Ângela Ferreira ÂNGELA FERREIRA Miriam Makeba

Blanca de Navarra, 12. 28010, Madrid www.nfgaleria.com Ângela Ferreira ÂNGELA FERREIRA Miriam Makeba. Carlos Cardoso,Ingrid Jonker, JorgeHendrix, Jimi Ben Jor,Jorge dosSantos, DiegoRivera or Blum, Peter as such figures unexpected of image the and work the recovering while continent, maketributes constant referenceto theeconomic, politicalandculturalhistoryof theAfrican and the rejectionof colonial memory of repair. On the other hand, her sculptural, sound and video The architecture point to delve as a starting also serves into her long investigation of the erasure from thestory ofthe“MaisonTropicale” by JeanProuvé. occasions, to the realities of the African continent, with a project that was conceived stemming on throughthe mechanisms which European modernism has tried to adapt, failing on numerous She represented at the 52nd Venice Portugal Biennale in 2007 with a continuation of her research ideas inaconciseandresonant formalization. society,contemporary an investigation that she carriesout in depth with the materialization of Ferreira’s workisconcerned with thecontinuing impact of colonialism and postcolonialism in attheUniversity from ofCapeTown. theMichaelisSchoolofFineArts Master ofFineArts Ângela Ferreira, wasborn in Maputo, Mozambique, grew up inSouth Africa and earned her Maputo, 1958.Lives andworksinLisbon. Ângela Ferreira France; Market Foundation, Gallery SouthAfrica. Calouste Gulbenkian and Fundação FRAC Rennes, PLMJ, in Portugal; Coleção António Cachola, Coleção DGARTES,Culturgest, Fundação Fundación in Spain; la Caixa, Fundação EDP,Fundação de Serralves, of New South Wales,Gallery Australia; Fundación MACBA, ARCO,CGAC, international collections, suchas:Art of important work isapart Her Pavilionexhibited inthePortuguese forits 52nd edition. Gwangju, Taipei, Bucharest and Venice, and in this lastone she inseveral Biennial such asSãoPaulo,Has participated Lubumbashi, Maputo; Oslo Museum,Oslo;ParasolNacional deArte, Unit,London. Foundation, Savannah, Paris; SCADMuseumof Art, Georgia; Museu Lisbon; SKD –Kunsthalle im Lipsiusbau, Dresden; Kadist Art Town; Moderna/Fundação Centro CalousteGulbenkian, deArte The Hague; Cape Edinburgh;Stills, Art, ICA – Institute of Contemporary Museu Berardo,Mexico City; CentroLisbon; Stroom, CulturaldeBelém, Museum - Chicago Architecture Biennial, Chicago; Museo Tamayo, Serralves, Gallery, Porto; Johannesburg Art Johannesburg; DePaul Art de Barcelona Barcelona; (MACBA), Umeå;Museude Bildmuseet, Contemporáneo Glasgow; MuseodeArte The GlasgowSchool ofArt, de Compostela; Haus derKulturen der Welt, Berlin; Culturgest,Lisbon; Has had solo and group exhibitions atMAAT,Lisbon; CGAC,Santiago Ângela Ferreira

--- ÂNGELA FERREIRA ÂNGELA FERREIRA Revolution. [continues] multi-functional structuresto of the 1920s widely usedby influence theRussian Communist Party and mobilize public opinion during thevolatile period that followed the Russian structures/sculpturesThe are drawings for‘agitprop’based on1922 wereKiosks exponent ofRussianConstructivism. Gustav an important Klucis, by kiosks the Russian-Latvian artist of Mozambique inthemid-1970s, andthatisexperiencedthrough thetwo filmsthatintegratetheartwork. that period the is followed the Russian Revolutionfirst which of 1920s, can be seenthrough the physical structure of the work;and the second refersthe to the euphoria that was felt aroundoptimism: the independence political and social great of history in moments two on focuses and 3) # and 2 # 1, # (Model parts three in project single a is Mozambique’ ‘For 450 x500100cm Iron, Wood, printonPVC, videoprojection intwochannels(color, sound, 60’, loop) 2008 For Mozambique (Modelno.3forpropaganda stand,screen andloudspeaker platformcelebratingapost-independence Utopia) ÂNGELA FERREIRA [continues] through song and of Bob dance; onthe otherhand, Dylan’sthe lyrics a hedonistic atmospheresong describe inMozambique, wherehimself ‘among hesees people who live infreedom.’ power by colonial from independence their directed articulating ‘Makwayela’, and expressing factory Mozambique d’Arthuis, a Jacques in workers and shows Rouch film Jean filmmaker and Frenchethnographer short The (1975-77). independence after Mozambique of spirit celebratory the capture that films two present to structures ‘agitprop’ the uses Ferreira speaker platforms, placesforposters,screens forprojecting films. and often nomadic and detachable werekiosks These temporary events placed on the streets and offered during important various functions, including book megaphones stalls, and 450 x300190cm Wood, paintediron, videoprojection intwochannels(color, sound,60’,loop) 2008 For Mozambique (Modelno.2ofScreen-Orator-Kiosk celebratingapost-independenceUtopia) ÂNGELA FERREIRA porary. Ângela Ferreira isinterested here in looking back at that hope, at that moment of political utopia and understanding what happened with the intention of instilling hope in the contem minated inanauthoritarian Marxistsystem. between these two moments inhistory, given theutopian euphoria graceduring and that Russian Constructivism that had cul inspired Klucis during the stateof political and artistic atthat giventime, to the changes and country landslides that led thecountry fundamental Marxism and to civil war for the next two decades. The piecealso opens up a parallelism The workbecomesamanifestation of the atmosphere of utopian celebration in post-independence Mozambique, and also amonument to the feelingsof hope for thefuture of the 500 x270cm Wood, steelwire, videoprojection intwochannels(color, sound,60’,loop) 2008 For Mozambique (Modelno.1ofScreen-Tribune-Kiosk celebratingapost-independenceUtopia) - - ÂNGELA FERREIRA of the Kongresshalle. In the process,it follows in thefootsteps of destruction and reconstruction of ideologically motivated foreign policyboth within and outside the African continent. of the formal language of architecture from theHaus der Kulturen derWelt inBerlin,superimposes imagesof the demolition of the hotel and the collapse and reconstruction of the roof After sitting vacant for 33 years, the building, which was never completed, was demolished in 2007 to make room for the US embassy. Ângela Ferreira’s multimedia sculpture, with shots want to leave thebuilding to theMozambicans, so,according to legend, they sealedallthepipeswithconcrete before leaving thecountry. with theoutbreakIn 1974, of the Carnation Revolution theFour in Portugal, SeasonshotelinMaputo, Mozambique, wasalmostentirely colonialdidnot rulers built. The Portuguese 280 x754292cm Wood andvideoonmonitor (color, 6’58”,loop) 2012 Collapsing Structures /Talking Buildings ÂNGELA FERREIRA 280 x754 x292cm Wood and video on monitor (color,loop) 6’58”, 2012 Collapsing Structures /Talking Buildings ÂNGELA FERREIRA 280 x754 x292cm Wood andvideoon monitor (color, 6’58”,loop) 2012 Collapsing Structures /Talking Buildings [stills] ÂNGELA FERREIRA ture andAfrican vernacular architecture, butabove all,as a symbolicplace ofmemory, refuge andexile. Inspired by this figure and her biography, Ângela Ferreira based on the architectural makes elements of the artworks house as prototypes of the relations between modernist architec where shelived withStokely between 1968and1983. Carmichael,alsoan activist,andherpartner Guinea, Makeba’s in house portrays her work of The construction Africa. the South and in exiles apartheid against fight the in prominentfigures most the of one Makeba(1932-2008), ‘Dalaba:d’Exil’ project Sol The inspiredis by historical linkedepisodes to failureits colonialism, traumas. And,specifically,and its lifeto the and career Miriam andsinger activist ofthe Madrid Installation viewsatNF/NIEVESFERNÁNDEZ, Photocopy onpaper, 60x40cmeach Digital printonpaperwall(Mamadou CellouparaÂngelaFerreira), 66,5 x100cm 2019 Dalaba: Sold’Exil(5Posters) Dalaba: Sold’Exil(Conakry) - ÂNGELA FERREIRA Installation views at NF/NIEVES FERNÁNDEZ, Madrid Installation viewsatNF/NIEVES FERNÁNDEZ, Digital print onpaperwall (MamadouCellou paraÂngela Ferreira), 66,5x100cm Pine andwavy zincsheet,ø345,8x48,4cm 2019 Dalaba: Sold’Exil (Conakry) Dalaba: Sold’Exil(Telhado) ÂNGELA FERREIRA 400,1 x245,2427,9 cm MDF, poplarandoak woodandiron 2019 Dalaba: Sold’Exil(Varanda) ÂNGELA FERREIRA 397,9 x250200 cm Poplar woodandiron 2019 Dalaba: Sold’Exil(Alpendre) ÂNGELA FERREIRA Dan Flavin’s ‘Monuments’ series(1964-1990) intribute to Tatlin. monument’s hallmark, the 23.4º inclination of the earth’s axial angle, as a