{"id":3294,"date":"2022-10-11T10:37:00","date_gmt":"2022-10-11T10:37:00","guid":{"rendered":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/\/?p=3294"},"modified":"2022-10-18T14:02:58","modified_gmt":"2022-10-18T14:02:58","slug":"europa-oxala-tales-of-europe","status":"publish","type":"post","link":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/2022\/10\/11\/europa-oxala-tales-of-europe\/","title":{"rendered":"Europa Oxal\u00e1 tales of Europe"},"content":{"rendered":"\t\t
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Author: Marta Lan\u00e7a<\/p>\n

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The culmination of a long research<\/h2>\n

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\u00a0“I live in Lisbon, and I live in S\u00e3o Tom\u00e9. Being European represents the new man in the global context”, a phrase from a photograph in the series Afro Descendents<\/i>, by Pauliana Valente Pimentel, one of the Portuguese artists in the Europa Oxal\u00e1 exposition. Who said it, the artist Ren\u00e9 Tavares, photographed in his studio of large paintings, full of freedom, covering his face with a tchiloli mask. In the series, in addition to Ren\u00e9, there are portraits of the actresses Isabel Zu\u00e1a, N\u00e1dia Iracema, Cl\u00e9o Tavares and the artists Cristiano Mangovo and Acu\u00e3 Pessoa who, through their work and attitude, have contributed to our recognition of the pluri-racial, transidentitarian country and how it was time to value the stories that shape us.<\/p>\n

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Visiting the group show \u201cEuropa Oxal\u00e1\u201d gives us a more vivid and pressing idea of the creative power, questions, prepositions, and challenges of contemporary Europe. The notion of Europe seems to be even more coincident with its reality, as with the diverse desires and memories that make it up. In the exposition hall of the Calouste Gulbenkian Foundation, we browse through the 60 works in languages such as painting, drawing, sculpture, film, photography and installation, by artists whose names are not a mere list but a source of knowledge about identities, decolonisation, xenophobia, racism, migratory processes of people, worlds and materials and art. Aim\u00e9 Mpane, Aim\u00e9 Ntakiyica, Carlos Bunga, D\u00e9lio Jasse, Djamel Kokene-Dorl\u00e9ans, Fay\u00e7al Baghriche, Francisco Vidal, John K. Cobra, Katia Kameli, Mohamed Bourouissa, Jos\u00e8fa Ntjam, Malala Andrialavidrazana, M\u00e1rcio Carvalho, M\u00f3nica de Miranda, N\u00fa Barreto, Pauliana Valente Pimentel, Pedro A. H. Paix\u00e3o, Sabrina Belouaar, Sammy Baloji, Sandra Mujinga and Sara Sadik, all of whom figure in the international art scene, represented in galleries and museums. They are Europeans with a strong connection to Angola, Madagascar, Cape Verde, Congo, Benin, Guinea, Algeria, and Burundi, often speaking the languages of these countries, and they live mainly in Portugal, Belgium and France. Their proposals are not anchored in the territorial question, at most they would be trans-territorial. In general, and it is part of the game to generalise diverse works in a collective exhibition, \u201cEuropa Oxal\u00e1\u201d inscribes personal histories (as a point of view of oneself towards the world and towards the other) in an idea of a community of blood vessels where the same history of each one circulates and where recognition is given to the fluid place from which they depart, are or are projected. Without producing an overly didactic discourse helps us to reflect on Europe today, because “art does not repair the wounds of history, but it is a fundamental field for thinking about the politics of the present”, as Carla Baptista wrote about the exhibition in \u201cLe Monde Diplomatique<\/a>\u201d.<\/p>\n

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With the co-curatorship of Aim\u00e9 Mpembe Enkobo, Katia Kamelie and Ant\u00f3nio Pinto Ribeiro, it makes sense that this exhibition on transits in and to Europe, circulates precisely through the old continent: it opened in Marseille (at the Mus\u00e9e des Civilisations de l’Europe et de la M\u00e9diterran\u00e9e), is present at the Calouste Gulbenkian Foundation, in Lisbon, until August 22, and will follow to the AfricaMuseum, in Tervuren, Belgium.<\/p>\n

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One of the interesting aspects is the timely timing of the exhibition when the decolonisation of institutions, museums, restitutions and reparations is being debated. The artworks and the artists that are chosen, contribute to disrupting the always problematic classification of “African art” as the art of a certain niche. On the other hand, the exhibition promotes artists who have Africa in their European life and contribute to the salutary process of Africanisation of Europe (which has always been Africanised), giving an overall view without being confined to the expected and reductive horizon when grouped together as African artists or of African descent. According to the Portuguese curator, Pinto Ribeiro, \u201cEuropa Oxal\u00e1\u201d marks precisely “the ideal moment to clear the colonial myth and the post-colonial melancholy designated as ‘African art'”.<\/p>\n

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Another very positive note is the strong representation of many women artists, being the status of women in contemporary society one of the exhibition’s agendas. The modes of production, discursiveness and criticism, and the syncretic languages used are clues for us to understand the contemporary world.<\/p>\n

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View of exhibition. \u00a9Pedro Pina\/Funda\u00e7\u00e3o Calouste Gulbenkian.<\/em><\/p>\n

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Post-memory: I have not experienced the problem but it occupies me<\/h2>\n

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The exhibition \u201cEuropa Oxal\u00e1\u201d is part of Memoirs – Sons of Empire and European Post-memory<\/em>, a comprehensive scientific project directed by Margarida Calafate Ribeiro (Centro de Estudos Sociais, Coimbra), which has given us insight into the visions and thoughts of artists “from post-memory”, who share the colonial heritage. This project resulted in hundreds of articles, interviews and publications, including the books Novo Mundo: Arte Contempor\u00e2nea no tempo da p\u00f3s-mem\u00f3ria<\/em> (by researcher and programmer Pinto Ribeiro), N\u00e3o d\u00e1 para ficar parado: M\u00fasica afro-portuguesa<\/em>. Celebration, conflict and hope<\/em>, by journalist V\u00edtor Belanciano and a book with the same name as the exposition with essays by Amzat Boukari-Yabara, Ant\u00f3nio Pinto Ribeiro, Ant\u00f3nio Sousa Ribeiro, Ariella A\u00efsha Azoulay, C\u00e9cile Bourne-Farrell, Christine Bluard and Bruno Verbegt, Fabienne Bideaud, Lisette Lomb\u00e9 and Margarida Calafate Ribeiro.<\/p>\n

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This important exhibition, accompanied by an intense cultural and educational programme in dialogue with the themes and the works of these artists (which is essential, since the exhibition itself does not contain much information) is, therefore, the culmination of Memoirs<\/em>‘ research. From the outset, it will be fundamental to provide clues about post-memory, the non-hegemonic condition of those who share traumatic experiences not directly lived, transmitted deeply in a family environment. Second and third-generation artists from ex-colonised African countries are affected by such memories “in deferred”, indirectly, among memories of family and friends\u2019 experiences, who transmit to them stories, images and cultural practices from their cultures of origin. Families have often gone through colonialism, decolonisation processes, colonial and civil wars, migrations, exiles, various displacements, and some violence – symbolic and on the skin, and have experienced Europe in a hybrid condition, and formatted to hierarchical paradigms that result from the colonial issue. From these immense and varied experiences, the artists draw material for their artistic production and original reflection, they resignify personal or institutional archives, they narrate their composite identities, and they use intelligence and creativity as tools to overcome family and collective traumas. They show us certain angles and subjects with the necessary personalisation and subtlety that we do not find in the agendas of ephemeris, political programmes or in abstract concepts such as interculturality, inclusion, decolonisation of minds and cities.<\/p>\n

