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Próximo Futuro

Próximo Futuro


"the zuma throne"

Próximo Futuro




Talk about a chair that packs heat. The Zuma Throne by Mozambican artist Goncalo Mabunda is political commentary you can sit on. Assembled using guns, rifles and pistols, furniture-sculpture – named after you-know-who – can be interpreted as a scathing critique of the violence in South African societies, or a satirical reference to shady arms deals with million-dollar kickbacks. The chair is a recurrent theme in Mabunda’s art. In elevating the otherwise pedestrian piece of furniture into an imposing and sometimes intimidating throne, Mabunda alludes to the Western world’s interest in collecting the Chief Chair prevalent in traditional ethnic African art.





Continuar a ler em House and Leisure.


"No Time Like the Present by Nadine Gordimer"

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Nadine Gordimer turns her hard-eyed gaze on post-democratic South Africa.


After his recent expulsion from the ANC, former ANC Youth League leader Julius Malema, who has never been known for his humility, said the people of South Africa should treat him in the same way that they had treated Nelson Mandela. In reply, the cross-dressing comedian Evita Bezuidenhout said: "What a great idea. Let's start with 27 years in jail …"


Here is a moment in South Africa's contemporary history that would surely have made it into Nadine Gordimer's new novel had Malema's expulsion not happened after her book was finished. For Malema, and South Africa's president, Jacob Zuma, stalk the pages of No Time Like the Present. Gordimer, Nobel laureate and one of the best-known chroniclers of apartheid, turns her hard-eyed gaze on post-democratic South Africa. Each beat of Zuma's march to power, each accusation against him of bribery or of rape, along with his suspension from government, his constant repetition of the resistance song "Bring Me My Machine Gun" that helped him on his return to power, are picked over and reacted to by the book's cast, as is Malema's insistence that he would, if necessary, "kill for Zuma".


Politics, and the way they play out, are the lifeblood of the couple at the centre of this book. He is Steve, white son of a Jewish mother and a Christian father, who, having used his knowledge of chemistry to make explosives for the ANC, now teaches science to under-prepared university students. She is Jabulile (Jabu for short), beloved daughter of the patriarchal Baba, who defied his people's customs to send her across the border so she could get a proper education, after which she joined the ANC. There in Swaziland, she also met and married Steve, their lives defined by the needs of the exiled movement.




Continuar a ler no The Guardian.


"South African ballet dancer confounds racial stereotypes"

Próximo Futuro




Andile Ndlovu is one of South Africa's most prominent young ballet dancers, an international performer and award winner both at home and overseas.

But for Ndlovu to be accepted into the rarefied world of classical dance -- which in South Africa is traditionally seen as an elitist and a predominantly white preserve -- the boy from the rough Soweto townships says he had to overcome outdated stereotypes.

"I used to be picked upon for the way I walk and the way I act or carry myself," he says of his time at school, where he became disparagingly known as "the dude who did ballet."




Continuar a ler na CNN.


"Thandi Sibisi: the new face of South African visual arts"

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Thandi Sibisi, a daughter of farmers in the Zulu heartland, remembers arriving in the big city for the first time. "The bus dropped me in Gandhi Square in Johannesburg," she recalled. "I was 17 and had never even seen a double-storey building in my life. I looked around and it was like, 'I'm going to own this city'."

Eight years later, she has not yet quite conquered it all. But on Thursday she became the first black woman to open a major art gallery – named Sibisi, naturally enough, for someone so ambitious – in South Africa.

It is a sign, she believes, that anything is possible for the country's "born free" generation. "All I have to do is look at myself and my background," she said. "Growing up, I would never have thought I'd be exposed to so many opportunities. South Africa is free.

"I go all over the world and people are closed up and they can't express themselves. South Africa allows you to be you and to be whatever it is you want to be."

The country's visual arts scene, dominated by the white minority during racial apartheid, has not transformed as quickly as some would like.Gallery Momo, the first 100% black-owned gallery, opened in Johannesburg in 2003, while the national gallery in Cape Town has anon-white director for the first time in its 140-year history.




Para ler o artigo completo no Guardian, clicar aqui.


"The Unspoken", de Nandipha Mntambo

Próximo Futuro

(Installation view)


Destaque para a mais recente exposição individual da artista Nandipha Mntambo, que no verão de 2011 participou no Programa PRÓXIMO FUTURO com a instalação "Casulo" nos Jardins da Gulbenkian.


The exhibition comprises sculptures and drawings made with cowhide and cow hair, and paintings in oil on canvas. Unlike the distinctive figurative forms that the artist has previously made familiar to us, the drawings and paintings are abstract and ambiguous. They could also be perceived as parts or fragments of bodies such as bums, elbows, bellybuttons or toes, or the ears, nose, mouth, anus and vagina through which we draw in and expel life forces.

