{"id":6422,"date":"2022-11-17T12:12:00","date_gmt":"2022-11-17T12:12:00","guid":{"rendered":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/\/?p=6422"},"modified":"2022-12-12T14:45:16","modified_gmt":"2022-12-12T14:45:16","slug":"my-art-is-not-made-of-technique-but-of-feeling-toy-boy-interview-marta-lanca-in-luanda","status":"publish","type":"post","link":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/2022\/11\/17\/my-art-is-not-made-of-technique-but-of-feeling-toy-boy-interview-marta-lanca-in-luanda\/","title":{"rendered":"“My art is not made of technique, but of feeling”, an interview with artist TOY BOY, in Luanda"},"content":{"rendered":"\t\t
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EN<\/a> | PT<\/a><\/p>\n

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Author: Marta Lan\u00e7a\u00a0<\/p>\n

Toy Boy, 46 years old, has followed the various stages of the country’s post-independence and initiated his artistic practice after the civil war. His work is an expression of life in Luanda, intrinsically linked to the suffering and creativity one feels in the streets. In tune with the city’s artistic movements and circles (such as Elinga Teatro and Fuckin’ Globo), Toy Boy tells us his story with the sincerity and sensitivity that describe him. Dribbling the difficulties in his path and the need for survival, he appropriates a certain pop art, making collages or ready-mades, installations, and using recycled materials such as rust, but, above all, he gives body and voice to the singularities of urban life.<\/p>\n

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How was your artistic yearning born?<\/h4>\n

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We always had creativity here. We used to make tin cars, we invented balms to polish shoes.<\/p>\n

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What was that like?<\/h4>\n

We’d burn tires, mix them with diesel or petrol, and polish the shoes of the guys who gave us change. It also comes from pop culture itself. In the eighties, there was a certain pop world, with rooms filled with posters of Bob Marley, Bob Dylan, and George Michael. I used to pick up cans to sell to friends who had wonderful collections of cans from foreign co-operators. Thus, the artistic drive came from my own experience and the pop art I felt around me. And from the people around me.<\/p>\n

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The friends with whom you connected, the artistic tendency of the city?<\/h4>\n

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It was a great possibility to be side by side with very fine artists at the beginning of their careers. They were very good, creative, alternative, with a lot of energy, and freethinkers, something I wasn’t used to in my neighborhood.<\/p>\n

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How did you start to get along with them?<\/h4>\n

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I joined Elinga through Kiluanji Kia Henda, who took me from a takeaway in Mutamba, where I was working, and dragged me to Elinga Teatro. <\/span><\/p>\n

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Already at the time of the Nacionalistas (artists’ collective)?<\/h4>\n

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Yes.<\/p>\n

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What did you do?<\/h4>\n

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I was their producer, the \u201chandyman\u201d. I liked that world, I was super in love with it, because it was different. Elinga\u2019s collective spirit led me, and many others, to a more prominent productivity. <\/span><\/p>\n

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How do you see the importance of Elinga at that time (from 2004 onwards)?<\/h4>\n

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It was an art barn, a place where people could do what is now done naturally, like collages, pop art, the free expression from the Elinga movement. With those components, music, theatre, visual artists, contemporary dance. <\/span><\/p>\n

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Anto\u0301nio Ole had his workshop there…<\/h4>\n

Yes, and the gatherings. We’d stay there talking, from 11 a.m. until midnight. We seemed crazy to society. <\/span><\/p>\n

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In those early days, did you collaborate with the theatre?<\/h4>\n

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Yes, as a stage assistant. I had the opportunity to work at the 1st International Festival of Theatre and Arts, as a production assistant in two plays at that festival. A great artist, Pedro Campelo, came to work with scenography. To have participated in the production, to follow Pedro’s strength, to produce a festival with various companies, and to be there every day working hard was a great experience.\u00a0<\/span><\/p>\n

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What fascinated you about scenography?<\/h4>\n

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Having to set things up and to create. The group would come in and say ‘We want this’, and we would have to develop a story and set it up for what the others wanted.<\/span><\/p>\n

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You were never an artist with an inflated ego?<\/h4>\n

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No, because I came from that school, I don’t have that. <\/span><\/p>\n

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And you start presenting your own work.<\/h4>\n

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I start painting my first tiny project with A3 sheets and crayons. I went to Nelo Teixeira’s studio and said, “those abandoned pencils and sheets over there, pass them on to me”. And I made “Esboc\u0327os de Jazz” (Jazz Sketches) in 2007. Nelo Teixeira even told me to exhibit it, but I wanted to do it with some elegance, and I ended up not displaying it. It went into someone else’s hand and disappeared. At the time, I did not have a steady place to keep my things. <\/span><\/p>\n

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You lived for some time in Master Paulo Kapela’s studio…<\/h4>\n

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Yes, I lived with Kapela. Before that, I slept at Elinga, in the dancers’ small storage room. Then came Movimento X, with Pedro Gil and Mano a Mano, a night <\/span>underground<\/span><\/i>, bar, and program that occupied the whole theatre, and I had to leave.\u00a0<\/span><\/p>\n

I went to Lisbon for three weeks, but I returned early because I needed things here that belonged to me, and I had to come and collect them. When I came back to Luanda, I had nowhere to stay. My only corner was really Capela’s goodwill, he was also ill, and I stayed looking after him. Everything was untidy and disorganized. I stayed there for a month tidying things up, organizing, and buying him food, I prepared the food and we ate together, until Rasta Congo appeared and thought he would take care of Kapela. I was very sensitive and ended up leaving there and went to live at Mano Maninho’s house in Ma\u0301rtires do Kifangondo.\u00a0<\/span><\/p>\n

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In terms of artistic techniques, how was that time with Kapela?<\/h4>\n

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It was always good to see Kapela working. He worked every single day. <\/span><\/p>\n

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Was he an affable or reserved person?<\/h4>\n

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He had phases, many when he was not well, others when he received you well, then we also knew how to notice when he was not lucid, out of balance, and when he was available to people. <\/span><\/p>\n

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Was the Kapela universe truly special?<\/h4>\n

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It was special. It was conducted with spirit, with soul, with a desire to make. It could be a heavy environment for those not used to seeing lit candles, and hanging crosses, and that mixture of Jose\u0301 Eduardo dos Santos, Agostinho Neto, Thomas Sankara, Jesus Christ, Ubuntu, Bantu, the history of the world … it was a lot of information. He came from a religious process of the Poto-Poto school in Congo, which I believe was very good, but then he discarded Poto-Poto, Christianity, and racism, and tried to create a free thought process. Spirituality resided not only in his works but also in his way of being and seeing the world. There were no whites or blacks, yellows, those from the north or south, those who created divisions. So, in some way, he broke with this and went on bewitching people who came there, people like me and many others. <\/span><\/p>\n

