Reports

Uhuru

Catarina Simao is an Lisbon-based artist whose practise is built upon long term research projects that entail collaborative partnerships and different forms of presentation to the public, such as art installations, screenings, participatory workshops and talks. Simao is known for her essay-like displays, using documentation, writing, films and videos related to Mozambique films and images made during the struggle against Portuguese colonial occupation and after independence. Her work has been presented at Serralves Museum, Manifesta 8 Biennial, Africa.cont, Reina Sofia Museum and other art institutions across Europe and also Mozambique, USA and Lebanon. The Mozambique Institute Project is her latest project involving cinema-action and pedagogogy. “UHURU” is her first solo show.

artistsCatarina Simao
curatorsDaniel Grúň
placeTranzit ateliéry – Hangár
tags
castCatarina Simao
cameraPeter Barényi
soundPeter Barényi
editingPeter Barényi
interviewPeter Barényi
categoryReports
published15. 6. 2015
languageČesky / English
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Uhuru
Jan Pfeiffer's exhibition explores how architecture and urban spaces preserve the energy and ideas that have been imprinted on them, tracing the author's journey from personal experiences to universal symbols. Using black-and-white photographs and models, he intuitively connects distant elements—from a flame in Ramallah to the crown of the Old Town Bridge Tower—into a poetic construction about architectural "springs."
The alibi of the Czechoslovaks, which historically exempted them from responsibility for the era of European colonialism, is seriously undermined if we take a closer look at some episodes of Czechoslovak history and if we revise the attitude that Czechoslovak citizens took towards colonies and their people and what orientalizing ideas they created. This attitude certainly does not apply only to non-European people and cultures, but also within Europe itself, as Vobořil demonstrates in his work.
This lecture examines the development of mass Palestinian displacement as a weapon of war, a tool of state-building, and a tool for enforcement of particular visions of imperial internationalism. It traces how Palestine became the site for the development of a specific modern refugee regime focused on decolonial containment, a process that continues to the present day.
The author considers the video as a part of the decolonisation process within the framework of the history of Czechoslovak cinema. His conceptual method of work is based on the deconstruction and re-interpretation of original scenes from Czechoslovak films, e.g. Křik (Jaromil Jireš, 1963), Jak básníci přicházejí o iluze (Dušan Klein, 1984) and Dědictví aneb Kurvahošigutntag (Věra Chytilová, 1992). All these films feature stereotyped black characters.