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View of exhibition. \u00a9Pedro Pina\/Funda\u00e7\u00e3o Calouste Gulbenkian.<\/em><\/p>\n

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The desire for the future and possible otherness<\/h2>\n

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The auspicious title \u201cEurope Oxal\u00e1\u201d works by phonetic and semantic force. “If god wills” \u201cInsha’Allah\u201d in Arabic, or “Oxal\u00e1” from “Let’s hope so\u201d, carrying future wishes for the Europe of today. May the so-called post-colonial condition be assumed, may racist and power asymmetries be overcome, and white hegemony be stabbed once and for all. However, these works are not on the level of denunciation or resentment, but rather on the level of so-called reparation. There is no nostalgia for a return to our origins, but rather a gesture of affirmation of the cultural wealth that constitutes them and which is inevitably connected to a change of paradigm in the conception and experience of Europe[1]<\/sup>. If it is true that the cultural heritages of these artists contribute, in tension and perspective, to the cosmopolitanism of Europe, they also reveal to us the various faces of so-called European interculturality, showing the contradictions of modernity, global capitalism and of the artistic and knowledge canons (still markedly eurocentric). For example, by combining contemporary languages with traditional processes and ways of knowing their origins. Driven by curiosity, I went to try to better understand the artistic and reflexive meanings of what I was observing in the exhibition.<\/p>\n

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Almost at the end of the room, we find copper artillery pieces used in Belgium in the World Wars, acting as vases for flowers. In a country where the icon of our revolution is the carnation in the rifle, it may not be original. However, these flowers, in the collective exposition enveloped by the vision of the Gulbenkian’s fresh gardens, originate from the mining areas of Katanga, in the Democratic Republic of Congo, where the conflict has been going on for decades. Thus, the installation by Sammy Baloji, a Congolese artist living in Belgium and organizing the Lubumbashi Biennale<\/a>, summons up the violence of the colonial past and the current one: occupation, war, extortion, wounded and refugees, as well as the drastic consequences of the force of weapons and the increasing militarization of the world. In other words, the deconstruction of colonial history contributes to the decolonisation of the world.<\/p>\n

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Dada <\/em>(2018), sculpture by the artist of Algerian descent Sabrina Belouaar (Paris, 1986). Two fists in plaster with a belt, which here loses its function of sustaining, to oppress, and punish, the two closed fists of revolt and struggle. We read that the work summons the memory of her father, a worker in a belt factory. In addition to the sculpture, Belouaar surprises with the photograph \u201cThe Gold Sellers\u201d, in which the hands of an Algerian woman with gold rings stand out. Adding the context, the image gains more strength. In some Islamised countries in West Africa, women suffer the double oppression of family and society, being disowned and discriminated against at the slightest deviation from the code of conduct (for example, by insinuations of adultery). When they leave home, they carry on their bodies what they can, and are forced to sell their jewellery, making their only asset their business.<\/p>\n

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A critical perception of Europe by Aim\u00e9 Mpane has in Ngunda<\/em> (2018-2020) a potency. In this work we see the flag of the European Union struck by a central tear, a kind of silhouette of the Virgin. Around the “hole” the community stars are yellow daffodils and at the base are square tyres, therefore unviable. Mpane questions the sacralisation of the European Union’s authority, its guidelines, ‘treaties’, hierarchies and its threatened foundations: peace and democracy. Other works that contribute to resignifying the knowledge or the perception, always subjective, that we have of the world are the cartographies by Malala Andrialavidrazana (originally from Madagascar), such as Figures 1883, Reference Map for Business Man <\/em>or Figures 1876<\/em> or Planisphere Elementaire<\/em>. In an interview on the website of the C.G. Foundation the artist, who associates regional and worldwide atlases and references, such as record covers, that marked his generation, says he wanted to show “how certain actors in the world try to pull the strings for the benefit of a very small number of people rather than the majority”.<\/p>\n

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In line with this macrogeographical vision, Fay\u00e7al Baghriche, of Algerian origin, has conceived a globe that rotates uninterruptedly, at such a speed that the continental and geographical contours of each country become blurred and dizzy, in a gesture that renders national identities and flags insignificant. In the interview about the exhibition, Baghriche notes that this frenetic globe becomes “a mural where nations disappear and only stars remain, like the erasure of differences.” Defending a globalised and general position of art: \u201cwe cannot remain circumscribed to certain artistic practices of our region” or to “claim at all costs a culture of belonging”.<\/p>\n

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Djamel Kokene-Dorl\u00e9ans, an artist working from the minimal, talks in the interview<\/a> about his sculpture of a pair of inverted shoes topped by cement, as if imagining the disappearance of a body, “a metaphor for prehistory, our personal stone, it is the rock of the modern human”. The installation is part of the No Reason <\/em>series, which makes a philosophical reference, as well as a reference to the multiplicity of reasons for the things Wittgenstein advocated.<\/p>\n

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And we move on to artist John K. Cobra’s words from the concept “of trans-architecture, which has a radical, transcultural, national and gender fluidity. Human beings have to arrange the space and time, the opportunities and also the rituals where they can explore different facets of their identity without restrictions or categorizations that have been put in place by capitalism, imperialism, etc. Art as a way of looking at spaces of negotiation between human beings but also objects.” In the defence of the fluidity and performativity of identities, voluble and transgressive is the choice of materials for some of his works, such as rubber from the Congo which, in colonial times, was a symbol of power and domination. Cobra sculpts rubber-covered bodies that translate movement and uses Kwanga (a consoling bread and also a symbol of life), wigs, leather, and brass, to create counter-images to the oppressive strategies of colonial and capitalist identities and violence.<\/p>\n

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I sit and watch a video by Katia Kameli, a director who has reflected on colonial miscegenation. Le roman Alg\u00e9rien<\/em> (2016), dives into Algerian history and memory, taking us to a street in Algiers, where Farouk Azzoug and his son have a visually cacophonous kiosk. Old postcards and all sorts of photographs are sold there. Through this random collection lined with plastic, we travel through architecture, vintage advertisements, brands, Algerian or visiting personalities, and icons of all kinds. This iconographic assemblage allows us to enter the country’s history in subjective connections, temporalities and references, woven by Algerian interviewees.<\/p>\n

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Finally, works more connected to technologies and digital culture. Camouflage waves #2<\/em> (2018), by Sara Sadik, shows the ink print on film of the image of choreographer Adrian Blount, to which a plastic texture is added giving the impression that the body will dissolve. The French multidisciplinary artist Jos\u00e8fa Ntjam weaves neo-futuristic fictions of imaginaries in which digital technology is relevant. In the video M\u00e9las de Saturne <\/em>(2020), we see associations between blackness, the Greek term m\u00e9las, darknet<\/em> and virtuality in a mythological journey.<\/p>\n

