DÁ FALA

Monday, 31st of May, 7pm at Savvy Contemporary

In the first part of this series we will like to discuss with the artist, Kader Attia, about the extent to which art can serve as an environment or create a condition to come to terms with or process history in the present.
In his installations and photography Kader Attia deals, inter alia, with the economic, political and cultural aspects of architecture in different contexts; be it in state building or in the legacy of the colonial era. The artist gains inspiration from travelling and coupled with researches on art theory and history, he lays a foundation for the development of his works.
Some points of interest in this discussion are:
Which questions does he pursue in the development process of his works related to the heritage of the colonial era?
To what extent is it possible, with the help of artistic positions, to instigate a reflection or even create awareness for historical contexts?

Kader Attia was born in 1970 in Saint-Dennis (France). He lives and works in Berlin and Algiers. Having taken part in many international exhibitions and biennials, Attia’s works have obtained, on an international scale, a wide critical acclaim. Currently, his installation piece with scrapped sheet-roofs, Kasbah, can be seen in the Sydney biennial, as well as other works in the DREAMLANDS exhibition in the Centre Pompidou, Paris. Together with the curator Laurie Ann Farell, he just received the Abraaj Capital Art Prize 2010 of the Art Dubai for his work History of a Myth: The Small Dome of the Rock. Kader Attia is represented by the Christian Nagel gallery in Berlin.

The project is curated by Sophie Eliot.

SAVVY CONTEMPORARY
Richard Str. 43/44
12055 Berlin-Neukölln

Wangechi Mutu’s installation at the Deutsche Guggenheim is the first exhibition in Deutsche Bank’s new “Artist of the Year” program.



Wangechi Mutu
The Bride who married a Camel’s head, 2009
© Wangechi Mutu and Susanne Vielmetter
The artist, who was born in Kenya in 1972 and currently lives in New York, was selected on the recom- mendation of the Deutsche Bank Global Art Advisory Council.

For her solo exhibition, Mutu transformed the Deutsche Guggenheim into a suggestive environment which recalls both a protective cocoon and the improvised buildings found in Shanty Towns. She built organic-looking sculptural con- structions from simple means such as gray, felt-like blankets made of recycled materials or brown parcel tape. The creations cover walls and floors of the exhibition hall and at the same time provide the frame- work and background for Mutu’s collages and her new video work “Mud Fountain.”

www.whoknowstomorrow.de

During summer, five internationally renowned artists of African descent will show their art on the grounds of the Nationalgalerie Berlin. El Anatsui, Zarina Bhimji, António Ole, Yinka Shonibare, and Pascale Marthine Tayou have been invited to present themselves in the various, architecturally significant buildings in which the Nationalgalerie accommodates its large collections of art from the 19th to 21st century. Their artistic treatment of the different stylistic, political, and social references will conspicuously mark the buildings and their collections during the course of the project. The ensemble of the Nationalgalerie will thus become an itinerary of large-scale, sculptural, and installation-based works, which are for the most part created outdoors in a site-specific manner.

The participating artists prompt a dialog on questions that, in face of the current radical economic, social and political changes, are more relevant that ever. Is uncertainty regarding the future the greatest certainty we now possess?

A Nationalgalerie is and always has been a mirror and the expression of the nation’s history and present. Each of its buildings is linked to specific historical situations. The exhibition uses this context as a field of projection and tension. It looks to the past, to the future, and especially to the present. The works of the participating contemporary artists address issues related to identity, globalization, and history. Far from claiming to represent or, even less, appropriate current African art production, the exhibition is instead dedicated to leaving monuments of German history to artists of another continent, raising the question as to what and whose history is narrated and written down. How does art contribute to overcoming (art) historical constructions, clichés, and stereotypes?

INFLUX CONTEMPORARY ART

24/4 > 19/6 wed > sat | quarta a sábado
14 > 19h

becoming, binding & disappearing: a selection of video worksby Johan Thom

Somos Irmãos – We are brothers

An angolan familiy of photographers - Pinto Afonso.

22.04. bis 04.07.2010

Iwalewa-Haus, University of Bayreuth, Germany

www.iwalewa.uni-bayreuth.de

27 de Maio, 5ª feira

entrada 5 euros

Mick Trovoada (músico) convida a jornalista Fernanda Almeida

22H00

Sala Visconti 

++++++++++++++

Às quintas, as noites de Lisboa ganham mais um quê de África num espaço ímpar por excelência: Fábrica Braço de Prata. Os responsáveis pelo mesmo espaço desafiaram-me a conceber um projecto alternativo que mesclasse manifestações artísticas como a Música, Teatro, Gastronomia, etc. 

