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Pascale Marthine Tayou em entrevista

Published9 Apr 2015

Tags pascale marthine tayou arte África

Pascale Marthine Tayou, artista camaronês, cujo trabalho de instalações combina objectos encontrados e um jogo de brincadeira com a sua função original, expõe agora em Londres, onde se pode ver "Boomerang", nas Serpentine Galleries. Em entrevista ao site Contemporary and fala do seu percurso, inspiração e de como a arte pode ter um papel na História, a partir da reflexão sobre as intervenções artísticas em Berlim a propósito d0 130º aniversário da Conferência de Berlim.

C&:The 130th anniversary of the Berlin Conference was commemorated by a number of artistic interventions, especially in Berlin.How do you view these types of interventions in relation to that moment in history whose repercussions are still felt in our contemporary realities?

Pascale Marthine Tayou: These are important events. You have to take a look at the attitude of the people doing the interventions. What they propose to us represents the world of today and could anticipate the world of tomorrow. The projects are tied to history. Which brings me to the next question: how am I participating in the history of tomorrow?

C&: What are your sources of inspiration? What drives your work?

PMT: I was born just after Independence. You have a life, grow up, go to school. There are your parents’ dreams and the things that they hope for, and over time you become aware of your surroundings. You take a physical, a spiritual journey. So my situation is also very tied into my interventions. What are my sources? Everyday life, all the things we have, like visual or sensory information. Those are encounters. That’s what establishes our needs and our boundaries.

A entrevista completa, aqui

"Au-delà de l'effet-magiciens" - das 7 e 8 de Fevereiro em Paris

Published17 Jan 2015

Tags arte Globalização Novas Geografias

"Au-delà de l'effet-magiciens - symposium performance" reúne, em Paris, criadores e pensadores, a partir da expresão do teórico de arte Joaquin Barriendos 'l'effet-magicien',  que criou para pensar criticamente a grande exposição "mundial"Les Magiciens de la Terre, realizada em Paris em 1989 e com que instaurou a necessidade de reflectir uma nova geografia internacional, de descentarlização dos paradigmas europeu e americano, em que a arte tem um papel fundamental. Dia 7 e 8 de Fevereiro, Boaventura Sousa Santos (Portugal), Camille de Toledo (Alemanha), Cesar Cornejo (Perú), entre outros, estarão presentes no encontro, uma iniciativa da Fundação Gulbenkian em França & Laboratoires d’Aubervilliers.

Au delà de l’effet-Magiciens

6-8 février 2015
Fondation Gulbenkian & Laboratoires d’Aubervilliers

Une géographie globale de l’art s’est imposée depuis la fin des années 1980. Une scénographie diplomatique imagine durant trois jours, d’autres géographies possibles de l’art.

Comme on le sait, depuis la fin des années 1980, une nouvelle géographie internationale de l’art s’est imposée, un tournant global qui aura pu être décrit par le théoricien de l’art Joaquin Barriendos comme l’Effet-Magiciens[1]. Souvent narré comme un décentrement du canon – autrefois principalement européano-américain – ainsi que des politiques culturelles qui l’accompagnent, celui-ci semble plutôt réengager un nouveau langage géopolitique universel: « l’art mondial comme lingua franca postcoloniale offerte au monde, par l’Occident »[2]. Ce régime géoesthétique repose ainsi sur un profond paradoxe, perpétuant des asymétries et des hiérarchies au cœur de ce nouveau récit mondialisé : une fragmentation des récits, une ouverture aux études postcoloniales, aux savoirs situés et aux épistémologies du Sud d’un côté, contre un retour du méta-récit autant que du musée global (comme nouveau musée universel) et le déploiement de la world art history comme méthodologie, de l’autre.

L’art global a échoué, alors, quels autres régimes géoesthétiques inventer et déployer dans les années à venir ? Quels gestes instituants serait-il nécessaire de produire pour provoquer un tel virage ? Enfin, quels musées et institutions ré-imaginer?