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View of exhibition. \u00a9Pedro Pina\/Funda\u00e7\u00e3o Calouste Gulbenkian.<\/em><\/p>\n

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Portuguese-speaking artists and universal language<\/h2>\n

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\u00a0<\/strong>At the entrance to the exposition, the series of images Tales of Lisbon<\/em>, by M\u00f3nica de Miranda immediately catches our attention. I follow the montage accompanied by the words of Djaimilia Pereira de Almeida, Kalaf Epalanga, Yara Monteiro, Ondjaki, Telma Tvon, the writers were invited to write from objects and belongings that are lost and helpless after the demolition of the houses. Devoid of their sentimental aura, stripped of their functionalities and belongings, we see floppy disks, suitcases, shoes, dolls and notebooks corroded by time. This sound and visual installation refers to the psychological and social violence that is the loss of a house, a neighbourhood, geography, or a memory. The big question of the right to housing and its dignity is the unequal way in which citizens are treated. The notions of belonging, of family, of the stories of the “peripheries”, are here touched on in a poetic and unpretentious way, recreating the experience by suggestion in situations, unfortunately still so recurrent, in metropolitan areas. The artist M\u00f3nica de Miranda has worked in various neighbourhoods capturing images in the construction of an artistic documentary archive on the transformations of the human and urban landscape, namely in the neighbourhoods of Talude, Azinhaga dos Besouros, Fim do Mundo, Mira Loures, 6 de Maio and others, mostly inhabited by Africans and African descendants.<\/p>\n

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By the Angolan artist D\u00e9lio Jasse, who lives in Italy, we could see the mural Terreno Ocupado<\/em>, composed of 24 blue images, worked by emulsion. The artist tells us that, since his return to Luanda, after 12 years without having been there, he has photographed “as if he were an anonymous person who did not know the city, concentrating on architecture”. Playing with territorial issues, the architecture that is disappearing to make way for recent architecture, the processes of eviction (houses left behind by the Portuguese) and occupation, we see the cultural confluences of present-day Luanda and discontinuities in terms of territory and regimes.<\/p>\n

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The artist M\u00e1rcio Carvalho, from a multiracial family of Angolans and Portuguese, lives in Berlin and presents two drawings from the series Falling Thrones<\/em>, in which Josina Machel and Patrice Lumbumba, as if they were athletes, confront the statues of King Leopold II and D. Jo\u00e3o I. The power structures of the Olympic games and the entire sporting competition appear as a metaphor for the anti-colonial struggle between iconic figures of independence and symbols of colonial oppression.<\/p>\n

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We are also gripped by the drawings of Pedro A. H. Paix\u00e3o<\/a> (Angola, 1971). In La Lupara<\/em> (2020) we see a biracial woman sitting in a chair, a portrait in coloured pencil from a photograph of the artist’s great-grandmother. Her fixed, haughty gaze destabilises us, as if in a tired rage, as does the weapon her long fingered, long nailed hands carry.<\/p>\n

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Artist from Guinea Bissau, living in Paris for many years, the painter N\u00fa Barreto<\/a> is fixing his memories on cardboard support, in the series Tra\u00e7os, Di\u00e1rio<\/em> (2020), a mosaic of small paintings. The influence of comics can be seen in the sequences and composition, in the contrasts, and in the characterisation of the figures with black arms, almost always unbalanced and distressed. In an interview with Sumaila Jal\u00f3 on the BUALA<\/a> portal, the artist contextualises this series Tra\u00e7os Di\u00e1rio (I, II, III)<\/em> as a self-imposed challenge: to draw daily “everything that crossed his mind”. In the first phase, he was concerned with “the consequences of confinement, as well as the return of Humanity. During the creation of these works in a context closed off from particularities, being an artist, confinement\/isolation was not something new. My life is completely isolated, required by professional needs. Despite this specificity of my work, I ended up feeling, at a certain point, the weight of confinement, even with the privilege of having everything around me. In the second phase of the drawings around the problem of confinement, I became interested in the question of the freedom of beings in a confined space. Questioning: what good would a small or large space do without freedom? The idea is to propose or open a dialogue around the question of Excess and Sparsity.”<\/p>\n

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Carlos Bunga works with poor materials such as cardboard to make an improvised shelter, the vulnerable box, the ruin, opposing monumentality and accumulation and spectacularisation, the anti-monument.<\/p>\n

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The already mentioned photographs by Pauliana Valente Pimentel of Portuguese Afro-descendant’s dialogue with the series Nous sommes Halles <\/em>(2002-3) by Mohamed Bourouissa. These are portraits of young people from the Parisian banlieu who gather in the historic shopping mall Lei Halles, proudly displaying their streetwear style and clothing. We read that this project interacts with the book Back in the Days<\/em> by Jamel Chamazz, which documents the beginning of hip-hop culture in New York in the 1980s in Brooklyn, Queens, or Harlem, bringing in the trends and breakdance. Also, in the line of pop culture, is Francisco Vidal’s screaming painting, with its figures, faces, strokes, words and music, poetry and affirmation.<\/p>\n

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View of exhibition. \u00a9Pedro Pina\/Funda\u00e7\u00e3o Calouste Gulbenkian.<\/em><\/p>\n

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Emancipatory artistic practices and agents of culture<\/h2>\n

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Why does analysing art trends help us think about the moment we are living in? Ant\u00f3nio Pinto Ribeiro reinforces, in his book Mundo Novo<\/em> (New World), that these artistic projects insist on revisiting and deconstructing colonial narratives, rejecting History based on monumentality and heroicity, being inspired by feminist and ecological debates, on underlining racial and cultural discrimination through personal stories, on investing against the colonisation of imaginaries, against racism. Without ignoring the tensions and violence of a region that has taken itself to be universal, we find in Europe, in contexts of freedom, incredible manifestations of afropolitanism as a cultural movement that makes Africa the meeting point of different migratory movements. There are many worlds in the composition of Europe, which has been made up precisely of the cultures of the whole world, usually with the arrogance of sucking in all the knowledge and labour force. Thus, an exhibition with such emotional force, of memory and artistic experimentation, does contribute to the decolonisation of the arts and of a certain idea of the world from Europe. Europa Oxal\u00e1 paves the way for the recognition of the multiplicity of memories and what we still have to go through in a Europe with so many ambitions and problems.<\/p>\n

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More info on the exhibition<\/a> and interviews with the artists.<\/p>\n

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[1]<\/sup> It is worth understanding what Achille Mbembe diagnoses as a paradigm shift in Europe that has always considered itself the centre of the world. “For a long time, Europe allowed itself to be lulled, almost without restraint, by illusions. Had it not decreed itself to be the only place where the truth of man would be unveiled? The whole world was at its disposal. In modernity, Europe came to believe that its life and culture, unlike that of other civilisations, were driven by the ideal of a free and autonomous reason. This had made it the pivotal continent in the history of humanity, an entity both apart and omnipresent, a universal being and a manifestation par excellence of the Spirit. To borrow the words of a famous critic, Europe knew everything, possessed everything, could everything and was everything”. In Brutalism<\/em> (Ant\u00edgona 2021).<\/p>\n

