Billie Zangewa, In my Solitude, 2018, 150 x 111 cm, Courtesy Templon, Paris – Bruxelles, © Billie Zangewa. Photo: Jurie Potgieter
2 pm: Opening by Claire Barbillon, Director of the École du Louvre
2:10 pm: Introduction by Camille Morineau, Director and co-founder of AWARE
2:25 pm: Introduction by N’Goné Fall, General Commissioner of the Africa2020 Season
Chairwoman: Nkule Mabaso (Curator and Lecturer at Wits School of Arts, South Africa)
This intervention proposes an analysis of three selected works by two Nigerian women artists, Afi Ekong and Clara Ugbodaga-Ngu, whose significant contribution to the development of modern Nigerian art still goes unnoticed in official accounts.
This study seeks to provide a reappraisal of Mozambican modernist Bertina Lopes (Maputo 1924 – Rome 2012). It engages with several portraits of the artist in her studio and uses these distinct images to tease out her anti-colonial, pan-African, feminist politics and the studio space as a stage which she used to sow and perform her modernist identity.
Focusing on a selection of artworks by Namibian artists Tuli Mekondjo and Vitjitua Ndjiharine, this intervention explores the women’s distinct artistic practices of engaging with the colonial photographic archive. It will show how both artists use divergent strategies to reconfigure the archive, centering the experiences and the lost or obscured narratives of women in their work as a way to reimagine and renegotiate the past and its significance for the present.
Chairwoman: Nadine Hounkpatin (TheArtMomentum and artness.nl, The Netherlands)
Starting from an in-depth engagement with the photographic archive of independence, this intervention focuses on analysing the underrepresentation of women in national liberation narratives. The suppression of historical narrative and women’s narrative is analysed through the study of women freedom fighters in Zambia and Zimbabwe.
This intervention focuses on records of and about female artists in Uganda through studio visits, interviews, articles and exhibitions.
This study is based on the example of seven Cameroonian women artists from three different generations who take a stand against the marginalisation of women’s art: Were Were Liking, Marceline Fouda, Justine Gaga, Ginette Daleu, Kristine Tsala, Gabriella Badjeck, and Aurélie Djiena.
Chairwoman: Gaëlle Beaujean (Musée du quai Branly – Jacques Chirac, France)
This study is about the lyrical and rhetorical aspect of street art through slam poetry and rap. While these genres have already been considered by an abundant academic literature as playing a major role in the revolutionary expressions of Arab youth from the 1990s to the Arab Spring, this literature has rarely considered the role of women artists. By analyzing the productions of Moroccan women rappers and slam poets, Maha Tazi’s research aims to bring a feminist aspect to the literature on the creative insurgency that has characterized the Arab Spring.
This presentation focuses on the watercolor artist Antoinette Lubaki, whose work has been neglected since its creation in the 1920s and 1930s. Being one of the precursors of Congolese modern art, she was left out from the narrative, while her male counterparts caught the attention of the art world. The aim is to rehabilitate her work and the lost stories surrounding it.
The paper considers the relationship between Black women’s spiritual work and activism. It considers how Black women and their spiritual work have either initiated or sustained revolutions, and how these revolutionary encounters are represented in contemporary African art practice. The paper will employ spiritual and sonic registers to read the work of Black women artists Lukhanyiso Skosana, Sethembile Msezane, Buhlebezwe Siwani and Bronwyn Katz.
Chairwoman: Sonia Recasens (Independent Curator, France)
This intervention focuses on the artists, critics, and curators who have pushed for the pulverization and cancellation of notions of boundaries that confined artists to an “esoteric ethos”, observing contemporary women artists whose practices problematize Africanity and challenge stereotypical ideologies about Africa, art, and women in art.
This study interrogates the archives and history of the Harmon Foundation, a major patron of modern African art in America, through The Politics of Selection, a new archival collage installation by Ndidi Dike that investigates the material presence and absence of women in the story of African modernism and modernity.
This presentation analyses the presence of two African women artists (Clara Etso Ugbodaga-Ngu, a Nigerian artist, and Miranda Burney-Nicol, a Sierra Leonean artist) in a French cultural magazine aiming to explore the transnational networks of ideas within which these women asserted themselves in post-war Europe in the early days of the Independence.