{"id":1956,"date":"2022-07-20T13:00:00","date_gmt":"2022-07-20T13:00:00","guid":{"rendered":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/\/?p=1956"},"modified":"2022-10-07T11:27:43","modified_gmt":"2022-10-07T11:27:43","slug":"lubanzadyo-mpemba","status":"publish","type":"post","link":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/2022\/07\/20\/lubanzadyo-mpemba\/","title":{"rendered":"Lubanzadyo Mpemba"},"content":{"rendered":"\t\t
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EN<\/a> | PT<\/a><\/span><\/p>\n

How would you describe your relationship with art, and how do you read the world through art?<\/h2>\n

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Lubanzadyo Mpemba<\/b>:\u00a0<\/b>This is a very interesting question because it warns me of the possibility of having to extend my doubts, many of which I cannot answer, into what I do. Art is a relationship under construction. And my relationship with art is also a relationship under construction, among many surrenders. This relationship is often returning to a very closed space, where you have to assume individually that you are dealing with your own trauma and describing vulnerabilities you don’t consider. It’s another way of dealing with yourself and your everyday life. Thinking about art, my relationship with art is a relationship of fear because it is the space in which I know myself. I am constantly running away from the space in which I know myself. I think that is my relationship with art: it is a relationship of dealing with all the steps that I do not assume with ease. I have accumulated the world from art, and this is very deep. I understand art as the absorbed culture. I choose to read the world through the localities I bring with me and allow them to have a close relationship with what forms me. They constitute an initial part of a space or the person in constant spaces. I see the world from my place, and from there, that place does not end. It transforms and is also the tool for existing, for being. My way of reading the world is to bring all these localities from various experiences and unfinished constructions of memories. From this, I accept to be in transformation. Like an object or a subjectivity that wants to transform itself. My way of reading the world is accepting that I am also open to transformations. As a child, I heard many stories about territoriality. Initially, those lived by mothers and grandmothers. There were always stories of various places, places I did not know. Today, I feel that there is an obligation to individually assume an image of that place or create an image. I think all children invent an image of the places they don’t know. Like when we are reading a book, the reader makes his own images: he draws and creates images to develop. It’s not like watching a movie, where the images appear before you. So, in those stories, I was inventing and weaving images.<\/span><\/p>\n

The visuality crosses several languages in your work. Do you find in this diversity your balance for expression?<\/h2>\n

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LM:\u00a0<\/span>Whenever I have the opportunity to grow through the creative universe, various encounters and languages happen. The discourses’ language of everyday life, political performance, and institutional, and official theater permeate the instituted powers. I try to visualize how to “read these spaces”, going through a search for balance by the external relations. It is the only way I don’t feel too short of what I am creating: realizing that there is a significant influence of every day on what I am thinking as an artistic object. Visuality is a relationship of various encounters, both those I take on in an individual and those I cannot take on because they are external to my creation. The balance comes from thinking of my creation as an unenclosed quotidian.<\/p>\n

Does it make sense to talk about contemporary African art, given the continent’s diversity?<\/h2>\n

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LM:\u00a0<\/span>I have been learning that the term “contemporary art” is, in a way, the geopolitics of subjectivity. And this geopolitics of subjectivity in specific spaces gains a hierarchy in relation to other spaces. We are talking about fictional politics. And fiction is not, in itself, a place managed exclusively by individuals. Geopolitics is also a place assumed within a pre-established program by institutions that form the siege of what we will call “contemporary”. In the name of contemporary art, to reinforce, many photographs were taken in Sudan, Tanzania, and Congo as a way to make room or to exercise power instituted there. And I’m talking about powers that dehumanize the relationship of the African people themselves with their space, their beliefs, or their way of perceiving nature. Contemporary art is not a term for consensus but political appropriation.<\/p>\n

Do you identify with the category of contemporary African art? What do you feel can be articulated in an idea of a collective of African and African descendant artists worldwide? What might be common or parallel?<\/h2>\n

LM:\u00a0<\/span>I think it makes sense to talk about contemporary African art. However, it is urgent to approach this contemporary from their localities, from where they are occurring. Contemporary creation of Bamako, contemporary creation of Kigali, or the creation of Dual\u00e1. I think all this relation must be assumed from the places where knowledge exists.<\/p>\n

