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.

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

LUIS CARLOS PATRAQUIM

Luís Carlos Patraquim (Maputo, March 26, 1953) is a poet, playwright and journalist from Mozambique.

He moved to Sweden as a refugee in 1973. In 1975, he moved back to Mozambique, where he worked for A Tribuna magazine, the Agência de Informação de Moçambique (AIM), the Instituto Nacional de Cinema de Moçambique (INC) and Tempo magazine.

He has lived in Portugal since 1986.

Some of his works include:

Mariscando luas. Lisboa, Vega, 1992

Com Chichorro (ilustrações) e Ana Mafalda Leite

Lidemburgo blues. Lisboa, Editorial Caminho, 1997

O osso côncavo e outros poemas (1980–2004). Lisboa, Editorial Caminho, 2005

Antologia de poemas dos livros anteriores e poemas novos

Com um texto de Ana Mafalda Leite: O que sou de sobrepostas vozes

Pneuma Lisboa, Editorial Caminho, 2009

A Canção de Zefanías Sforza (romance) Porto, Porto Editora, 2010

Antologia Poética. Belo Horizonte, Editora UFMG, 2011. Coleção Poetas de Moçambique

PICTURE: https://sunshinesocialistcinema.wordpress.com/2013/03/17/the-birth-of-cinema-in-mozambique/

REVOLUTION 3.0

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