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There were several focuses of artists… And the Luanda Triennial.<\/h4>\n

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Yes, it was a <\/span>boom<\/span><\/i>. <\/span><\/p>\n

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And you start doing your own work…<\/h4>\n

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In 2008 I collected all the materials from the Theatre Festival, wood, paints, I took everything and put these pieces together in the hall of the Elinga Teatro and told the people at the bar: “you can paint”. I wanted them to create relief on two pieces of wood. I transformed all of it and called it <\/span>Recycle<\/span><\/i>. They were large pieces of wood, and almost all of them were sold. At the time, I didn’t have a gallery. This was an important project, but at the same time, I didn’t give it much value. <\/span><\/p>\n

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And then where did you live?<\/h4>\n

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In 2010, I went to Lisbon for a short time. I returned, and I was adrift because I had nowhere to live, there was no longer Kapela or Elinga to stay with. At the Natural History Museum, I meet Kilas, who works with sound. I told him I had nowhere to work. He said he had a house in Kalemba 2. I accepted immediately. We almost went to Kalemba 2 on foot. It was a house with no windows. I took Eli\u0301sio to the Roque Santeiro market to get cloths, bags, and a tarp that was usually used to cover the coal trucks that were going to Roque. I asked Mano for a $200 sponsorship. I took the material and closed myself up in Kalemba 2, and within a month and a half, I held an exhibition at Elinga in 2010, <\/span>Lava Almas<\/span><\/i>. It was a special exhibition for me, but a bit closed off, not many people went to see it. Mano then tells me that he’s going to make me a proper re-inauguration. <\/span><\/p>\n

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From then on, you were convinced that art was your path.<\/h4>\n

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From then on, I gained security and the ability to express myself. We were all open-minded people; it was a time when people created a lot. I don’t make individual pieces; I create a project and work around that project. I guide myself through it to feel that I am doing something solid, with more identity.<\/span><\/p>\n

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Looking back from 2008 until now, how would you describe your work?\u00a0<\/h4>\n

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I never lived outside of Angola, which led me to connect a lot to the reality of others, the people, the architecture, and the urban movements within Angola. So my work is very local, based on the Angolan people, the country, the nation, the concept of the nation, what one wants for the future, and what one plans for a common social good. <\/span><\/p>\n

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But it has universal identification…<\/h4>\n

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Of course, it does, so much so that I did the <\/span>Lava-Almas<\/span><\/i> exhibition in Tel Aviv (2014-15). I went back there to do a workshop at a university, a conference, and I talked to people, and there are similar things. And there were works of art that resonated with them. The <\/span>African Studio Gallery<\/span><\/a> bought everything. <\/span><\/p>\n

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What motivated you the most?<\/h4>\n

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The way Jose\u0301 Eduardo dos Santos governed a country made me very unhappy, it usually led me to a sort of anger, pain, and a need to express myself, and I had no way of expressing myself. Maybe it would be different if I knew how to do theatre or politics. <\/span><\/p>\n

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Has that anger died down a little, or are you still outraged?\u00a0<\/h4>\n

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After Ze\u0301 Du’s death, I started seeing things in a great way. I am more of a kind of state adviser now. I tell them what paths they should follow to have a more cohesive, balanced, and normal society. For example, you can see this in the penultimate exhibition at Fuckin’ Globo and the last one at Epic Sana (the second edition of “Art Can be EPIC”, in July 2022). <\/span><\/p>\n

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You look for ideas, new paths, and solutions and not so much denunciation. How do you translate that in visual terms on your figures?\u00a0<\/h4>\n

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My art is not made of technique, but of feeling. What I feel I have to do, that I want to do, is exactly what I am going to do. For example, I spent three years picking up rust to work with rust. <\/span><\/p>\n

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You like to use recycled materials like linoleum, cotton, and rust. Why rust?\u00a0<\/h4>\n

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Rust brings its own charge and feeling, and in contemporary art, we can bring that feeling to people. One is not used to working with this material. In the exhibition <\/span>Ferrugem<\/span><\/i> (2015) I suggested the hypothesis that we were governed by Kings instead of politicians. Would we starve, thrown around as we are? <\/span><\/p>\n

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Tell us a little about the importance of the Fuckin’ Globe movement and how you interact with that dynamic.<\/h4>\n

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I’ve participated in six editions of Fuckin’ Globo, an extremely engaging event. We had Elinga, which already was a very united and progressive movement. But Fuckin’ Globo brought a much more open dynamic. Not only in its aesthetic and liberal way of making art, but also the human relationship between artists. The artists were already more grown up and mature, this brought a brotherhood. At Fuckin’ Globo, you’re in another world, on another scale. <\/span><\/p>\n

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Due to the independent format?\u00a0<\/h4>\n

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Nobody is in charge. You do what you want. You have a space, a budget and do what you want. Be free. A place where I am given the freedom to do what I want. <\/span><\/p>\n

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Each one with their own little corner but also integrated into a collective exhibition, with a strong relationship with the public that visits each room.\u00a0<\/h4>\n

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Yes, all those particularities. There’s no way the public wouldn’t have been delighted with something like this. First for being something unique, second for truly being a project where the artists really exceeded themselves, went to the top, went up, and made works never seen before. <\/span><\/p>\n

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It just proves that freedom is the best incentive.<\/h4>\n

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There is a small production of two people, it starts with few artists. Having a base and structure, it didn’t start from the top. Over time it starts bringing beauty and balance to the project. And there is also the marvel of mixing generations. <\/span><\/p>\n

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How do you see the difference between artistic generations?\u00a0<\/h4>\n

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The younger generation of artists is less aggressive, softer, and more understanding towards each other, regardless of Facebook and Instagram – they like to appear and whatnot, but sometimes they work less and show off more. They’re very show offish. But there’s a kind of understanding in them, they’re not too keen on climbing on top of each other or on competing with each other. There’s a certain balance. This is in comparison with to our generation. <\/span><\/p>\n

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Are they more focused on what they want to do?\u00a0<\/h4>\n

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They are much more focused, these are also different times. They have artist residencies, more opportunities to develop. <\/span><\/p>\n

\u00a0<\/p>\n

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Did you have to do things more on your own?<\/h4>\n

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We had to work harder. <\/span><\/p>\n

\u00a0<\/p>\n

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How well do you know the deep Angola?\u00a0<\/h4>\n

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Photography led me to go out to see Angola. To discover if what I felt was the reality of the country. For example, to Lubango, to Gabela, which is beautiful, going from commune to commune, to the backlands: observing the reality of the people, the absence of colonisation, while also trying to understand what was left of it. <\/span><\/p>\n

\u00a0<\/p>\n

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And how do you see the difference in the rural world outside the big city? Do you admire the calm of the provinces?<\/h4>\n

