4362)

We are proud to announce the 4th edition of the SAVVY Journal dedicated to “Curating: Expectations and Challenges”. 
Contributors in this issue deliberate on current curatorial theories and practices in the framework of Contemporary African Art, wherein ideologies and philosophies, sciences and economics, ethics and aesthetics of the curatorial practice and the semantics of exhibition making are elaborated upon, and framed around questions like:
What are the prominent issues of display and curating that inform and condition exhibition-making? What is the understanding of authorship in this context? What is the relationship, point of intersection and repulsion between artistic and curatorial practice as instigators of meaning in an exhibition context? How does the curator serve as power broker between society, artists, institutions, community, politicians and financiers? Is there a cognizable methodology in curating Contemporary African Art exhibitions with regard to Western or non-Western curators?

In the essay Of Curating and Audiences. Art at Work Simon Njami reflects on the target and audience of an exhibition, especially outside of the traditional places of consecration, like museums and biennials. Ugochukwu-Smooth Nzewi’s Curating Africa, Curating the Contemporary: The Pan-African Model of Dak’Art Biennial gets to the crux of the Dak’Art Biennial’s vision of mediating international contemporary art with a curatorial practice that advances pan-Africanism as a point of departure. Perrin Lathrop picks up on the sprouting of biennials in Africa in Localising the Global Biennial? The Encounters of Bamako: African Biennial of Photography, 1994-Today. Still in the context of biennials on the African continent, Carson Chan gives an insight to the yardsticks and lodestars in the preparatory phase of the 4th Marrakech Biennale “Higher Atlas” in Let Me Entertain You: A Consideration of Context and Audience in Curating the 4th Marrakech Biennale. The questions of the politics of curating and the tension between the artistic positions on the continent and those in the Diaspora are tackled by Raphael Chikukwa in Confronting the Unevenness in the Politics of Curating Contemporary African Art: Questions of Blockbuster Exhibitions and their Western Influences. Jelle Bouwhuis gives his view as to “What is a ‘Postcolonial Exhibition’”? The evolution of artistic positions and art spaces in Africa is aptly articulated by Nana Oforiatta-Ayim in her paper Speak Now. Anne Szefer Karlsen and Nico Anklam round-up with further salient essays.

TRANSIT_BRASÍLIA 2012  SINDIKA DOKOLO Colecção Africana de Arte Contemporânea
Curadoria | Daniel Rangel e Fernando Alvim
ABERTURA | 04 Outubro 2012, das 19h às 22h
CAIXA CULTURAL BRASÍLIA

Inauguração: 26 de Setembro 2012, 22 horas (patente até 10 de Novembro)

Baginski, Galeria / Projectos

Pontus é a segunda exposição individual de Délio Jasse na Baginski, Galeria/ Projectos. O artista apresenta um conjunto de fotografias através do qual reflecte acerca do actual momento de Luanda, enquanto nódulo para o qual convergem fluxos humanos e culturais diversos, e cuja coexistência redefine as paisagens urbana e populacional de Angola.

A reflexão de Délio Jasse incide sobre os recentes movimentos imigrantes - de origem chinesa, sobretudo - que animam actualmente a cidade de Luanda, num processo de simultânea reavaliação da memória da presença colonial portuguesa em Angola. Pontus é, assim, na noção definida pelo artista através de raízes etimológicas e demais conotações históricas da palavra, uma forma quase-arquetípica de confluência; um enredar, estratégico ou informal, de diversas formas de presença humana, muitas vezes radicalmente divergentes, dando origem a inevitáveis negociações culturais.

Das coincidências e contradições dos dois momentos temporalmente desencontrados na Luanda de hoje, advém o paralelismo da marca estrangeira no país e a forma como esta desperta ou redefine antigos fantasmas coloniais e tensões ainda latentes.

Eis-me aqui,
Gonçalo Mabunda,
metalmorfoseando
e esculpindo
a arquitectura dos sonhos na “Utopia da Lei”
Sabem, por vezes apetece deixar-me andar
e, já que a LEI não protege mesmo,
porque não ser um Homem sem Direitos? …

Gonçalo Mabunda

Gonçalo tem usado armas desactivadas da guerra civil de Moçambique, que durou 16 anos. Família, amigos, morreram durante esta guerra e cada obra sua é concebida para representar alguém que foi morto com esse mesmo material. Segundo as suas palavras “Se destruirmos as armas, elas não voltarão a matar”. Entre os seus trabalhos mais famosos, destaca-se a “Cadeira Tribal Africana”. É inspirada nas tradições étnicas africanas e representa uma crítica aos vários governos deste continente que constantemente manipulam conflitos armados para reforçar o seu próprio poder.