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Notes<\/h2>\n
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  1. This article was written when the exhibition Europa Oxal\u00e1 was on display at the Calouste Gulbenkian Foundation, in Lisbon, Portugal, from March 4 to August 3, 2022.<\/li>\n
  2. The exhibition will be on display at the AfricaMuseum, in Tervuren, Belgium, from October 7 to March 5, 2023.<\/li>\n<\/ol>\n

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    \u201cEuropa Oxal\u00e1\u201d, tales of Europe<\/h2>\n

    Autor: Marta Lan\u00e7a<\/p>\n

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    Culminar de uma longa pesquisa<\/h2>\n

    \u201cMoro em Lisboa e vivo em S\u00e3o Tom\u00e9. Ser europeu representa o homem novo no contexto global\u201d,  frase de uma fotografia da s\u00e9rie Afro Descendentes<\/em>, de Pauliana Valente Pimentel, uma das artistas portuguesas da exposi\u00e7\u00e3o Europa Oxal\u00e1<\/em>. Quem a disse foi o artista Ren\u00e9 Tavares, fotografado no seu atelier de pinturas amplas e plenas de liberdade, cobrindo o rosto com uma m\u00e1scara de tchiloli. Na s\u00e9rie, para al\u00e9m de Ren\u00e9, retratos das atrizes Isabel Zu\u00e1a, N\u00e1dia Iracema, Cl\u00e9o Tavares e os artistas Cristiano Mangovo e Acu\u00e3 Pessoa que, pelo seu trabalho e postura, t\u00eam contribu\u00eddo para que reconhe\u00e7amos o pa\u00eds pluriracial, transidentit\u00e1rio e como \u00e9 hora de valorizar-se as est\u00f3rias que nos enformam.<\/p>\n

    Ao visitarmos a mostra coletiva Europa Oxal\u00e1<\/em> ficamos, precisamente, com uma ideia mais v\u00edvida e premente sobre o poder criativo, as quest\u00f5es, preposi\u00e7\u00f5es e desafios da contemporaneidade europeia. A no\u00e7\u00e3o de Europa afigura-se tanto mais coincidente com a sua realidade, como com os desejos e mem\u00f3rias diversas que a comp\u00f5em. Na sala expositiva da Funda\u00e7\u00e3o Calouste Gulbenkian, percorremos as 60 obras em linguagens como pintura, desenho, escultura, filme, fotografia e instala\u00e7\u00e3o, de artistas cujos nomes n\u00e3o s\u00e3o uma mera lista mas fonte de conhecimento sobre identidades, descoloniza\u00e7\u00e3o, xenofobia, racismo, processos migrat\u00f3rios de pessoas, mundos e arte. Aim\u00e9 Mpane, Aim\u00e9 Ntakiyica, Carlos Bunga, D\u00e9lio Jasse, Djamel Kokene-Dorl\u00e9ans, Fay\u00e7al Baghriche, Francisco Vidal, John K. Cobra, Katia Kameli, Mohamed Bourouissa, Jos\u00e8fa Ntjam, Malala Andrialavidrazana, M\u00e1rcio Carvalho, M\u00f3nica de Miranda, N\u00fa Barreto, Pauliana Valente Pimentel, Pedro A. H. Paix\u00e3o, Sabrina Belouaar, Sammy Baloji, Sandra Mujinga e Sara Sadik, todos eles figurando na cena art\u00edstica internacional, representados em galerias e museus. <\/p>\n

    S\u00e3o europeus com forte liga\u00e7\u00e3o a Angola, Madagascar, Cabo Verde, Congo, Benim, Guin\u00e9, Arg\u00e9lia, Burundi, muitas vezes falando as l\u00ednguas destes pa\u00edses, e residem sobretudo em Portugal, na B\u00e9lgica e na Fran\u00e7a. As suas propostas n\u00e3o ancoram na quest\u00e3o territorial, quanto muito ser\u00e3o transterritoriais. De modo geral \u2014 e faz parte do jogo generalizar obras diversas numa exposi\u00e7\u00e3o coletiva \u2014 Europa Oxal\u00e1<\/em> inscreve hist\u00f3rias pessoais (enquanto ponto de vista de si para o mundo e para o outro) numa ideia de comunidade de vasos sangu\u00edneos onde essa mesma hist\u00f3ria de cada um circula e se d\u00e1 o reconhecimento do lugar flu\u00eddo de onde elas partem, se encontram ou se projectam. Sem produzir um discurso excessivamente did\u00e1ctico, contribui para refletirmos sobre a Europa de hoje, porque \u201ca arte n\u00e3o repara as feridas da hist\u00f3ria, mas \u00e9 um campo fundamental para pensar a pol\u00edtica do presente\u201d, como escreveu Carla Baptista a prop\u00f3sito da exposi\u00e7\u00e3o no Le Monde Diplomatique<\/a>.<\/p>\n

    Com co-curadoria de Aim\u00e9 Mpembe Enkobo, Katia Kamelie e Ant\u00f3nio Pinto Ribeiro, faz sentido que esta exposi\u00e7\u00e3o sobre tr\u00e2nsitos na e para a Europa, circule precisamente pelo velho continente: inaugurada em Marselha (no Mus\u00e9e des Civilisations de l\u2019Europe et de la M\u00e9diterran\u00e9e), esteve presente na Gulbenkian, em Lisboa, at\u00e9 22 de agosto, e seguiu para o AfricaMuseum, em Tervuren, na B\u00e9lgica.<\/p>\n

    Um dos aspetos interessantes \u00e9 o seu timing <\/i>oportuno, quando se vai debatendo a descoloniza\u00e7\u00e3o de institui\u00e7\u00f5es, museus, restitui\u00e7\u00f5es e repara\u00e7\u00f5es. As obras e os artistas escolhidos contribuem para desarrumar a, sempre problem\u00e1tica, classifica\u00e7\u00e3o de \u201carte africana\u201d, enquanto arte de determinado nicho. Por outro lado, a exposi\u00e7\u00e3o promove artistas que t\u00eam \u00c1frica na sua vida europeia e contribuem para o processo salutar de africaniza\u00e7\u00e3o da Europa (desde sempre africanizada), dando uma vis\u00e3o de conjunto sem se circunscreverem ao horizonte expect\u00e1vel e redutor quando aglomerados enquanto artistas africanos ou afrodescendentes. Segundo o curador portugu\u00eas, Pinto Ribeiro, Europa Oxal\u00e1<\/i> assinala precisamente \u201co momento ideal para desobstruir o mito colonial e a melancolia p\u00f3s-colonial designados como \u2018arte africana\u2019\u201d.<\/p>\n