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In principle, those who have always lived in the big city want that life. But then it’s a tough life in terms of survival, in other words, the lack of support from the government is abysmal and incomprehensible. Children walk miles to school without eating a potato or having a cup of tea. Children walk kilometers without eating, without having breakfast, I have no idea what this is. I leave feeling sad. You can see the abandonment, that the government abandons people in the deepest Angola. There are beautiful things though, the teacher is at the front to accompany the pupils on foot to school, and it’s lovely to see those landscapes.<\/span><\/p>\n

\u00a0<\/p>\n

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But do you sense another wisdom?<\/h4>\n

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Obligatorily yes. But in the end, I feel more pity and pain, because of the poverty. It hits deep inside. If only there was support, some development within their way of being. <\/span><\/p>\n

\u00a0<\/p>\n

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From the Angolan diversity, which culture attracts you most?<\/h4>\n

<\/p>\n

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There is a level of originality and spirituality within the Mucubal people, an elegance about them, a look. I’ve been with mumui\u0301las in the mountains and with other peoples. I traveled a lot by train, for example, from Lubango to Namibe, and at each stop, we saw a mixture of folks. But then, when I see a woman on the train with her breasts hanging out, carrying an ox leg on her lap, and being mistreated for having her legs apart… The guy on the train says, “close your legs”. And I feel bad, gee, but she’s fine, it’s her tradition, the sexual connotation is not in her head, it’s within a system that’s been already assimilated. In other words, there are very beautiful parts, basically what people are like, but deep down, something is disrupted, attacking the essence of people, their culture, their way of being, and their nature, always being violated. <\/span><\/p>\n

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The King, 2015<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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
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How was the Luanda of your childhood?<\/h4>\n

I always lived in Luanda, I grew up in the Praia do Bispo neighborhood. <\/span><\/p>\n

\u00a0<\/p>\n

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Were you a neighbor of Chicala?\u00a0<\/h4>\n

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Chicala didn’t exist, it was the beach where I bathed. There were no houses there. The sea was right here in the city. I saw Chicala being born in Praia do Bispo, there were little houses, from nice villas to humble little homes, in a neighborhood made of alleys and lanes. <\/span><\/p>\n

\u00a0<\/p>\n

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You have seen the changes in Luanda…\u00a0<\/h4>\n

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I’ve seen the various stages of Luanda\u2019s growth, I’ve witnessed Luanda descend, and I’ve seen Luanda die. I have a project, <\/span>Urbanism<\/span><\/i> (2012), which discusses exactly this. Of the great fusion between the ghetto and the city. In 1992 there was a high level of immigration of people from the provinces. Everything runs through here. The hills are born right there behind my house. From the Pala\u0301cio, ghettos and favelas spring up everywhere. Everywhere. Even in the city, they expanded outwards. Everywhere. It wasn’t my city anymore, it was something different. I couldn’t walk around much anymore. If my mother’s friends, Jehovah’s witnesses, saw me in the favela, they would tell my mother. And I liked going to the favela to see how they lived, who they were, and try to understand. I walked through all the favelas, I roamed all of them, I searched all of them. <\/span><\/p>\n

\u00a0<\/p>\n

<\/p>\n

<\/p>\n

What attracts you to the life in the musseque?\u00a0<\/h4>\n

<\/p>\n

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I still live in the favela, even though I live in a house with better conditions than the others. It’s a very dense favela, the Estalagem. What attracts me are the children growing up in that world, running over rocks, we are afraid that they will fall, but they don’t fall, and even when they do, they get up and continue to play. They don’t have toy cars, they don’t have dolls, they play mummy and daddy, something they pick up, a Cuca cap, a lid from an insecticide can to make sand <\/span>funge<\/span><\/i>, and they make there their game. Sometimes I would film them because it’s too beautiful. However sometimes I feel that conscience. After the <\/span>Urbanism<\/span><\/i> project, I thought to myself, “this is people’s lives”, What I’m doing is not exactly art. You see more what people\u2019s lives are like, sometimes I feel like that. I don’t feel like producing <\/span>Urbanism<\/span><\/i> and working in that way, although I also call it photo installation because I use Photoshop, install, and create stories.\u00a0<\/span><\/p>\n

\u00a0<\/p>\n

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And with sound.\u00a0<\/h4>\n

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I took two megaphones and paid these ladies to shout the words onion and okra. To give a voice to that of the street vendors, to show the world what these people are going through. <\/span><\/p>\n

\u00a0<\/p>\n

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Why the name Toy Boy?\u00a0<\/h4>\n

<\/p>\n

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In Luanda, everyone has a street name, and I have had this name since I was a child. I was born in February 1976, at the time of the boom, post-independence, and everything was already very confusing. And my mother gave me the name Toy because my father is Anto\u0301nio Nbazela, in homage to him. It was thought that my father was dead. He had run away to Zambia, without giving any news, he was hiding. My father turned up five years later. <\/span><\/p>\n

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Sem T\u00edtulo, 2022<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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
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Soba, 2015 <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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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But why did he run away?\u00a0<\/h4>\n

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He was a man with a very democratic capacity. He was a friend of Chipenda as he was a friend of Holden Roberto, as he was a friend of Savimbi, as he married a cousin of Jose\u0301 Eduardo dos Santos. He had a very democratic mind. He was a teacher, and he taught politicians how to do politics. The problem was that if you were not familiarized with and connected to party X, you could no longer deal with party Z. This was very complicated for an already very democratic mind like my father’s. At the time, they were persecuting and even killing intellectuals. <\/span><\/p>\n

\u00a0<\/p>\n

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Your father has been in hiding, reappears, and manages to reintegrate well?\u00a0<\/h4>\n

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He shows up and goes to work at the United Nations and opens a school in a house in M\u00e1rtires do Kifangondo. At the time, skills were needed, and he started teaching private lessons. I went to live with him, and while he was teaching, I would play with people’s children. I had freedom, my house was where everyone came to play. My father pretended not to see that there was a mess. We had a vegetable garden and a water tank that was our swimming pool. <\/span><\/p>\n

\u00a0<\/p>\n

And he took good care of the child?\u00a0<\/h4>\n

<\/p>\n

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Very well. To this day, I don’t understand how this worked. The man had a lot of power. It was a very different thing. <\/span><\/p>\n

\u00a0<\/p>\n

<\/p>\n

<\/p>\n

So, back to your name. Toy is explained, why did you adopt Boy?\u00a0<\/h4>\n

<\/p>\n

<\/p>\n

Boy was born in Praia do Bispo. I was given the name Toy Boy as a child. <\/span><\/p>\n

\u00a0<\/p>\n

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As an artist, has it always stayed that way?\u00a0<\/h4>\n

