UTE FENDLER

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.

Articles

  • “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.

WARNING! NOT FIXED

We are proud to give you a little insight on the project of Ulf Vierke and Delio Jasse, Warning! Not Fixed

Warning! Not Fixed is a story about the act of looking and the illusion of images. It highlights the ephemeral that is also characteristic for this end of photography as process. There is one central question: How does the process of remembrance work? Images, namely strong images or artworks in our memory are different from what we usually call knowledge. Images ‘adhere’, they stick to our memory usually without being on hand immediately. But do they really become disposable in the sense of applicable knowledge later on? The hypothesis underlying our experimental installation rather assumes that the initial image stays intact without being remembered as such; in the process of remembering the image we create new images instead of bringing back the initial one. Thus like retouches we put layer over layer of new-remembered images on top of the initial one. A consequence of the “remembering” is not a destruction but distancing of the original image. In our installation every individual act of looking at the image pushes one-step away from the initial image. The individual process of remembering described above is turned into a collective process. Warning! Not Fixed is as much about the individual’s process of remembering an image, as it is about the collective venture “archive”. The archive unfolds as a process not that much about the past but about futures, possible future remembrance.

ULF VIERKE

Ulf Vierke is the director of Iwalewahaus, museum for contemporary African arts and the African Studies Center of the University of Bayreuth. Furthermore is the head of DEVA, the digial research archive of the African Studies in Bayreuth. Additionally he acts as Principal Investigator at the Bayreuth International Graduate School of African Studies (BIGSAS). Together with Ute Fendler and Nadine Siegert he is a leading researcher at “Revolution 3.0”, one of the subprojects of the Bayreuth Academy of Advanced African Studies. In his curatorial practice he focuses on photography and contemporary media arts, mostly in the Eastern African and lusophone context.

KARA LYNCH

kara lynch is a time-based artist living en exilio in Brooklyn, NY. Born in the auspicious year of 1968. Ambivalent towards hyper-visual culture, she is curious about duration, embodiment, and aural experience ; and through collective practice and social intervention lynch explores aesthetic/political relationships between time + space. Her work is vigilantly raced, classed, and gendered – Black, queer and feminist. kara is a member of Interdiciplinario, La Linea, a feminist artist collective on the Tijuana/San Ysidro border. She completed her MFA in Visual Arts at UCSD, a Permaculture Design Certification from the Center for Bioregional Living, and and has been a research fellow in the African and African Diaspora Studies Department, University of Texas, Austin and the Academy for Advanced African Studies at Bayreuth University in Germany. She currently earns a living as an Associate Professor of Video and Critical Studies at Hampshire College in Amhest, MA.

Major projects include: ‘Invisible’ – an episodic, speculative installation and performance project; ‘Mouhawala Oula’ – a trio performance for oriental dance, live video and saxophone, ‘Black Russians’ – a feature-length documentary; and ‘The Outing’ – a video travelogue. Awards for her video and performance work include iFilms and PlanetOut and Individual artist grants from Lila Wallace, NYFA, NYSCA, Paul Robeson Foundation, and Franklin Furnace. She has participated in various artist residencies: Arts International Residency in Moscow; the Banff Centre for the Arts; el Laboratorio Fronterizo de Escritores/Writing Lab on the Border; and the Civitella Ranieri Center in Italy. She is published in XCP Streetnotes, Ulbandus Review, BFM, contributed audio to Cabinet Magazine, video to PocketMyths, and drawings/writings to the Encyclopedia Project v.II F-K. lynch is currently co-editing the forthcoming anthology: We Travelled the Spaceways Black Imagination, Fragments and Diffractions.

NADINE SIEGERT

Nadine Siegert is the Deputy Director of Iwalewahaus, University of Bayreuth. She studied Cultural Anthropology at the University of Mainz,
where she worked in the African Music Archive until 2008. In 2012, she finished her PhD thesis on Angolan Contemporary Art Production. Since 2007, she curated exhibitions such as Nástio Mosquito – Dzzzz (Bayreuth 2008), António Ole – Hidden Pages (Bayreuth 2009), Contrary Alignment (Nairobi 2009), Portraits of a Slippery Look (Nairobi 2010), GhostBusters I and II (Berlin 2010/2013), and Mash Up (Bayreuth 2015).

She is an Associated Project Leader of sub-project 5, Revolution 3.0 and forms part of the curatorial team of the upcoming exhibition, Future
Africa – Visions in Time.

http://www.iwalewa.uni-bayreuth.de/de/index.html

http://www.buala.org/en/autor/nadine-siegert

SAM HOPKINS

Sam Hopkins is an artist whose work responds to the specific social and political context within which he is living, exploring and re-imagining elements of daily life. As his practice is triggered by a context, it exhibits a broad spectrum of both media and content. Much of his work orbits around issues of public space and the negotiation of participatory practice. Critical to this engagement is a keen attentiveness to the ways in which media produce realities, as opposed to simply transmitting them.
Sam grew up between Kenya and England and studied Art in England, Cuba and Germany, returning to Nairobi in 2006. He has participated in a broad spectrum of local and international exhibitions, is currently a PhD research candidate at the University of the Arts London (UAL) and works as a Kulturstiftung des Bundes Fellow at the Iwalewahaus Bayreuth. He was recently named one of the 100 Leading Global Thinkers of 2014 by Foreign Policy (FP) Magazine.

Exhibitions and Festivals (Selection)

2014: Once Upon A Time, Makerere Art Gallery (UG)
          Dakar Biennale, Dakar (SEN)
2013: Mashup the Archive (curatorial), Iwalewa Haus, Bayreuth (GER)
          Africa, Uebersee Museum, Bremen (GER)
          Once Upon A Time, Goethe Institut Johannesburg (SA)
2012: Nairobi; A State of Mind, Kunsthaus Bregenz, Bregenz (A)
          Truth is Concrete; Steirischer Herbst, Graz (A)
          Dead Insects in my Parents Pool, Roots Contemporary, Brussels (BEL)
2011: Conversations in Silence, Goethe Institut Nairobi (KEN)
          Ueberlebenskunst, HKW, Berlin (GER)
          ‘Not in the Title’ (Solo Show), Iwalewa Haus, Bayreuth (GER)
          The Urban Culture of Global Prayers, NGBK, Berlin (GER)
2010: Afropolis,Rautenstrauch-Joest-Museum, Cologne (GER)
          Mwangalio Tofauti, Nairobi Museum (KEN)
          Qui Vive II Moscow International Biennale (RUS)
          Sketches (Solo Show), Goethe Institut Nairobi (KEN)
          Afropolis (Nairobi) Goethe Institut Nairobi (KEN)
          Stereotypes, Mombasa Law Courts (KEN)

Bayreuth Academy of Advanced African Studies

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.

Future – Concepts