{"id":17431,"date":"2021-01-08T17:00:20","date_gmt":"2021-01-08T17:00:20","guid":{"rendered":"https:\/\/hangar.com.pt\/?p=17431"},"modified":"2022-10-02T11:40:03","modified_gmt":"2022-10-02T10:40:03","slug":"lancamento-do-livro-atlantica-contemporary-art-from-mozambique-and-its-diaspora","status":"publish","type":"post","link":"https:\/\/hangar.com.pt\/en\/lancamento-do-livro-atlantica-contemporary-art-from-mozambique-and-its-diaspora\/","title":{"rendered":"LAN\u00c7AMENTO DO LIVRO | ATLANTICA: CONTEMPORARY ART FROM MOZAMBIQUE AND ITS DIASPORA"},"content":{"rendered":"

[vc_row][vc_column][vc_empty_space height=”5px”][vc_separator color=”black”][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]Data e Hor\u00e1rio<\/strong>: January 20th | 7pm<\/p>\n

Talk will be held in English.
\nTo participate in the talk please send an email to register: hangarcia.production@gmail.com<\/p>\n

Venue<\/strong>: Live streaming will be available on Facebook[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_single_image image=”17092″ img_size=”full”][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”Details” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes”][vc_separator color=”black”][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]ATLANTICA: CONTEMPORARY ART FROM MOZAMBIQUE AND ITS DIASPORA marks the second publication by the Hangar Books publisher, specializing in publications in the context of contemporary arts, focusing on southern epistemologies.<\/p>\n

Talk mediated by the curator Bruno Leit\u00e3o with the artists \u00c2ngela Ferreira, Camila Maissune and Eug\u00e9nia Mussa, the researcher Ana Balona, the curators Azu Nwagbogu and\u00a0 Rafael Mouzinho.<\/p>\n

Organized by M\u00f3nica de Miranda.<\/p>\n

ATLANTICA is a book about contemporary art from Mozambique and its diaspora, the book brings together fourteen visual artists and theoretical essays from curators and academics. Considering the art production of the new millennium in Mozambique, the book reflects the diversity of histories and artistic visions, bringing together a variety of formats and writing genres within the book, which reflects the diversity of the authors’ backgrounds.
\nContemporary art practices that have emerged in, or engaged with this region, are in themselves tools of resistance and rebellion, and are, as such, central to the decolonization strategies that artists have used to understand, analyse and resist the socio-economic impact of everyday events and their own personal realities.<\/p>\n

Book edited by \u00c2ngela Ferreira and coordinated by M\u00f3nica de Miranda.<\/p>\n

Artists:<\/strong> Maimuna Adam, Filipe Branquinho, Jorge Dias, \u00c2ngela Ferreira, Gemuce, Eur\u00eddice Kala, Camila Maissune, Gon\u00e7alo Mabunda, M\u00e1rio Macilau, Celestino Mudaulane, F\u00e9lix Mula, Eug\u00e9nia Mussa, Maril\u00fa N\u00e1moda, Mauro Pinto
\nEssays:<\/strong> Storm Janse Van Rensburg, Raquel Schefer, \u00c1lvaro Luis Lima, Alda Costa, Drew Thompson, Ant\u00f3nio Pinto Ribeiro, Ana Balona de Oliveira, Afonso Dias Ramos, Nomusa Makhubu, Jo\u00e3o Silv\u00e9rio, Maria do Mar Fazenda, Rui Assubuji, Nkule Mabaso, Paula Nascimento, Dellinda Collier, Azu Nwagbogu, Sihle Motsa<\/p>\n