Neste gingar de intenções, todas as quintas converso no palco com um artista convidado. Tal conversa é estendida ao público através dos sons, dos cheiros, e dos pitéus que podem ser saboreados.
O pitéu é sempre servido a partir das 20h e para que não perca, recomenda-se que faça a reserva através do tlm: 93 6265 972.

Prato do dia: Cachupa

Venha experimentar pratos e sabores africanos sempre ao som de boa música 
Venha curtir
Venha ouvir
Venha dançar

28 de Maio, 18h Anfiteatro 1.4 do CP - Campus da Penha João Ribeiro, realizador moçambicano, apresentará a palestra - “Os Três actos do Cinema Moçambicano: Passado, Presente e Futuro”. Seguidamente, será exibida a curta-metragem “O Olhar das Estrelas” (2002, Fic., 25’), parte de uma série de cinco adaptações cinematográficas de histórias do escritor Mia Couto. 

João Ribeiro licenciou-se em Realização e Produção Cinematográfica e de Televisão na Escola Internacional de Cinema e Televisão de San António de Los Banõs (Cuba). Trabalhou para o INC (Instituto Nacional de Cinema) de Moçambique. Dirigiu várias curtas-metragens e foi director de produção em Moçambique do filme Blood Diamond de Edward Zwick. É o actual director da TIM (Televisão Independente de Moçambique). A sua mais recente longa-metragem “O último voo do Flamingo”, baseada no livro homónimo de Mia Couto, estreou na semana passada no Festival de Cannes no Pavillon de Monde e ainda em Espanha, no VII Festival de Cine Africano Tarifa (ver na secção Vou Lá Visitar) no passado domingo.

Indaba on 50 Years of Film in Independent Africa CALL FOR PAPERS
African Media Centre, University of Westminster, London, UK / LONDON
AFRICAN FILM FESTIVAL
Filming Against the Odds Conference, London, 27-28 November 2010
This is a call for papers from the African Media Centre at the
University of Westminster for a one-day conference on 50 years of filmmaking in independent Africa.  A half a century ago, Sub-Saharan Africa welcomed independence with a wave of optimism. A new cinema was born, championed by the Senegalese film-maker Ousmane Sembène. This new cinema would provide a conduit of expression for voiceless Africans – revealing social conditions and sharing stories. Sembène’s
first short film, Borom Sarret, was a watershed. It reached a
worldwide audience with a plot based on the tale of a poor cart driver whose tragic life mirrored the hazards facing many ordinary people.
Borom Sarret’s issues became dominant themes in African cinema. Prior to political independence, colonial rule did not allow Africans to make their own films. African independence seems to have given the environment needed to produce African stories on the screen.  Not only was political independence a subject in films, but the environment it
created gave an added impetus to both independent and institutionally supported film-making in Africa. African filmmakers have produced stories that celebrate success and failure in their societies. African history, language and etymology are evident in the ways in which some filmmakers have sought an independent form to help indigenize the
medium.
Today, Nigeria has become the centre of a lucrative home video industry known as Nollywood.  According to a recent UN statement, around 900 titles are released in Nigeria each year and bring revenue of about £100m, and Nigeria has surpassed Hollywood to become the world’s second largest film producer after Bollywood. Movies are made on the cheap and copies are exported, sold on the street, or distributed via increasing numbers of video clubs. The film-makers have to work fast and around the clock in their desperate attempt to
fend off the pirates.
The contemporary African film industry is clearly of global
proportions. However, the questions that must be asked are: whose languages are spoken in African film? What are the patterns of stories that have been told so far? What formats do African filmmakers use?
What themes? How has funding affected what is produced? What are the politics of film-making in Africa? Apart from development, education and entertainment, has film on the continent advanced the emancipation of Africans? What has been the relationship between political independence and African film? The conference will include a session with leading African filmmakers. Papers may include, but are not
necessarily limited to, the following:
- Precolonial film in Africa
- Contemporary and historical dimensions of film in Africa
- Language and African film
-African languages and film in Africa
- Global, national, local aspects of film in Africa
- Screen media Africa
 Identity politics and the media in Africa
  Film funding in Africa
Educational film in Africa
- Politics and film in Africa
 Distributing films in Africa
 Style and aesthetics of African film
 History of African film
 Film audiences in Africa

Quarta 26 de Maio | 19H Entrada Livre | CCFM - Maputo

3 FOTÓGRAFOS PROJECTAM PERTO DE 180 IMAGENS NUMA TELA GIGANTE NOS JARDINS
Um espaço de partilha, um momento para conversar, uma ocasião de estarmos juntos a volta da fotografia…

Doual’art é um centro de arte e arquitectura contemporâneas cuja actividade se desenrola nos vários bairros da cidade de Douala.