    Outra nota muito positiva \u00e9 a forte representa\u00e7\u00e3o de muitas artistas mulheres, sendo o estatuto da mulher na sociedade contempor\u00e2nea uma das agendas da exposi\u00e7\u00e3o. Os modos de produ\u00e7\u00e3o, de discursividade e de cr\u00edtica, as linguagens sincr\u00e9ticas aqui utilizados s\u00e3o pistas para percebermos o mundo contempor\u00e2neo.<\/p>\n

    \"\"<\/p>\n

    Imagem da exibi\u00e7\u00e3o. \u00a9Pedro Pina\/Funda\u00e7\u00e3o Calouste Gulbenkian.<\/em><\/p>\n

    <\/p>\n

    A P\u00f3s-mem\u00f3ria: n\u00e3o vivi o problema mas ele ocupa-me<\/h2>\n

    Europa Oxal\u00e1 <\/i>insere-se no Memoirs \u2014 Filhos de Imp\u00e9rio e P\u00f3s-mem\u00f3ria Europeia,  um abrangente projecto cient\u00edfico dirigido por Margarida Calafate Ribeiro (Centro de Estudos Sociais, de Coimbra), que nos deu a conhecer vis\u00f5es e pensamentos de artistas \u201cda p\u00f3s-mem\u00f3ria\u201d, que partilham a heran\u00e7a colonial. Dele resultaram centenas de artigos, entrevistas, publica\u00e7\u00f5es, entre as quais os livros Novo Mundo: Arte Contempor\u00e2nea no tempo da p\u00f3s-mem\u00f3ria<\/i> (do investigador e programador Pinto Ribeiro), N\u00e3o d\u00e1 para ficar parado: M\u00fasica afro-portuguesa. Celebra\u00e7\u00e3o, conflito e esperan\u00e7a<\/i>, do jornalista V\u00edtor Belanciano e um livro hom\u00f3nimo da exposi\u00e7\u00e3o com ensaios de Amzat Boukari-Yabara, Ant\u00f3nio Pinto Ribeiro, Ant\u00f3nio Sousa Ribeiro, Ariella A\u00efsha Azoulay, C\u00e9cile Bourne-Farrell, Christine Bluard e Bruno Verbegt, Fabienne Bideaud, Lisette Lomb\u00e9 e Margarida Calafate Ribeiro.<\/p>\n

    Esta importante exposi\u00e7\u00e3o, acompanhada por intenso programa cultural e educativo em di\u00e1logo com os temas e as obras destes artistas (o que se torna fundamental pois na exposi\u00e7\u00e3o em si n\u00e3o h\u00e1 muita informa\u00e7\u00e3o) \u00e9, assim, o culminar da pesquisa de Memoirs. Ser\u00e1 desde logo fundamental explicar um pouco a ideia de P<\/strong>\u00f3<\/strong>s-mem<\/strong>\u00f3ria, <\/strong>a condi\u00e7\u00e3o nada hegem\u00f3nica de quem partilha experi\u00eancias traum\u00e1ticas n\u00e3o directamente vivenciadas, transmitidas profundamente em ambiente familiar. Os artistas de segunda e terceira gera\u00e7\u00e3o de pa\u00edses africanos, ex-colonizados, s\u00e3o afectados por tais mem\u00f3rias \u201cem diferido\u201d, indiretamente, entre recorda\u00e7\u00f5es de viv\u00eancias familiares e de amigos, que lhes transmitem hist\u00f3rias, imagens e pr\u00e1ticas culturais das suas culturas de origem. Fam\u00edlias que, muitas vezes, atravessaram o colonialismo, processos de descoloniza\u00e7\u00e3o, guerras coloniais e civis, migra\u00e7\u00f5es, ex\u00edlios, deslocamentos v\u00e1rios, algumas viol\u00eancias – simb\u00f3licas e na pele -, e vivem a Europa numa condi\u00e7\u00e3o h\u00edbrida, e formatados em paradigmas hierarquizantes que resultam da quest\u00e3o colonial. Dessas imensas e variadas experi\u00eancias, os artistas retiram mat\u00e9ria para a sua produ\u00e7\u00e3o art\u00edstica e reflex\u00e3o original, ressignificam arquivos pessoais ou institucionais, narram as suas identidades comp\u00f3sitas, fazem da intelig\u00eancia e criatividade as ferramentas para superarem traumas familiares e coletivos. D\u00e3o-nos a ver certos \u00e2ngulos e assuntos com as devidas personaliza\u00e7\u00e3o e subtileza que n\u00e3o encontramos nas agendas das efem\u00e9rides, programas pol\u00edticos ou em conceitos, abstratos e distantes, como interculturalidade, inclus\u00e3o, descoloniza\u00e7\u00e3o das mentes e das cidades.<\/p>\n

    \"\"<\/p>\n

    Imagem da exibi\u00e7\u00e3o. \u00a9Pedro Pina\/Funda\u00e7\u00e3o Calouste Gulbenkian.<\/em><\/p>\n

    <\/p>\n

    Desejo de futuro e a alteridade poss\u00edvel<\/h2>\n

    O auspicioso t\u00edtulo Europa Oxal\u00e1 funciona pela for\u00e7a fon\u00e9tica e sem\u00e2ntica. \u201cSe deus quiser\u201d Insha\u2019Allah em \u00e1rabe, ou \u201coxal\u00e1\u201d de \u201cesperemos que sim”, carregando desejos de futuro para a Europa de hoje. Que se assuma a dita condi\u00e7\u00e3o p\u00f3s-colonial, que se ultrapassem as assimetrias racistas e de poder. Que se apunhale de vez a hegemonia branca.<\/p>\n

    Por\u00e9m, estes trabalhos n\u00e3o se situam no plano da den\u00fancia nem do ressentimento mas mais na dita repara\u00e7\u00e3o. N\u00e3o se assinala uma qualquer nostalgia de regresso \u00e0s origens, antes o gesto de afirma\u00e7\u00e3o da riqueza cultural que os constitui e que est\u00e1 inevitavelmente ligado a uma mudan\u00e7a de paradigma da concep\u00e7\u00e3o e viv\u00eancia da Europa[1]<\/sup><\/a>. Se \u00e9 verdade que as heran\u00e7as culturais destes artistas contribuem, em tens\u00e3o e perspectivas, para o cosmopolitismo da Europa, tamb\u00e9m nos revelam as v\u00e1rias faces da dita interculturalidade europeia, mostrando as contradi\u00e7\u00f5es da modernidade, do capitalismo global e dos c\u00e2nones art\u00edsticos e de conhecimento (ainda marcadamente eurocentrados). Por exemplo, ao conjugarem linguagens contempor\u00e2neas com processos tradicionais e modos de saber das suas origens. <\/p>\n

    Movida por curiosidade e interesse nestas quest\u00f5es, fui tentar perceber melhor sentidos art\u00edsticos e reflexivos para o que estava a observar na exposi\u00e7\u00e3o que decorreu na Gulbenkian. <\/span><\/p>\n