The book is a co-edition HANGAR – CEC and has the support of the Dgartes – Direc\u00e7\u00e3o Geral das Artes, Centro de Estudos Comparatistas, Faculdade de Letras, Universidade de Lisboa, Funda\u00e7\u00e3o PMLJ, CIEBA – Centro de Investiga\u00e7\u00e3o e de Estudos em Belas-Artes and Orfeu Negro.
\nThis project was produced with national funding from the FCT – Funda\u00e7\u00e3o para a Ci\u00eancia e a Tecnologia, I.P., under the project UID\/ELT\/00509\/2020.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_custom_heading text=”Bios” font_container=”tag:h4|text_align:left” use_theme_fonts=”yes”][vc_separator color=”black”][vc_column_text]ANA BALONA DE OLIVEIRA<\/strong> is FCT Researcher (CEEC 2017) at the Institute for Art History of the New University of Lisbon (IHA-FCSH- NOVA), where she co-coordinates the cluster \u2018Transnational Perspectives on Contemporary Art: Identities and Representation\u2019, and Collaborating Researcher at the Centre for Comparative Studies of the University of Lisbon (CEC-FLUL). She has lectured in several institutions in Portugal and the United Kingdom, where she received her PhD (Fort\/Da: Unhomely and Hybrid Displacements in the Work of \u00c2ngela Ferreira, c. 1980-2008, Courtauld Institute of Art, 2012). Her research focuses on colonial, anti- and post- colonial narratives, migration and globalization in contemporary art from \u2018Lusophone\u2019 countries and beyond, in an intersectional and decolonial feminist perspective. She published articles in Nka: Journal of Contemporary African Art, Third Text, African Arts, etc.; co-edited the volumes Di\u00e1logos com Ruy Duarte de Carvalho (2019), Atlantica: Contemporary Art from Angola and its Diaspora (2018), etc.; contributed essays and interviews to the exhibition catalogues Recent Histories: Contemporary African Photography and Video Art (2017), Novo Banco Photo 2015, etc., and the volumes Revolution 3.0: Iconographies of Radical Change (2019), (Re)Imagining African Independence: Film, Visual Arts and the Fall of the Portuguese Empire (2017), Red Africa: Affective Communities and the Cold War (2016), Edson Chagas: Found Not Taken (2015), etc. She curated the solo exhibitions Edson Chagas: Oikonomos (CCP, Luanda, 2019), \u00c2ngela Ferreira: Underground Cinemas & Towering Radios (Galeria Av. da \u00cdndia, Lisbon, 2016), \u00c2ngela Ferreira: Monuments in Reverse (CAAA, Guimar\u00e3es, 2015); co-curated the collective exhibition Ruy Duarte de Carvalho: A Delicate Zone of Commitment (Galeria Quadrum, Lisbon, 2015-2016), etc.; and organized the talk series Artistic Migrations in and beyond Lisbon (Hangar, Lisbon, 2015- 2016) and Thinking from the South: Comparing Post-Colonial Histories and Diasporic Identities through Artistic Practices and Spaces (Hangar, Lisbon, 2018).<\/p>\n

\u00c2NGELA FERREIRA<\/strong> born in 1958 in Maputo, Mozambique, grew up in South Africa and obtained her MFA from the Michaelis School of Fine Art, University of Cape Town. She lives and works in Lisbon, teaching Fine Art at Lisbon University, where she obtained her doctorate in 2016. Ferreira\u2019s work is concerned with the ongoing impact of colonialism and post-colonialism on contemporary society, an investigation that is conducted throught in-depth research and distillation of ideias into concise and resonant forms. She represented Portugal at the 52nd Venice Biennale in 2007, continuing her investigations into the ways in which European modernism to adapted or failed to adapt to the realities of the African continent by tracing the history of Jean Prouv\u00e9\u2019s\u2019 Maison Tropicale\u2019. Architecture also serves as a starting point for the deepening of her long research on the erasure of colonial memory and the refusal of reparation, which finds its most complex materialization in A Tendency to Forget (2015) focusing on ethnographic work of the couple Jorge and Margot Dias. The Pan African Unity Mural (2018), exhibited at the Maat Museum Lisbon and Bildmuseet, Umea, Sweden was conceived, retrospectively and introspectively, for the “here” and the “now”. In addition to its own trajectory, other biographical stories are simultaneously narrated, exposed and hidden in this work. In Dalaba: Sol d\u2019Exile (2019) a work focused on Miriam Makeba, one of the most prominent figures in the struggle against apartheid, Ferreira created sculptural pieces based on the architectural elements of the exile building where Makeba lived in Conakri, almost like a prototype of the relationship between modernist and African vernacular architectures. Her sculptural, sound and videographic homages have continuously referenced economic, political and cultural history of the African continent whilst recuperating the work and image of unexpected figures like Peter Blum, Carlos Cardoso, Ingrid Jonker, Jimi Hendrix, Jorge Ben Jor, Jorge dos Santos, Diego Rivera or Miriam Makeba.<\/p>\n