symbol of the universalism of unfulfilled utopian goals. At night, the sculpture turns into a neon sign based on Vladimir TatlinRussian Constructivist fortheMonument to theThird International in theSovietFerreiraUnion (1919). ‘turns’ Tatlin’s monument into asculpturethe cites that explicitly In Ferreira’sinstallation, Strebelle’s modernist architecture, carefullywith its designedfaçade, becomes theplinth for hersculpture,which inturnevokes the unrealized projectby ghout theAfrican continent.Today thediscussion aboutthisarchitecture oscillatesbetweenthenotions ofa“shared heritage” anda“dissonant architecture”. center of the city. Thebuilding designed by Belgian architect Claude Strebelle isparadigmatic of an architecture that various European colonial powersintroduced throuin the1950s - The main component of Ângela Ferreira’s installation in Lubumbashi is a‘modern’ wooden sculpture installed on the roof of the GPM gas station on Munongo Avenue in the‘colonial’ Installation views,Lubumbashi Biennale,Congo Variable measures video(color,Installation/performance, sound,7’),wood,metal,neontubes 2013 Entrer DanslaMine ÂNGELA FERREIRA Installation views,Lubumbashi Biennale,Congo Variable measures video (color,Installation/performance, sound,7’),wood, metal,neontubes 2013 Entrer DanslaMine ÂNGELA FERREIRA 21 x28cmeach Graphite onFabriano paper 2013 Study forEntrer DanslaMine[3,4y1] ÂNGELA FERREIRA formal structure. Asasculptor, sheisinterested intheshapeof thehugehole,oranabsence,in landscape.Howto represent aholeinmaterial terms? For Ferreira,as asculptor, conceptually the mine hole is interpreted asanegativeto monumentthat bearswitness thehistoryof incredible human greedas a and time at thesame don. Loadedwithsymbolicvalue, theminesinSouthAfricawere always structure astrong they imageoftheapartheid upheld. The Cullinan Diamond Mine, source of one of the largest diamonds ever acts as a unearthed, reference point for Ângela Ferreira’s series of works created for her first solo show in Lon Installation views Variable measures 2012 Stone Free - ÂNGELA FERREIRA Variable measures Graphite onpaper andphotocopies 2012 Stone Free: Research Composite [1,2,8,7y4] ÂNGELA FERREIRA 150 x10869,5 cm /30x40 Aluminium, flashlight, C-print 2012 Stone Free: StudyforHendrix/CullinanShaftandUnderground Cinema(afterR.Smithson) ÂNGELA FERREIRA Prouvé’s production. Thethree Tropical to Houseswere France dismantledand transported where they were restored and later presented andsold in theUnitedStates. towere Brazzaville, transported Congo. With the (re)discovery of Prouvé’sthe house also sparked inthe1990s, of a process ‘work’ newinterest of fetishization and became part of Prouvé’s left prototypesthreefinally Only Niamey, MaisonAfrica. atelier. to flown first in was the houses prefabricatedTropicale Niger. 1949, sophisticated In tically houses other Two War II, the French OverseasMinistry, through collaboration with French designer Jean Prouvé, developing modernist ideasto saw the possibilityof further conceiveof a aesthe series ‘Maison Tropicale’, presented Pavilion at the Portuguese at the 52nd Venice Biennale, reflects on colonial history and its contemporary, post and neocolonial resonances. After World Pavilion,Installation views,Portuguese 52ndVenice Biennale Variable measures Installation onwoodandmetal 2007 Maison Tropicale - ÂNGELA FERREIRA Installation views, Portuguese Pavilion,Installation views,Portuguese 52ndVenice Biennale Variable measures Installation onwood andmetal 2007 Maison Tropicale ÂNGELA FERREIRA Installation views, Portuguese Pavilion,Installation views,Portuguese 52ndVenice Biennale Variable measures Installation onwood andmetal 2007 Maison Tropicale ÂNGELA FERREIRA Variable measures Graphite onpaper 2007 Estudios paraMaisonTropicale ÂNGELA FERREIRA government and theCongolese delegation onthe dateof theindependence ofthe African country. Francophoneof the written by countries inthe1960s, on thenightin which anagreementthe Congolesemusician Joseph Kabasele,inBrussels, wasreached between theBelgian the second video,which givesthe band title, fromthe work its thePark Hotel inLubumbashi ‘Indépendance Cha Cha’, performs an emblematic anthem of the independence movements predominant ancient language