Nadine Siegert is Deputy Director at Iwalewahaus, University of Bayreuth and Project Leader of the sub project “Revolution 3.0. Iconographies of social utopia in Africa and its diaspora” at the Bayreuth Academy of Advanced African Studies. She received a PhD in 2014 with the project „(Re)Mapping Luanda – Utopia and Nostalgia in aesthetic practise“. She had studied Cultural Anthropology, Philosophy and Sociology at the University of Mainz, where she worked in the African Music Archive until 2008. At the University of Bayreuth she worked in the research projects „Art-worlds in Interaction“ (2006) and „Media Art and the dynamics of contemporary art-worlds in Johannesburg and Luanda.“ (2007-2009). In that context she curated exhibitions such as „Agora Luanda“ (2007), „Portraits of a Slippery Look“ – Kiluanji Kia Henda (2008), „Dzzzz – Nástio Mosquito“ (2008), „Hidden Pages“ and “Contrary Alignment”- António Ole (2009) and „Somos Irmãos“ - Die angolanische Fotografenfamilie Pinto Afonso“ (2010), GhostBusters I [From Nightmare to Memory] (2011) and GhostBusters II Haunted by Heroes (2013).
Spatial and temporal intersections : Luanda’s artworld in the post-colonial and post-socialist space
Since 2002, Luanda’s art world has become a cultural laboratory, galvanized by post-war euphoria and the country’s growing economy. Today Luanda’s scene is linked to different sectors of the global art world, primarily through the establishment of the city’s Triennial. The actors behind the Triennial aspire for global participation, for the recognition of the international art world, and for transforming Luanda into a new centre for continental and even global artistic production and exhibition. The recent economic and political developments have also influenced the art institutions and their infrastructures over the past decade. Recent economic dynamics are not the only factors to note : there are post-colonial, post-socialist, and post-conflict dimensions playing out in arts institutions and in the work of Angolan artists. While the global art world structures accommodates a handful of young artists within international circuits, the recent dynamics of artistic production in Luanda are more cogently discussed in terms of the historical and cultural contexts of artists and their aesthetic practices. Some of the most important moments to inflect these art scenes and worlds on the continent include the liberation era following colonialism and the socio-political changes that followed.
In this presentation I give an overview of the historical continuities and ruptures that have shaped Luanda’s art world today, and the strategies of its actors shaped by colonialism, socialism and war. Analyzing the strategies of various institutions and the trajectories of the actors, framed between artistic and political discourses, brings into focus the tensions between local, regional, national and international systems in the era of independence and today.
Suggested reading :
- Siegert, Nadine (2014), Luanda Lab – aesthetic practices between nostalgia and utopia. In : Erin Haney (ed.), Critical Interventions Special Issue : “Emerging Platforms for Artistic Production in DRC, Angola, and Mozambique”
- Siegert, Nadine (2013), “Urban Memories and Utopias – Contemporary Art in Luanda and Nairobi”. In : Birgit Obrist et. al., Living The City. Processes of Invention and Intervention. Schweizerische Afrikastudien - Etudes africaines suisses, Bd. 10. Hamburg : LIT-Verlag. (with Ulf Vierke)
13h30, Salle de l’Institut d’Histoire moderne et contemporaine (Escalier D, 3e étage, au fond à gauche) École Normale Supérieure, 45 rue d’Ulm