<\/p>\n

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Although it’s a name that alludes to a “boy to play with”, I discovered over time that it wasn’t very relevant, people knew it wasn’t like that. Like it\u2019s said Manguxi for Agostinho Neto, everyone here has a name. <\/span><\/p>\n

\u00a0<\/p>\n

<\/p>\n

<\/p>\n

We are giving the name its own personality…\u00a0<\/h4>\n
\n

\u00a0<\/i><\/p>\n

Notes\u00a0<\/strong><\/h6>\n
Featured photo: Rui Antunes.<\/h6>\n
More information about the artist at Jahmekart Gallery.<\/a><\/h6>\n<\/div>\n

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\u201cA minha arte n\u00e3o \u00e9 feita de t\u00e9cnica, mas de sentimento\u201d, entrevista a Toy Boy<\/h1>\n

Autora: Marta Lan\u00e7a\u00a0<\/p>\n

Com 46 anos, Toy Boy acompanhou as v\u00e1rias fases do pa\u00eds no p\u00f3s-independ\u00eancia e iniciou atividade art\u00edstica no p\u00f3s-guerra civil. O seu trabalho \u00e9 a express\u00e3o da viv\u00eancia na cidade de Luanda, intrinsecamente ligado ao sofrimento e criatividade que se sente nas ruas. Sintonizado com os movimentos e n\u00facleos art\u00edsticos da cidade (como o Elinga Teatro e o Fuckin\u2019 Globo), Toy Boy conta-nos o seu percurso com a sinceridade e a sensibilidade que o caracterizam. Driblando as dificuldades no seu caminho e a exig\u00eancia da sobreviv\u00eancia, apropria-se de uma certa pop art, fazendo colagens ou ready-mades, instala\u00e7\u00f5es, potenciando materiais reciclados como a ferrugem, mas sobretudo d\u00e1 corpo e voz \u00e0s singularidades da vida urbana.<\/span><\/p>\n

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Front Line, 2008<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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
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Indio Urbano, 2017<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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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Como nasce a sua apet\u00eancia art\u00edstica?<\/h4>\n

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N\u00f3s sempre tivemos criatividade por aqui. Faz\u00edamos carros de lata, invent\u00e1vamos pomadas para engraxar sapatos.<\/p>\n

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\u00a0<\/h4>\n

Como era isso?<\/h4>\n

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Queim\u00e1vamos pneus, mistur\u00e1vamos com gas\u00f3leo ou petr\u00f3leo, engrax\u00e1vamos os sapatos aos cotas que nos davam moedas. Tamb\u00e9m vem da pr\u00f3pria cultura pop. Nos anos oitenta, existia aqui um certo mundo pop, com quartos forrados de posters do Bob Marley, Bob Dylan, George Michael. Eu apanhava latas para vender a amigos que tinham cole\u00e7\u00f5es maravilhosas, muitas das latas vinham dos cooperantes estrangeiros. A puls\u00e3o art\u00edstica surgiu assim, da minha pr\u00f3pria viv\u00eancia e da arte pop que sentia por a\u00ed. E pelas pessoas que me rodeiam.<\/p>\n

\u00a0<\/p>\n

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Pelos amigos com quem se relacionava, e a onda art\u00edstica da cidade?<\/h4>\n

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Foi uma grande possibilidade estar ao lado de muitos artistas em in\u00edcio de carreira. Eram muito bons, criativos, alternativos, com muita energia, pessoas com pensamento livre, algo a que eu n\u00e3o estava habituado no bairro.<\/span><\/p>\n

\u00a0<\/p>\n

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Como come\u00e7ou a dar-se com eles?<\/h4>\n

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Entro para o Elinga, atrav\u00e9s do Kiluanji Kia Henda, que me tira de um\u00a0<\/span>take away<\/span><\/i> onde eu trabalhava,<\/span>\u00a0<\/span><\/i>na Mutamba, e me arrasta para o Elinga Teatro.<\/span><\/p>\n

\u00a0<\/p>\n

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J\u00e1 existiam os Nacionalistas (colectivo de artistas), cerca de 2004?<\/h4>\n

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Sim.<\/p>\n

\u00a0<\/p>\n

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O que fazia?<\/h4>\n

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Era o produtor deles, o \u201cfaz-tudo\u201d. Gostava daquele mundo, estava super apaixonado por aquilo. Porque era diferente. O esp\u00edrito de coletividade do Elinga levou-me, a mim e a muitos, a uma produtividade mais proeminente.<\/span><\/p>\n

\u00a0<\/p>\n

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Como v\u00ea a import\u00e2ncia do Elinga nessa \u00e9poca?<\/h4>\n

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Era um celeiro da arte, um lugar onde as pessoas realmente conseguiam fazer aquilo que hoje se faz naturalmente, como colagens, arte pop, a express\u00e3o livre nasce do movimento do Elinga. Com as componentes, m\u00fasica, teatro, artes pl\u00e1sticas, dan\u00e7a contempor\u00e2nea.<\/span><\/p>\n

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Manguxi, 2012<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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
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O Ant\u00f3nio Ole tinha l\u00e1 o ateli\u00ea.<\/h4>\n

Sim, e as tert\u00falias\u2026 Fic\u00e1vamos l\u00e1 a conversar, das 11 horas da manh\u00e3 at\u00e9 \u00e0 meia-noite. Parec\u00edamos malucos para a sociedade.<\/span><\/p>\n

\u00a0<\/p>\n

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Colabora com o teatro?<\/h4>\n

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Sim, como assistente de palco. Tive a oportunidade de trabalhar no 1\u00ba Festival Internacional de Teatro e Artes, como assistente de produ\u00e7\u00e3o em duas pe\u00e7as desse festival. Veio um grande artista, o Pedro Campelo, trabalhar com cenografia. Ter participado na produ\u00e7\u00e3o, acompanhar a for\u00e7a do Pedro, produzir um festival com v\u00e1rias companhias e estar ali todos os dias trabalhando no duro foi uma grande experi\u00eancia.<\/span><\/p>\n

\u00a0<\/p>\n

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O que o encantou\u00a0 na cenografia?<\/h4>\n

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Ter de montar as coisas e criar. O grupo chega e diz \u201cqueremos isto\u201d, e temos de inventar uma hist\u00f3ria e montar de acordo com o que os outros querem.<\/span><\/p>\n

\u00a0<\/p>\n

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Nunca foi muito artista de insuflar o \u201cego\u201d?<\/h4>\n

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N\u00e3o, porque vim dessa escola, n\u00e3o tenho isto.<\/p>\n

\u00a0<\/p>\n

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Como inicia o seu pr\u00f3prio trabalho?<\/h4>\n

