This is a past event.

Hiwa K

… from that moment on, I started an affair with reality

Moderation: Delfim Sardo

The Iraqui-Kurdish artist Hiwa K experiences the world through a constant and complete reinvention of both himself and the world around him, juggling with the equilibrium of reality, somewhere between fact and fiction. In his creations Pre-Image (Blind as The Mother Tongue) and View from Above, made for Documenta 14 in 2017, he took on the role of a passer-by, a storyteller and a traveller, both literally and mentally. In his work, memory is transformed into an artistic material that can anchor the narrative both in the physical place of the city and in the immaterial domain of the unconscious.

Hiwa K invites us to join him on a journey that begins with his own artistic positioning, and through which he seeks to deconstruct the world around him, questioning the excessive burden that western models place on other cultural configurations.

www.hiwak.net
Kow Berlin

31 OCT 2018
WED 18:30

Small Auditorium
Free entry*
Duration 90 minutes

* Free entry (subject to availability), tickets available on the day from 9:30am at the ticket-office

In english with simultaneous translation

Live streaming available

Support

Gertal

Streaming support

FCT

moderator

Delfim Sardo

Curators

Carla de Utra Mendes (Urban Photographers Association), Susana S. Martins (Institute of Art History of the Faculty of Social and Human Sciences - University Nova de Lisboa)

Institutional Partners

Urban Photographers Association, Culturgest, Centre for Community and Urban Research (CUCR), Goldsmiths - University of London, Institute of Art History of the Faculty of Social and Human Sciences - University Nova de Lisboa, Openvizor

Programme Beyond the Enlightenment

10:30am–10:55am

Opening remarks

Institutional presentations
Conceptual Introduction to the symposium
With: Carla de Utra Mendes (Urban Photographers Association)

11am–12:30pm

Opening Panel

Critical Enlightenments in Dialogue
Moderator: Liliana Coutinho (Culturgest)

The Earthquake of 1755 in the horizon of the Lights: To See and Think Catastrophe
With: Ana Cristina Araújo (CHSC – Centre of Society and Culture History, Faculty of Arts and Humanities of Universidade de Coimbra)
Duration 30 minutes

Lisbon City of Light - in the light of the Lisbon Earthquake.
Shattering  Foundations and Invisible Futures: Critical Enlightenments and Re-visioning Europe

With: Victor Jeleniewski Seidler (Urban Photographers Association and Goldsmiths, University of London)
Duration 30 minutes

Q&A

12:30pm–2pm

Lunch break

2pm–3:50pm

Panel 2

Photographic epistemologies: past and future (in)visibilities
Moderator: Susana S. Martins (Institute of Art History, Universidade Nova de Lisboa)

Fordlândia Maladie: the city as archive
With: Susana de Sousa Dias (CIEBA – Centre of Studies and Investigation in Fine Arts, Faculty of Fine Arts of Universidade de Lisboa)
Duration 20 minutes

Disappearing into Night
With: David Kendall (Urban Photographers Association, CUCR – Centre for Urban and Community Research and Goldsmiths, University of London)
Duration 20 minutes

A brief reflection on the projects “A city called Mirage” and “Concrete Affection – Zopo Lady”
With: Kiluanji Kia Henda (artist)
Duration 20 minutes

Erasures
With: Paul Halliday (Urban Photographers Association, CUCR – Centre for Urban and Community Research and Goldsmiths, University of London)
Duration 20 minutes

Q&A

3:50pm–4:10pm

Coffee break

4:10pm–6:00pm

Panel 3

Urban Photography, agency and change 
Moderator: Ana Balona de Oliveira (Institute of Art History, Universidade Nova de Lisboa)

Screening of the film Military Road
By: Mónica de Miranda (CEC – Centre for Comparative Studies, Universidade de Lisboa, artist)
Duration 20 minutes

