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/

ATO MALINDA

Ato Malinda lives and works in Rotterdam, The Netherlands. She has a Masters of Fine Art (MFA) from Transart Institute, New York and is a PhD candidate at Leiden University and the Royal Academy of Art in The Hague. She works in the mediums of performance, drawing, painting, installation and video, as well as has a growing interest in object-making. Her previous work has focused on Afrocentricity based in a postcolonial context. Within this context, Malinda has focused on the hybrid nature of African identity, contesting notions of authenticity. Through her research, Malinda has discovered numerous histories of intermingling of Africans through colonialism, but also trade, with other cultures. In addition, Malinda focuses on ontology of the female experience pertaining to Africa, examining gender and ideologies surrounding the history and current state of gender and sexuality in Africa. She has exhibited at Neue Gesellschaft für Bildende Kunst (NGBK) in Berlin (2011), Museum für Moderne Kunst Frankfurt am Main (2014), the National Museum of African Art, Smithsonian Institution (2015), Salon Urbain de Douala in Cameroon (2010) and the Karen Blixen Museum in Copenhagen (2010).

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Selected Solo Exhibitions

2013 GAMES, Savvy Contemporary, Berlin

2011 Incommensurable Identities, im Rahmen von IMAGINE – towards an ecoaesthetic, The Aarhus Art Building, Aarhus

2009 Dans Mon Brun, Doual’art, Douala

2009 Solo exhibition at Goethe Institute Nairobi: Looking at Art; Looking at Africa; Looking at Art, Prison Sex II.

Selected Group Exhibitions

2012 Untitled January 2012, Roots Contemporary, Brüssel

2011 the Urban Cultures of Global Prayers, Neue Gesellschaft für Bildende Kunst (NGBK), Berlin

2011 One Minutes Africa, at Townhouse Gallery, Cairo

2011 FOCUS 11, Contemporary Art Africa, Art 42 Basel

2011 Fertile, South London Gallery, CONTEMPORARY AFRICA ON SCREEN, London

2011 Kaddou Diggen, La Paroles aux Femmes, Women Speak Out, Galerie Le Manège, Dakar

2010 Salon Urbain de Douala, SUD2010: Douala Triennial, Douala

2010 II Trienal Luanda 2010. Luanda

2010 My World IMAGES, Contemporary Arts Festival 2010, Copenhagen, Denmark. Rebuilding, Remembering & Renewing, Karen Blixen Museum, Rungstedlund

SYOWIA KYAMBI

Miriam Syowia Kyambi (b.1979) is a multi-media artist of Kenyan and German heritage based in Nairobi, Kenya. Her work combines performance with impermanent and permanent mediums including clay, sisal, paint and photography. Much of her work dissects and brings to question perception and memory. She examines how the contemporary human experience is influenced by constructed history, past and present violence, colonialism, family and sexuality.

Often the result is an orchestration that engages the viewer in a dynamic process that leaves behind a powerful visual impression.

Syowia graduated with a Bachelor of Fine Arts degree from the School of the Art Institute of Chicago, USA (2002) where she resided for five years before returning to Kenya in 2003.

She has been the recipient of several prestigious awards and grants including 2nd place in the UNESCO Award for the Promotion of the Arts; the Art in Global Health Grant from the Welcome Trust Fund in United Kingdom; a grant from Mexico’s External Ministry of Affairs; and commissions by the Kenya Institute of Administration, the National Museums of Kenya and the Art 4 Action Foundation in Kenya. Her work has been shown in Belgium, Finland, Kenya, Mali, Mexico, South Africa, and the United States of America.

by Nabila Alibhai

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

THE ICON LAB

The Icon Lab is one of the methodological instruments used in the research of the subproject. It´s not only a physical space in the Academy but also a portable, universally usable and applicable method of research.

The background of the development of this method was the task of dealing with images/ pictures related to ´revolution` and ´utopia` properly, in order to avoid unfounded assumptions that are not located in the images´ content. It would have been to simple, for example, to conduct research based on images supplied by the internet to draw conclusions in regards to visual cultures around the two guiding concepts of revolution and utopia, since then the project would have established fixed archives. Those would have only reflected the trends of the time: the project started in 2013. The ´arab spring` would have been emphasized as well the images of political figures like Muammar Gaddafi and Robert Mugabe, that display an existing dispositive in Africa, dictatorial geriatric regime and power. Therefore the method of the Icon Lab seemed to be more appropriate in terms of the complexity of African visual cultures and their diasporas. The archive that is in question is only being created through the participants of the Icon Lab itself.

Icon-Lab

The question on revolution is consciously asked in a very broad sense, since the term can be used in a lot of different ways and areas. The shared characteristic however is the fact that revolution is always about radical social change, which expresses itself also on images or is even generated in images. We refer here to Hobsbawm´s definition of revolution in ´The Age of Revolution`(1962): revolution as a drastic, persisting social change. What and how it is changed depends on the participants´ own understanding of revolution. Hence, the definitions of revolution, handed in in images as a form of visual communication, extent from decolonialisation to the implementation of democracy and the civil rights, the overcoming of apartheid and segregation, as well as cultural techniques and the change of the conditions of production.

The choreography of the method is explained easily: guests and research partners of the Academy are invited to bring five images that speak about revolution to them. Speak is understood here in the way Bredekamp uses it in his picture act model (Bredekamp 2007): in his „Theorie des Bildakts“ images are seen as actively speaking, posing statements.

screen shot session frank marshall at schoko-1
Mobile version of Icon Lab in a session with photographer Frank Marshall, Bayreuth, October 2013

This assumption structures Bredekamp into the ´schematic` (the images as exemplification), the ´substitutive` (the images acts as a body, e.g. the double helix) and the ´intrinsic`, where the power of the image is derived from its formal elements. Bredekamp remains vague in the identification of the point or relation in the image through which the energy of the images transforms. Something similar is described by the photographer William Greiner, whose work is engaged in the presence of iconic images, like Martin Luther King´s or Malcom X´s. “Insignificant objects in the frame take on larger symbolic meaning,“ writes Greiner. “We as viewers are left to consider images frozen in time, altered not by their aging but our own.”

Icon Lab Participants amongst:

Gilbert Ndi Shang/Kamerun, Sam Ndogo/Kenia, Alain Ricard/Frankreich, Mauro Pinto/Mozambique, Luis Carlos Patraquim/Mozambique, Licinio Azevedo/Mozambique, Kara Lynch/USA, Emeka Alams/USA, Sidney Casfir/Kenia, John Mateer/Südafrika, Jim Chuchu/Kenia, Jessica Williams/USA, Ato Malinda/Kenia, Tosh Gitonga/Kenia, Serawit Bekele/Äthiopien, Ronex/Uganda, Youssef Wahboun/Marokko, Peggy Piesche/Deutschland, Marco Russo/Österreich, Tobias Rupprecht/Deutschland, Frank Marshall/Südafrika, Kupakwashe Mtata/Zimbabwe, Kae Sun/Kanada,…