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Come\u00e7o a pintar. O meu primeiro projeto era em folhas A3 e l\u00e1pis de cera. Fui ao ateli\u00ea do Nelo Teixeira e disse \u201cesses l\u00e1pis e folhas a\u00ed abandonadas, passa-me l\u00e1.\u201d E fiz o \u201cEsbo\u00e7os de Jazz\u201d em 2007. O Nelo Teixeira ainda me disse para expor, mas eu queria faz\u00ea-lo com alguma eleg\u00e2ncia e acabei por n\u00e3o expor. Foi para a m\u00e3o de outra pessoa, e desapareceu. Na altura, tamb\u00e9m n\u00e3o tinha lugar est\u00e1vel para guardar as minhas coisas.<\/span><\/p>\n

\u00a0<\/p>\n

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Viveu algum tempo no ateli\u00ea do Mestre Paulo Kapela\u2026<\/h4>\n

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Vivi com o Kapela sim. Antes disso, dormia no Elinga, num quartito de arruma\u00e7\u00e3o das bailarinas. Depois vem o Movimento X, um\u00a0<\/span>undergroung<\/span><\/i>\u00a0da noite, com bar e programa\u00e7\u00e3o (gerido por Pedro Gil, Iracelma Ossana e Mano a Mano), ocupa o teatro todo, e tive de sair dali.<\/span><\/p>\n

Vou a Lisboa, mas volto logo porque precisava de coisas c\u00e1, que me pertenciam. Quando regresso, n\u00e3o tinha onde ficar. O meu \u00fanico canto foi realmente a boa vontade do Kapela, ele tamb\u00e9m andava doente e fiquei a cuidar dele. Estava tudo desarrumado e abandalhado, fiquei ali um m\u00eas a arrumar as coisas, a organizar, a comprar comida para ele, fazia comida, com\u00edamos juntos, at\u00e9 que apareceu o Rasta Congo que achava que tomava conta do Kapela. Eu era muito sens\u00edvel, acabei por sair de l\u00e1 e fui viver em casa do meu Mano Maninho no M\u00e1rtires do Kifangondo.<\/span><\/p>\n

\u00a0<\/p>\n

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Como foi essa temporada com o Kapela?<\/h4>\n

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Era sempre bom ver o Kapela a trabalhar, trabalhava todos os santos dias.<\/span><\/p>\n

\u00a0<\/p>\n

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Era uma pessoa af\u00e1vel ou reservada?<\/h4>\n

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Tinha fases, muitas em que n\u00e3o estava bem, outras em que te recebia bem. Depois j\u00e1 sab\u00edamos entender quando ele realmente estava mal de luz, de equil\u00edbrio, e quando estava dispon\u00edvel para as pessoas.<\/span><\/p>\n

\u00a0<\/p>\n

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Era mesmo especial o universo do Kapela\u2026<\/h4>\n

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Aquilo era especial, era realmente conduzido com esp\u00edrito, com alma, com desejo de se fazer. Podia ser um ambiente pesado para quem n\u00e3o estava habituado a ver velas acesas, cruzes penduradas e aquela mistura de Jos\u00e9 Eduardo dos Santos, Agostinho Neto, Thomas Sankara, Jesus Cristo, Ubuntu, banto, a hist\u00f3ria do mundo\u2026 era muita informa\u00e7\u00e3o. Ele vinha de um processo religioso da escola Poto-Poto no Congo, acredito ser muito boa, mas depois desprende-se de tudo, do Poto-Poto, do cristianismo, do racismo, e tenta criar um pensamento livre. A espiritualidade residia n\u00e3o s\u00f3 nas suas obras mas na forma de estar e de ver o mundo. N\u00e3o havia brancos nem pretos, amarelos, os do norte ou sul, os que criavam divis\u00f5es. Portanto, de alguma forma rompeu com isto e foi enfeiti\u00e7ando pessoas que entravam ali, como eu e muita gente.<\/span><\/p>\n

\u00a0<\/p>\n

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Havia v\u00e1rios focos de artistas, e a Trienal de Luanda.<\/h4>\n

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Sim, foi um boom<\/em>.<\/p>\n

\u00a0<\/p>\n

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E voltando ao seu trabalho\u2026<\/h4>\n

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Em 2008, recolho o material do Festival de Teatro, as madeiras, tintas, pego em tudo e monto essas pe\u00e7as no hall do Elinga Teatro, e digo ao pessoal do bar: \u201cpodem pintar\u201d. Queria que eles criassem relevo, em duas pe\u00e7as de madeira. Transformo aquilo e chamo-lhe\u00a0<\/span>Recicle<\/span><\/i>. Eram pe\u00e7as grandes em madeira, e foram quase todas vendidas. Na altura n\u00e3o tinha galeria. Este projeto foi importante, mas ao mesmo tempo n\u00e3o dei assim tanto valor.<\/span><\/p>\n

\u00a0<\/p>\n

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E depois para onde vai morar?<\/h4>\n

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Em 2010 vou de novo a Lisboa por pouco tempo, e fico \u00e0 deriva no regresso, porque n\u00e3o tinha onde morar, j\u00e1 n\u00e3o havia o Kapela nem o Elinga dispon\u00edveis. Um dia encontro o Kilas, que trabalha com som, no Museu de Hist\u00f3ria Natural. Disse-lhe que n\u00e3o tinha onde trabalhar e ele comentou que tinha uma casa no Kalemba 2. Aceitei logo. Quase que fomos ao Kalemba 2 a p\u00e9. Aquilo era uma casa sem janelas. Peguei no El\u00edsio, fomos ao mercado Roque Santeiro arranjar panos, sacos, uma lona para tapar os cami\u00f5es de carv\u00e3o que iam para o mercado. Pedi um patroc\u00ednio de 200 d\u00f3lares ao Mano. Peguei no material e fechei-me no Kalemba 2 e, no espa\u00e7o de m\u00eas e meio, fiz uma exposi\u00e7\u00e3o no Elinga, intitulada <\/span>Lava Almas<\/span><\/i>. Foi uma exposi\u00e7\u00e3o especial para mim, mas um bocadinho fechada n\u00e3o foi muita gente ver. <\/span><\/p>\n

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Urban Movement, 2012<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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
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Lava Almas, A Documentary About Toy Boy<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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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A partir da\u00ed convenceu-se de que a arte era o seu caminho.<\/h4>\n

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A partir da\u00ed, ganhei seguran\u00e7a e capacidade para me expressar. \u00c9ramos todos para a frente, criava-se bastante. N\u00e3o fa\u00e7o obras \u00edmpares, crio um projeto e trabalho em torno desse projeto. Guio-me por ele para sentir que estou a fazer algo s\u00f3lido, com mais identidade.<\/span><\/p>\n

\u00a0<\/p>\n

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Num exerc\u00edcio retrospectivo, como descreveria o seu trabalho?<\/h4>\n

