November 8 to 9
Free and open to all
Fogo Island Arts presents Fogo Island Dialogues: Atlantic Codes, a two-day gathering of interdisciplinary thinkers who delve into the workings of economy, ecology, travel and dominion across the Atlantic using artistic and scientific means.
Launched in 2013, the Fogo Island Dialogues is a series of conversations that bring together leading artists, professionals, researchers and makers to address issues of vital contemporary importance. The constant point of return for this edition of the Dialogues is the Atlantic Ocean near which we gather. The Atlantic is understood not only as a place but as processes (of making, knowing, wondering and destroying) that have connected very distant locations. As notions of “Europe” are being debated and reshaped, this is also an opportunity to reimagine transnational but also trans-local networks linking Canada and Portugal; new networks forged from the old.
Following previous editions on Fogo Island, in Chicago, New York, Berlin, and Vienna, the 2019 Fogo Island Dialogues will take place in Lisbon, across the storied ocean from Fogo Island.
The constant point of return for this edition of the Dialogues will be the Atlantic Ocean near which we gather. The Atlantic is understood not only as a place but as processes (of making, knowing, wondering and destroying) that have connected very distant locations. As notions of “Europe” are being debated and reshaped, this is also an opportunity to reimagine trans-national but also trans-local networks linking Canada and Portugal; new networks forged from the old.
Connected by Atlantic cod fishing economies for centuries, Newfoundland and Portugal have shared ways of knowing embodied in “hand-lining,” fishing from small punts or dories, and salting cod. They also share unresolved questions: If entire economies, ecologies and forms of making were shaped by the presence of abundant cod in the North Atlantic, binding distant communities, what is to be made of the accelerated extraction which depleted Atlantic cod populations to the point of near extinction in the last century? What features of today’s economy, politics and culture remain embedded in the asymmetrical models of exchange imposed by Portuguese-, Spanish-, Dutch-, English- and French-speaking powers around the Atlantic Ocean? Given the violence and trauma of many processes that constitute the Atlantic, how to navigate between the need to remember and mourn and the desire for renewal and progress?
Gathering distinguished authors—grounded in diverse disciplines and variably connected to Lisbon and Fogo Island—Atlantic Codes is a collective attempt to cohere common threads, storylines, algorithms or ways of moving and making.
Born in Lisbon in 1972, Leonor Antunes has lived in Berlin since 2005. She studied at the Lisbon Theatre and Film School of the Polytechnic Institute of Lisbon, the University of Lisbon, and the State Academy of Fine Arts Karlsruhe, Germany. Her work has been shown in numerous solo exhibitions, including at the São Paulo Museum of Art; Pirelli Hangar Bicocca, Milan; Tamayo Museum, Mexico City; Whitechapel Gallery, London; San Francisco Museum of Modern Art; Museum of Contemporary Art of Bordeaux; New Museum, New York; Perez Art Museum, Miami; Museo Nacional Centro de Arte Reina Sofía, Madrid; and Serralves Museum, Porto. Antunes’ group exhibitions include those at Fondation Bayeler, Basel; Musee d’Art Moderne de la Ville de Paris; Kunsthalle Wien, Vienna; Singapore Art Museum; and the High Line, New York. Antunes participated in the Gwangju Bienniale (2018); the Sharjah Biennial 12 (2015); the 57th Venice Biennale (2017); the 8th Berlin Biennale (2014); the Singapore Bienniale (2010), and others.
In 2019 she is representing Portugal at the 58th Venice Biennale.
Born in Toronto in 1982, Nadia Belerique received her MFA from the University of Guelph. Recent solo exhibitions include On Sleep Stones (2018), Grazer Kunstverein, Graz; The Weather Channel (2018), Oakville Galleries; and There’s A Hole in the Bucket (2019), Daniel Faria Gallery, Toronto. Her work has also been exhibited at venues such as Tensta Konsthall, Sweden; Kunsthalle Wein, Vienna; Vie d’ange, Montreal; The Power Plant, Toronto; and Arsenal Contemporary, New York. Belerique was long listed for the 2017 Sobey Art Award and has completed residencies at Walk & Talk (Azores, Portugal) and Fogo Island Arts (Newfoundland, Canada), among others. She lives and works in Toronto.