    Quase no final da sala, encontramos pe\u00e7as de artilharia em cobre usadas na B\u00e9lgica nas Guerras mundiais, a fazer as vezes de vasos para flores. Num pa\u00eds que fez de \u00edcone revolucion\u00e1rio o cravo na espingarda, pode n\u00e3o ser original. No entanto, estas flores, envoltas pela vis\u00e3o dos jardins frescos da Gulbenkian, s\u00e3o origin\u00e1rias das zonas mineiras de Katanga, na Rep\u00fablica Democr\u00e1tica do Congo, onde o conflito h\u00e1 d\u00e9cadas se mant\u00e9m aceso. Assim, a instala\u00e7\u00e3o de Sammy Baloji, artista congol\u00eas que reside na B\u00e9lgica e organiza a Bienal de Lubumbashi<\/a>, convoca a viol\u00eancia do passado colonial e a atual: ocupa\u00e7\u00e3o, guerra, extors\u00e3o, feridos e refugiados, assim como as consequ\u00eancias dr\u00e1sticas da for\u00e7a das armas e da militariza\u00e7\u00e3o do mundo, que vem crescendo. Ou seja, a desconstru\u00e7\u00e3o da hist\u00f3ria colonial pode contribuir para a descoloniza\u00e7\u00e3o do mundo.<\/p>\n

    Em Dada (2018), escultura da artista de ascend\u00eancia argelina Sabrina Belouaar (Paris, 1986), vemos dois punhos em gesso (punhos fechados de revolta e de luta) com um cinto, que aqui perde a sua fun\u00e7\u00e3o de sustentar, para oprimir, castigar. Lemos que a obra convoca a mem\u00f3ria do pai, oper\u00e1rio numa f\u00e1brica de cintos. Al\u00e9m da escultura, Belouaar surpreende com a fotografia The Gold Sellers , na qual se destacam as m\u00e3os de uma mulher argelina com an\u00e9is de ouro. Acrescentando o contexto, a imagem ganha mais for\u00e7a. Em alguns pa\u00edses islamizados da \u00c1frica ocidental, as mulheres sofrem a dupla opress\u00e3o da fam\u00edlia e da sociedade sendo deserdadas e descriminadas ao m\u00ednimo desvio do gui\u00e3o de conduta (por exemplo, por insinua\u00e7\u00f5es de adult\u00e9rio). Quando saem de casa, transportam no seu corpo aquilo que podem, vendo-se for\u00e7adas a vender as j\u00f3ias fazendo do seu \u00fanico patrim\u00f3nio o seu neg\u00f3cio.<\/p>\n

    A percep\u00e7\u00e3o cr\u00edtica da Europa, por Aim\u00e9 Mpane, tem em Ngunda (2018-2020) uma pot\u00eancia. Nesta obra, vemos bandeira da Uni\u00e3o Europeia atingida por um rasg\u00e3o central, uma esp\u00e9cie de silhueta da Virgem. \u00c0 volta do \u201cburaco\u201d as estrelas comunit\u00e1rias s\u00e3o narcisos amarelos e na base, est\u00e3o pneus quadrados, logo invi\u00e1veis. Mpane p\u00f5e em causa a sacraliza\u00e7\u00e3o da autoridade da Uni\u00e3o Europeia, as suas orienta\u00e7\u00f5es, \u2018tratados\u2019, hierarquias e amea\u00e7adas funda\u00e7\u00f5es: a paz e a democracia. Outras obras que contribuem para ressignificar o conhecimento ou a percep\u00e7\u00e3o, sempre subjectiva, que possu\u00edmos do mundo s\u00e3o as cartografias de Malala Andrialavidrazana (origem de Madagascar), como Figures 1883, Reference Map for Business Man ou Figures 1876 ou Planisphere Elementaire. Em entrevista <\/a>no site da Funda\u00e7\u00e3o C.G. a artista, que associa atlas regionais e mundiais e refer\u00eancias como capas de discos que marcaram a sua gera\u00e7\u00e3o, refere que quis mostrar \u201ccomo certos atores do mundo tentam puxar os cordelinhos para proveito de um n\u00famero muito reduzido de pessoas em vez da maioria\u201d.<\/p>\n

    Na linha dessa vis\u00e3o macrogeogr\u00e1fica, Fay\u00e7al Baghriche, de origem argelina, concebeu um globo que gira ininterruptamente, a tal velocidade que os contornos continentais e geogr\u00e1ficos de cada pa\u00eds ficam esbatidos e em vertigem, num gesto de tornar insignificantes as identidades nacionais e as bandeiras. Na entrevista sobre a exposi\u00e7\u00e3o, Baghriche regista que esse globo fren\u00e9tico se torna \u201cum mural onde desaparecem as na\u00e7\u00f5es e s\u00f3 ficam as estrelas, como o apagamento das diferen\u00e7as.\u201d Defendendo uma posi\u00e7\u00e3o globalizada e geral da arte: “n\u00e3o podemos ficar circunscritos a certas pr\u00e1ticas art\u00edsticas da nossa regi\u00e3o\u201d ou a \u201creivindicar a todo o custo uma cultura de perten\u00e7a\u201d.<\/p>\n

    Djamel Kokene-Dorl\u00e9ans, artista que trabalha a partir do minimal, fala na entrevista <\/a>sobre a sua escultura de um par de sapatos invertidos encimados por cimento, como se imagin\u00e1ssemos o desaparecimento de um corpo, \u201cuma met\u00e1fora da pr\u00e9-hist\u00f3ria, a nossa pedra pessoal, \u00e9 a rocha do humano moderno\u201d. A instala\u00e7\u00e3o faz parte da s\u00e9rie No Reason<\/i>, que faz uma refer\u00eancia filos\u00f3fica e \u00e0 multiplicidade de raz\u00f5es para as coisas que Witgenstein defendeu.<\/p>\n

    E passamos para as palavras do artista John K. Cobra a partir do conceito \u201cde transarquitetura, que tem uma fluidez radical, transcultural, nacional e de g\u00e9nero. Que os seres humanos t\u00eam de arranjar o espa\u00e7o e o tempo, as oportunidades e tamb\u00e9m os rituais onde possam explorar diferentes facetas da sua identidade sem restri\u00e7\u00f5es ou categoriza\u00e7\u00f5es que foram instauradas pelo capitalismo, imperialismo, etc. A arte como uma forma de olhar para espa\u00e7os de negocia\u00e7\u00e3o entre seres humanos mas tamb\u00e9m objectos.\u201d Na defesa da fluidez e perfomatividade das identidades, vol\u00faveis e transgressoras, est\u00e1 a escolha de materiais para alguns dos seus trabalhos, como a borracha do Congo que, no tempo colonial, era um s\u00edmbolo de poder e de dom\u00ednio. Cobra esculpe corpos cobertos de borracha que traduzem o movimento, utiliza Kwanga (um p\u00e3o consoles e tamb\u00e9m s\u00edmbolo de vida), cabeleiras, couro, lat\u00e3o, para criar contraimagens \u00e0s estrat\u00e9gias de opress\u00e3o das identidades e viol\u00eancias coloniais e do capitalismo.<\/p>\n