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Nunca vivi fora de Angola, o que me levou a ligar muito \u00e0 realidade das pessoas, do povo, da arquitetura, dos movimentos urbanos dentro do pa\u00eds. Portanto, o meu trabalho \u00e9 muito local, com base no povo angolano, na na\u00e7\u00e3o, no conceito de na\u00e7\u00e3o, naquilo que se quer para o futuro, naquilo que se arquiteta para um bem social comum.<\/span><\/p>\n

\u00a0<\/p>\n

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Mas tem identifica\u00e7\u00e3o universal\u2026<\/h4>\n

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L\u00f3gico que tem, tanto que fiz a exposi\u00e7\u00e3o\u00a0<\/span>Lava-Almas<\/span><\/i>\u00a0em Telavive (2014-15), com um workshop numa universidade, uma confer\u00eancia. Conversei com pessoas e h\u00e1 coisas muito id\u00eanticas, e as obras realmente comunicavam com eles. A galeria\u00a0<\/span>African Studio Gallery\u00a0<\/span><\/a>comprou tudo.<\/span><\/p>\n

\u00a0<\/p>\n

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O que mais o motivava para criar?<\/h4>\n

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A forma de Jos\u00e9 Eduardo dos Santos governar um pa\u00eds punha-me muito descontente, levava-me normalmente a uma esp\u00e9cie de raiva, de dor, de necessidade de me expressar e n\u00e3o tinha como me expressar. Se soubesse fazer teatro ou pol\u00edtica talvez fosse diferente.<\/span><\/p>\n

\u00a0<\/p>\n

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Essa raiva esmoreceu ou continua indignado?<\/h4>\n

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Depois da morte do Z\u00e9 Du tomei uma \u00f3tima forma de ver as coisas. Sou mais uma esp\u00e9cie de conselheiro de Estado. Eu digo quais s\u00e3o os caminhos que eles devem seguir para que possamos ter uma sociedade mais coesa, mais equilibrada e mais normal. Acho que se percebe isso por exemplo na pen\u00faltima exposi\u00e7\u00e3o no Fuckin\u2019 Globo e na \u00faltima no Epic Sana (segunda edi\u00e7\u00e3o do \u201cArt Can be EPIC\u201d, em julho de 2022).<\/span><\/p>\n

\u00a0<\/p>\n

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Procura ideias, caminhos novos e n\u00e3o tanto den\u00fancia. Como \u00e9 que traduz isso em termos pl\u00e1sticos?<\/h4>\n

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A minha arte n\u00e3o \u00e9 feita de t\u00e9cnica, \u00e9 feita de sentimentos. Aquilo que eu sinto que tenho de fazer, que quero fazer \u00e9 exatamente isto que eu vou fazer. Por exemplo, fiquei tr\u00eas anos a apanhar ferrugem para trabalhar com ferrugem.<\/span><\/p>\n

\u00a0<\/p>\n

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Gosta de usar materiais reciclados como lin\u00f3leo, algod\u00e3o e ferrugem. Porque gosta tanto de ferrugem?<\/h4>\n

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A ferrugem traz uma carga e sentimento pr\u00f3prios, e na arte contempor\u00e2nea podemos levar esse sentimento para as pessoas. N\u00e3o estamos habituados a trabalhar com esse material, restos met\u00e1licos enferrujados. Na exposi\u00e7\u00e3o<\/span> Ferrugem<\/span><\/i> (2015), sugeri a hip\u00f3tese que fossemos governados por Reis e n\u00e3o por pol\u00edticos. Ser\u00e1 que \u00edamos passar fome, atirados por a\u00ed como estamos?<\/span><\/p>\n

\u00a0<\/p>\n

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Conte um bocadinho como interage com a din\u00e2mica do Fuckin\u2019 Globo.<\/h4>\n

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Participei em seis edi\u00e7\u00f5es do Fuckin\u2019 Globo, que \u00e9 um evento extremamente envolvente. N\u00f3s t\u00ednhamos o Elinga que j\u00e1 era um movimento muito unido e progressista. Mas o Fuckin\u2019 Globo vem trazer uma din\u00e2mica muito mais para a frente. N\u00e3o s\u00f3 na sua forma est\u00e9tica e liberal de fazer arte, mas tamb\u00e9m na pr\u00f3pria rela\u00e7\u00e3o humana entre artistas. Os artistas j\u00e1 estavam mais crescidos e amadurecidos, trouxe uma irmandade. No Fuckin\u2019 Globo est\u00e1-se noutro mundo, numa outra escala.<\/span><\/p>\n

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Princesa Urbana, 2017<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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
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Rostos, 2022<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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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Pelo formato independente?<\/h4>\n

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H\u00e1 uma produ\u00e7\u00e3o pequena de duas pessoas, come\u00e7a com poucos artistas. Tem uma base e estrutura, n\u00e3o come\u00e7ou de cima. Ao longo do tempo vai trazendo beleza e equil\u00edbrio ao projeto. Temos um espa\u00e7o, um\u00a0<\/span>buget\u00a0<\/span><\/i>e fazemos o que quisermos. \u00c9 um lugar onde me d\u00e3o liberdade de fazer o que eu quero.<\/span><\/p>\n

\u00a0<\/p>\n

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Mas integrado numa exposi\u00e7\u00e3o coletiva, com uma forte rela\u00e7\u00e3o com o p\u00fablico que visita cada quarto.<\/h4>\n

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Sim, com essa particularidade. N\u00e3o tem como o p\u00fablico n\u00e3o ter delirado com uma coisa destas. Primeiro por ser algo \u00fanico, segundo por ser um projeto em que os artistas realmente excederam, foram ao top, fizeram obras nunca vistas.<\/span><\/p>\n

\u00a0<\/p>\n

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S\u00f3 prova que a liberdade \u00e9 o melhor est\u00edmulo\u2026<\/h4>\n

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E ainda h\u00e1 a maravilha de misturar gera\u00e7\u00f5es.<\/span><\/p>\n

\u00a0<\/p>\n

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Como v\u00ea a diferen\u00e7a entre gera\u00e7\u00f5es art\u00edsticas?<\/h4>\n

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A gera\u00e7\u00e3o de artistas mais novos \u00e9 menos agressiva, \u00e9 mais\u00a0<\/span>soft,<\/span><\/i>\u00a0mais compreensiva para com eles mesmos, independentemente de haver os Facebooks e Instagrams \u2013 gostam muito de aparecer e n\u00e3o sei qu\u00ea, \u00e0s vezes trabalham menos e aparecem mais, s\u00e3o muito\u00a0<\/span>show off.<\/span><\/i>\u00a0Mas h\u00e1 neles uma esp\u00e9cie de compreens\u00e3o, n\u00e3o est\u00e3o muito interessados em subir uns em cima dos outros, ou a competir uns com os outros. H\u00e1 um certo equil\u00edbrio. Isto em rela\u00e7\u00e3o \u00e0 nossa gera\u00e7\u00e3o.<\/span><\/p>\n