Jürgen Bock holds a Master of Fine Art from the Cologne University of Applied Sciences. He works as a curator, writer and producer. He has curated exhibitions internationally, including at the CCB Project Room, Centro Cultural de Belém, Lisbon; Andreas Siekmann at the Triennale-India, New Delhi (2005); Ângela Ferreira, Maison Tropicale (2007), Portuguese Pavilion, 52nd Venice Biennale; Heimo Zobernig (2012), Museo Nacional Centro de Arte Reina Sofía, Madrid; and Allan Sekula, The Dockers’ Museum (2012), La Criée Centre d’art Contemporain, Rennes, and Johann Jacobs Museum, Zurich (2014). Over the course of the last 26 years, Bock has established and grown the Maumaus School of Visual Arts in Lisbon from a local photography school to an internationally recognized independent study program. Since 2009, Bock has curated and programmed more than 40 solo exhibitions at Lumiar Cité, the exhibition space attached to Maumaus. In addition, he has written numerous essays, published a range of catalogues, and edited several books, including From Work to Text: Dialogues on Practise and Criticism in Contemporary Art (2002). He produced Renée Green’s artist’s book Negotiations in the Contact Zone (2003) as well as Portuguese versions of Allan Sekula’s books TITANIC’s wake (2003) and Ship of Fools / The Dockers’ Museum (2015). Bock has been responsible for the organization and coordination of a range of international conferences and has produced several documentary films, such as Negritude: A Dialogue between Soyinka and Senghor (2015) and An Opera of the World (2017), both directed by Manthia Diawara.
Paul Dean is a geologist, writer, storyteller and singer from Newfoundland, Canada. He has been a regular performer and reader at The March Hare Literary Festival at various locations in Canada. Many of his stories and songs are based in his birthplace of Placentia Bay, on the south coast of Newfoundland, including his first book, Come on with the Punt: March Hare Stories (Pedlar Press, St. John’s, 2016). Paul is a member of Fogo Island Arts’ Advisory Board and isthe director of Geology at the Edge, a residency-based public outreach and education program initiated and operated by Shorefast on Fogo Island, Newfoundland.
Manthia Diawara was born in Mali, West Africa. He is a distinguished Professor of Comparative Literature and Film at New York University. Diawara is a prolific writer and filmmaker. His essays on art, cinema and politics have appeared in The New York Times, LA Times, Libération, Mediapart and Artforum. He is the author of two acclaimed memoirs: In Search of Africa (Harvard University Press, Cambridge, 2000) and We Won’t Budge: An African in the World (Basic Books, New York, 2008). He has published several books on African and African-American cinema. Diawara’s notable films include: An Opera of the World (2017); Negritude: A Dialogue between Soyinka and Senghor (2016); Édouard Glissant, One World in Relation (2010); Maison Tropicale (2008); and Rouch In Reverse (1995).
born in 1958 in Maputo, Mozambique, Ângela Ferreira grew up in South Africa and obtained her MFA from the Michaelis School of Fine Art, University of Cape Town. She now lives and works in Lisbon, teaching Fine Arts at the University of Lisbon, where she also obtained her doctorate in 2016. Ferreira’s work is concerned with the ongoing impact of colonialism and post-colonialism on contemporary society. She represented Portugal at the 52nd Venice Biennale in 2007, continuing her research into the ways in which European modernism adapted or failed to adapt to the realities of the African continent by tracing the history of Jean Prouvé’s Maison Tropicale. Architecture also serves as a starting point for the deepening of her long research on the erasure of colonial memory and the refusal of reparation, which finds its most complex materialization in A Tendency to Forget (2015), focusing on the ethnographic work of the couple Jorge and Margot Dias. She exhibited The Pan African Unity Mural (2018) at the Museum of Art, Architecture and Technology, Lisbon, and Bildmuseet, Umea, Sweden. In Dalaba: Sol d’Exile (2019), a work focused on Miriam Makeba, one of the most prominent figures in the struggle against apartheid, Ferreira created sculptural pieces based on the architectural elements of the exile building where Makeba lived in Conakri. Her sculptural, sound, and videographic homages have continuously referenced the economic, political and cultural history of the African continent whilst recuperating the work and image of unexpected figures like Peter Blum, Carlos Cardoso, Ingrid Jonker, Jimi Hendrix, Jorge Ben Jor, Jorge dos Santos, Diego Rivera or Miriam Makeba.