Informal territories. Case studies: Lisbon and Milan
With: Stefano Carnelli (Urban Photographers Association and Urbiquity)
Duration 20 minutes

What are we talking about when we talk about urbanisation?
With: Álvaro Domingues (Faculty of Architecture of Universidade do Porto)
Duration 20 minutes

Beyond Fiction: a possible narrative of Lisbon
With: António Brito Guterres (Dinâmia’Cet - Centre for Socioeconomic and Territorial Studies, ISCTE - University Institute of Lisbon)
Duration 20 minutes

Q&A

6pm–6:30pm

Coffee break and networking

6:30pm–8pm

keynote speaker

“… from that moment on, I started an affair with reality
Keynote: Hiwa K 
Moderator: Delfim Sardo (Culturgest)

Q&A

Abstracts and Bios Beyond the Enlightenment

The Earthquake of 1755 on the horizon of the Lights: Seeing and Thinking the Catastrophe

The real and imaginary experience of the 1st of November 1755 provoked a wide set of reactions all over Europe. At a distance, Lisbon’s big earthquake was represented in a series of prints made by artists that have never been physically present in the Portuguese capital. In an eerie urban space, deformation and ruin imprison the spectator’s gaze.  In the prints that circulated in the Europe of the Age of Enlightenment, the houses in ruins do not portray those existing in Lisbon but rather the buildings from the printer’s hometowns. They present frontal wooden beams and inclined rooftops made in the Germanic manner; the streets in which the debris pile up recreate a vague and unreal ‘somewhere’; the ruined monumental constructions report existing places but with some traces of invention; the sites of refuge reinvent scenes, either fey or tragic, engaging crowds of survivors that wander around and between tents with ragged clothes or fantastic costumes.
On the visual field of catastrophe, deformation redirects man to the fragility of its own place within the city. In the philosophical domain, uncertainty opens up a deep breach [wound] on Man’s rational confidence. Voltaire writes his Poème sur le désastrede Lisbonne (1756) and publishes the famous novel Candide, ou l’Optimisme (1759).  The controversy in which he saw himself with Rousseau did not let philosophers and naturalists indifferent. The baron of Holbach signs the articles ‘volcanoes’ and ‘earthquakes’ for the Encyclopédie of Diderot and d’Alembert. Ribeiro Sanches refuses any kind of providentialist and astrological judgement to explain the Earth’s enigmas. And Immanuel Kant isolates natura naturans from God’s founding power, and transforms a grandiose and devastating natural disaster into a sign of the failure of Leibniz’s conception of theodicy.

Ana Cristina Araújo
CSCH – Centre of Society and Culture History, Faculty of Arts and Humanities of University of Lisbon

Associate Professor with Aggregation at the Faculty of Arts of the University of Coimbra (FLUC). Principal researcher at the Center for the History of Society and Culture (CHSC). Consultant of International Research Partnerships Program at CNPq-Brazil. She published 148 studies, between books, chapters, articles and dictionary entries. Speaker in many important conferences and scientific meetings world-wide (Portugal, Spain, Italy, United Kingdom, Germany, Switzerland, United States of America, Hungary and Czech Republic). Received 2 awards and / or honors. The main fields of her scientific publications are the History of Ideas and the Cultural History.

 

Lisbon City of Light - in the light of the Lisbon Earthquake
Shattering  Foundations and Invisible Futures: Critical Enlightenments and Re-visioning Europe

With the Lisbon Earthquake it felt as if it marked the end of the world, as it had been known. It shattered not only the physical foundations of Lisbon but the theological and philosophical frameworks that had legitimated European colonial dominations in the 'New World' where the Inquisition instruments of terror travelled. But if the destruction of Lisbon was not God's work the Catholic nationalism that sustained the Reconquista leading to the expulsion of Jews and Muslims was to give way to new visions of European modernity organised around the nation state. With the development of science identified with the growth and domination of nature, white colonial power was legitimated through a white European masculinity that could alone take its reason for granted. Voltaire and Kant were both challenged by the seismic destruction of Lisbon to think differently. With the vulnerability of cities exposed and nature able to take revenge there were uncertain futures and invisible forces at work that photographic practice could help to visualise. Within a postmodern world in which Europe has been de-centred, we need to listen and learn from others traditionally silenced as we imagine alternative futures and ways of being together also through different visual practices. With Brexit we face uncertain futures in Europe that need to learn from different British and Portuguese colonial histories.