    Sento-me a assistir ao v\u00eddeo de Katia Kameli, uma realizadora que tem refletido sobre a mesti\u00e7agem colonial. Le roman alg\u00e9rien<\/i> (2016), mergulha na hist\u00f3ria e mem\u00f3ria argelinas, levando-nos a uma rua de Argel, onde Farouk Azzoug e o filho t\u00eam um quiosque visualmente cacof\u00f3nico. Ali se vendem postais antigos e todo o tipo de fotografias. Atrav\u00e9s dessa cole\u00e7\u00e3o aleat\u00f3ria forrada a pl\u00e1stico, viajamos pela arquitetura, an\u00fancios vintage, marcas, personalidades argelinas ou de visita, \u00edcones de toda a esp\u00e9cie. Essa mistura iconogr\u00e1fica permite-nos entrar na hist\u00f3ria do pa\u00eds atrav\u00e9s de liga\u00e7\u00f5es subjectivas entre temporalidades e refer\u00eancias, tecidas pelos entrevistados argelinos.<\/p>\n

    Por fim, obras mais ligadas \u00e0s tecnologias e cultura digital. Camouflage waves #2<\/i> (2018), de Sara Sadik, mostra a impress\u00e3o a tinta sobre filme da imagem do core\u00f3grafo Adrian Blount, \u00e0 qual se acrescenta uma textura pl\u00e1stica dando a impress\u00e3o de que o corpo se vai dissolver. A artista multidisciplinar francesa Jos\u00e8fa Ntjam tece fic\u00e7\u00f5es neofuturistas de imagin\u00e1rios em que tecnologia digital \u00e9 relevante. No v\u00eddeo M\u00e9las de Saturne<\/i> (2020), vemos associa\u00e7\u00f5es entre negritude, o termo grego m\u00e9las, darknet e virtualidade numa viagem mitol\u00f3gica.<\/p>\n

    \"\"<\/p>\n

    Imagem da exibi\u00e7\u00e3o. \u00a9Pedro Pina\/Funda\u00e7\u00e3o Calouste Gulbenkian.<\/em><\/p>\n

    <\/p>\n

    Artistas de l\u00edngua portuguesa e linguagem universal<\/h2>\n

    \u00c0 entrada da exposi\u00e7\u00e3o, a s\u00e9rie de imagens Tales of Lisbon<\/i>, de M\u00f3nica de Miranda chama logo a aten\u00e7\u00e3o. Sigo a montagem acompanhada pelas palavras dos escritores Djaimilia Pereira de Almeida, Kalaf Epalanga, Yara Monteiro, Ondjaki, Telma Tvon, convidados a escrever a partir de objectos e pertences que ficaram perdidos e desamparados depois da demoli\u00e7\u00e3o das casas. Despossu\u00eddos da aura sentimental, despojados das suas funcionalidades e perten\u00e7as, vemos disquetes, malas, sapatos, bonecas e cadernos corro\u00eddos pelo tempo. Esta instala\u00e7\u00e3o sonora e visual remete para a viol\u00eancia psicol\u00f3gica e social que \u00e9 a perda de uma casa, de um bairro, de uma geografia, da mem\u00f3ria. Remete para o n\u00e3o garantido direito \u00e0 habita\u00e7\u00e3o e \u00e0 dignidade da mesma, o modo desigual como cidad\u00e3os s\u00e3o tratados. As no\u00e7\u00f5es de perten\u00e7a, de fam\u00edlia, de hist\u00f3rias das \u201cperiferias\u201d s\u00e3o aqui afloradas de modo po\u00e9tico e despretensioso, recriando a experi\u00eancia pela sugest\u00e3o em situa\u00e7\u00f5es, infelizmente ainda t\u00e3o recorrentes, nas \u00e1reas metropolitanas. A artista M\u00f3nica de Miranda tem trabalhado em v\u00e1rios bairros captando imagens na constru\u00e7\u00e3o de um arquivo documental-art\u00edstico sobre as transforma\u00e7\u00f5es da paisagem humana e urbana, nomeadamente nos bairros do Talude, Azinhaga dos Besouros, Fim do Mundo, Mira Loures, 6 de Maio e outros, maioritariamente habitados por africanos e afrodescendentes.<\/p>\n

    Do artista angolano D\u00e9lio Jasse, que vive em It\u00e1lia, pudemos ver o mural Terreno ocupado<\/i> composto por 24 imagens azuladas, trabalhadas por emuls\u00e3o. Jasse conta que, desde o seu regresso a Luanda, ap\u00f3s 12 anos sem l\u00e1 ter ido, fotografou \u201ccomo se fosse um an\u00f3nimo que n\u00e3o conhecesse a cidade, concentrado na arquitetura\u201d. Jogando com as quest\u00f5es territoriais, a arquitetura que vem desaparecendo para dar lugar \u00e0 arquitetura recente, os processos de desocupa\u00e7\u00e3o (casas deixadas pelos portugueses) e ocupa\u00e7\u00e3o, vemos as conflu\u00eancias culturais de Luanda atual e descontinuidades territoriais e de regimes.<\/p>\n

    O artista M\u00e1rcio Carvalho, de uma fam\u00edlia multiracial de angolanos e portugueses, vive em Berlim e apresenta dois desenhos da s\u00e9rie Falling Thrones<\/i>, nos quais Josina Machel e Patrice Lumbumba, como se fossem atletas, confrontam as est\u00e1tuas do Rei Leopoldo II e D. Jo\u00e3o I. As estruturas de poder dos jogos ol\u00edmpicos e toda a competi\u00e7\u00e3o desportiva aparecem como met\u00e1fora para a combate anticolonial entre figuras ic\u00f3nicas das independ\u00eancias e os s\u00edmbolos da opress\u00e3o colonial.<\/p>\n

    Tamb\u00e9m nos prendem os desenhos de Pedro A. H. Paix\u00e3o<\/a> (Angola, 1971). Em La Lupara<\/i> (2020) vemos uma mulher mesti\u00e7a sentada numa cadeira, um retrato a l\u00e1pis de cor a partir de uma fotografia da bisav\u00f3 do artista. O olhar fixo e altivo destabiliza-nos, como se de uma raiva cansada se tratasse, assim como a arma que as suas m\u00e3os de dedos e unhas longas carregam.<\/p>\n

    Artista da Guin\u00e9 Bissau, vivendo em Paris h\u00e1 muitos anos, o pintor N\u00fa Barreto<\/u><\/a> vai fixando as mem\u00f3rias em suporte de cart\u00e3o, na s\u00e9rie Tra\u00e7os, Di\u00e1rio<\/i> (2020), um mosaico de pequenas pinturas. Nota-se a influ\u00eancia da banda desenhada nas sequ\u00eancias e na composi\u00e7\u00e3o, nos contrastes, da caracteriza\u00e7\u00e3o das figuras de bra\u00e7os negros, quase sempre desequilibradas e aflitas. Em entrevista a Sumaila Jal\u00f3 no portal BUALA<\/a>, o artista contextualiza esta s\u00e9rie como um desafio auto-imposto: desenhar diariamente \u201ctudo quanto passava pela cabe\u00e7a\u201d. Numa primeira fase, preocupou-se com \u201cas consequ\u00eancias do confinamento, assim como o retorno da Humanidade. Durante a cria\u00e7\u00e3o dessas obras num contexto vedado de particularidades, sendo artista, o confinamento\/isolamento n\u00e3o era algo de novo. A minha vida \u00e9 completamente isolada, exigida pelas necessidades profissionais. Embora essa especificidade do meu trabalho, acabei por sentir, numa determinada altura, o peso do confinamento, mesmo com o privil\u00e9gio de ter tudo \u00e0 minha volta. Na segunda fase dos desenhos em torno da problem\u00e1tica do confinamento, interessei-me pela quest\u00e3o da liberdade dos seres num espa\u00e7o confinado. Questionando: para que serviria um pequeno ou grande espa\u00e7o sem liberdade? A ideia \u00e9 propor ou abrir um di\u00e1logo em torno da quest\u00e3o do Excesso e do Escasso.\u201d<\/p>\n