Marina Fokidis is a curator and writer based in Athens. In 2014 she was appointed head of the Athens artistic office and curatorial advisor for documenta 14. She is the founder of Kunsthalle Athena and South as a State of Mind (Cube Art Editions, Athens), a biannual arts and culture magazine. Fokidis was one of the curators of the 3rd Thessaloniki Biennale (2011); the commissioner and curator of the Greek Pavilion at the 51st Venice Biennial (2003); and a curator of the 1st Tirana Biennial (2001). She was an adjunct curator at Art Space Pythagorion by the Schwarz Foundation, where she curated solo shows with newly commissioned works by Slavs and Tatars (2013) and Nevin Aladag (2014). From 2001 to 2008 she served as the co-director of Oxymoron, a not-for-profit organization in Athens dedicated to the promotion of contemporary visual art in Greece and on an international level. She has written essays for edited collections, for artists and exhibition catalogues, and for several international art magazines and publications including Frieze, Art-Agenda, Artinfo, Flash Art, Art and Australia, Manifesta Journal, Empires Ruins and Networks, A reception of Urban Ecology: Detroit and beyond, and Articulating Power and Subversion, among others. She has also participated in many conferences and discussions internationally including Arco 2010, Art Basel Conversations 2013, Global Art Forum, Art Dubai 2014, Liverpool Biennial 2016, and São Paulo Biennial 2014 and 2016. She has been a jury member for various awards, including the 2013 Furla Award, Bes Revelaco 2013 – Serralves Museum, and Videobrasil 2017. Fokidis has been a professional fellow at Akademie Schloss Solitude and is a member of the International Association of Art Critics.
Fabrizio Gallanti is a curator and architect with wide-ranging and international experience in architectural design, education, publication and exhibitions. He holds a PhD in architectural design from the Politecnico di Torino (2001) and a M.Arch from the University of Genoa (1995). Gallanti has taught in Canada, Chile, Hong Kong, Italy, the United Kingdom and the United States. He was the first Senior Mellon Fellow at the Princeton University School of Architecture in 2014, and currently teaches at the School of Architecture of McGill University, Montréal, and the Architectural Association, London. From 2011 to 2014, he was the associate director of programs at the Canadian Centre for Architecture, Montréal. Gallanti served as the architecture editor at Abitare Magazine and as editor-in-chief of the Abitare website (2007-2011), and is a regular contributor to architecture magazines such as Abitare, Harvard Design Magazine, Kvadrat Interwoven and San Rocco. In 2016 he edited the book MCHAP: The Americas (Actar Publishers, Barcelona). Together with Francisca Insulza, Gallanti is the founding partner of the Montréal-based architectural research studio FIG Projects (2003-present), which curated the exhibition The World in Our Eyes (2016) for the 4th Lisbon Architecture Triennale. In 2019 Gallanti curated the group exhibition L’Attente at Galerie de l’UQAM, Montréal.
Laurent Gutierrez is an artist and architect. Together with Valerie Portefaix, they co-founded MAP Office, an artistic practice working on physical and imaginary territories. He earned a PhD of Architecture from RMIT International University. And is now a professor at The Hong Kong Polytechnic University where he directs the Master of Design Programs including Design Strategies and Design in Urban Environments. MAP Office projects have been exhibited in major international art, design and architecture events including Ullens Contemporary Art Centre, Beijing (2013); 7th Asia Pacific Triennial (2012); 1st Kiev Biennale (2012); 6thCuritiba Art Biennale (2011); 7th, 11th and 12th Venice Architecture Biennale (2000, 2008, 2010); Evento 1st Bordeaux Biennale (2009); 4th Tirana International Contemporary Art Biannual (2009); 2nd Canary Island Biennale (2009); Prospect.1 New Orleans (2008); 7th Gwangju Biennale (2008); 10th Istanbul Biennial (2007); 52nd Venice Art Biennale (2007); 15th Sydney Biennale (2006); 1st Paris Triennial (2006); 2nd Guangzhou Triennial (2005);1st Singapore Biennale (2006); 2nd, 3rd and 5th Hong Kong-Shenzhen Bi-City Biennale (2007, 2009,2013); 1st Architectural Biennial Beijing (2004); 1st Rotterdam Architecture Biennale (2003).