Victor Jeleniewski Seidler
Professor Emeritus Goldsmiths, University of London and Urban Photographers Association Writing Fellow

Emeritus professor in the department of Sociology, at Goldsmiths, University of London. His research interests include Social theory and philosophy; Marxism and Critical Theory; Moral Theory; Masculinity and Sexual Politics and he has written on social theory, ethics and gender, particularly in relation to men and masculinities. In recent years his writing and research have focused on the cultural memory of particular events and the ways they might challenge traditional social and cultural languages Including 9/11 and 7/7. His most recent book is Making Sense of Brexit: Democracy, Europe and Uncertain Futures, published by Polity Press (2018).
www.gold.ac.uk/sociology/staff/seidler/

FORDlândia Maladie: the city as archive

In 1928 Henry Ford founded a “company town” in the Amazon Rainforest: Fordlândia. Its goal: produce latex, escaping the European colonial powers in the trade of this raw material, indispensable to the company’s automobile manufacture. In a huge operation, a whole system (urban design, architecture, customs) was transferred to the Amazon jungle. Yet, the enterprise would last less than twenty years. Today, the land and its buildings reveal the scars of an unusual, violent and fierce, setting of a capitalist imposition on geography. Frequently named “ghost-city”, Fordlândia is a paradoxical site. Between lethargy and determination, its inhabitants seek to rewrite their own history, counter-current to an imaginary fed by the largely disseminated photographs of the ruins of a city apparently inhabited. The project Fordlândia Maladie (film/instalation) researches the unseen and unspoken zones of a 90-year old history, whose roots rest upon the indigenous mythology. 

Susana de Sousa Dias 
Investigation at CIEBA – Centre of Studies in Fine Arts, Faculty of Fine Arts of University of Lisbon

Susana de Sousa Dias (Lisbon) holds a PhD in Fine Arts/Video, a MPhil in Aesthetics and Art Philosophy (University of Lisbon) and a BA in Fine Arts-Painting. She studies Cinema at the National School of Theatre and Cinema and Music at the National Conservatory. 
Among her cinematic works are Natureza Morta  48 (Grand Prix Cinema du Réel,  FIPRESCI Award DokLeipzig, etc.), Natureza Morta|Stilleben (3 channels installation) and Luz Obscura.
Her work has been exhibited worlwide at film festivals, art exhibitions and venues such as Documenta 14, PhotoEspaña, Viennale, Sarajevo IFF, Visions du Réel, Pacific Film Archive, Harvard Film Archive, Arsenal Institut für Film und Videokunst, Tabakalera, San Sebastian, Museum of Contemporary Art of Ceará, Institute of Contemporary Arts, London, MNAC, MNAA, etc. 
She was guest artist at the Robert Flaherty Film Seminar (New York, 2012) and visiting artist at University California (Santa Cruz, 2018).
She was co-Director of the International Film Festival Doclisboa in 2012 and 2013 opening up new sections as Cinemaof Urgency and Passages (Documentary & Contemporary Art). 
She lectures at the Fine Arts Faculty of the University of Lisbon.
Susana de Sousa Dias

Disappearing into THE Night

“Disappearing into Night” explores how infrastructural transformation, and light energy generation and consumption intersect in Doha (Qatar), to produce new acoustic and ocular atmospheres and landscapes. These ever-shifting edge conditions create fertile ground from which the urban imaginary can arise from the Anthropocene. Consequently, my perceptual experiments explore how the electromagnetic spectrum seen by human eyes and image sensors merges with radiant flux, the unseen light-energy emitted and received by Information and Communication Technologies. The folds between “light” and “dark” are explored and shadows are utilised to produce acoustic images and photographic soundscapes. As a result, the act of listening becomes a mode of seeing and is important in sensing social and environmental difference and change. Finally, my experiential installations aim to modify sonic awareness, and investigate past and present geographical connections between people, architecture and digital infrastructure in the city.

