Luanda Angola Art
The context of art production in Angola is still shaped by one ideal of the nation - the building of a cultural fabric that has broken after more than three decades of war. The concept of the "return of the new man" characterises the political views on Angola's culture, which is defined as a political instrument for communicating nationality. Although the country is changing by the minute, there are still feelings, ideas and thoughts shared by those who talk and talk about Angola. The current political discourse in Angola on culture continues to focus on strengthening Angolan endogenous culture.
Movimento, an exhibition curated by Jorge Gumbe, questions the way artists see and present themselves. The title "Angola em" suggests a national ethos, but the identity of the artist and of the Angolan people in general and of the country as a whole is questioned in "M movimentos" ("shows").
The MPLA (Popular Movement for the Liberation of Angola), which has been in power since 1975, has managed history and memory as a political weapon, and culture and art are involved in the construction of Angolanism and the efforts that result from it. Looking at the current art production in Luanda, and focusing specifically on the UNAP (National Union of Artists in Angola) and its relationship to the state, I argue that there is a generational conflict within the local art world, supported by differing views and engagement with the ideals of the nation. In Angola and other oligarchic regimes, efforts have been made deliberately to ensure that there are professional artists "organisations that support artists" rights, but this is in itself an act of political repression. Due to its close ties to the state, UNap has missed the opportunity to play a role in supporting professional artist organizations that reflect reality, where ideology is no longer relevant and retains its hold, where it is maintained by a small number of people with strong political and cultural ties. With the exception of some of its members, no friends have made it through the political process, a folly that has sustained the country's political, cultural, and economic decline and, in some cases, its collapse.
Angola has a strong tradition of oral narration, and many of these stories begin with learning about artists working in Angola. As an Angolan, I have always been interested in learning about "African art," and I appreciate that there are artists like Macieira, Sabby and Kussy who make their art in the context of their country's history and culture. I admire her ability to speak well, like all Angolans in society, but I am not, of course, someone who is attracted to beautiful things. Being black is a very important part of the culture and identity of Angola and its people, so I often talk about Angolan artists, who are almost unknown to me.
The Portuguese language has distinguished Angola from its neighbours and established long-standing - long-standing - links with other Portuguese-speaking countries. This blend of Portuguese and African culture makes Angola one of the most diverse countries in the world in terms of cultural diversity and linguistic and cultural diversity.
In Luanda, we can currently observe different stages and types of art using transversal languages to distance ourselves from the history of Angolan art expression. A pavilion commissioned by the Angolan Ministry of Culture has organised two exhibitions that reflect contemporary art in Angola. The first is the installation and graphic project curated by Paula Nascimento and Stefano Rabolli - Pansera, commissioned and supported by the Angolan Ministry of Culture in collaboration with the National Museum of Art and Culture in the city of Lusitania.
The first focus is on the installation and graphic work of the artist and artist - Paulo Nascimento and Stefano Rabolli - Pansera, also known by their collective name "Pansara." The first of these is an installation of graphics in the form of a series of photographs, drawings and paintings.
Angolan art is considered the best art in Central Africa, especially in Africa. In recent years, especially with regard to the visual arts of the Central African Republic (CAR).
In Angola, Niger, Mozambique and Guinea-Bissau we have built up an extensive African art collection, which focuses on Angolan artists. We share with Larry List what makes Angolan artists special, who they are, what makes them special and what we collect about them. The most famous poet in Angola is Agostinho da Silva, one of the most influential poets in the history of Africa.
We want to stimulate a dynamic interest in African art and interact with artists and young people in Angola, as well as with the public and the international community.
Indeed, art is taking advantage of the crisis of meaning in Angola and trying to reconstruct a feedback loop interrupted by Portuguese anthropology. South Africa shines in the extraordinary Pavilion Arsenal complex, which reflects Angola's rich art and cultural history as well as the cultural diversity of its people and culture.