Nadine Siegert

Katharina Fink

Marie-Anne Kohl

Hauntology as a Means to Think and Feel Future

Ghosts, Specters, Revenants

Ulf Vierke

Ute Fendler

From the visual politics of the FRELIMO-liberation script in Mozambique via the brooms and spoons of Le Balai Citoyen in Burkina Faso, to the updating of images from past revolutions on Twitter and Facebook, often in the diaspora – images play a key role in the envisioning of futures and social utopia. And more than that: Revolutions, understood as moments of radical social and cultural change, are driven by images, as empirical investigations on- and offline show. But what actually constitutes the 'seismographic power' of images, and the sustainability of icons from past ruptures in terms of radicalism, such as the portraits of Burkina Faso's and Mozambiques first presidents' Thomas Sankara and Samora Machel? What possibilities do images offer – and what is cut and edited in the process of creating a 'new' image? How do the visual tactics of analogue and digital protesters alike constitute, alter and create visual and multi-media archives? This book brings together a wide range of papers by international researchers and artists focusing on the relationship of images and revolution mostly in the African context. Images in various artistic media such as photography, art in public space, performance, fashion are discussed, but also the relation of visual culture and politics in Mozambique, Angola and Burkina Faso among others. With contributions from: Stefanie Alisch, Petrus Amuthenu, Ana Balona de Oliveira, Ute Fendler, Katharina Fink, Raí Gandra, Goldendean, Jelsen Lee Innocent, Onejoon Che, Luís Carlos Patraquim, Marco Russo, Nadine Siegert, Serubiri Moses, Johan Thom, Drew Thompson, Fabio Vanin, Ulf Vierke

Iconographies of Radical Change

Revolution 3.0

Die angolanische Geschichte wird geprägt von antikolonialem Befreiungskampf und Bürgerkrieg. Seit 2002 erlebt das Land einen wirtschaftlichen Aufschwung bei gleichzeitiger politischer Stagnation. Vor diesem Hintergrund hat sich eine Kunstszene entwickelt, die einen Höhepunkt in der erstmals 2006 stattfindenden Luanda Triennale hatte. Zugleich ist diese neue Kunstwelt mit den älteren Künstlergenerationen in Bezug zu setzen. Diese Studie basiert auf einer sowohl ethnographischen als auch kunstwissenschaftlichen Untersuchung der Kunstwelt Luandas und spürt der Beziehung der Künstlergenerationen zu einem kollektiven Bildarchiv nach. Nostalgie und Utopie bilden dabei die konzeptuellen Zugänge und die drei Künstlergenerationen seit 1975 den zentralen Gegenstand.

Utopische und nostalgische Zugänge zu einem kollektiven Bildarchiv

(Re)Mapping Luanda

Fabian Lehmann

"In the oeuvre of filmmaker, theatre director and action artist Christoph Schlingensief (1960-2010) two topics are particularly important: the myth of Richard Wagner and the image of Africa.Schlingensief not only address both topics in parallel, however, he confronted them in unknown ways. He arranged a Wagner Rallye (1999) through the deserts of Namibia, exposed the African in Wagner's opera Parsifal at the Bayreuth Festival (2005-2009).Towards the end of his life, he started to realize his vision of the African Opera Village (ongoing). By now fleeing the Wagner cult in Germany, he aimed at an institutionally liberated opera in Burkina Faso. But what does it mean to dislocate and negotiate opera within the context of Africa?This publication comprises essays, artistic contributions and interviews with contemporaries that approach Schlingensief's work from different disciplinary perspectives, allowing us to see behind his projects and ideas and provide artistic responses. The triangle Schlingensief - Wagner - Africa is thus activated in different constellations and offers fresh insights into the oeuvre of the contemporary German artist."

Christoph Schlingensief's Crossing of Wagner and Africa

Christoph Schlingensief: Art of Wagnis

Nadine Siegert

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