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Sem T\u00edtulo, 2016<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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
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Sem T\u00edtulo, 2021<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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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S\u00e3o mais focados naquilo que querem fazer?<\/h4>\n

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Est\u00e3o muito mais focados, tamb\u00e9m est\u00e3o noutro tempo, t\u00eam resid\u00eancias art\u00edsticas, mais oportunidades para desenvolver.<\/span><\/p>\n

\u00a0<\/p>\n

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Voc\u00eas tiveram que fazer as coisas mais sozinhos?<\/h4>\n

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Tivemos que batalhar mais.<\/p>\n

\u00a0<\/p>\n

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Conhece bem a Angola profunda?<\/h4>\n

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Fazer fotografia levou-me a sair, para conhecer Angola. Para saber se aquilo que eu sentia aqui em Luanda era a realidade do pa\u00eds. Por exemplo fui ao Lubango, \u00e0 Gabela, que \u00e9 linda, gosto de ir de comuna em comuna, aos fundos, observar a realidade das pessoas, a aus\u00eancia da coloniza\u00e7\u00e3o, mas tamb\u00e9m tentando perceber o que \u00e9 que ficou disso.cccc<\/span><\/p>\n

\u00a0<\/p>\n

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E como v\u00ea o mundo rural e as prov\u00edncias, admira aquela calma?<\/h4>\n

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Em princ\u00edpio, quem sempre viveu na grande cidade, quer aquela vida. Mas depois \u00e9 uma vida muito dura no grau de sobreviv\u00eancia, ou seja, a aus\u00eancia de apoios do Estado \u00e9 abismal, incompreens\u00edvel. As crian\u00e7as andam quil\u00f3metros para ir \u00e0 escola sem tomarem o pequeno-almo\u00e7o, sem comer uma batata ou tomar um ch\u00e1. Crian\u00e7as a andar quil\u00f3metros sem comer, n\u00e3o fa\u00e7o ideia o que \u00e9 isto. H\u00e1 coisas bonitas, ver aquelas baixas plantadas, a professora est\u00e1 \u00e0 frente a acompanhar os alunos a p\u00e9 at\u00e9 \u00e0 escola. Mas saio de l\u00e1 triste. Nota-se um abandono, que as pessoas est\u00e3o largadas pelo Estado nas Angolas profundas.\u00a0<\/span><\/p>\n

\u00a0<\/p>\n

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Mas sente outra sabedoria?<\/h4>\n

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Obrigatoriamente sim. Mas no fim de tudo, sinto mais pena e dor, pela mis\u00e9ria. Bate l\u00e1 no fundo. Mas se houvesse apoio, algum desenvolvimento dentro da maneira deles estarem.<\/span><\/p>\n

\u00a0<\/p>\n

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Dentro da diversidade angolana, que cultura considera mais interessante?<\/h4>\n

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O n\u00edvel de originalidade e de espiritualidade nos povos Mucubal, uma eleg\u00e2ncia neles, um olhar. Estive com mumu\u00edlas nas montanhas, e com outros povos. Andei muito de comboio, por exemplo do Lubango ao Namibe, a cada paragem vemos as misturas de povos. Mas depois, apanho no comboio uma mulher de seios de fora a levar para casa uma perna de boi ao colo, e a ser maltratada por estar com as pernas abertas\u2026 O tipo do comboio a dizer \u201cfecha l\u00e1 as pernas\u201d. Sinto-me mal. Ep\u00e1, mas ela est\u00e1 na boa \u00e9 a tradi\u00e7\u00e3o dela, o sentido sexual n\u00e3o est\u00e1 na sua cabe\u00e7a. Ou seja, h\u00e1 partes muito lindas, basicamente as pessoas tal como elas s\u00e3o, mas no fundo algo acaba por romper, por agredir a ess\u00eancia das pessoas, a sua cultura, forma de estar, a sua natureza, sempre a ser violentados, um sistema que j\u00e1 \u00e9 assimilado.<\/span><\/p>\n

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The War, 2015<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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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<\/p>\n<\/figure>\n

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<\/p>\n<\/figure>\n

Como era a Luanda da sua inf\u00e2ncia?<\/h4>\n

Sempre vivi em Luanda, cresci no bairro da Praia do Bispo.<\/p>\n

\u00a0<\/p>\n

<\/p>\n

<\/p>\n

Era vizinho da Chicala?<\/h4>\n

<\/p>\n

<\/p>\n

A Chicala n\u00e3o existia, era a praia onde eu tomava banho. N\u00e3o havia l\u00e1 casas. O mar era logo aqui na cidade. Vi a Chicala a nascer. Na Praia do Bispo havia desde boas vivendas at\u00e9 casas mais humildes e pequenas, era um bairro feito de becos e ruelas.<\/span><\/p>\n

\u00a0<\/p>\n

<\/p>\n

<\/p>\n

Viu as mudan\u00e7as de Luanda\u2026<\/h4>\n

<\/p>\n

<\/p>\n

Vi as v\u00e1rias fases. Vi Luanda crescer, vi Luanda descer, vi Luanda morrer. Tenho um projeto, o\u00a0<\/span>Urbanismo<\/span><\/i>\u00a0(2012), que fala exatamente sobre a grande fus\u00e3o entre o gueto e a cidade. Em 1992 h\u00e1 uma intensa imigra\u00e7\u00e3o de pessoas do interior, passa tudo por aqui. Nascem os morros ali mesmo por tr\u00e1s da minha casa, perto do Pal\u00e1cio nascem guetos e favelas. Em todo o lado na cidade, e foram expandindo para fora. Para todo o lado. J\u00e1 n\u00e3o era a minha cidade, era uma coisa diferente. J\u00e1 n\u00e3o podia andar muito por a\u00ed, se as amigas da minha m\u00e3e, amigas de Jeov\u00e1, me vissem na favela iam queixar \u00e0 minha m\u00e3e. E eu gostava de ir \u00e0 favela para ver como \u00e9 que eles vivem, quem s\u00e3o, e tentar perceber. Andei por todas as favelas, vadiei todas, vasculhei todas.<\/span><\/p>\n