Sous la forme d’une scénographie diplomatique, ce symposium s’ouvre par un espace de déposition puis engage des propositions qui seront négociées diplomatiquement où nous nous proposerons d’inventer collectivement, d’autres régimes géoesthétiques contemporains, tout en prenant acte de la puissance de la fiction et des expériences de pensée à produire des scripts, des scénarios qui agissent comme des opérateurs performatifs sur les possibles.

Avec Kader Attia (artiste), Joaquin Barriendos (théoricien de l’art), Romain Bertrand* (historien),Tania Bruguera* (artiste), Fernando Bryce (artiste), Gustavo Buntix (artiste),Pascale Casanova (théoricienne de la littérature), Eder Castillo (artiste), Emmanuelle Chérel(historienne de l’art), Cesar Cornejo (artiste), Jérôme David (théoricien de la littérature),Charles Esche (curateur, théoricien), Olivier Hadouchi (docteur en cinéma),Kiluanji Kia Henda* (artiste), Maria Hlavajova (directrice artistique BAK), Eduardo Jorge(philosophe), Mathieu Kleyebe Abonnenc (artiste), Kapwani Kiwanga (artiste), Pedro Lasch(artiste), Olivier Marboeuf (directeur artistique de Khiasma), Vincent Message(essayiste, romancier), Yves Mintoogue (doctorant en science politique), Jean-Claude Moineau* (théoricien de l’art), Julia Morandeira Arrizabalaga (commissaire d’exposition),Malick N’Diaye (historien de l’art), Vincent Normand (auteur, commissaire d’expositions),Olu Oguibe (artiste), Sophie Orlando (historienne de l’art), John Peffer (théoricien de l’art), Estefanía Peñafiel Loaiza (artiste), Jean-Marc Poinsot* (historien de l’art), Revue Afrikadaa (Pascale Obolo, Louisa Babari), David Ruffel (directeur artistique), Lionel Ruffel(théoricien de la littérature), Elena Sorokina (commissaire d’exposition), Ida Soulard (historienne de l’art), Boaventura de Sousa Santos (sociologue), Camille de Toledo(écrivain, artiste), Susana Torres (artiste), Françoise Vergès (politologue), Nicolas Vieillescazes (philosophe)

Mais info aqui e aqui



Joburg Art Fair - pela 6ª vez

Published10 Sep 2013

Tags joanesburgo joburg art fair arte

A 6ª edição da feira internacional de arte de Joanesburgo realiza-se de 27 a 29 de Setembro. Já se podem antecipar artistas e galerias. O projeto especial, que ocupa uma zona de destaque do recinto, será do zimbabweano Dan Halter. E os vencedores do FNB Art Prize 2013 também já são conhecidos

Dan Halter’s artistic practice is informed by his position as a white Zimbabwean living in South Africa. Using materials ubiquitous to South Africa and Zimbabwe, Halter employs the language of craft and curio as a visual strategy to articulate his concerns within a fine art context. Through this, as well as through photography and video, Halter addresses notions of a dislocated national identity and the politics of post-colonial Zimbabwe within a broader African context. 

Há mais para ler aqui

Mercosul - a 9ª Bienal

Published27 Aug 2013

Tags bienal mercosul brasil porto alegre arte se o clima for favorável

De 13 de Setembro a 10 de Novembro a cidade de Porto Alegre no Brasil recebe a 9ª edição da Bienal Mercosul. Se o clima for favorável, diz o título da mostra.

"A promessa da 9ª Bienal do Mercosul | Porto Alegre é identificar, propor e direcionar mudanças nos sistemas de crenças e avaliações de experiências e inovações. Pretende articular questões ontológicas e tecnológicas por meio da prática artística, da produção de objetos e dos pontos de intersecção da experiência com a arte. Esta edição da bienal pode ser considerada um ambiente para defrontar-se com recursos naturais sob uma nova luz, e especular sobre as bases que marcaram distinções entre descoberta e invenção, assim como os valores de sustentabilidade e entropia ."

São estimuladas invenções caseiras e colaborações artísticas, num programa que começa antes da mostra.