João Laia is the chief curator for exhibitions at Kiasma Museum of Contemporary Art in Helsinki. Recent exhibitions include In Free Fall (2019) at CaixaForum, Barcelona; Vanishing Point (2019) at Cordoaria Nacional, Lisbon; Drowning in a sea of Data (2019) and Transmissions from the Etherspace (2017) at La Casa Encendida, Madrid; foreign bodies (2018) at P420, Bologna; 10,000 Years Later Between Venus and Mars (2017-18) at Oporto City Hall Gallery; H Y P E R C O N N E C T E D (2016) at the Moscow Museum of Modern Art; and Hybridize or Disappear (2015) at the National Museum of Contemporary Art, Lisbon. Laia co-curated the 19th and 20th editions of Videobrasil (2014–18) in São Paulo. Other exhibitions, performance programs, and screenings were held at Xcèntric – CCCB, Barcelona; Galeria ZDB and the Museum for Art, Architecture, and Technology, Lisbon; the David Roberts Art Foundation, Delfina Foundation, South London Gallery and Whitechapel Gallery, London; Parque Lage, Rio de Janeiro; Moderna Museet, Stockholm; International Short Film Festival Oberhausen, Germany and Contemporary Art Center, Vilnius. In 2012-13 Laia attended the post-graduate research program CuratorLab at Konstfack University of Arts, Crafts and Design, Stockholm and in 2014 was part of the curatorial residency of Fondazione Sandretto Re Rebaudengo, Turin. He edited A Multiple Community (SESC publishing, São Paul, 2018), co-edited Daniel Steegmann Mangrané’s monograph Spiral Forest (Mousse Publishing, Milan, 2018) and writes for magazines such as Flash Art, frieze, Mousse, Spike and Terremoto.
João Mourão and Luís Silva are a curatorial duo based in Lisbon, where they currently serve as co-directors of Kunsthalle Lissabon, a contemporary art institution they founded in 2009. They recently curated solo exhibitions by Caroline Mesquita, Engel Leonardo, Sol Calero, Naufus Ramírez-Figueroa and Nathalie Du Pasquier, as well as group exhibitions in institutions such as Extra City, Antwerp, and David Roberts Art Foundation, London. Along with their curatorial practice, Mourão and Silva are also contributing editors of CURA. magazine and co-editors of the ongoing book series Performing the Institution(al), addressing recent developments in institutional practice. They were the curators of ZONA MACO SUR (2015-2017), the solo projects section of Mexico City’s contemporary art fair, and are currently curators of Disegni, a section of Artissima dedicated to recent developments in drawing (2017- 2019), Turin, as well as Solo Shows at arteBA (2020), the solo projects section of Buenos Aires’ contemporary art fair.
Amy Rowsell is the Shorefast Creative and Communications Manager. In collaboration with the executive team, she leads the charity’s internal and external communication efforts, advises on creative projects across Shorefast’s umbrella of organizations and initiatives, and works closely with CEO Zita Cobb to share the Fogo Island story around the world. She has a Bachelor of Arts (honours double major in history and gender studies) from the University of Ottawa, and a Master of Arts in the history of medicine from McGill University, Montreal. Though born and raised in Ottawa, Rowsell’s paternal ancestry is based in Newfoundland and she is thrilled to work with an organization that has allowed her to “come home.” She now lives on Fogo Island.