Selected works: Dalaba: Sol d\u2019Exile (2019); Pan African Unity Mural (2018); Remining (2017); Talk Tower for Diego Rivera (2017); Boca (2016); Wattle and Daub (2016); Hollows Tunnels, Cavities and more… (2016); A Tendency to Forget (2015); Wild Decolonization (2015); Messy Colonialism (2015); Revolutionary Traces (2014); SAAL Brigades (2014); Independance Cha Cha (2014); Entrer dans la mine (2013); Mount Mabu (2013); Stone Free (2012); Political Cameras (from Mozambique series) (2012); Collapsing Structures\/ Talking Buildings (2012); Cape Sonnets (2010\/2012); For Mozambique (2008).<\/p>\n

AZU NWAGBOGU<\/strong> is the Founder and Director of African Artists\u2019 Foundation (AAF), a non- profit organisation based in Lagos, Nigeria. Nwagbogu was elected as the Interim Director\/ Head Curator of the Zeitz Museum of Contemporary Art in South Africa from June 2018 to August 2019. Nwagbogu also serves as Founder and Director of LagosPhoto Festival, an annual international arts festival of photography held in Lagos. He is the creator of Art Base Africa, a virtual space to discover and learn about contemporary African Art. Nwagbogu was a juror for the Dutch Doc, POPCAP Photography Awards, the World press Photo, Prisma Photography Award (2015), Greenpeace Photo Award (2016), New York Times Portfolio Review (2017-18), W. Eugene Smith Award (2018), Photo Espana (2018), Foam Paul Huf Award (2019), Wellcome photography prize (2019) and is a regular juror for organizations such as Lensculture and Magnum.
\nFor the past 20 years, he has curated private collections for various prominent individuals and corporate organisations in Africa. Nwagbogu obtained a Masters in Public Health from The University of Cambridge. He lives and works in Lagos, Nigeria<\/p>\n