___

I’m here,
Gonçalo Mabunda
metalmorphosing
and sculpting
the architecture of dreams in the “Utopia of the Law”
You know, sometimes I feel like letting it go,
and, because the LAW does not realy protect,
why not be a Man without Rights? …

Gonçalo Mabunda

Gonçalo has been using desactivated weapons from the 16-year-long Mozambique civil war. Family, friends died during this war and his work tries to represent each person who died with this same material. In his words, “if we destroy the weapons, the same weapon’s not going to kill any more”. Among his most famous works there is the “African Tribal Chair”. It is inspired by african ethnic traditions and represents a critic to the several governments within Africa, who often manipulate armed conflicts to reinforce their own power.

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press realease

KAPELA | KILUANJI | CLÁUDIO CHOCOLATE | YONAMINE | FRANCISCO VIDAL | RITA GT || 
SOSO+ Rua Rainha Ginga, 100 - 1º | Luanda | Entrada Gratuita

Exposição com KAPELA | KILUANJI | YONAMINE | CLÁUDIO CHOCOLATE | FRANCISCO VIDAL | RITA GT. Um Anteprojecto da III Trienal de Luanda 2013

A FLCS – UEM tem a honra de convidá-lo(a) a participar, nos dias 28 e 30 e Março, em palestras sobre “Arte Contemporânra Africana” apresentadas por uma delegação de pesquisadores da Escola Internacional de Estudos Africanos da Universidade de Bayreuth na Alemanha.

Programa
Quarta – Feira  10h30 e 12h30
“ As perpectivas nos estudos da Arte Contemporânea em Africa”  por  Ulf Vierke e Nadine Siegert
“O Dom da memória. Drissi e a pintura ocidental”  de  Youssef Wahboun

Sexta – Feira  10h30 e 12h30
” Reflexões na epistemologia do trabalho fotográfico de CalvinDondo”  de Christine Scherer
“Mais Karga –Dança de kuduro em Luanda”  de Stefanie Alisch

As palestras terão lugar no Anfieatro 1502 da FLCS, Campus Pricipal da UEM (Universidade Eduardo Mondlane).

Hélder Leonel Malele
Técnico de Comunicação 
Departamento de Comunicação e Imagem

Faculdade de Letras e Ciências Sociais
Universidade Eduardo Mondlane - Campus Principal
web

Tel. 21492177/8
Ext. 1328
Fax 21 485 402

EDSON CHAGAS | BINELDE HYRCAN | NDILO MUTIMA

mostra de fotografia | instalação | vídeo

INAUGURAÇÃO  21 JANEIRO  -  18H30 

UNAP rua da alfândega 42-48 Luanda

A Raw Material organiza um simpósio internacional sobre construção de instituições de arte em África de 18 a 20 Janeiro.

Parte do simpósio poderá ser vista em: www.radioappartement22.com

+info: www.rawmaterialcompany.org

About Raw Material Company
Raw Material Company is a not for profit center for art, knowledge and society. It is an art initiative unfolding within the realms of exhibition making, commissioning, knowledge sharing, and archiving of theory and criticism. It works to foster appreciation and growth of artistic and intellectual creativity in Africa.

A geological theory called “The Shift” predicts that a shift on earth’s polarity occurs every 65 million years. At the end of each period, earth’s magnetic poles invert. North becomes South and South becomes North.

________________________________

‘SOUTH IS THE NEW NORTH’
OECD (Organisation for Economic Co-operation and Development) was founded in 1961 and grouped high-income economies with a high ‘Human Development Index’, regarded as developed countries.

Since 2007 the organization has been trying to get five of the largest “peripheral” countries: Brazil, China, India, Indonesia and South Africa to join. From the 1960’s perspective, it wouldn’t be expected that any of these countries would ever be invited to join the organization. Interestingly, since 2007, none of them to want to.

None of the now called E-5 (enhanced engagement) countries has comparable income to the “rich countries”. They did however grow enough to become important players in world’s economy. In 2009, for the first time since 1880, OECD countries amount to less than 50% of the world’s GNP. In the 80’s they represented 60% of the world’s economy and it is estimated that this share will continue to drop (44% in 2014 according to the IMF).

OECD now believes the organization simply “won’t be relevant” without the participation of these countries.

AFRICAN CONTEMPORARY ART

Along with Asian and South American art, African Contemporary Art is ‘hot’ these days. With a growing middle class and successful corporations all over the continent, Africans have started to look into (their) art both as a symbol of status and as an investment. Increasing international exposure and circulation also placed African artists on the map for contemporary art collectors. But where did this all come from? Is contemporary art in Africa a recent phenomenon?

Focusing mainly on the 1990 - 2010 period, ‘SOUTH IS THE NEW NORTH’ aims to spark the discussion and to show that contemporary art from Africa has been in the news since (at least) the 90’s.