David Kendall
Visiting Fellow, CUCR – Centre for Urban Community Research, Goldsmiths, University of London and Urban Photographers Association

Visiting Fellow at the Centre for Urban and Community Research, Department of Sociology, Goldsmiths, University of London, UK. He is a founding director of the Urban Photographers Association (UPA). His practice explores how spatial, economic and design initiatives, as well as participatory practices, combine to encourage social and spatial interconnections or dissonance in cities. His photographs, spatial research and collaborative projects have been exhibited and presented at festivals, museums, cultural and academic institutions including: The British Library, UK, Jüdisches Museum Berlin, Germany, Centro Cultural Manuel Gómez Morín, Santiago de Queretaro, Mexicó, documenta 14, Germany, Tate Britain, UK, Institut français London, UK and the University of Oxford, UK.
www.gold.ac.uk/cucr/researchers/kendall-david/
David Kendall
Urban Photographers

 

A brief reflection on the projects A city called Mirage and Concrete Affection – Zopo Lady

The desert is both a place without a center, without history, and a blank page open to the possibilities for a new civilization. The city, on the other hand, is the palimpsest of civilization ́s history. An endless churning of for-profit construction amounts to a huge concrete desert of empty houses and districts. The two projects, A City Called Mirage and Concrete Affection, are connected through an interest in parallel desertification, one with political motivations and another with economical ones.

Luanda, the capital of Angola, was abandoned in 1975 by the colonizers beginning the desertification of a populated urban space. In Dubai, inflated real-estate speculation led to a sprawl of structures that were never inhabited. Despite this failure, the city served as a reference point for Luanda ́s post-Independence urban planning. The infinite cycle of building and expanding a city results, ironically, in the making of a desert. With an emptiness like two mirrors facing each other the lines between what were once two distinct geographical regions and spiritual dimensions are blurred.

Kiluanji Kia Henda
Artist

Kia Henda´s interest on visual arts came about by growing up in an environment of photography enthusiasts. The connection with music and avant-garde theatre, as well as the collaboration with artist collectives in Luanda, is an essential part of his conceptual education. He participated in several residency programmes, namely in Venice, Cape Town, Paris, Amman and Sharjah, amongst other locations. Kia Henda also participated in the following selected exhibitions: 1st Luanda Triennial, 2007; Farewell to Post-Colonialism, Guangzhou Triennial, 2008; There is always a cup of sea to sail in, 29th São Paulo Biennial, 2010; Tomorrow Was Already Here, Museu Tamayo, Mexico City, 2012; Les Prairies – Les Ateliers de Rennes, 2012; Monday Begins on Saturday, 1st Bergen Triennial, 2013; The Shadows Took Shape, The Studio Museum of Harlem, New York, 2013; Producing the Common, Dakar Biennale, Dakar, 2014; The Divine Comedy, Museum für Moderne Kunst, Frankfurt and Smithsonian Institute, Washington, 2014; Surround the Audience, New Museum Triennial, New York, 2015; Museum (Science) Fictions – MUSEUM ON/OFF, Centre George Pompidou, Paris, 2016; TATE Liverpool, Constellations, 2016. In 2012, Kia Henda was awarded with the National Prize for Culture and Arts given by Angola’s Ministry of Culture and in 2017, he was the winner of Frieze Artist Award in London, United Kingdom.