in the region, Kibemba. tell of The lyrics a man who writes to his motherabout his fears of his death because he was forced to go down to the mines. In organizedfor theLubumbashi One ofthevideos documentstheperformance bythe artist present Biennial, inwhichtwo singers the song-poem‘Jevais entrerdans lamine’, sung inthe of presentation – inthiscase,itsfirstpresentation, the asascreenLumiar Citéspace–andalso serves fortwovideos. urban center of Lubumbashi, capital of Katanga, a mineral-rich province of what with was the architecturalthen called Belgian Congo. The sculpture conditions of the place isarticulated isinspired byThe artwork Ângela Ferreira’s in the 2013 Lubumbashi participation Biennial, and consists of a sculpture that evokes the colonial architecture of presentthe 1950s in the 257 x1350250cm Pine, MDF, translucentandopaquescreens, 2videos(color, alternatingsound)of5’9’’ in loop,displays cases,compositeswith photographs anddocuments 2014 Independance Cha ÂNGELA FERREIRA 257 x1350 x250cm cases, composites withphotographs and documents Pine, MDF, translucent and opaque screens, 2videos(color, alternating sound) of 5’9’’ in loop, displays 2014 Independance Cha ÂNGELA FERREIRA 90 x60m each Graphite onFabriano paper, collages anddigitalprintsincolor 2014 Independance Cha Cha(Compositos) ÂNGELA FERREIRA between theimageswood oftheboxes andthewoodof theconstruction ofthemonument. structure,a video emerges, created from cinematographic archivethat shows thedifferentmaterial of the constructionof theMonument moments to theDiscoveries,in arelationship World. refers The sculptural form of the artwork to the pile of boxes that result in an installation that resembles the minimalist sculptural reference often uses. Inside this that the artist brimentos inPraça doImpério.Amonument builtbythe fascist dictatorship colonialismduringthe ExpositionofthePortuguese astheculmination of thecelebration ofPortuguese symbolicbecausetheyareimages representThese particularly theresidues of the endof colonialism on the Belém dockinLisbon next to theMonument to thePadrão dos Desco- luggage, thatremained onthedockfor years, to besearched. of independence. Many in a people hurry,arrived in Portugal with no plans and no place to was in after the Carnation Revolution go. The political turmoil thecountry did not allow this that contained theluggageof the so-called‘returnees’, toapplied a termby the Portuguese thosewho ‘returned’ from theformercoloniesafterrapid and poorly managed processes The video-sculptureof iconicphotographs point a series Colonialism, WildDecolonization’‘Messy fromstarting document hasasits the hundredsimages These 1974-75. of boxes Installation views,RödaStenKonsthall, Gothenburg, Sweden Variable measures Wooden boxes andsingle-channelvideoprojection 2015 Messy Colonialism,WildDecolonization ÂNGELA FERREIRA Installation views,RödaSten Konsthall, Gothenburg, Sweden Variable measures Wooden boxes andsingle-channel videoprojection 2015 Messy Colonialism,WildDecolonization ÂNGELA FERREIRA whose work was particularly relevantwhose workwas particularly artists. to SouthAfrican anti-apartheid practicetohas used throughout evoke her artistic the notions of the public and the politician. The sculpture refers to the mural‘Unidad Panamericana’ by Mexican painter Diego Rivera, beyond of perspective. Theconnection between all the elementsof the installation is shown centers and throughhighlighting peripheries, the importance a tower, a symbol that Ferreira core ofthePan African Unity Mural. The feeling of living betweenworlds,characteristicof the enginethat drivesthe identityof many Africans,is Ferreira’s exploration of ideas thatgo own biography withthatof the South AfricanMiriamMakebasinger and the Americanfugitive George Wright /Jorge dosSantos. Thecomplexityof the threebiographies formsthe biographies and creatingplaces, The ‘Pan crossroads African Unity Mural’ installation intertwines and intersections of trajectories her of different intertwines personalities. The artist Installation views,MAAT, Lisbon Pan onwall(Frieze AfricanUnityMuralPaintings ,2018.Acrylic offourmurals andsixpaintingsofblacklinesoncurvedwalls).740x4765000cm Untitled (Torre), 2018.Iron andMDF. 