This way of creating is frequent, so talking about contemporary art is perhaps much more urgent in this sense and in my view. Thus, to say “contemporary African art” also allows a place for criticism of how the languages and economic systems are changing our daily lives. We must not forget that, in assuming contemporary art, we also assume the international guidelines of capitalism that are taking space in much more lasting relationships such as cultural ones and imposing its languages. So, if we are talking about economic debts that are appropriately astronomical for the cost of living of several African populations, that have great consequences in generational and dehumanize the relationship with the present, to speak of contemporary art is also to assume that this machine of international capitalism is present differently in the world. Reading the contemporary is also a way to read the hidden stories of political relations that subject us to the institutional quotidian that subjects us to our daily lives as an international particularity.<\/p>\n

What limitations do black artists face in their context? And what advantages?<\/h2>\n

LM:\u00a0<\/span>I believe that African artists and their diaspora have often resorted to a reading that revives, extends reading of reviving, extending, and not giving up pan-Africanism. There is a very common place already transversal to us: this recurrent reading of pan-Africanism to have several encounters. Encounters that were only dreams of belonging to a joint community that is not only born with contemporary artists but is also born from causes beyond contemporary art. From here, it is a very common, diverse, and collective place. Now, what can be parallel is a place under continuous construction and also of very strong political participation.<\/p>\n

Tell us from your context.<\/h2>\n

LM:\u00a0<\/span>I will talk about Angola, which is my context. The difficulties faced by Angolan artists are a limitation that comes a lot with the institutional part. To date, the government of Angola has never thought about art and culture. So this cannot be born from official discourse. This difficulty must be born from a process of consultation and political participation, both with institutions and artists. According to my understanding, within Angola’s artistic space, few collectivization processes occur. There is no joint political manifesto among artists, so I perceive our difficulties as part of a constituent project. The struggles are not thought of collectively, and the institutions were not created to relate to the artists. We are talking about limitations that often have to do with the artist and the way the social devices are present in our society, and if they are, their presence has many absences.<\/p>\n

What is the inspiration from Brazil and Angola in your work?<\/h2>\n

LM:\u00a0<\/span>creative process that allows me to make communication, and proximity choices, that form the Brazil\/Angola memory. When I create, I am always subject to the societies in which I was born, so it’s like an inspiration from a place within the information and a place of education with institutionality. So I always assume that these places are proposing various tools to me, unfinished and unexplored tools for creating art and seeing art as a space of constant militancy.<\/p>\n

Your work focuses on migration, urban gentrification, memory, and public institutional archive issues. What series have you presented concerning these themes?<\/h2>\n

LM:\u00a0<\/span>There is a body of work that I did initially: it was more focused on immigration and the relationship between subjects perceived as illegal or undocumented in the urban space. From these themes, I return to what I claim as the thematic devices of my work.<\/p>\n

How does your method work between conceptualizing and showing?<\/h2>\n

LM:\u00a0<\/span>This question is very interesting and also difficult to answer. When I go to create, it is because there has been a provocation for more than three months with the object I want. So the dialogue is to try to give birth to something while understanding and realizing whether or not it is worth being put to others. I am always in this arena of extreme doubt about the process to be created. Still, I recognize a specific nucleus of my life, of very special people, who always make a point of being open to receiving what I want to create. I always make a point of having an initial sharing with a very closed nucleus of people, and from them, I can see if I am ready to move forward with the critique after reading people. That’s my initial laboratory. Then, what these people will say, not in a way that annuls my creative autonomy, but to be critical of the object exposed there. However, there are also works I don’t share with a specific because, after creation, I am in a phase of going to festivals, biennials, and galleries.<\/p>\n

And how does the research proceed?<\/h2>\n

LM:\u00a0<\/span>It depends on the topic. For example, I am researching the presence of African workers in a certain company in Portugal, specifically in Lisbon. I go to the archives and collect testimonials from people who worked in this private institution. It depends a lot on the<\/p>\n

theme. Some themes force me to enter a documental space. There are themes that I observe and can create an imaging relationship beforehand. It is quite diverse. There is no fixed place where I begin at point A and end at point B. Everything varies according to what I want to create.<\/p>\n