‘SOUTH IS THE NEW NORTH - african contemporary art’ group show
PAINTING | SCULPTURE | PHOTOGRAPHY | VIDEO

17 September > 29 de October 2011

Thursday to Saturday, 14 h to 18 h

Galery Influx Contemporary Art
Rua Fernando Vaz, 20 B, 1750-108 Lisbon - Portugal
+ 351 91 850 1234

AFEDZI-HUGHES | ALMIGHTY | BODO | CHERIN | CISSÉ | IHOSVANNY | LILANGA | MACILAU | MASAMVU | MUCAVELE | SADIMBA | SAMBA | SEVEN-SEVEN | TCHALÉ | ZINKPÉ

Flag No Flags, in collaborazione con la Fondazione Sindika Dokolo, è particolarmente lieta di invitarti a Reggio Emilia nel suggestivo spazio della Chiesa SS Carlo e Agata all’inaugurazione della prima esposizione di:
F L U X U S _ African contemporary art, EXPO Art 2011
SABATO 9 LUGLIO 2011 - ORE 18.30
Chiesa Santi Carlo e Agata. via San Carlo 1 - Reggio Emilia
Prima esposizione [1 di 6]:

KILUANJI KIA HENDA - Angola  ‘Fluxus’

NASTIO MOSQUITO - Angola & VIC PEREIRO - Spagna ‘Find’ ‘Abuse to simplify’ ‘Customize objective mine’ ‘You what see’

TRACY ROSE - Sud Africa ‘The wailers’

l programma espositivo riunisce 12 autori internazionali, come Kiluanji Kia Henda (Angola), Nastio Mosquito (Angola) & Vic Pereiro (Spagna), Tracy Rose (Sud Africa), Zoulikha Bouabdellah (algeria), Mounir Fatmi (Marocco), Ihosvanny (Angola),  Yonamine (Angola), Ingridmwangiroberthutter (Kenia), Loulou Cherinet (Etiopia), Ruth Sacks (Sud Africa), oltre al grande William Kentridge (Sud Africa), che descrive la vita in Sud Africa negli anni della separazione razziale.

La prima iniziativa avrà come protagonisti Kiluanji Kia Henda con il video “Fluxus”, Nastio Mosquito & Vic Pereiro con “Find”, “Abuse to simplify”, “Customize objective mine”, “You what see” e Tracy Rose con “The wailers”, tutti dedicati a tematiche sociali di estema attualità.

La Fondazione Sindika Dokolo, grazie alla quale si è potuto realizzare il programma espositivo, è una delle poche fondazioni e collezioni d’arte contemporanea con sede in Africa, nella capitale angolana. Sostenuta e presieduta da Sindika Dokolo e diretta da Fernando Alvim, la fondazione si occupa di conservare, promuovere e valorizzare le oltre 3.000 opere dell’omonima raccolta, organizzando la Triennale di Luanda e partecipando ad esposizioni internazionali come la Biennale di Venezia, SD Observatorio.

*Nka Roundtable III: “Contemporary African Art and the Museum*
Over the next several weeks curators and directors of major museums in the United States, Germany, Japan, South Africa and the UK will engage in spirited but substantial discussion on the relationship between contemporary African art and the museum. I expect excursions into the history of this relationship, its crucial moments, state of affairs, and challenges that remain. In the process, we shall debate issues of presenting this material in art and ethnology museums; the politics of acquisitions and display; museums and scholarship; and the place of contemporary African art—relative to the “traditional” and western contemporary. I suspect that there will be surprising turns in the course of our discussion, but I am certain that the deliberations of this diverse, unprecedented and distinguished panel of curators will surely be of immense value to students and scholars working or interested in this exciting, dynamic field. 
Convener: *Chika Okeke-Agulu* (Princeton University)
Participants: *Marla Berns* (Director, Fowler Museum of Cultural History, University of California, Los Angeles), *Christa Clarke* (Senior Curator, Newark Museum, Newark, NJ), *Laurie Ann Farrell* (Director of Exhibitions, Savannah College of Art & Design Gallery, Savannah, GA), *Khwezi Gule* (Chief Curator, Hector Pieterson Memorial, Johannesburg), *Kinsey Katchka* (independent scholar/curator), *Yukiya Kawaguchi* (Associate Professor, National Museum of Ethnology, Osaka), *Clive Kellner* (Curator-at-Large, The Gordon Schachat Collection, Johannesburg), *Karen Milbourne* (Curator, Smithsonian National Museum for African Art, Washington DC), *Raison Naidoo* (Director Arts Collections, Iziko: South African National Gallery, Cape Town), *Enid Schildkrout* (Chief Curator/Director of Exhibitions, Museum for African Art, New York) *Chris Spring* (Curator, British Museum, London), *Ulf Vierke* (Director, Iwalewa-Haus, University of Bayreuth, Bayreuth), *Okwui Enwezor*, *Salah M. Hassan*.
You can follow or comment on the Nka Roundtable III e-panel here

a  arte contemporânea africana visa expandir o acesso às obras de artistas africanos pelo público em geral através do programa online de associados, facilitando assim, o diálogo entre comprador e galeria. O programa tem o objetivo de criar uma relação direta da  com o comprador, proporcionando-o o acesso a todas as obras das duas galerias e seus preços e facilitando o processo de reserva e compra de maneira simples.

+ info 

My Sketches de René Tavares

Do lado frio da trincheira de  Tchalé Figueira