Recentemente foi-lhes concedido o prémio Prince Claus:

ver as iniciativas “Ars et Urbis”, encontro de artistas e curadores, “SUD”, ateliers e residências nos vários bairros de Douala.

Por ocasião da celebração do Dia de África, é inaugurada, no dia 26 de Maio, no Centro Cultural Português de Luanda, pelas 18h30, a exposição “África Yeto Kuwia”, do artista plástico Álvaro Macieira (1958). Jornalista e editor de cultura na ANGOP – Agência Angola Press, foi ainda colaborador da Rádio Nacional de Angola, TPA (Televisão Pública de Angola) e Tribuna Cultural da BBC. Em 2002, conquistou o primeiro Prémio de Pintura EnsArte, bem como o Prémio de Melhor Pintor do Ano pela Revista Tropical e pela Televisão Pública de Angola. Com dezenas de exposições um pouco por todo o mundo, fundou, em 2002, com o pintor alemão Horst Poppe e o angolano Augusto Ferreira, o Grupo Conexão Cultural. Com Horst Poppe, Álvaro Macieira assinou, durante oito anos, várias obras conjuntas de pequenas e grandes dimensões. “África Mitológica”, “Terra Una”, “Signos da Terra”, “Catanas de Paz”, “Terra Azul” ou “Luanda. Kianda – Cores da Terra” são algumas das suas mais recentes exposições.

O Centro de Estudos Africanos, para comemorar a semana de África apresenta
os seguintes eventos:
Dia 25 de Maio, Londres, Burnei Gallery - SOAS, Inauguração da Exposição
“The Emperor of Ethiopia in Lusoland: Ethiopia, Portugal and the
Organization of African Unity
Dia 26 de Maio, na sala C2 02, Edf. II, ÀS 15H - Ramon Sarró apresenta,
Wabeladio Payi, Alfabetos endógenos em África: da revelação à transmissão (o
exemplo do mandombe) ;Ramon Sarró (ICS-UL);Wabeladio Payi (Université Simon
Kimbangu, Kinshasa)
26 de Maio de 2010-Sala C 202 Edifício II- ISCTE- 15 horas

se quiser escrever no blog Dá Fala basta mandar um email e receberá um convite.

jah love, de Yonamine, 2006, cortesia Col. Sindika Dokolo

Foi realizado um documento em vídeo que reúne um conjunto de depoimentos dos convidados no AFRICAN SCREENS(ciclo de cinema que decorreu em 2009 no Cinema São Jorge - 27 Março a 17 Maio).
com: Manthia Diawara, Lydie Diakhaté, Jean-Pierre Bekolo, Cheick Fantamady Camara, Balufu Bakupa-Kanyinda, Claire Andrade Watkins, John Akomfrah, Awam Amkpa, Dorothee Wenner, Moussa Sene Absa, Salah Hassan, Manuela Ribeiro Sanches e José António Fernandes Dias.
http://www.gandapinta.tv

Criação TEATRO O BANDO a partir do conto de LUÍS BERNARDO HONWANA

Dramaturgia e Encenação NUNO PINO CUSTÓDIO
Espaço Cénico e Figurinos MARTA CARREIRAS
Coordenação Musical RUI JÚNIOR Oralidade TERESA LIMA
Desenho de Luz JOÃO CACHULO Assistência de Encenação HUGO GAMA
Interpretação NICOLAS BRITES, NUNO NUNES,
RAÚL ATALAIA, ROSINDA COSTA, SARA DE CASTRO

20 de Maio a 20 de Junho, Quinta a Domingo às 22h00
20 de Maio a 6 de Junho, na Escola Básica 1 – Nº2, Palmela
10 a 20 de Junho no Teatro bando, Vale dos Barris, Palmela

Call for Papers: Deadline December 31st
Convenors: António Costa Pinto (ICS/UL), Luís Nuno Rodrigues (CEHC/ISCTE), Pedro Aires Oliveira (IHC/FCSH), Miguel Bandeira Jerónimo (ICS/UL).
Scientific Committee: William Roger Louis (University of Texas at Austin), Odd Arne Westad (London School of Economics), John Darwin (Oxford University), Patrick Chabal (King’s College of London), Valentim Alexandre (Instituto de Ciências Sociais da Universidade de Lisboa), Sarah Stockwell (King’s College of London), Frederick Cooper (New York University), Andrew Porter  (King’s College of London), Philip Murphy (Institute of Commonwealth Studies), Martin Shipway (Birkbeck University of London).