How do you imagine the African future?<\/h2>\n

LM:\u00a0<\/span>In this question, I would like to be humble and answer that I would like much more to imagine the future of Angola because it is a place that I know. It is in Angola that I have a greater political vision and that I can have perceptions. It’s not that I am color blind about the African space because I have reading and knowledge, but I would like much more to talk about Angola. In Angola, I see many struggles in the near future and a lot of ruptures created by these struggles. The various struggles: of women and men fighting for new perceptions of being in the political space. Struggles that promote a change that implements equality.<\/p>\n

\u00a0<\/span><\/p>\n

By Al\u00edcia Gaspar and Marta Lan\u00e7a<\/span><\/p>\n

Images of artist\u2019s work:<\/h2>\n

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Links to artist’s work:
https:\/\/lubanzadyompemba.pixieset.com\/<\/a>
https:\/\/www.buala.org\/pt\/cidade\/outros-ceus-fechados-de-lisboa<\/a>
https:\/\/www.buala.org\/pt\/galeria\/opaco-paku<\/a>
https:\/\/lubanzadyompemba.pixieset.com\/lampedusa\/<\/a>
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Lubanzadyo Mpemba<\/h2>\n

Nasceu em Angola em 1989. Artista transdisciplinar, exprime-se em v\u00eddeo-arte, fotoper- formance, performance e document\u00e1rio. O seu trabalho passa por encena\u00e7\u00f5es visuais<\/p>\n

que abordam a migra\u00e7\u00e3o, gentrifica\u00e7\u00e3o urbana, viol\u00eancia institucional e mem\u00f3ria cole- tiva. \u00c9 formado em Direito, estudou Sociologia Urbana, Estudos Curatoriais, Cinema e<\/p>\n

Pintura em Movimento.<\/p>\n

Como descreve a sua rela\u00e7\u00e3o com a arte e como l\u00ea o mundo a partir da arte?<\/h2>\n

Lubanzadyo Mpemba<\/b>:\u00a0<\/span>Essa pergunta \u00e9 muito interessante porque me avisa da possibilidade de ter que esten- der as minhas interroga\u00e7\u00f5es, muitas das quais n\u00e3o consigo responder, dentro do que eu<\/span><\/p>\n

fa\u00e7o. A arte \u00e9 uma rela\u00e7\u00e3o em constru\u00e7\u00e3o. E a minha rela\u00e7\u00e3o com a arte \u00e9, tamb\u00e9m, uma rela\u00e7\u00e3o em constru\u00e7\u00e3o, al\u00e9m de muita entrega. Essa rela\u00e7\u00e3o \u00e9 muitas vezes a de retornar a um espa\u00e7o bastante fechado, que \u00e9 aquele espa\u00e7o em que tu tens que assumir individualmente que est\u00e1s a lidar com o teu pr\u00f3prio trauma, que est\u00e1s a descrever vulnerabilidades que n\u00e3o assumes. \u00c9 outra forma de lidar contigo e com o teu quotidiano. Pensar a arte, a minha rela\u00e7\u00e3o com a arte, \u00e9 uma rela\u00e7\u00e3o de medo porque \u00e9 o espa\u00e7o em que eu me conhe\u00e7o. Sinto que estou constantemente a fugir do espa\u00e7o em que me conhe\u00e7o. Acho que \u00e9 essa a minha rela\u00e7\u00e3o com a arte, \u00e9 uma rela\u00e7\u00e3o de ter de lidar com todos os passos que eu n\u00e3o assumo com facilidade. Acumulei o mundo a partir da arte, e isto \u00e9 muito profundo. Entendo a arte, enquanto a cultura absorvida. Opto por ler o mundo atrav\u00e9s das localidades que trago comigo e<\/p>\n

permito que essastenham uma rela\u00e7\u00e3o de proximidade com aquilo que me forma. Cons- tituem-se como parte inicial de um espa\u00e7o ou na pessoa que est\u00e1 em constantes espa- \u00e7os. Eu vejo o mundo a partir do meu local e a partir da\u00ed esse local n\u00e3o se encerra, trans- forma-se e \u00e9 tamb\u00e9m a ferramenta de existir, estar e ser. A minha forma de ler o mundo<\/p>\n