 

Erasures

This project initially started as a collaboration with Nai Wen, a Taiwan-based photographic artist, and involved making a series of Polaroid photographs of people in various parts of London. The main focus of the work revolves around the thematic of erasure and the effects ‘hyper-gentrification’ - or what I have described as ‘Hoxtonization’* has on the settled communities of London.
I have made portraits of local people in spaces that are familiar to them, where they shop, hang out, move through; and then erased them with white correction fluid. The effect is very strange, as the images reference the impact of economic forces that create conditions wherein geographic continuities – what urban sociologists describe as spaces of ‘conviviality’ – shift from neighbourhoods and communities, towards spaces of property investment and land speculation.
We are witnessing a crisis in London as parts of the so-called ‘inner zone’ are redesignated for development regimes that increasingly ignore the voices of local residents, often considered to be a nuisance and surplus to the needs of market-oriented urban planning and design. Consequently, whole communities are being erased; and this project, through the medium of instant photography, aims to ask questions about the nature of presence and absence within contemporary neoliberal spaces.
* Hoxton is an area located in East London that has been deeply affected by gentrification.

Paul Halliday
CUCR – Centre for Urban and Community Research, Goldsmiths, University of London and Urban Photographers Association

Course Convenor of the MA in Photography and Urban Cultures in Goldsmiths, University of London. He is the Creative Director of UrbanPhotoFest and a director of UPA - the Urban Photographers Association. After initially studying sociology and law, he went on to study photojournalism and fine art film at LCC and Central St Martins, followed by further studies in social anthropology, archaeology and art history at the Universities of London, Oxford and Cambridge.
Paul is a former media advisor at the British Refugee Council and a former documentary film director for Channel 4 TV. He is currently working on his extensive urban photography archive for a series of book publications and film projects.
Urban Photographers
Urban Photo Fest

 

Presentation of the video Military Road, 2009
Hd video, colour,sound, 20´

Military Road is a video about a journey that traces, as if it was an archaeological search, the landscape of the old Estrada Militar (Military Road) of Lisbon, built around the city. In the past it was used to protect Lisbon against French and English invasions. Today, part of this road has gone, but what remains is 45 km surrounding the city, with housing estates and ghettos. The road, nowadays, continues in a certain way to be a sort of border that “protects” the city against foreign invasions; sustains a significant amount of migrants inhabiting the city, forcing them to stay in Lisbon’s periphery, on its edge, at the capital’s urban life limbo.
This work was done in collaboration with social associations, residents in this neighbourhood and with friends and family of the author.  The work is in itself a journey performed by the artist and through some of these elements, exploring the double meaning and irony of former territorial invasions and urban conflicts, characteristic of some of these places. The main focus of this work is the way in which the city develops and transforms and the impact that these transformations have both in local and national culture.
Military Road intends to make visible the migrant population that lives in Lisbon’s periphery, outside the referenced Estrada Militar built to defend the city from invasions in the beginning of the 19th century. *
* This description was taken from the website of former Transforma
 

Mónica de Miranda  
Artist, CEC – Centre of Comparative Studies of University of Lisbon

Artist and researcher. Born in Porto (Portugal) she has an Angolan background. Her work is based on themes of urban archaeology and personal geographies. Mónica has a visual art degree from Camberwell College of Arts(London, 1998); a Master’s degree in art and education at the Institute of Education (London, 2000) and a PhD in visual art from the University of Middlesex (London, 2014). She has received the support from the Foundation for Science and Technology. She is currently developing her research project: Post-archive at CEC (Centre of Comparative Studies, University of Lisbon) .
Mónica is one of the founders of the artistic project of residences Triangle Network in Portugal and the founder of the Project Hangar (Center of artistic research in Lisbon, 2014). She was nominated for Novo banco Photo prize and exhibited at Museu Berardo (Lisbon, 2016). Mónica was also nominated for Prix Pictet Photo Award (2016). She also exhibited at Photo Paris (Paris, 2013), Arco (Madrid, 2013), Arco Lisbon (Lisbon, 2016), 1.54 (London and New York , 2016), ArtBo (Bogota, 2017), Artissima (Milan, 2017).

