entre os participantes no programa do Próximo Futuro (Festival da Literatura e do Pensamento do sul da África), atenção a Patricia Hayes, que tem escrito sobre fotógrafos como Santu Mofokeng e John Liebenberg e em geral sobre a fotografias da África do Sul e da Namíbia. Também interessada por Angola e Moçambique. (Dia 21 - 19h)
Patricia Hayes works on history, gender and visuality in Bellville, Cape Town.
She teaches in the History Department of the University of the Western Cape, Bellville, Republic of South Africa.
Originally from Zimbabwe, she completed her PhD on the colonisation of northern Namibia and southern Angola at Cambridge University in 1992. She has worked briefly in the USA (1992-3) and held fellowships in the UK, USA and Brazil. She has collaborated in several research projects to highlight South Africa’s role as a colonial power in Namibia, focussing on the inter-war years, the colonial photographic archive, and most recently war photography from the Namibian liberation struggle – often called the last white war in Africa. She has been a Guest Editor of the journal "Gender & History", and is now engaged in a major research study of documentary photographers in South Africa during late apartheid. http://www.uwc.ac.za/Biography/Pages/Patricia-Hayes.aspx
Most important publications:
‘Seeing and Being Seen. Politics, art and the everyday in the Durban photography of Omar Badsha, 1960s-1980s’ in Africa, 81/4, 2011, pp 1 – 23.
‘The form of the norm: spectres of gender in South African photography of the 1980s’ in Social Dynamics Special Issue on Scripted Bodies, Spring 2011.
John Liebenberg & Patricia Hayes, Bush of Ghosts. Life and War in Namibia (Cape Town: Umuzi Random House, 2010).
‘Poisoned landscapes’ in Santu Mofokeng, Thirty Years of Photo Essays (Paris: Prestel, 2011). "Paysages empoisonnées" in Chasseur d'ombres. Santu Mofokeng, Trente ans d'essais photographiques, (Jeu de Paume/Prestel, 2011)
Patricia Hayes, ’Sankuru, Katako Kombe’ & ’Crânes d’Eléphants envoyés au Musée’, in Carl De Keyzer & Johan Lagae, Congo belge en images (Lannoo: Tielt, 2010), ISBN 978-90-209-8708-9.
‘Santu Mofokeng, Photographs. “The violence is in the knowing”’ in History & Theory, Special Issue on History & Photography, Fall 2009.
ABSTRACT Born in 1956, Santu Mofokeng formed part of the Afrapix Collective that engaged in exposé and documentary photography of anti-apartheid resistance and social conditions during the 1980s in South Africa. However, Mofokeng was an increasingly important internal critic of mainstream photojournalism, and of the ways black South Africans were represented in the bigger international picture economy during the political struggle. Eschewing scenes of violence and the third-party view of white-on-black brutality in particular, he began his profound explorations of the everyday and spiritual dimensions of African life, both in the city and in the countryside. His formal techniques favor “fictions” that contain smoke, mist, and other matters and techniques that occlude rather than expose. Using angularity and ambivalence, he also ruptures realist expectations and allows space for the uncanny and the supernatural. He works with the notion of seriti (a northern seSotho term encompassing aura, shadow, power, essence, and many other things). The essay follows strands in Mofokeng's writings and statements in relation to certain of his photographs, most recently repositioned in the substantial 2007 exhibition Invoice, to argue that he has pushed for a desecularization and Africanization of photography from the 1980s to the present. In more recent work the scourge of apartheid has been replaced by the HIV/AIDS virus, a mutation of nature, exacerbating the spiritual insecurities of many people in post-apartheid South Africa. The essay concludes that Mofokeng's work poses a critique of the parallel paradigms of Marxist-influenced social history and documentary photography in 1980s South Africa, both still highly influential, by attempting to reinsert aura (seriti) into photography and by highlighting what secular Marxism has concealed and proscribed.
‘A Land of Goshen: Landscape & Kingdom in 19th century Eastern Owambo, Northern Namibia’ in Michael Bollig & Olaf Bubenzer (eds), African Landscapes. Interdisciplinary Approaches (New York: Springer, 2009).
‘When you shake a tree: precolonial & postcolonial in northern Namibian history’ in Derek Peterson and Giacomo Macola (eds), Recasting the Past (Athens: Ohio University Press, 2009).
‘Night, shadow, smoke, mist, blurring, occlusion and abeyance: Santu Mofokeng’ in Art South Africa Volume 08 Issue 02, 2009.
‘Power, Secrecy, Proximity: a history of South African photography’ in Kronos, Vol 33.
‘Visual emergency? Fusion and fragmentation in South African photography of the 1980s’ in Camera Austria, Vol 100/2007, 18-22.
Patricia Hayes (ed), Visual Genders, Visual Histories (Oxford: Blackwell).
Wendy Woodward, Gary Minkley and Patricia Hayes (eds), Deep Histories: Gender & Colonialism in Southern Africa (Amsterdam: Rodopi)
Wolfram Hartmann, Jeremy Silvester & Patricia Hayes (eds.). The Colonising Camera: Photographs in the Making of Namibian History (Cape Town, Windhoek & Athens: UCT Press, Out of Africa & Ohio University Press) 1998
Patricia Hayes, Jeremy Silvester, Marion Wallace & Wolfram Hartmann (eds.). Namibia under South African rule: mobility and containment, 1915-1946 (London, Windhoek & Athens OH: James Currey, Out of Africa & Ohio University Press).