BRUNO LEIT\u00c3O<\/strong> was born in Lisbon in 1979 and lives between Madrid and Lisbon.
\nHe is the curatorial director of Hangar \u2013 Artistic Research Center. At Hangar he has curated and organized several exhibitions, including Cuaderno de Ejercicios by Luis Camnitzer (2019), Ilha de V\u00e9nus de Kiluanji Kia Henda (2018); Cubismo Ideol\u00f3gico by Carlos Amorales (2017); Plagiarizing the Future, co-curated with Andrea Rodr\u00edguez Novoa, with artists Edouard Decam, Elena Bajo, Jo\u00e3o Maria Gusm\u00e3o and Pedro Paiva, Jordi Colomer, Let\u00edcia Ramos, Louidgi Beltrame, Marlon de Azambuja and Rosa Barba (2016); Untitled by Jo\u00e3o Onofre and Principio Tautol\u00f3gico with Igor Jesus, Sara and Andr\u00e9, Cristina Garrido, Javier N\u00fa\u00f1ez Gasco, Jo\u00e3o Paulo Serafim, Jo\u00e3o Ferro Martins, Daniel Barroca, Paolo Chiasera and Los Torreznos (2015).
\nAs an independent curator, he recently curated Taxidermy of the Future at the Natural History Museum of Angola and the Lubumbashi Biennial (Lubumbashi, R.D.Congo, 2019); Pouco a Pouco, \u00c2ngela Ferreira\u2019s first solo exhibition in Spain at CGAC (Santiago de Compostela, 2019); Affective Utopia at the Kadist Foundation (Paris, 2019) with artists Sammy Baloji & Filip De Boeck, Luis Camnitzer, \u00c2ngela Ferreira, Alfredo Jaar, Kiluanji Kia Henda, Grada Kilomba, Reynier Leyva Novo and Paulo Nazareth; Topology of the Aura with Carles Congost, Javier N\u00fa\u00f1ez Gasco, Igor Jesus, Sara and Andr\u00e9 at the Bacelos gallery (Madrid, 2016); El Buen Caligrama at The Goma Gallery (Madrid, 2015); You Love Me, You Love Me Not at the Porto Municipal Gallery (Porto, 2015); Atelier Utopia in Porto EDP Foundation (2012); Contr\/act at 3 + 1 Arte Contempor\u00e2nea (Lisbon, 2014); among others.
\nHe has contributed to several magazines and catalogs. Among them, we highlight Atlantica: Contemporary arts from Angola and its diaspora (Hangar Books), The Gap (curated by Luc Tuymans at Parasol Unit, London, and Mukha, Antwerp), Atl\u00e1ntica magazine, Dardo Magazine, Artishock (Chile) and Artecapital.<\/p>\n

CAMILA MAISSUNE<\/strong> (Mozambique, 1984), is a visual artist; she holds a B.A. in Social Sciences with a focus in Visual Anthropology and an M.A. and PhD in Visual Culture. Exploring themes concerning \u201cImage, Culture and Production of Meaning\u201d, she is a research member of the \u201cInterdisciplinary Studies of Images\u201d group held within the Art and Visual Culture programme at the Federal University of Goi\u00e2nia (UFG, Brazil). Her main research topics include: arts and ethnography, landscapes, memory and identity. She has participated in several collective exhibitions in Mozambique, Portugal, Brazil and Cape Verde. Her current research is focused on aesthetics and policies of the Indian Ocean in contemporary arts and photography.<\/p>\n

EUG\u00c9NIA MUSSA<\/strong> (1978) was born in Maputo, Mozambique, and began her studies in visual art at City & Islington College, London, before training as a painter at Ar.Co in 2009. That same year she was one of the finalists for the Anteciparte Prize (2009). In 2010, she received an honorable mention in the exhibition held to commemorate the 25th anniversary of the Banco de Mo\u00e7ambique. In 2013, she held a solo exhibition at the Espa\u00e7o Arte Tranquilidade and showed her work at the Calouste Gulbenkian Foundation and the Galeria Jo\u00e3o Esteves Oliveira, where she still exhibits regularly to this day. Her artistic practice evinces an abiding concern with rethinking the history of artistic movements in painting. She currently lives in Lisbon and her works can be found in private and institutional collections and you can currently see her work at the Modern Collection of the Calouste Gulbenkian Foundation.<\/p>\n