 

Informal territories. Case studies: Lisbon and Milan

In a moment where the concept of urban space is shifting towards less defined and contained territories, the phenomenon of urban informality gains a fundamental role in deciphering the complexity of contemporary global cities. 
The ethno-photographic projects of Cova do Vapor and Transumanza present alternative and unexpected ways of inhabiting apparently structured urban territories such as those of Lisbon and Milan metropolitan area.
The Portuguese informal settlement of Cova do Vapor, tells us about a vulnerable and marginal context threatened by exploitative industrial and touristic projects.
With Transumanza, instead, the seasonal journey of the last walking shepherds across over-urbanised Northern Italy, becomes a paradigm of a scenario in flux where the clash between local and global, tradition and innovation suggests an alternative mapping of the complex urban and social environment.

Stefano Carnelli 
Urban Photographers Association and Urbiquity

Photographer, curator and researcher with a background in architecture and urban planning. His work explores how cities end up shaping themselves, in a continuous transformation and re-confirmation process that deeply affects concepts like identity, belongingness and sense of community.
Stefano is a director of the Urban Photographers Association (UPA) and founded in 2014 the Urban research collective Urbiquity.
His long-term project “Transumanza” became a book published by Peperoni books in 2017.
Stefano Carnelli
Urban Photographers

​​​​​​Urbiquity

 

What are we talking about when we talk about urbanisation?

Due to its numerous definitions and representations, and also because of its extreme elasticity and contradiction, the term city has become a chaotic concept. Meaning at the same time, place and society, culture or economy, lifestyles or architecture, cinema or whatever, we no longer know what we are talking about when we talk about the city; and sometimes, we even think this alleged category could be universally understood. The deception has reached such a dimension that it has become invisible.
May we photograph the multiplicity of the process of urbanization and then return to the question. It will be noted that urbanization, because it is a process, takes form and place according to the most diverse and surprising metamorphoses, ranging from the most inhuman misery, to the vertigo of opulence and its fictional scenarios.
Words are suicidal when the things they designate fly away through their infinite condition.

Álvaro Domingues
Faculty of Architecture of University of Oporto

Álvaro Domingues (Melgaço, 1959) is a Geographer with a Doctorate in Human Geography by the Faculdade de Letras, Universidade do Porto (FLUP), and an Associate Professor and Researcher at the Faculdade de Arquitectura, Universidade do Porto (FAUP). Collaborations in the last fifteen years include: Porto 2001, European Capital of Culture; Calouste Gulbenkian Foundation; Portugal; Foundation for Science and Technology, Portugal; Escola Técnica Superior de Arquitectura of Coruña, Spain; Erasmus University of Rotterdam-EURICUR, The Netherlands; Club Ville Aménagement – Paris, France; CCCB, Universidade Tècnica de Barcelona-Arquitectura. Barcelona, Spain; Universidade de Granada, Granada, Spain; École Polytechnique Fédérale de Lausanne, EPFL-ENAC, Lausanne, Switzerland; Universidade Federal de S. Paulo and of Rio de Janeiro, Brazil; ArchDailly; Jornal da UP; Jornal Público; Serralves Foundation, Porto, Portugal. Some recent books: 2017 – Volta a Portugal, ed. Bertrand, Lisboa; 2015 – Território Casa Comum, FAUP, Porto (with N. Travasso); 2012 - Vida no Campo, Dafne editions, Porto; 2010 - A Rua da Estrada, Dafne editions, Porto; 2015 - “La Calle de la Carretera”, in RAMOS, Angel M. (ed.), La Calle Moderna en 30 Autores Contemporaneos y un pioneiro, Ed. Universidad Tecnica da Cataluña, Barcelona; 2011 - Políticas Urbanas II, F. C. Gulbenkian, Lisboa (with N. Portas e J. Cabral).
News Correio da Manhã
Article
News Sapo.online
News Público
News Sol

