« Antologia: 1962: Frank McEwen, A influência de África | Main | O Miguel está acima do falatório do Facebook »

10/16/2013

TrackBack

TrackBack URL for this entry:
http://www.typepad.com/services/trackback/6a00d8341d53d453ef019b000edc8a970d

Listed below are links to weblogs that reference Malangatana first years:

Comments

Feed You can follow this conversation by subscribing to the comment feed for this post.

Mario Pissarra

Alexandre Pomar, once again I find myself appreciating your efforts in making sense of this important but neglected period...

Perhaps you can solve my confusion about Malangatana exhibiting in Paris in 1962? This is commonly given as a collective exhibition with no further information provided. But a press clip dated 19/11/1961 (original source unknown - I got it from Alda Costa's archives) names Galerie Lambert as the venue for a forthcoming exhibition in Paris. The same report suggests that it was intended to be a solo exhibit (organised by Beier and Guedes, the same one that went to Nigeria, if I understand correctly)... Now, you have also begun exploring the overlap between Malangatana and el Salahi (and Okeke)... in the el Salahi catalogue that you discuss, Okeke-Agulu mentions Denis Williams' review (in Black Orpheus) of a solo by el Salahi at Galerie Lambert in 1963 (which he suspects Beier had a hand in)... so I guess my confusion is whether Malangatana's exhibition in Paris was a solo or collective effort... can you help?

I also see Bombay/Mumbai, Calcutta and New Delhi all being given as places for the 'India' exhibition organised by Beier. Apart from the Bombay catalogue you refer to, is there any evidence that the exhibition toured to another Indian city?

And is there any evidence of an exhibition in Pakistan, or is 'Pakistan' really Bombay?

Mario Pissarra

Further to my last query re Beier and Malangatana at Galerie Lambert, gets more interesting by the minute... the owners of Galerie Lambert were Polish exiles who participated in a CIA funded book distribution program...Of course, Beier knew nothing about this! (Google "hot books in the cold war")

Alexandre Pomar

Numa lista de exp. copiografada existente na Fundação Mário Soares, encontramos a referência, quanto a 1962, a uma Exp. colectiva "Comemorações de Lourenço Marques" - L.M. (1º Prémio de pintura - " A Humanidade"); à exp, colectiva em Salisbúria (ICAC) e a outra colectiva em Oshogbo e Ibadan, Nigéria. Paquistão. Índia. Paris.(sic, sigo a pontuação)
Para 63 aparece uma Exp. colectiva. African Art Institut. Londres. Inglaterra; a seguir, colectiva Academy of Fine Arts. Calcutá. Índia; colectiva Galeria 101, Joanesburg. África do Sul.

Ora, como de costume, a informação é imprecisa e aqui claramente errada. A sequência será Ibadan/Oshogbo, individual, 62; depois: 1963, “2 Painters from Africa. Salahi & Malangatana. ICA.; e é a partir daqui que, já com o Okeke, seguem em 63 e/ou 64 para a Índia, Paquistão e talvez Paris. Não tenho qq confirmação de que o Malangatana tenha sido exposto em Paris na G. Lambert (de regresso ou na partida para a digressão oriental?).

Também julgo que não seria o Ulli Beier a organizar a digressão (a sua área de actuação não me parece alargar-se à Europa, mesmo que usassem um texto seu) e menos ainda o Pancho Guedes. Roland Penrose encontrou Guedes em Salisbúria e viu aí Malangatana - essa relação parece tb ser relevante.

A rede de contactos, viagens e iniciativas pagas pelo Congresso para a Liberdade da Cultura revela-se de uma importância extraordinária para entender a dinâmica cultural nesta área (em oposição à influência exercida por Moscovo) e julgo que deve ser vista sem complexos. O meu lado não é o do KGB.
E julgo que nem Beier nem Guedes nem Penrose foram enganados pela CIA: todos eles apostavam na Liberdade da Cultura.

Verify your Comment

Previewing your Comment

This is only a preview. Your comment has not yet been posted.

Working...
Your comment could not be posted. Error type:
Your comment has been saved. Comments are moderated and will not appear until approved by the author. Post another comment

The letters and numbers you entered did not match the image. Please try again.

As a final step before posting your comment, enter the letters and numbers you see in the image below. This prevents automated programs from posting comments.

Having trouble reading this image? View an alternate.

Working...

Post a comment

Comments are moderated, and will not appear until the author has approved them.

Categories

Blog powered by Typepad

Twitter Updates

    follow me on Twitter