Mntambo describes the impulse behind The Unspoken:


The work I am making gives form to the loud silences in our lives that seem to be hidden but are actually in plain sight, if we choose to see them - or the conversations that one only ever has with oneself, even though others are having similar conversations, also with themselves. In terms of forms, I think of folds, holes, bumps, crevices and spaces that are indeterminate in some respect. They engage our attention and draw us into a space, but an element always remains hidden from view, never fully revealing itself. In this way we are reminded of the sentences that are edited out of our exchanges even though others may well be aware of our unspoken thoughts and feelings.



Para saber tudo sobre a exposição, basta navegar até ao website da galeria Stevenson.





Próximo Futuro




Arterial Network Zimbabwe learnt with profound sadness the imminent closure in its current location of the Book Cafe and Mannenberg, one of the most vibrant arts centres in Zimbabwe.


Book Cafe and Mannenberg will close its doors at Fife Avenue Mall in Harare after 15 years. The building owners, retail giant OK Zimbabwe and its agent, Old Mutual, one of Africa’s largest property, finance and insurance conglomerates whose parent company is in South Africa, advised that the owners will occupy the premises from 2012. “Owner occupation” is often the only means by which a lease can be technically cancelled in this way under Zimbabwe law.


The Book Cafe and Mannenberg have epitomised good practice in arts entrepreneurship within a development framework, demonstrated by their impressive milestones: in 15 years the venues achieved: 7,500 concerts and events (mainly music and poetry), 650 public discussions, 90 book launches, 35 theatre productions and staging of 250 international touring acts. 600,000 audience entered the twin venues since opening, as Book Cafe in 1997 (with Luck Street Blues), and Mannenberg in 2000 (with historic performances by jazz pianist Abdullah Ibrahim). About 350 artists earned a livelihood at the venues in 2011 alone. 1200 artists participated annually in development programmes. 950 events were staged annually since 2008, and prior to 2008 about 600 events.


Para continuar a ler o artigo de Josh Nyapimbi no website do MIMETA-Centre for Culture and Development basta clicar aqui.



All The Wrong Places

Próximo Futuro


(Co-Pilot Krishna meets the Host, Elliott)




If you are shaking your booty in South Africa, specifically Johannesburg, you are most likely listening to House music. And in South Africa, Kwaito is their street-styles, unique local flavor of music, with heavy House and African rhythms and local dialects. 

From when it first hit the streets in the early 90s, Kwaito was so intensely popular in South Africa (the world’s House music market) they organized an entire awards ceremony just for it. This new genre began in Pretoria, and then rapidly spread to Johannesburg and became known as sound of the post-apartheid--an uplifting celebration of boundaries breaking and a bright new chapter in South Africa’s long dark history. 

And because the new Kwaito artists couldn’t get any airplay on the local radio stations, they decided to take their music to the people by using the hundreds of township taxis to promote their music. Smart thinking given a recent Pretoria University study estimated that between five and 10 million South Africans use taxis every day.

Taxi stands or Kombis, are the main source of public transportation in South African townships, since many residents can’t afford to own cars. Taxi drivers played a pivotal role in breaking new Kwaito artists by playing and selling their CDs to their captive taxi audience.



Para continuar a ler e ouvir a música que acompanha a reportagem em vídeo, basta navegar para aqui.



Destaques do Público elegem 3 espectáculos PRÓXIMO FUTURO!

Próximo Futuro




Grande destaque no jornal Público de hoje (suplemento ípsilon) para três peças apresentadas no CAM da Fundação Calouste Gulbenkian, no âmbito do Programa Gulbenkian PRÓXIMO FUTURO!


Nos 10 destaques da secção "Teatro": o 1.º lugar coube a "Villa+Discurso" (na foto), do encenador chileno Guillermo Calderón, apresentada no Programa Gulebnkian Próximo Futuro nos dias 1, 2 e 3 de Julho de 2011. O 2.º lugar foi atribuído à peça "Woyzeck on the Highveld", do encenador e artista sul-africano William Kentridge, também programada pelo Próximo Futuro e com lotação esgotada nos dias 16, 17 e 18 de Junho de 2011.


Nos 9 destaques da "Dança": coube ao coreógrafo brasileiro Vanilton Lakka o 5.º lugar, com o espectáculo "O Corpo é a Mídia da Dança + Outras Partes", apresentado no Próximo Futuro nos dias 22 e 23 de Junho de 2011.



Mais informações sobre estes espectáculos, no site do Próximo Futuro.




exposições em LISBOA e PARIS: 16 e 18 de Novembro!

Próximo Futuro

ROBERTO HUARCAYA, "Alessandro. Chorrillos

(da série 'Recreación Pictórica', 2009-2011)".





É também no âmbito das actividades PRÓXIMO FUTURO de Novembro (produzidas em colaboração com o Programa Gulbenkian de Ajuda ao Desenvolvimento) que, paralelamente à realização da 1.ª apresentação do Observatório de África e da América Latina e à 3.ª parte do ciclo das grandes Lições, inauguram duas exposições de fotografia relacionadas com a "percepção e representação contemporâneas de África e da América Latina" (tema geral das conferências que serão apresentadas em Novembro).