 

Beyond Fiction: a possible narrative of Lisbon

Here, photography is not art. It is a resource, instrument and mediation.
The real art was: knowing how to be together and mixed when no one expected us to and, from that point on, whenever it was expected. It stopped being exotic without having ever been.
In this process, the camera passed, hand in hand describing contexts, people and places; and revealing bits of the city, the apparent interstices of the form in which it relates to people, and stories that remain untold.

António Brito Guterres
Dinâmia’Cet - Centre for Socioeconomic and Territorial Studies, ISCTE – Centre for Socioeconomic and Territorial
Studies

PhD candidate and researcher at Dinâmia’Cet - ISCTE/IUL. Has developed work with several local organizations in the neighborhoods of the Lisbon Metropolitan Area (AML). He is a collaborator of the Aga Khan Portugal Foundation, which promotes the quality of life in a plural and cosmopolitan design. His local work and research address the commons, urban governance, youth, culture and art. He was the coordinator of the Artistic Experimentation Center of Vale da Amoreira, consultant to the recent strategy for the culture of Lisbon, was part of the URB project: a television plot on a set of AML diversity fictions and is co-author with Vhils of the process "May 6" exhibited at the National Museum of Ancient Art.

 

“… from that moment on, I started an affair with reality”* 

The iraqi-kurdish artist Hiwa K experiences the world through a constant and complete reinvention of both himself and the world around him, juggling with the equilibrium of reality, somewhere between fact and fiction. In his creations Pre-Image (Blind as My Mother Tongue) and View from Above, made for Documenta14 in 2017, he took on the role of a passer-by, a storyteller and a traveller, both literally and mentally. In his work, memory is transformed into an artistic material that can anchor the narrative both in the physical place of the city and in the immaterial domain of the unconscious. 
Hiwa K invites us to join him on a journey that begins with his own artistic positioning, and through which he seeks to deconstruct the world around him, questioning the excessive burden that western models place on other cultural configurations.
*Hiwa K Pre-Image (Blind as The Mother Tongue), 2017

Hiwa K
Artist

Born in Kurdistan-Northern Iraq in 1975. His informal studies in his home town Sulaymaniyah were focused on European literature and philosophy, learnt from available books translated into Arabic. After moving to Europe in 2002, Hiwa K studied music as a pupil of the Flamenco master Paco Peña in Rotterdam, and subsequently settled in Germany. His works escape normative aesthetics but give a possibility of another vibration to vernacular forms, oral histories (Chicago boys, 2010), modes of encounter (Cooking with Mama, 2006) and political situations (This lemon tastes of apple, 2011). The repository of his references consists of stories told by family members and friends, found situations as well as everyday forms that are the products of pragmatics and necessity. He continuously critiques the art education system and the professionalization of art practice, as well as the myth of the individual artist. Many of his works have a strong collective and participatory dimension, and express the concept of obtaining knowledge from everyday experience rather than doctrine. Hiwa K participated in various group shows such as Manifesta 7, Trentino (2008), La Triennale, Intense Proximity, Paris (2012), the “Edgware Road Project” at the Serpentine Gallery, London (2012), the Venice Biennale (2015) and documenta14, Kassel/Athens (2017). In 2016 he received the Arnold Bode Prize and the Schering Stiftung Art Award and had a solo exhibition at KW, Berlin (2017). His “Chicago Boys” project is continuously hosted by international institutions.
www.hiwak.net
Kow Berlin