Tudo para ler aqui

O P3 "Ocupado"

Published24 Apr 2013

Tags P3 ocupações temporárias Shot B Azagaia rui tenreiro arte moçambique

O P3 publica uma séria de entrevistas e imagens que permitem conhecer melhor alguns dos artistas que integram a exposição "Ocupações Temporárias - Documentos" que até 26 de Maio pode ser visitada na galeria 01 do Edifício sede da Fundação Gulbenkian em Lisboa.

Este “desafio constante” que é ser jovem artista em Moçambique inspira Azagaia a fazer música de intervenção social — razão pela qual fala em “censura por parte dos órgãos de comunicação públicos”. “Muitas vezes fico à margem dos grandes concertos, uma vez que a maior parte desses eventos são patrocinados por empresas ligadas ao poder político.”

Rui Tenreiro vê esta exposição conjunta como uma oportunidade para “formar um ponto de encontro de expressões entre os vários artistas e países participantes” e espera que a mesma encoraje “os moçambicanos a se questionarem sobre como podem narrar o seu panorama artístico”.

As entrevsitas na íntegra para ler aqui e aqui e as pinturas do Shot-B podem ser vistas aqui

Arte e activismo social

Published22 Apr 2013

Tags arte activismo social

Mike Kelley

Fora do circuíto comercial das galerias e das feiras, emerge uma nova cena artística com preocupações sociais, políticas e ambientais, em cidades como Nova Iorque ou Detroit. Um novo círculo de artistas que quer tomar lugar em Museus e que reivindica estatuto de artístico para as suas práticas tornando as fronteiras da arte ainda mais difíceis de definir.

“Los límites sobre la forma de hacer arte se están volviendo mucho más borrosos”, afirma Laura Raicovich, directora de iniciativas mundiales de Creative Time, una organización sin ánimo de lucro de Nueva York que es conocida por sus instalaciones artísticas públicas provisionales, y directora de un sitio web llamado Creative Time Reports. Entre las últimas piezas de la web se encuentra el vídeo de una artista egipcio-libanesa (Alone, together… Tahrir two years later, de Lara Baladi, sobre estas líneas) sobre la plaza Tahrir, el foco del levantamiento egipcio de hace dos años, y una película sobre la deuda familiar realizada por un colectivo artístico. “No intentamos hacer lo que hace el periodismo”, explica Raicovich. “Pero creemos que los artistas pueden complementarlo con una visión diferente. Y lo que hacen es arte”.

Todo o artigo do El País pode ler-se aqui

21BF

Published9 Aug 2012

Tags África Sul arte Bag Factory África

A sul africana Bag Factory Artist's Studio faz 21 anos e tem uma programação para comemorar o feito. 

"21BF is a retrospective exhibition intended to give an overview of the significance of artists work produced during historical events that have formed the foundation of the democracy within which we now find ourselves."

One of Joburg’s leading visual arts organisations, the Bag Factory has been alive and kicking since 1991, when the space was set up to provide studios for artists – mainly black artists, who at that stage, had very little access to networks and resources in order to build their careers. It was one of the first collective studio spaces for visual artists in South Africa and has held it’s downtown ground in the rapidly evolving metropolis of Johannesburg by rising daringly to the moment’s headline. Since its inception the Bag Factory has focused on developing a programme that stands for inclusion and diversity, built on an idea of open access.

Being strategically situated on the Western edge of the city between the Oriental Plaza and the Newtown Cultural Precinct, it is also readily accessible to areas surrounding the city, notably Soweto. The building contains 18 studios, as well as a workshop spaces and gallery, and the gritty vitality of its urban context has impacted powerfully on the work of the artists based in the Fordsburg studios.


Mais informações aqui

Débat sur l'état de l'art contemporain en Afrique

Published8 Jun 2012

Tags África arte

Débat sur l'état de l'art contemporain en Afrique aujourd'hui, modéré par le critique d’art français Dagara Dakin et l’artiste Aimé Ntakiyica, dans le cadre de la présentation par BOZAR desBamako Encounters: Pan-African Photography (9th edition) à Tour & Taxis.

