Get involved with Kiluanji KiaHenda´s poetic video on Angola´s capital Luanda and its concrete manifestations, inspired by Ryszard Kapuscinski´s outstanding novelle Another Day of Life from 1976. What is being left behind? Download the booklet with reflections by Nadine Siegert here.
This project by Kiluanji Kia Henda is a poetic journey into a moment in time and space, both utopian and dystopian: 1975 in Luanda, Angola’s capital. After a liberation war and the Carnation Revolution in Portugal, it is the year before Angola finally became independent from its colonizer. The film describes an choking condition from the perspective of a Portuguese individual who is about to leave the country where he lived his whole live and who contrary to the independent Angolans who lived a utopian moment, saw no future. But he also doesn’t know where to go. Inspired by the first chapter of the book of the Polish journalist and writer Rychard Kapuscinsky, “Another Day of Life – Angola 1975”, this film also transports the images of modernist architecture of Luanda into the past. At the start of the projection the narrator wakes up from a nightmare, only to see that reality is just as hopeless as his dream world. It is his last day in the city and he is hesitant to leave.
Ute Fendler holds the chair of romance cultural and comparative studies at the University of Bayreuth. Francophone, Hispanophone, Lusophone literatures and film/TV (Africa, Caribbean, Canada, South America). Her main research interests are: intermedial and intercultural phenomenon, migration, iconographies, popular culture, performance.
Director of the Institute of African Studies (2011-2015), Deputy Director of Bayreuth Academy of Advanced African studies (since April 2015).
Some recent publications include:
U. Fendler et al.: Transformations. Changements et renouveaux dans la littérature et la cinéma au Maghreb depuis 1990. München: AVM, 2015.
U. Fendler/ Liliana Feierstein: Enfances? Représentations de l´enfance en Afrique et en Amérique Latine. München: AVM, 2013.
DVD-Edition: together with INAC (Instituto Nacional de Audiovisual e Cinema) and ICMA (Instituto Cultural Mocambicano-Aleaao): Imagems do mundo. DVD-Edition 2012 and 2013. Material from the Archives of INAC.
- “The missing people – the return of the „people“? Fictocritical positions in the art scene in Maputo”. In: OS INTELECTUAIS AFRICANOS FACE AOS DESAFIOS DO SEC. XXI, Actas da segunda conferência 2012, 2014, 317-330
- “Cinema in Mozambique: New tendencies in a complex mediascape.“ In: Critical Interventions, 2014, 18pp (online)
- “Narrating the Indian Ocean: challenging the circuits of migrating notions.” In: Michael Mann/Ineke Phaf-Rheinberger (eds): Beyond the Line. Cultural Narrations of the Southern oceans. Berlin: Neofelis, 2014, 179-198
- “Nouvelles icônes: enfants-soldats et jeunes guerriers.“ In: Fendler/Feierstein (eds.): Enfances? Représentations de l’enfance en Afrique et en Amérique Latine. München : 2013, 275-287
- “La question de l’universel ou Traveling Tales. L’exemple de Maryse Condé.“ In: Mourad Ali-Khodja/Jean-Francois Thibault: Des apories de l’universalisme aux promesses de l’universel : chantiers pour une réflexion. Québec: Presses Universitaires, “Mercure du Nord”, 2013, 73-85.
We are more than happy to announce the performance S.E.F.A. by Nastio Mosquito for our exhibition opening on the 7th of November. Be prepared, that´s one you shouldn´t miss.
Courtesy Nástio Mosquito ©, Photo by Margaux Kolly ©
“Se Eu Fosse Angolano” (S.E.F.A.) is a conceptual audiovisual / live piece of work that, using contemporary society, draws a distinct tone when approaching, questioning and repositioning the usefulness of identity. All citizens part of “modern societies” on planet Earth, specially the ones living in communities that seek to reinvent themselves after decades of either inner individual conflict or civil blindness, are the target of this project. Not being a happy listen, it is full of hope and ambition for a better and greater future. A future that reaches beyond those nations to the people that make them.
On stage, the challenge of the project is, to bring to life the concept we call “The Deconstruction Of The Legitimacy Syndrome” as well as to have the ultimate standoff between identity and motivation.
Motivation, belief, faith and its tangibility, use and consequence are at the centre of the proposal. If we had a question it would be:
Can you really change a human without interacting, invading, changing what he believes?
At the end of the day it is just a show that through music, poetry, video projections and live performance will race towards the interaction we have with our own relationships, history, emotional ghosts, social celebrations and much more…”
Nástio Mosquito born in 1981 in Angola, largely educated in Portugal, and now currently living in Belgium, Nástio Mosquito is emerging to be one of the most exciting artists of his generation and was recently awarded the Future Generation Art Prize. Rooted in the broadcast industry, where he worked previously as director and cameraman, his practice embraces video and music, performance and installation.
