Art topples monuments: artistic practice and colonial/postcolonial relations in the public space of Luanda
- Authors: Siegert, Nadine
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147014 , vital:38585
- Description: Even though there have been very few modern and contemporary artworks in the urban space of Luanda in the years after independence in 1975—and especially after the end of the civil war in 2002—there are two works by Angolan artists that are of particular interest: the sculpture Mitologias II (1984) by António Ole (b. 1951) and the photographic series Redefining the Power (2011) by Kiluanji Kia Henda (b. 1978). Both works address the possibility of using contemporary art as a symbolic form of the replacement of power, since both are built on pedestals that had previously supported monuments of Portuguese colonial power. They might, therefore, be read as a form of substitution for monuments that would commemorate and celebrate independence or the end of colonialism. This article also discusses whether these two artworks can also be regarded as counter-monuments and this contributes to the discourse on the visual and material culture of Lusophone Africa.
- Full Text:
- Date Issued: 2018
- Authors: Siegert, Nadine
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/147014 , vital:38585
- Description: Even though there have been very few modern and contemporary artworks in the urban space of Luanda in the years after independence in 1975—and especially after the end of the civil war in 2002—there are two works by Angolan artists that are of particular interest: the sculpture Mitologias II (1984) by António Ole (b. 1951) and the photographic series Redefining the Power (2011) by Kiluanji Kia Henda (b. 1978). Both works address the possibility of using contemporary art as a symbolic form of the replacement of power, since both are built on pedestals that had previously supported monuments of Portuguese colonial power. They might, therefore, be read as a form of substitution for monuments that would commemorate and celebrate independence or the end of colonialism. This article also discusses whether these two artworks can also be regarded as counter-monuments and this contributes to the discourse on the visual and material culture of Lusophone Africa.
- Full Text:
- Date Issued: 2018
Jesus, Che, Luaty: on the relationship between a digital picture and an iconic image in political iconography in Angola
- Authors: Siegert, Nadine
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145919 , vital:38478 , DOI: 10.2979/africatoday.65.1.04
- Description: This essay makes a close examination of a selection of images of the Angolan rapper Luaty Beirão, who became internationally known as a political activist during his imprisonment in June 2015, accused of staging a coup d'état. By analyzing and interpreting images that were highly mediatized during that period, this article shows how political iconography can be traced back to Christian iconography and other images. Such filiations of images and their mediatization invoke a power that contributes to the formation of political and popular icons. This article analyzes this nexus by deconstructing the transmutation of a photograph into a popular icon.
- Full Text:
- Date Issued: 2018
- Authors: Siegert, Nadine
- Date: 2018
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/145919 , vital:38478 , DOI: 10.2979/africatoday.65.1.04
- Description: This essay makes a close examination of a selection of images of the Angolan rapper Luaty Beirão, who became internationally known as a political activist during his imprisonment in June 2015, accused of staging a coup d'état. By analyzing and interpreting images that were highly mediatized during that period, this article shows how political iconography can be traced back to Christian iconography and other images. Such filiations of images and their mediatization invoke a power that contributes to the formation of political and popular icons. This article analyzes this nexus by deconstructing the transmutation of a photograph into a popular icon.
- Full Text:
- Date Issued: 2018
Rethinking the dialectics of rural and urban in African art and scholarship:
- Siegenthaler, Fiona, Nzewi, Ugochukwu-Smooth C, Siegert, Nadine
- Authors: Siegenthaler, Fiona , Nzewi, Ugochukwu-Smooth C , Siegert, Nadine
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146022 , vital:38488 , DOI: 10.1080/19301944.2018.1538856
- Description: This issue of Critical Interventions is dedicated to rethinking the dialectics of the rural and the urban in African art and scholarship. Inspired by the general theme of the European Conference of African Studies (ECAS/AEGIS) in Basel (June 28 to July 1, 2017), Urban Africa – Urban Africans: New Encounters of the Rural and the Urban, the guest editors of this issue hosted two panels on the relationship of urban-based artists and their interest in rural topographies, aesthetics, and cultural practices.
- Full Text:
- Date Issued: 2019
- Authors: Siegenthaler, Fiona , Nzewi, Ugochukwu-Smooth C , Siegert, Nadine
- Date: 2019
- Language: English
- Type: text , article
- Identifier: http://hdl.handle.net/10962/146022 , vital:38488 , DOI: 10.1080/19301944.2018.1538856
- Description: This issue of Critical Interventions is dedicated to rethinking the dialectics of the rural and the urban in African art and scholarship. Inspired by the general theme of the European Conference of African Studies (ECAS/AEGIS) in Basel (June 28 to July 1, 2017), Urban Africa – Urban Africans: New Encounters of the Rural and the Urban, the guest editors of this issue hosted two panels on the relationship of urban-based artists and their interest in rural topographies, aesthetics, and cultural practices.
- Full Text:
- Date Issued: 2019
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