    J\u00e1 Carlos Bunga trabalha com materiais pobres como o cart\u00e3o fazendo um abrigo improvisado, a caixa vulner\u00e1vel, a ru\u00edna, opondo \u00e0 monumentalidade e \u00e0 acumula\u00e7\u00e3o e espetaculariza\u00e7\u00e3o, o anti-monumento.<\/p>\n

    As j\u00e1 referidas fotografias de Pauliana Valente Pimentel de afrodescendentes portugueses dialoga com a s\u00e9rie Nous sommes Halles<\/i> (2002\u20133) de Mohamed Bourouissa. S\u00e3o retratos de jovens da banlieu parisiense que se reunem no hist\u00f3rico shopping Lei Halles, que mostram orgulhosamente o seu estilo e vestu\u00e1rio streetwear. Lemos que este projeto interage com o livro Back in the Days<\/i>, de Jamel Chamazz, que documentam o in\u00edcio da cultura hip-hop em Nova Iorque na d\u00e9cada de 1980, no Brooklyn, Queens ou Harlem, trazendo as tend\u00eancias e o breakdance. Tamb\u00e9m na linha de cultura pop, a pintura gritante de Francisco Vidal, com as suas figuras, rostos, tra\u00e7os, palavras e m\u00fasica, poesia e afirma\u00e7\u00e3o.<\/p>\n

    \"\"<\/p>\n

    Imagem da exibi\u00e7\u00e3o. \u00a9Pedro Pina\/Funda\u00e7\u00e3o Calouste Gulbenkian.<\/em><\/p>\n

    <\/p>\n

    Pr\u00e1ticas art\u00edsticas emancipadoras e agentes da cultura<\/h2>\n

    Porque \u00e9 que analisar as tend\u00eancias da arte ajuda a pensar o momento que vivemos? Ant\u00f3nio Pinto Ribeiro refor\u00e7a, no seu livro Mundo Novo: Arte Contempor\u00e2nea no tempo da p\u00f3s-mem\u00f3ria<\/span><\/i>, que estes projectos art\u00edsticos insistem em revistar e desconstruir narrativas coloniais, em rejeitar a Hist\u00f3ria firmada na monumentalidade e heroicidade, em inspirar-se nos debates feministas, ecol\u00f3gicos, em sublinhar a descrimina\u00e7\u00e3o, racial e cultural atrav\u00e9s de hist\u00f3rias pessoais, em investir contra a coloniza\u00e7\u00e3o de imagin\u00e1rios, contra o racismo. Sem desprezar as tens\u00f5es e viol\u00eancias de uma regi\u00e3o que sempre se tomou por universal, encontramos na Europa, em contextos de liberdade, incr\u00edveis manifesta\u00e7\u00f5es de afropolitanismo enquanto movimento cultural que faz de \u00c1frica o ponto de encontro de distintos movimentos migrat\u00f3rios. <\/span><\/p>\n

    Muito do mundo na composi\u00e7\u00e3o da Europa fez-se precisamente das culturas do mundo inteiro, normalmente com a arrog\u00e2ncia de sugar todos os saberes e for\u00e7a de trabalho. Assim, uma exposi\u00e7\u00e3o com tamanha for\u00e7a emocional, de mem\u00f3ria e de experimenta\u00e7\u00e3o art\u00edstica, contribui sim para a descoloniza\u00e7\u00e3o das artes e de uma certa ideia de mundo a partir da Europa. Europa Oxal\u00e1<\/i> abre caminho para o reconhecimento das multiplicidade das mem\u00f3rias e o que ainda temos de percorrer numa Europa com tantas ambi\u00e7\u00f5es e problemas.<\/span><\/p>\n

    <\/p>\n

    Mais info sobre a exposi\u00e7\u00e3o<\/a> e entrevistas aos artistas.<\/p>\n

    [1]<\/sup> Vale a pena perceber o que Achille Mbembe diagnostica como mudan\u00e7a de paradigma na Europa que sempre se considerou o centro do mundo. \u201cPor muito tempo, a Europa deixou-se embalar, quase sem restri\u00e7\u00f5es, por ilus\u00f5es. N\u00e3o decretara ser o \u00fanico lugar onde a verdade do homem seria desvendada? O mundo inteiro estava \u00e0 sua disposi\u00e7\u00e3o. Na modernidade, a Europa passou a acreditar que a sua vida e a sua cultura, contrariamente a outras civiliza\u00e7\u00f5es, eram movidas pelo ideal de uma raz\u00e3o livre e aut\u00f3noma. Isto fizera dela o continente fulcral na hist\u00f3ria da humanidade, entidade simultaneamente \u00e0 parte e omnipresente, ser universal e manifesta\u00e7\u00e3o por excel\u00eancia do Esp\u00edrito. Para retomar as palavras de uma c\u00e9lebre cr\u00edtica, a Europa tudo sabia, tudo possu\u00eda, tudo podia e tudo era.\u201d In Mbembe, Achille, Brutalismo<\/i><\/span> <\/i>(Ant\u00edgona 2021)<\/span><\/p>\n

    <\/p>\n

    Notas<\/h2>\n
      \n
    1. Este artigo foi escrito quando a exposi\u00e7\u00e3o Europa Oxal\u00e1 esteve patente na Funda\u00e7\u00e3o Calouste Gulbenkian, em Lisboa, Portugal, de 4 de mar\u00e7o a 3 de agosto de 2022.<\/li>\n
    2. A exposi\u00e7\u00e3o estar\u00e1 patente no AfricaMuseum, em Tervuren, B\u00e9lgica, de 7 de outubro a 5 de mar\u00e7o de 2023.<\/li>\n<\/ol>\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":"

      This exhibition presents around 60 works by 21 artists whose family origins lie in the former colonies in Africa. Born and raised in a post-colonial context, they are artists whose works have become unavoidable in European contemporary art, proposing a reflection on their heritage, their memories and their identities.<\/p>\n","protected":false},"author":1,"featured_media":3295,"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-3294","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editorial","category-highlights"],"acf":[],"yoast_head":"\nEuropa Oxal\u00e1 tales of Europe - 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\/10\/11\/europa-oxala-tales-of-europe\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Europa Oxal\u00e1 tales of Europe - waau art\" \/>\n<meta property=\"og:description\" content=\"This exhibition presents around 60 works by 21 artists whose family origins lie in the former colonies in Africa. 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