Theatrically, Mosquito takes centre stage in his work. He often assumes roles, through mimicry, in order to express ideas occurring to him, not so much as his own cherished beliefs but rather observations on human folly manifested in modern life. The distance between his actual identity and such characterisations enables him to express himself variously as being transgressive, cool, cynical, profane and vulgar. “Nástia”, a know-it-all with a Russian accent – a monster engendered by the Cold War – epitomises this tendency, and often makes an appearance.
Mosquito has performed at music festivals within the context of visual arts programmes – Biennale of Bordeaux (2009), Tate Modern (2012), Berardo Collection (2013) – whilst having a lively online presence, including an app, and a recently released album, Se Eu Fosse Angolano. Ikon presented DAILY LOVEMAKING, Nástio Mosquito’s first solo museum show from February –April 2015 in Birmingham
Previous group exhibitions include 9 Artists at Walker Art Center (2013); Politics of Representation, Tate Modern (2012); and the 29th São Paulo Biennial (2010).
Délio Jasse (Luanda, 1980) was born and raised in Luanda. He now lives in Lisbon where he settled in at the age of eighteen. His interest in different printing techniques was first aroused through his work with silk screens, although soon afterwards this led him to photography. He soon started experimenting with the different technical possibilities of this medium, especially the alternative processes such as the cyanotype, the platinum/palladium e the «Van Dyck Brown».
After his first exhibitions in Lisbon, in 2009 he won the ANTECIPARTE awards with the series Identidade Poética. Since then, his work began enjoying widespread international recognition, as evident in the several residencies and exhibitions in Portugal, Angola, Brazil and France. Among the group exhibition we recall, Present Tense (Fundação Calouste Gulbenkian, Lisbon, 2013), Pour un monde durable (Rencontres de Bamako – Biennale africaine de la photographie, Bamako, 2011) and África (Museu Nacional de História Natural, Luanda, 2010). We also remember the solo show Pontus (Galeria da UNAP – União Nacional dos Artistas Plásticos, Luanda, 2013) and Schengen (Baginski Galeria/ Projetos, Lisbon, 2010).
Picture by Herberto Smith (https://www.pinterest.com/pin/109704940899740878/)
The research project investigates the entanglements of aesthetics and politics in situations of radical social transformation, and the becoming of icons. What constitutes the ‘seismographic power’ of images, and the sustainability of icons in terms of radicalism? Central to our investigation are diachronic and transcultural filiations within visual culture in the ‚longue durée‘of lusophone Africa. These images are part of visual memory cultures and are enmeshed in thriving political-social movements and recent medial transformations. Our research firstly focuses on Mozambique, particularly because of the foundation of „Instituto Nacional de Cinema“ right after independence in 1975; established in order to produce and promote ‚homemade‘ images for Mozambicans; and conceptualized as a contrast to colonial imageries. Furthermore, Mozambique as part of the „socialist international“ formed an integral part of political dynamics (eg in Algeria, Angola, Namibia, Burkina Faso, Guinea Bissau), which found its expression in the iconographies of the time. This internationalism, both ideological and factual, resulted in references and relations which reach beyond Africa as a continent (and connect with, eg, Cuba, GDR, Chile). Contemporary visions of futures seem to meander between political-economic pragmatism and nostalgic utopias and evoke the question of actual ‘originality’. The core question here is the negotiation of recent and historical imaginations of future in iconographies of revolutions; and the investigation of visual archives. The research is located at the triangle of fine arts, film and virtual imageries in digital media such as the internet. “Revolution 3.0” is one of the five research projects of the interdisciplinary Bayreuth Academy of Advanced African Studies.
Picture: © Nayko – http://www.redbubble.com/people/nayko
Founded in October 2012 and inaugurated in a festive event on December 3rd, 2012, the “Bayreuth Academy of Advanced African Studies” will expand the horizon of the well-established field of African Studies at this University at international, national and local levels. Across a broad range of disciplines, it will open dialogues with other Area Studies as well as with fields of research dedicated to ‘systematic’ (i.e. non-regional) approaches. Thus, in its first phase (2012-2016), the Bayreuth Academy will fathom concepts of the future emerging from Africa and its diasporas from different academic perspectives. An essential concern is to engage in general debates about the concept of ‘future’ through insights gained from regional research, notably African Studies. The Federal Ministry of Education and Research (BMBF) is funding this project and the setting up of its institutional structures during the next four years.