\u00e9 trazer essas localidadestodas de v\u00e1rias viv\u00eancias e constru\u00e7\u00f5es inacab\u00e1veis de mem\u00f3- rias. A partir disso eu aceito estar em transforma\u00e7\u00e3o. Como um objeto ou uma subjeti- vidade que se quer transformar. A minha forma de ler o mundo \u00e9 uma forma de aceitar<\/p>\n

que eu tamb\u00e9m estou aberto a transforma\u00e7\u00f5es.<\/p>\n

Em crian\u00e7a ouvia muitas hist\u00f3riassobre territorialidade. Inicialmente aquelas vividas pe- las m\u00e3es e av\u00f3s. Tinham sempre hist\u00f3rias de v\u00e1rios lugares, lugares que n\u00e3o conhecia.<\/p>\n

Hoje, sinto que h\u00e1 uma obriga\u00e7\u00e3o em assumir individualmente uma imagem desse lugar ou criar uma imagem. Acho que todas as crian\u00e7as fazem isso, inventam uma imagem dos lugares que n\u00e3o conhecem. Como quando estamos a ler um livro, o leitor cria as suas pr\u00f3prias imagens: vai desenhando e criando imagens para desenvolver. N\u00e3o \u00e9 como ver um filme, em que as imagens aparecem perante n\u00f3s. Ent\u00e3o, nessas hist\u00f3rias ia inventando e tecendo imagens.<\/p>\n

A visualidade atravessa v\u00e1rias linguagens na sua obra. Encontra nessa diversidade o seu equil\u00edbrio para a express\u00e3o?<\/h2>\n

LM:\u00a0<\/span>Sempre que tenho oportunidade de crescer atrav\u00e9s do universo criativo, d\u00e3o-se v\u00e1rios<\/p>\n

encontros e linguagens. A linguagem do quotidiano, a performance pol\u00edtica, institucio- nal, o teatro oficial dos discursos que permeiam os poderes institu\u00eddos. Eu tento pensar<\/p>\n

visualmente em como \u201cler esses espa\u00e7os\u201d, passando por uma procura de equil\u00edbrio pelas rela\u00e7\u00f5es exteriores. \u00c9 a \u00fanica forma de n\u00e3o me sentir muito aqu\u00e9m do que estou a criar: perceber que h\u00e1 uma grande influ\u00eancia do quotidiano no que estou a pensar como objeto art\u00edstico. A visualidade \u00e9 uma rela\u00e7\u00e3o de v\u00e1rios encontros, quer aqueles que eu assumo de forma individual, quer aqueles que n\u00e3o posso assumir porque s\u00e3o exteriores \u00e0 minha cria\u00e7\u00e3o. O equil\u00edbrio vem da\u00ed, de pensar a minha cria\u00e7\u00e3o como um quotidiano n\u00e3o encerrado.<\/p>\n

Faz sentido falar em arte contempor\u00e2nea africana, tendo em conta a diversidade do continente?<\/h2>\n

LM:\u00a0<\/span>Tenho vindo a aprender que o termo \u201carte contempor\u00e2nea\u201d \u00e9, de certo modo, uma ge- opol\u00edtica da subjetividade. E essa geopol\u00edtica da subjetividade em certos espa\u00e7os ganha<\/p>\n

uma hierarquia em rela\u00e7\u00e3o a outros espa\u00e7os. Estamos a falar de pol\u00edtica ficcional. E a fic\u00e7\u00e3o, ela n\u00e3o \u00e9, em si, um lugar gerido exclusivamente por indiv\u00edduos, a geopol\u00edtica \u00e9 tamb\u00e9m um lugar assumido dentro de um programa pr\u00e9-estabelecido por institui\u00e7\u00f5es que formam o cerco daquilo que vamos chamar de \u201ccontempor\u00e2neo\u201d. Em nome da arte<\/p>\n

contempor\u00e2nea, s\u00f3 para refor\u00e7ar, muitas fotografias foram tiradas no Sud\u00e3o, na Tanz\u00e2- nia, e no Congo como forma de dar lugar ou de exercer o poder l\u00e1 institu\u00eddo. E estou a<\/p>\n

falar de poderes que desumanizam a rela\u00e7\u00e3o do pr\u00f3prio sujeito africano com o seu es- pa\u00e7o, assuas cren\u00e7as ou com a sua forma de perceber a natureza. A arte contempor\u00e2nea<\/p>\n

n\u00e3o \u00e9 um termo de consenso, mas sim de apropria\u00e7\u00e3o pol\u00edtica.<\/p>\n