\u00a0<\/p>\n

<\/p>\n

<\/p>\n

O que \u00e9 que o atrai na vida do musseque?<\/h4>\n

<\/p>\n

<\/p>\n

Ainda vivo na favela, independentemente de viver numa casa com melhores condi\u00e7\u00f5es do que as outras. \u00c9 uma favela muito densa, a Estalagem. O que me atrai s\u00e3o as crian\u00e7as a crescer naquele mundo, correm em cima de pedras, temos medo que caiam, mas elas n\u00e3o caem e, mesmo quando caem, levantam-se e continuam a brincar. N\u00e3o t\u00eam carrinhos, n\u00e3o t\u00eam bonecas, h\u00e1 brincadeira de casinha de papai e mam\u00e3, uma coisa que apanham, uma rolha de Cuca, uma tampa da lata de inseticida para fazer o funge da areia. Fazem ali uma brincadeira. \u00c0s vezes dava-me para filmar porque \u00e9 lindo demais, s\u00f3 que sinto aquela coisa da consci\u00eancia. Depois do projeto\u00a0<\/span>Urbanism<\/span><\/i>o pensei \u201cmas isto \u00e9 a vida das pessoas\u201d n\u00e3o \u00e9 propriamente arte o que estou a fazer. Se bem que chamo foto-instala\u00e7\u00e3o porque pego no Photoshop, instalo, e crio hist\u00f3rias. Mas \u00e9 mais a vida das pessoas, portanto n\u00e3o me apetece continuar a produzir o Urbanismo e a trabalhar dessa forma.\u00a0<\/span><\/p>\n

\u00a0<\/p>\n

<\/p>\n

<\/p>\n

E manipulava tamb\u00e9m com som.<\/h4>\n

<\/p>\n

<\/p>\n

Peguei em dois megafones e paguei \u00e0s senhoras para gritarem \u201ccebola, kiabo\u201d. Queria dar a voz \u00e0s vendedoras, mostrar ao mundo o que essas pessoas est\u00e3o a passar.<\/span><\/p>\n

\u00a0<\/p>\n

<\/p>\n

<\/p>\n

Porqu\u00ea o nome Toy Boy?<\/h4>\n

<\/p>\n

<\/p>\n

Em Luanda todo o mundo tem um nome de rua e eu tenho este desde crian\u00e7a. Nasci em fevereiro de 1976, na \u00e9poca do <\/span>boom<\/span><\/i> do p\u00f3s-independ\u00eancia quando j\u00e1 estava tudo muito confuso. A minha m\u00e3e deu-me o nome Toy em homenagem ao meu pai que Ant\u00f3nio Nbazela. Tinha fugido para a Z\u00e2mbia, sem dar not\u00edcia, estava escondido. Pensava-se que estava morto. Aparece cinco anos depois.<\/span><\/p>\n

<\/p>\n

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<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Sem T\u00edtulo, 2022<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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
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Soba, 2015 <\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\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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<\/p>\n

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<\/p>\n<\/figure>\n

<\/p>\n<\/figure>\n

<\/p>\n

<\/p>\n<\/figure>\n

Mas porque fugiu?\u00a0<\/h4>\n

<\/p>\n

<\/p>\n

Era um homem com muito democrata, era amigo do Daniel Chipenda tal como era amigo do Holden Roberto ou como era amigo do Savimbi, ou como casou com uma prima do Jos\u00e9 Eduardo dos Santos. Tinha uma mente muito democrata. Era professor e ensinava os pol\u00edticos como se faz pol\u00edtica. Mas se n\u00e3o eras uma pessoa familiarizada e ligada ao partido X, j\u00e1 n\u00e3o podias lidar com o partido Z, ent\u00e3o isso foi muito complicado para uma mente j\u00e1 muito democrata como a do meu pai. Na \u00e9poca perseguiam e at\u00e9 matavam intelectuais.<\/span><\/p>\n

\u00a0<\/p>\n

<\/p>\n

<\/p>\n

O seu pai esteve escondido, reaparece e consegue reintegrar-se bem?<\/h4>\n

<\/p>\n

<\/p>\n

Aparece e vai trabalhar nas Na\u00e7\u00f5es Unidas, abre uma escola numa casa no M\u00e1rtires do Kifangondo. Na \u00e9poca era preciso aptid\u00f5es e ele passou a dar aulas particulares. Fui viver com ele. Enquanto dava aulas eu ficava a brincar com os filhos das pessoas que l\u00e1 iam. A minha casa era onde todos vinham brincar. O meu pai fingia que n\u00e3o via que tinha havido bagun\u00e7a. T\u00ednhamos uma horta, um tanque que era a nossa piscina. Tinha liberdade.<\/span><\/p>\n

\u00a0<\/p>\n

E tomava bem conta da crian\u00e7a?<\/h4>\n

<\/p>\n

<\/p>\n

Muito bem. At\u00e9 hoje n\u00e3o percebo como \u00e9 que isto funcionou. O homem tinha muito power. Foi uma coisa muito diferente.<\/span><\/p>\n

\u00a0<\/p>\n

<\/p>\n

<\/p>\n

Ent\u00e3o, voltando ao seu nome. Toy est\u00e1 explicado, porque adoptou o Boy?<\/h4>\n

<\/p>\n

<\/p>\n

Como se diz Manguxi para Agostinho Neto, todo mundo aqui tem um nome. D\u00e3o-me o nome de Toy Boy quando era crian\u00e7a na Praia do Bispo. Apesar de ser um nome que alude a um \u201cmenino para brincar\u201d, fui descobrindo com o tempo que n\u00e3o era muito relevante, as pessoas sabiam que n\u00e3o era isso.\u00a0<\/span><\/p>\n

<\/p>\n

<\/p>\n

\u00a0<\/p>\n

<\/p>\n

<\/p>\n

Vamos dando personalidade pr\u00f3pria ao nome\u2026<\/h4>\n
\n

\u00a0<\/i><\/p>\n

Notas\u00a0<\/strong><\/h6>\n
Foto de destaque: Rui Antunes.\u00a0<\/h6>\n
Mais informa\u00e7\u00e3o sobre o artista pela Galeria Jahmekart.\u00a0<\/a><\/h6>\n<\/div>\n

<\/p>\n

<\/p>\n

<\/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":"

Toy Boy, 46 years old, has followed the various stages of the country’s post-independence and initiated his artistic practice after the civil war. His work is an expression of life in Luanda, intrinsically linked to the suffering and creativity one feels in the streets. <\/p>\n","protected":false},"author":1,"featured_media":5845,"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-6422","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editorial","category-highlights"],"acf":[],"yoast_head":"\n"My art is not made of technique, but of feeling", an interview with artist TOY BOY, in Luanda - 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\/11\/17\/my-art-is-not-made-of-technique-but-of-feeling-toy-boy-interview-marta-lanca-in-luanda\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\""My art is not made of technique, but of feeling", an interview with artist TOY BOY, in Luanda - waau art\" \/>\n<meta property=\"og:description\" content=\"Toy Boy, 46 years old, has followed the various stages of the country's post-independence and initiated his artistic practice after the civil war. 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