 
Susana S. Martins

Is an FCT-research fellow both at the Institute of Art History, Universidade Nova de Lisboa and at the Institute of Cultural Studies, Katholieke Universiteit Leuven (BE). She holds a doctorate in photography and cultural studies from the KU Leuven. In her research on the history and theory of photography, she has been working on the intersection of photography, national identities, exhibitions, and print cultures. Author of several journal articles on these topics, and involved in a project on printed photography and propaganda, she co-edited, with Anne Reverseau, the book Paper Cities. Urban Portraits in Photographic Books (LUP, 2016). Martins has also been lecturing in the fields of photography, 19th-century visual culture and contemporary art history. She is currently Visiting Assistant Professor at Universidade Nova de Lisboa. 
Susana S. Martins

Carla de Utra Mendes

Writing Fellow of the Urban Photographers Association (UPA), based in London. She is also an affiliate of the Lau China Institute, King’s College, London, UK.  She holds a PhD from the University of Saint Joseph in Macao S.A.R., China, as fellow of the Foundation for Science and Technology (FCT) of Portugal. Graduate in Art History, and since her Masters degree, both from the Faculty of Human and Social Sciences of Universidade NOVA de Lisboa, she has been focusing on Asian Studies. In the field of contemporary art and museums, she has been a museum and independent curator, educational department co-coordinator, museum educator and independent art critic, having collaborated with institutions such as Calouste Gulbenkian Foundation and Belem Cultural Center (Lisbon, Portugal), amongst many others.
 

Ana Balona de Oliveira

FCT Postdoctoral Fellow at the Institute for Art History of Nova University of Lisbon (IHA-FCSH-NOVA) and at the Centre for Comparative Studies of the University of Lisbon (CEC-FLUL). She has lectured in several institutions in the United Kingdom and Portugal, notably at the Courtauld Institute of Art, University of London, where she received her PhD in History of Art (Modern and Contemporary) with the thesis Fort/Da: Unhomely and Hybrid Displacements in the Work of Ângela Ferreira, c. 1980-2008, 2012. Her current research focusses on narratives of empire, anti- and post-colonialism, migration and globalization in contemporary art from ‘Lusophone’ countries and beyond.  After having coordinated the project ‘Visual Culture, Migration, Globalization and Decolonization’ (CITCOM-CEC-FLUL) from 2013 to 2017, she now co-coordinates the research line ‘Transnational Perspectives on Contemporary Art: Identities and Representation’ (CASt-IHA-FCSH-NOVA). She has published articles in Nka: Journal of Contemporary African Art (US), Third Text (UK), Mute (UK), /seconds (UK), Fillip (Canada), África(s) (Brazil), Aniki: Portuguese Journal of the Moving Image (Portugal), Revista de História de Arte (Portugal), Revista Comunicação & Sociedade (Portugal), among others. She has contributed essays and interviews to exhibition catalogues (Recent Histories: Contemporary African Photography and Video Art, Walther Collection & Steidl, 2017; Ângela Ferreira: Underground Cinemas & Towering Radios, EGEAC-Galerias Municipais, 2016; Novo Banco Photo 2015, Museu Coleção Berardo, 2015, etc.) and other publications ((Re)Imagining African Independence: Film, Visual Arts and the Fall of the Portuguese Empire, Peter Lang, 2017; Red Africa: Affective Communities and the Cold War, Black Dog Publishing, 2016; Edson Chagas: Found Not Taken, Kehrer Verlag, 2015, etc.). She has curated the solo exhibitions Ângela Ferreira: Underground Cinemas & Towering Radios (Galeria Av. da Índia, Lisbon, 2016) and Ângela Ferreira: Monuments in Reverse (Centro para os Assuntos de Arte e Arquitectura, Guimarães, 2015), and has co-curated the collective exhibition Ruy Duarte de Carvalho: A Delicate Zone of Commitment (Galeria Quadrum, Lisbon, 2015-2016), among others.

 

 

Hiwa K: When We Were Exhaling Images, Documenta 14, 2017
Hiwa K: When We Were Exhaling Images, Documenta 14, 2017
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