Identifica-se com a categoria de arte contempor\u00e2nea africana? O que sente que se pode articular numa ideia de coletivo de artistas africanos e afrodescendentes mundialmente? O que pode ser comum ou paralelo?<\/h2>\n

LM:\u00a0<\/span>Creio que fazsentido falar de arte contempor\u00e2nea africana. No entanto, \u00e9 urgente abor- dar esse contempor\u00e2neo a partir das suas localidades, de onde est\u00e3o a ocorrer. O con- tempor\u00e2neo da cria\u00e7\u00e3o de Bamaco, o que \u00e9 o contempor\u00e2neo da cria\u00e7\u00e3o de Kigali, ou<\/p>\n

na cria\u00e7\u00e3o de Dual\u00e1. Penso que toda esta rela\u00e7\u00e3o deve ser assumida a partir das locali- dades onde existem saberes. Essa forma de criar \u00e9 frequente, ent\u00e3o o falar de arte con- tempor\u00e2nea talvez seja nesse sentido, a meu ver, muito mais urgente. Assim, dizer \u201carte<\/p>\n

contempor\u00e2nea africana\u201d permite tamb\u00e9m um lugar de cr\u00edtica de como as linguagens,<\/p>\n

e como os sistemas econ\u00f3micos v\u00e3o alterando o nosso quotidiano. \u00c9 preciso n\u00e3o esque- cer que, ao assumir a arte contempor\u00e2nea, assumimos igualmente as diretrizes interna- cionais do capitalismo que vai tomando espa\u00e7o em rela\u00e7\u00f5es muito mais duradouras<\/p>\n

como as culturais e impondo as suas linguagens. Ent\u00e3o, se estamos a falar de d\u00edvidas<\/p>\n

econ\u00f3micas que s\u00e3o devidamente astron\u00f3micas para o custo de vida de v\u00e1rias popula- \u00e7\u00f5es africanas e que t\u00eam grandes consequ\u00eancias nas rela\u00e7\u00f5es geracionais e desumani- zam a rela\u00e7\u00e3o com o presente, falar de arte contempor\u00e2nea tamb\u00e9m \u00e9 assumir que essa<\/p>\n

m\u00e1quina do capitalismo internacional est\u00e1 presente de modo diverso no mundo.<\/p>\n

Ler o contempor\u00e2neo \u00e9 tamb\u00e9m uma forma de ler as hist\u00f3rias ocultas das rela\u00e7\u00f5es po- l\u00edticas que nos v\u00e3o sujeitando ao quotidiano institucional que, por sua vez, nos sujeitam<\/p>\n

ao nosso quotidiano enquanto particularidade internacional.<\/p>\n

Quais as limita\u00e7\u00f5es que os artistas negros enfrentam no seu contexto? E que vantagens?<\/h2>\n

LM:\u00a0<\/span>Creio que os artistas africanos e a sua di\u00e1spora frequentemente t\u00eam recorrido a uma leitura de reviver, de estender e de n\u00e3o dar por acabado o pan-africanismo. H\u00e1 um lugar muito comum que j\u00e1 nos \u00e9 transversal que \u00e9 essa leitura recorrente do pan-africanismo para termos v\u00e1rios encontros. Encontros esses que foram apenas sonhos de pertencer a uma comunidade conjunta, que n\u00e3o nasce apenas com os artistas contempor\u00e2neos, nasce de causas aqu\u00e9m da arte contempor\u00e2nea. A partir daqui \u00e9 um lugar muito comum, diverso e coletivo. Agora, o que pode ser paralelo \u00e9 um lugar em constru\u00e7\u00e3o cont\u00ednua e tamb\u00e9m de participa\u00e7\u00e3o pol\u00edtica muito forte.<\/p>\n

