Abstract
Numa problematização acerca das relações entre imagens em movimento, pós-colonialismo e arqui-vo, este texto aborda o filme Spell Reel (2017) de Filipa César (Porto, 1975) e a escultura-maquete ForMozambique (Model n.º 1 for Screen-Tribune-Kiosk Celebrating a Post-Independence Utopia) (2009) de Ângela Ferreira (Maputo, 1958) — obras que concretizam uma revisitação, interpretação e interrogação acerca das estruturas arquivísticas para interpelarem o início do cinema nos territórios pós-revolucionários africanos, solicitando pontos cegos do passado e disfunções do presente.As duas obras inscrevem o arquivo enquanto abertura para o futuro e atua-lização do originário: uma origem que não se determina apenas no que há no começo de algo, mas na procura daquilo que lhe é lacunar e fragmentário, existindo em potência e num estado inconcluso.
Questioning the relationships between moving images, post-colonialism and archives, this text addresses the film Spell Reel(2017) by Filipa César (Porto, 1975) and the sculpture-maquette For Mozambique (Model n.º 1 for Screen-Tribune — Kiosk Celebrating a Post-Independence Utopia)(2009) by Ângela Ferreira (Maputo, 1958) — works that revisit, interpret and interrogate archival structures to approach the beginning of cinema in post-revolu-tionary African territories. By requesting blind spots from the past and dysfunctions of the present, both works inscribe the archive as an opening to the future and an updating of the original: an origin that is not only determined by what is at the beginning of something, but in the search for what is lacunal, fragmentary and in an unfinished state.
Questioning the relationships between moving images, post-colonialism and archives, this text addresses the film Spell Reel(2017) by Filipa César (Porto, 1975) and the sculpture-maquette For Mozambique (Model n.º 1 for Screen-Tribune — Kiosk Celebrating a Post-Independence Utopia)(2009) by Ângela Ferreira (Maputo, 1958) — works that revisit, interpret and interrogate archival structures to approach the beginning of cinema in post-revolu-tionary African territories. By requesting blind spots from the past and dysfunctions of the present, both works inscribe the archive as an opening to the future and an updating of the original: an origin that is not only determined by what is at the beginning of something, but in the search for what is lacunal, fragmentary and in an unfinished state.
Translated title of the contribution | The archive in reverse: The potential of origin and the unfinished in the works of Filipa César and Ângela Ferreira |
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Original language | Portuguese |
Title of host publication | Imagens & Arquivos |
Subtitle of host publication | Fotografias e Filmes |
Editors | Teresa Mendes Flores, Sílvio Marcus de Souza Correa, Soraya Vasconcelos |
Place of Publication | Lisboa |
Publisher | ICNOVA – Instituto de Comunicação da Nova |
Pages | 273-299 |
Number of pages | 26 |
ISBN (Electronic) | 978-989-9048-10-2 |
ISBN (Print) | 978-989-9048-11-9 |
DOIs | |
Publication status | Published - 2021 |
Keywords
- Archive
- Postcolonialism
- Origin
- Cinema
- Contemporary art
- Arquivo
- Arte contemporânea