Manuela Ribeiro Sanches taught at the University of Lisbon, in the Faculty of Arts and Humanities from 1981 to 2016. She has held lecturing appointments at Indiana University, Bloomington; the Institute of European Ethnology, Humboldt University of Berlin; and the Maumaus Visual Arts School, Lisbon. She was also a resident scholar at the University of California Center for Cultural Studies, Santa Cruz; the Institute for European Ethnology, Humboldt University of Berlin; and the Institute of African American Affairs, New York University. Having obtained her PhD with a dissertation on the traveler and revolutionary Georg Forster, her interest in travel literature and related topics led her to the field of history of anthropology, which she articulated with a cultural studies approach from a postcolonial perspective. Having widely published on these issues, she later became interested in the transnational processes that marked anti-colonial movements. Her research interests include African film and questions of migration and racism in Europe from a compared perspective. She co-edited the following collections of essays: Deslocalizar a ‘Europa’. Antropologia, arte, literatura e história na pós-colonialidade (Cotovia, Lisbon, 2005); Portugal não é um país pequeno. Contar o ‘império’ na pós-colonialidade (Cotovia, Lisbon, 2006); Europe in Black and White: Immigration, Race, and Identity in the “Old Continent” (Intellect, Bristol, Chicago University Press, 2011); Malhas que os impérios tecem. Textos anticoloniais, contextos pós-coloniais (Edições 70, Lisboa, 2011); and Descolonizações. Reler Amílcar Cabral, Césaire e Du Bois no séc. XXI (Edições 70, Lisboa, 2018).
Born in Düsseldorf in 1965, Nicolaus Schafhausen is a curator, director, author and editor of numerous publications on contemporary art. Since 2011 he has been the Strategic Director of Fogo Island Arts, an initiative of Shorefast, a charitable foundation based in Newfoundland, Canada dedicated to finding alternative solutions for the revitalisation of areas prone to emigration. Schafhausen is the Artistic Director of Tell me about yesterday tomorrow (November 2019 – August 2020), an exhibition at the Munich Documentation Centre for the History of National Socialism about the future of the past. He has curated numerous international exhibitions such as Media City Seoul 2010 and the Dutch Pavilion at the Shanghai World Expo 2010. He was the curator of the German Pavilion for the 52nd (2007) and 53rd Venice Biennale (2009) and curator of the Kosovo Pavilion for the 56th Venice Biennale (2015). Schafhausen also co-curated the 6th Moscow Biennale in 2015. In addition to curating exhibitions, national pavilions and other projects, Schafhausen has led institutions such as the Frankfurter Kunstverein, Künstlerhaus Stuttgart, and Witte de With Center for Contemporary Art in Rotterdam. He was Founding Director of the European Kunsthalle, conceived as a project to examine the conditions and structures of contemporary art institutions independent of local government mandates. In 2019 he stepped down as Director of the Kunsthalle Wien, a position he held since 2012, for political reasons, observing that the future of such cultural institutions was thrown into question by rising nationalist policies in Austria and elsewhere. He has called for stronger support from independent state institutions and cultural administrations in times of right-wing populist movements. In the future, Schafhausen aims to work beyond the boundaries of conventional institutions.
Walter Scott is an interdisciplinary artist working across comics, drawing, video, performance and sculpture. His comic series, Wendy, chronicles the continuing misadventures of a young artist in a satirical version of the contemporary art world. Wendy has been featured in Canadian Art, Art in America, and published online in The New Yorker. It was selected for the 2016 edition of Best American Comics, published by Houghton Mifflin Harcourt, New York. Recent exhibitions include Slipping on the Missing X (2019), Macaulay Fine Art, Vancouver; Betazoid in a Fog (2018), Scott’s first museum solo presentation, at the Remai Modern in Saskatoon; and Who Isn’t She? A Wendy Retrospective (2017), Galerie UQO, Gatineau. Scott is currently an artist-in-residence at the International Studio & Curatorial Program in Brooklyn.
Monika Szewczyk is director of De Appel, Amsterdam. She has been curator for documenta 14 (2015-2017) in Athens and Kassel; Visual Arts Program Curator at the Reva and David Logan Center for the Arts, University of Chicago (2012-2014); Head of Publications at the Witte de With Center for Contemporary Art in Rotterdam (2008–2011); these following formative years in Vancouver, where she studied International Relations and Art History at the University of British Columbia and held positions at the Morris and Helen Belkin Art Gallery and the Vancouver Art Gallery as well Emily Carr University. Along this path she has lectured, led seminars, organized exhibitions and published writing as well as undertaken editing collaborations, most recently for the 10th issue of the Athens-based magazine South as a State of Mind (Maintenance), with founding director and editor-in-chief, Marina Fokidis. She is a member of the Advisory Board for Fogo Island Arts.