Fale-nos a partir do seu contexto.<\/h2>\n

LM:\u00a0<\/span>Vou falar de Angola que \u00e9 o meu contexto. As dificuldades enfrentadas por artistas an- golanos s\u00e3o uma limita\u00e7\u00e3o que vem muito com a parte institucional. Nunca o governo<\/p>\n

de Angola, at\u00e9 \u00e0 presente data, pensou a arte e cultura. Ent\u00e3o isso n\u00e3o poder\u00e1 nascer<\/p>\n

de um discurso oficial. Esse termo da dificuldade deve nascer de um processo de con- certa\u00e7\u00e3o e de participa\u00e7\u00e3o pol\u00edtica, quer com as institui\u00e7\u00f5es, quer com os artistas. At\u00e9<\/p>\n

agora, segundo o meu entendimento, dentro do espa\u00e7o art\u00edstico em Angola h\u00e1 poucos processos de coletiviza\u00e7\u00e3o ocorrendo. N\u00e3o h\u00e1 um manifesto pol\u00edtico conjunto entre os<\/p>\n

artistas, ent\u00e3o o que percebo \u00e9 que as nossas dificuldades s\u00e3o parte de um projeto cons- tituinte. N\u00e3o se pensa as lutas de forma coletiva, nem as institui\u00e7\u00f5es foram criadas para<\/p>\n

se relacionar com os artistas. Estamos aqui a falar de limita\u00e7\u00f5es que, muitas vezes, t\u00eam a ver com o artista e com a forma como os dispositivos sociais est\u00e3o presentes na nossa sociedade, e se est\u00e3o, a sua presen\u00e7a tem muitas aus\u00eancias.<\/p>\n

Que inspira\u00e7\u00e3o h\u00e1 do Brasil e Angola nos seus trabalhos?<\/h2>\n

LM:\u00a0<\/span>Creio que a inspira\u00e7\u00e3o que eu tenho de Angola e do Brasil, assumidamente, \u00e9 a possibi- lidade de ter um processo de cria\u00e7\u00e3o que me permite escolhas muito de comunica\u00e7\u00e3o,<\/p>\n

de proximidade, que formam mesmo a mem\u00f3ria Brasil\/Angola. Quando vou criar estou sempre sujeito a essas sociedades nas quais nasci, ent\u00e3o \u00e9 uma inspira\u00e7\u00e3o de um lugar<\/p>\n

dentro de informa\u00e7\u00e3o, e tamb\u00e9m de um lugar de educa\u00e7\u00e3o frequente com a institucio- nalidade, ent\u00e3o sempre assumo uma particularidade que esses lugares s\u00e3o lugares que<\/p>\n

me v\u00e3o propondo v\u00e1rias ferramentas, ferramentas inacabadas, por explorar, de criar arte e ver a arte como um espa\u00e7o de milit\u00e2ncia constante.<\/p>\n

O seu trabalho centra-se nas quest\u00f5es migrat\u00f3rias, gentrifica\u00e7\u00e3o urbana, mem\u00f3ria e arquivo institucional p\u00fablico. Que s\u00e9ries apresentou em rela\u00e7\u00e3o com estes temas?<\/h2>\n

LM:\u00a0<\/span>H\u00e1 um conjunto de trabalho que fiz inicialmente: teve mais calcado na imigra\u00e7\u00e3o e na rela\u00e7\u00e3o entre sujeitos tidos como ilegais ou indocumentados no espa\u00e7o urbano. A partir destas tem\u00e1ticas regresso ao que afirmo como dispositivos de temas do meu trabalho.<\/p>\n

Como se processa o seu m\u00e9todo entre concetualizar e mostrar?<\/h2>\n

LM:\u00a0<\/span>Esta pergunta \u00e9 muito interessante e tamb\u00e9m dif\u00edcil de responder. Quando vou criar \u00e9 porque existe uma provoca\u00e7\u00e3o h\u00e1 mais de tr\u00eas meses com o objeto que pretendo criar, ent\u00e3o o di\u00e1logo \u00e9 para tentar fazer nascer algo, percebendo ao mesmo tempo se aquilo vale ou n\u00e3o para ser posto a outrem. Estou sempre nesta arena de extrema d\u00favida sobre o processo a ser criado, mas reconhe\u00e7o um n\u00facleo espec\u00edfico da minha vida, de pessoas muito especiais, que sempre fazem quest\u00e3o de estar abertas para receber o que quero criar. Fa\u00e7o sempre quest\u00e3o de ter uma partilha inicial com um n\u00facleo muito fechado de pessoas, e a partir delas consigo perceber se estou pronto a avan\u00e7ar com a cr\u00edtica ap\u00f3s a leitura dessas pessoas. \u00c9 o meu laborat\u00f3rio inicial. Depois, fico na expectativa do que essas pessoas v\u00e3o dizer, n\u00e3o de modo a anular a minha autonomia criativa, mas de ser cr\u00edtico do objeto ali exposto. No entanto, h\u00e1 tamb\u00e9m trabalhos com que n\u00e3o tenho partilha com um n\u00facleo espec\u00edfico porque ap\u00f3s a cria\u00e7\u00e3o, estou numa fase de recorrer a festivais, bienais e galerias.<\/p>\n