M\u00d3NICA DE MIRANDA<\/strong> is an artist and researcher. Her work is based on themes of urban archaeology and personal geographies. M\u00f3nica has a visual art degree from Camberwell College of arts (London, 1998); a master\u2019s degree in art and education at the Institute of Education (London, 2000) and a PhD in visual art from the University of Middlesex (London, 2014). She has received the support from the Foundation for Science and Technology. She is currently developing her research project: Post- archive at CEC (Centre of Comparative Studies, University of Lisbon) .
\nM\u00f3nica is one of the founders of the artistic project of residences Triangle Network in Portugal and the founder of the Project Hangar (Center of artistic research in Lisbon, 2014). She was nominated for Novo Banco Photo prize and exhibited at Museu Berardo ( Lisbon, 2016). M\u00f3nica was also nominated for Prix Piclet Photo Award (2016). She also exhibited at Photo Paris (Paris,2013), Arco (Madrid, 2013), Arco Lisbon ( Lisbon, 2016).
\nHer solo exhibitions include: \u201d Arrivals and departures\u201d (Pal\u00e1cio D. Manuel, \u00c9vora, 2016), \u201cHotel Globo\u201d (Museu Nacional de arte contempor\u00e2nea do Chiado, Lisbon, 2015) \u201cArquip\u00e9lago\u201d (Galeria Carlos Carvalho , Lisbon, 2014), \u201cErosion\u201d (Appleton Square, Lisbon, 2013), \u201cAn Ocean Between Us\u201d (Plataforma Rev\u00f3lver, Lisbon, 2012); \u201cNovas Geografias\u201d (198 Gallery, London \/ Plataforma Rev\u00f3lver, Lisbon \/ Imagem HF, Amsterdam, 2008).<\/p>\n

RAFAEL BORDALO MOUZINHO<\/strong> (1979) was born in Maputo, Mozambique, and began his relationship with the arts by taking a Ceramics course (1999-2005) at the Escola Nacional de Artes Visuais. Thereafter, he completed a Degree in Visual Arts at the Instituto Superior de Artes e Cultura (ISarC), in Maputo (2009- 2012), and has combined his practice as an artist with art curating, writing and teaching. Some
\nof the highlights of his artistic experience are his participation in Expo Arte Contempora\u0302nea (MUVART), at Museu Nacional de Arte (Mozambique: 2004 and 2006); Hora 0,
\nat Centro Cultural Franco-Moc\u0327ambicano (Mozambique: 2005); Maputo: a tale of one city (Norway, Zimbabwe and Maputo: 2009- 2011); and Processo: A obra desafiando o artista at Galeria Kulunguana (Mozambique: 2014). He has contributed to the Justaposic\u0327a\u0303o project by choreographing the piece Centauros, showcased at the Festival Kinani (Mozambique: 2013), and This Ain\u2019t Africa at Dialogues Africa Festival (Germany: 2014). He has published renowned articles for Atitudes e tende\u0302ncias este\u0301ticas, for the exhibition catalogue of Pedalando (Gemuce\u2019s exhibition); Arte como
\ncompromisso e\u0301tico, the introduction for Fe\u0301lix Mula in the exhibition Processos: Artista, Obra e pu\u0301blico na Galeria Kulunguana (Mozambique: 2014); and Barriga de Draga\u0303o in the book One million, Fourty years (and sixty three days), SMAC Gallery, South Africa. He has also written Nos escombros da memo\u0301ria and conducted
\nthe following interviews: Uma conversa entre Rafael Mouzinho e Fe\u0301lix Mula; A\u0302ngela Ferreira: Uma conversa entre Alda Costa e Rafael Mouzinho; as well as the introductory catalogue for South Facing, Johannesburg Art Gallery (2017) and Third Text, Vol. 5, Mozambique (2018). Currently, he is an assistant curator at the Colecc\u0327a\u0303o de Arte\/Galeria of the Universidade Eduardo Mondlane and teacher at a curating workshop at the Instituto Superior de Artes e Cultura (ISArC).[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

January 14th 2021<\/p>\n","protected":false},"author":8,"featured_media":17093,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[165],"tags":[239,286],"class_list":["post-17431","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news","tag-2021-en","tag-previous"],"_links":{"self":[{"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/17431","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/comments?post=17431"}],"version-history":[{"count":9,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/17431\/revisions"}],"predecessor-version":[{"id":20366,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/17431\/revisions\/20366"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/media\/17093"}],"wp:attachment":[{"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/media?parent=17431"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/categories?post=17431"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/tags?post=17431"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}