Ligando as cidades de Lisboa e Paris através de parcerias entre a Fundação Calouste Gulbenkian, a Casa da América Latina (Lisboa) e o Théâtre de la Ville (Paris), estas iniciativas contam ainda com o apoio da ACEP, Câmara Municipal de Lisboa e Embaixada do Peru.



No dia 16 de Novembro, em Lisboa, precisamente na sequência das grandes Lições PRÓXIMO FUTURO (Aud. 2 da FCG), inaugura às 19h00, no Palácio Galveias, a exposição do fotógrafo peruano Roberto Huarcaya, intitulada "Subtil Violência".


Com a curadoria de António Pinto Ribeiro, a proposta de Huarcaya resulta de um projecto de investigação em torno das representações visuais alusivas à construção da comunidade histórica peruana, partindo de referências locais no sentido de expandir a sua leitura e as suas influências ao nível nacional, regional, continental e, finalmente, global. “Propostas que nos vão dando pistas, informação sobre diversas coordenadas temporais, espaciais e formais, sobre este lentíssimo processo de misturas, desenvolvimento e tensão, de mudanças constantes, que levam o país a transitar, de um modo disperso, para esse propósito de se constituir como nação” (Roberto Huarcaya).



No dia 18 de Novembro, em Paris, desta vez na sequência da apresentação das grandes Lições no Théâtre de la Ville, inaugura no mesmo espaço, às 19h00, a exposição do fotógrafo sul-africano Pieter Hugo, dedicada ao fenómeno "Nollywood".




Na série de fotografias intitulada “Nollywood”, Pieter Hugo confronta o papel do fotógrafo no domínio onde interagem a ficção e a realidade. “Nollywood” é considerada a terceira maior indústria cinematográfica do mundo, lançando perto de 1000 filmes por ano para o mercado de home vídeo. Tal abundância é possível devido ao facto de os filmes serem realizados em condições que assustariam a maioria dos realizadores independentes ocidentais. Os filmes são produzidos e comercializados em apenas uma semana: equipamentos de baixo custo, guiões muito básicos, actores escolhidos no próprio dia da filmagem, locais de filmagem da ’vida real’.

Em África, os filmes de “Nollywood” são um raro exemplo de auto-representação nos meios de comunicação social. A rica tradição de narração de histórias do continente, comunicada de forma abundante através da ficção oral e escrita, é transmitida, pela primeira vez, através dos meios de comunicação social. As histórias na tela reflectem e apelam às vivências do público: os protagonistas são actores locais; os enredos confrontam o espectador com situações familiares de romance, comédia, bruxaria, corrupção, prostituição. A narrativa é exageradamente dramática, sem finais felizes, trágica. A estética é ruidosa, violenta, excessiva; nada se diz, tudo se grita.

Nas suas viagens pela África Ocidental, Hugo tem-se intrigado por este estilo distinto de construção de um mundo ficcional onde se entrelaçam elementos do quotidiano e do irreal. Ao pedir a uma equipa de actores e assistentes para recriar mitos e símbolos de “Nollywood” tal como se estivessem em sets de filmagem, Hugo iniciou a criação de uma realidade verosímil. A sua visão da interpretação do mundo pela indústria cinematográfica resulta numa galeria de imagens alucinatórias e inquietantes.

A série de fotografias retrata situações claramente surreais mas que podiam ser reais num set de filmagens; para além disso, estas estão enraizadas no imaginário simbólico local. Os limites entre documentário e ficção tornam-se bastante fluidos e somos deixados a pensar se as nossas percepções do mundo real são de facto verdadeiras.


Federica Angelucci



Mais informações no site do Próximo Futuro e/ou através do email



South African 'Struggle Art'

Próximo Futuro

Hugh Nolutshungu, Untitled. Photo: Bonhams



South African 'Struggle Art' on display alongside works for auction by leading SA artists


LONDON.- IFA LETHU Foundation, the non-profit organisation set up to repatriate South African apartheid era `Struggle Art’, has joined with Bonhams to showcase some of the most poignant art produced by anti-apartheid activist artists.

From October 22-27 some 15 selected works from the Ifa Lethu Foundation ‘Coming Home’ exhibition in London will move to Bonhams to coincide with the auction house’s South African Art sale on October 25th and 26th. ‘Coming Home’ will be a non- selling exhibition.

Bonhams is the world’s leading auctioneer of South African Art and hold the world record for South African art, set with a picture by Irma Stern, ’Arab Priest’ which sold in March this year for £3m. The Bonhams sale on October 25 and 26 will once again offer a stunning array of the very best South African art including a number of masterworks, each expected to make figures in excess of £1m.

The Ifa Lethu Foundation is a South African based not-for-profit organization which was formed in November 2005 to deal with challenges in the cultural heritage sector. These challenges included the location, protection and repatriation of South African cultural heritage that was created during the struggle era and found its way out of the country during those turbulent years. Ifa Lethu uses this cultural heritage to empower communities, alleviate poverty through creative development projects and heal their nation.



Para continuar a ler, basta ir aqui.


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