E como se processa a pesquisa?<\/h2>\n

LM:\u00a0<\/span>Depende da tem\u00e1tica. Por exemplo, agora estou a pesquisar sobre a presen\u00e7a de traba- lhadores africanos numa determinada empresa em Portugal, especificamente em Lis- boa, a\u00ed a pesquisa \u00e9 muito mais documental, vou aos arquivos, recolho depoimentos de<\/p>\n

pessoas que trabalharam nessa institui\u00e7\u00e3o privada. Depende muito da tem\u00e1tica. H\u00e1 te- m\u00e1ticas que me obrigam a entrar num espa\u00e7o documental, h\u00e1 tem\u00e1ticas que observo e<\/p>\n

consigo criar uma rela\u00e7\u00e3o imag\u00e9tica de antem\u00e3o. \u00c9 bastante diverso, n\u00e3o tem um lugar fixo em que come\u00e7o no ponto A e termine no ponto B, n\u00e3o, tudo varia conforme o que eu pretendo criar.<\/p>\n

Como imaginas o futuro africano?<\/h2>\n

LM:\u00a0<\/span>Nessa quest\u00e3o gostaria de ser humilde e responder que eu gostaria muito mais de ima- ginar o futuro de Angola por ser um lugar que conhe\u00e7o. \u00c9 em Angola que tenho maior<\/p>\n

olhar pol\u00edtico, e que consigo ter perce\u00e7\u00f5es. N\u00e3o \u00e9 que eu seja dalt\u00f3nico com o espa\u00e7o africano, porque tenho uma leitura e conhecimento, mas gostaria muito mais de falar de Angola. Em Angola eu vejo num futuro pr\u00f3ximo muitas lutas, e tamb\u00e9m vejo muita rutura criada por essas lutas. As diversas lutas: de mulheres e homens a lutarem por novas perce\u00e7\u00f5es de estarem no espa\u00e7o pol\u00edtico. Lutas promotoras de uma mudan\u00e7a que implemente a igualdade.<\/p>\n

\u00a0<\/p>\n

por Al\u00edcia Gaspar e Marta Lan\u00e7a<\/span><\/p>\n

Imagens do trabalho do artista:<\/h2>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\n\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t\t\t\t\t\t

\u00a0<\/p>\n

\u00a0<\/p>\n

Links com trabalhos do artista:<\/p>\n

https:\/\/lubanzadyompemba.pixieset.com\/<\/a>
https:\/\/www.buala.org\/pt\/cidade\/outros-ceus-fechados-de-lisboa<\/a>
https:\/\/www.buala.org\/pt\/galeria\/opaco-paku<\/a>
https:\/\/lubanzadyompemba.pixieset.com\/lampedusa\/<\/a>
https:\/\/lubanzadyompemba.pixieset.com\/xessemambodolegorbieraquinoluanda2019\/<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

Born in Angola in 1989. A transdisciplinary artist, Lubanzadyo Mpemba expresses
\nhimself in video art, photo performance, performance, and documentary. His work
\nincludes visual stagings that address migration, urban gentrification, institutional
\nviolence, and collective memory. He has a law degree, and studied Urban Sociology,
\nCuratorial Studies, Film, and Painting in Motion.<\/p>\n","protected":false},"author":1,"featured_media":1973,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"inline_featured_image":false,"footnotes":""},"categories":[47,11],"tags":[],"class_list":["post-1956","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editorial","category-highlights"],"acf":[],"yoast_head":"\nLubanzadyo Mpemba - waau art<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/mcostastudio.pt\/clients\/waau\/site\/2022\/07\/20\/lubanzadyo-mpemba\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Lubanzadyo Mpemba - waau art\" \/>\n<meta property=\"og:description\" content=\"Born in Angola in 1989. 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