Ce débat sera l’occasion de découvrir les coulisses et les enjeux du monde de l’art contemporain en Afrique, à travers les expériences de commissaires en exercice sur le continent. Simon Njami et le directeur du Musée national du Mali Samuel Sidibé échangeront leurs analyses sur l’état de l’art contemporain en Afrique aujourd’hui et parleront notamment du statut de l’artiste, du marché de l’art, des structures et des publics, et de l’impact d’initiatives comme lesBamako Encounters. Laura Sérani relatera son expérience de direction artistique de la 9e édition des Rencontres. Raphael Chikukwa et Léo Lefort (Éthiopie) reviendront quant à eux sur leur travail de création d’expositions en Afrique. Calvin Dondo (Zimbabwe),  Kiripi Katembo (DRC), et Léon Ouedraogo (Burkina Faso) partageront leurs points de vue sur ces questions en tant qu’artistes.

Les invités aborderont le futur de la biennale de Bamako, menacée non seulement par une grande dépendance financière et technique de la France, mais maintenant également par la situation politique du pays.


in BOZAR EXPO

An education in funding Arab arts

Published5 Jan 2012

Tags árabe arte artistas beirute líbano produção cultural

Salameh believes in investing in individuals rather than buildings. (Grace Kassab/The Daily Star)

BEIRUT: Time was, artists and arts administrators in this country wished that Lebanon were more European. Standards vary from state to state but, historically, Western European governments have demonstrated a degree of financial and institutional commitment to art and cultural production that the managers of Lebanon’s meager state had no means, and little interest, to emulate.

With no local support for cultural production, Lebanese artists without independent means have had to rely on financial assistance from Europe, whether from Mother France or the EU.

Perceived as extensions of the social welfare state, Europe’s art funding infrastructure has been under threat since the end of last century, the ideological menace finding populist political traction in the wake of the crisis in global finance capitalism that coincided with the end of the second Bush administration.

While the European model of arts infrastructure has come under siege, alternative sources of funding have been evolving in the Middle East. Arab filmmakers have increasingly been lured to a web of production grants spinning out of film festivals in Qatar and the UAE (in both Dubai and Abu Dhabi).

Para continuar a ler o artigo de Jim Quilty, basta clicar aqui.

"Mozambique, Africa's rising star"

Published25 Nov 2011

Tags arte guerra moçambique turismo

How Mozambique turned from war zone to tourist hotspot

(CNN) -- Once marred by conflict, Mozambique is slowly emerging as a popular tourist destination as people are drawn in by the tropical weather, beautiful beaches and rich culture.

Mozambique's capital, Maputo is a vibrant and cosmopolitan city bursting with lively sidewalk cafes and jazz venues.

One of Maputo's landmark buildings is the train station designed by an associate of the famous French engineer Alexandre Gustave Eiffel.

Today the train station he inspired rarely sees trains, instead its jazz cafe is among the city's best night spots.

The music likely to be performed there is marrabenta, a mix of traditional and urban dance music that was born in the capital.

"It's really become a national genre," said Joao Carlos Schwalba, a musician with the band Ghorwane.

"It was created in the south but slowly it has such a strong rhythm, it really became a national rhythm you can hear it in the south, the center and the north," he continued.

The official language is Portuguese, after settlers first arrived in Mozambique in the 15th century.

Colonial era architecture and relics can be found across the country but the nation has also preserved much of its African cultural heritage, making for an interesting and diverse mix of old and new.

The city has undergone major redevelopment since the end of the civil war and any reminders of the country's brutal past are being carefully transformed in to points of interest. And it is proving a draw with tourists; government figures show that four times as many tourists visited the country in 2010 compared to 2004.

Investment in tourism began in 1992, following a peace agreement, which brought an end to 16 years of civil war in the country.

The old fort in the capital, built by the Portuguese nearly 200 years ago, is a symbol of the country's, sometimes violent, colonial past.

But a group of Mozambique artists are working in the building to transform reminders of Mozambique's more recent civil war into pieces of art.

Para continuar a ler, basta ir aqui.