500x244cm Pan AfricanUnityMural ÂNGELA FERREIRA Installation views, MAAT, Lisbon Pan onwall(Frieze African UnityMuralPaintings ,2018.Acrylic offourmuralsandsixpaintings ofblacklinesoncurvedwalls). 740x4765000cm Untitled (Torre), 2018.Iron and MDF. 500x244cm Pan AfricanUnityMural ÂNGELA FERREIRA Installation views,Bildmuseet Umea 740 x4765000 cm onwall (FriezeAcrylic of four muralsandsixpaintingsofblack linesoncurvedwalls) 2018 Pan AfricanUnityMuralPaintings ÂNGELA FERREIRA Pan AfricanUnityMural 35 x50cmeach pastel onFabrianoDry paper 2018 [Dibujo apastel,conjunto de10] ÂNGELA FERREIRA its raciststatistics orinitsabilityto hidepoliceviolence.[continues] readwas noteasy.true inthemediais policeforceregimes These powerful censorship. Similarly,that operatedcruel had a very if you livedyou intheUnitedStates, didnotbelievein was beingputtoand hoped test the that itwould respectproclaimedthe good ideals it to defend:non-racist communities.However, peace,equal rights, like today,knowing ifwhat is another perspective. DuringtheCold War period,people who were criticalof the United States and its capitalist (racist) exploitsbelieved that beyond the BerlinWall a new kind of society In the contextof today’s debates on the issueof fake newsand the concept of “truth”,Angela Davis’ relationship with theSoviet to Union and the GDR deserves beconsidered from Installation views,StaatlicheKunstsammlungen, Dresden 400 x120160cm Wood, metalandvideo(color, sound,loop.11’47”) 2020 1 MillionRosesforAngelaDavis ÂNGELA FERREIRA different imagesandways AngelaDavis ofportraying bothintheUnited StatesandintheGDR. dia, propaganda and truth, which remains axiomatic problem. a contemporary Along with a video with forms of the printing press,which also an seems apt metaphor to question the relationship between me- this projectHence, refersto the concept of ‘politicalemulating themechanical tool’ in itsstructural part, used asapoliticaltool inbothsystems duringthecoldwar. the West.representedhand, in Americashe On theother threatthe worst and evil.And in that way was she of the ‘evil’ for had countries Bloc Eastern the that hatred the ‘justified’ therefore and West the approveof Angela Davisas asymbol:an became enormously famous American woman in theGDR, who did not Installation views,StaatlicheKunstsammlungen, Dresden 400 x120160cm Wood, metalandvideo(color, sound,loop.11’47”) 2020 1 MillionRosesforAngelaDavis ÂNGELA FERREIRA funds to build this project, ahouse forthe school hasyet to bebuilt. community’s desire for this an defined architecturalresidence, permanent project. of Mozambican need architect in Pancho mission Guedes admirable designed an a with speculative project project, educational firstTown,an unveiledCape inin 1996.Children Despitefor effortsSchool byCircus theZap circusZip schoolthe toto raise acknowledgment an second, the And museum. a as collection family’s art the house family, would Kroller-Muller which the by commissioned built, never was which Rohe, der van Mies by designed project a first, Guedes inSouth unrealizedAfrica. Using these Ferreira plansand for hiswork, models asthebasis points outhowtheplans are adapted tolives,contexts, otheruses, and events. The ‘Zip Zap Circus School’ fromstems twounrealized projectsby modernist architects in different of the world: one by Mies van der Rohe intheNetherlandsand parts another by Pancho Installation views,ICA,CapeTown Variable measures Wood, canvas andwheels(three structures) 2000 -2002 Zip ZapCircus School ÂNGELA FERREIRA 37 x42cm Gelatin silver printonpaper 2000 -2002 Zip ZapCircus School ÂNGELA FERREIRA Installation views, MNAC, Lisbon Installation views,MNAC, Variable measures Wood, canvas andwheels (three structures) 2000 -2002 Zip ZapCircus School ÂNGELA FERREIRA Installation views,Fundição deOeiras, Portugal Variable measures Wood, canvas andwheels (three structures) 2000 -2002 Zip ZapCircus School ÂNGELA FERREIRA ÂNGELA FERREIRA olitical Cameras. Stills,Edimburgo alk Tower forIngrid Jonker. Appleton Square, Lisboa alk Tower forIngridJonker. DIDAC, Santiagode Compostela an AfricanUnityMural.MAAT, Lisboa an AfricanUnityMural.Bildmuseet,Umeå 2013 2014 2015 2016 2017 2018 2019 Solo Exhibitions(selection) Ângela Ferreira

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