André Tavares is an architect and has been running Dafne Editora, a small architectural publishing house in Porto since 2006. From 2013 to 2015 he was editor-in-chief of the magazine Jornal Arquitectos with Diogo Seixas Lopes, and in 2016 they co-curated The Form of Form, the 4th Lisbon Architecture Triennale. His latest book, The Anatomy of the Architectural Book (Lars Müller/Canadian Centre for Architecture, 2016), addresses the crossovers between book culture and building culture. Currently, he is a researcher at the University of Minho’s School of Architecture in Guimarães, Portugal, and a consultant at Garagem Sul Architectural Exhibitions in Lisbon.
Gaëtane Verna is the Director of The Power Plant Contemporary Art Gallery, Toronto, since 2012. Prior to this, she was Executive Director and Chief Curator of the Musée d’Art de Joliette, Quebec, for six years. From 1998 to 2006, she was the curator of the Foreman Art Gallery at Bishop’s University, Sherbrooke, while also teaching in the Art History department of both Bishop’s University and the Université du Québec à Montréal. Verna holds an International Diploma in Heritage Administration and Conservation from the Institut National du Patrimoine, Paris, and received a DEA and a master’s degree in Art History from the Université Paris 1 Panthéon-Sorbonne. Verna has many years of experience in arts administration, curating, publishing catalogues and organizing and presenting exhibitions by emerging, mid-career and established Canadian and international artists. She is a member of the Board of Directors of the Toronto Arts Council as well as Co-Chair of the Toronto Arts Council’s Visual and Media Arts Committee. In 2017 she was presented with the insignia of Chevalier de l’Ordre des Arts et des Lettres (Order of Arts and Letters) by the Cultural Service of the Embassy of France in Canada.
With Walter Scott (artist) as principal witness
FRIDAY, NOVEMBER 8
Calouste Gulbenkian Foundation, Sala Polivalente
5:00 pm Introduction
Fabrizio Gallanti (Founding Principal, Fig Projects, Montreal), Nicolaus Schafhausen (Strategic Director, Fogo Island Arts and Shorefast) and Monika Szewczyk (Director, De Appel, Amsterdam)
5:30 pm Keynote Dialogue
Gaëtane Verna (Director of The Power Plant, Toronto)
SATURDAY, NOVEMBER 9
Auditorium at Padrão dos Descobrimentos
10:00 am – 12:15 pm Art Initiatives Worth Their Salt
Jürgen Bock (Maumaus/Lumiar Cité), Marina Fokidis (Kunsthalle Athena/South as a State of Mind), Amy Rowsell (Shorefast), João Mourão & Luís Silva (Kunsthalle Lissabon) and Nicolaus Schafhausen (Fogo Island Arts) exchange strategies.
3:00 – 5:30 pm The Science of Atlantic Storytelling
Leonor Antunes (artist), Nadia Belerique (artist), Paul Dean (geologist), Manthia Diawara (film essayist), Ângela Ferreira (artist), Laurent Gutierrez/MAP Office (artist-architect), João Laia (curator), Manuela Ribeiro Sanches (scholar) and André Tavares (architect) take turns sharing oceanic experiences.
6:00 pm Exhibition Opening at Lumiar Cité
Tonio Kröner: Vou-Ihes contar uma história de amor Halfway down the stairs
Atlantic Codes is a project organized by FIA Advisory Board members Monika Szewczyk and Fabrizio Gallanti and is presented with the support of Calouste Gulbenkian Museum, Kunsthalle Lissabon, Lisbon Architecture Triennale, Maumaus/Lumiar Cité and Padrão dos Descobrimentos. Fogo Island Arts is grateful to Elisa Nuyten and David Dime for their generous support of Fogo Island Dialogues: Atlantic Codes.
Details subject to change.
Free and open to all but space is limited.