Bøger om Republikken Congo

En milepæl i den politiske og historiske reportage. Die Welt Forfatteren begynder sin levende beretning i 1850 erne og giver et uafrysteligt indblik i slavehandelen og gummiproduktionen i slutningen af 1800-tallet det belgiske koloniherredømme kampen for selvstændighed og Mobutus brutale diktatur og i årsagerne til de krige som har hærget landet fra 1996 til i dag de grusomste konflikter siden Anden Verdenskrig. David van Reybrouck er belgisk kulturhistoriker arkæolog og prisbelønnet forfatter. Congo Historien om Afrikas hjerte bygger på et unikt kildemateriale og på hans mange rejser i Centralafrika. De mange hundrede interviews han har lavet i Kinshasas slum og i bittesmå landsbyer såvel som blandt udvandrede afrikanere i Europa og Kina kaster nyt lys over en rig og uhyre kompleks historie. Pressen skrev: Beskriver på forbilledlig vis Congos seneste ca. 150 års historie & et standardværk Jyllands-Posten (seks stjerner) Har man lyst til at blive klogere på Congo kan jeg ikke forestille mig et bedre udgangspunkt end David van Reybroucks monumentale portrætbog Congo Politiken (seks hjerter) Bogen er spækket med detaljer nerve kant vid og ynde. Det er Congo uden filter. Weekendavisen Læs bogen! Og du bliver ikke bare klogere på Congo men på Afrika og hvis man læser særligt intenst godt bliver du også klogere på Europa. Velkomponeret velfortalt er den et væld af indsigt. - Information

-Afrika - en uhyrlig verdensdel, hvor blodet flyder fra de afhuggede lemmer, og hvor dyriskhed, had, irrationalitet og perversiteter florerer. Eller hvad? Denne bog beskriver Europas billeder af Afrika og fortæller, hvordan forestillingen om Det Mørke Kontinent er blevet konstrueret i rejseberetninger, vidnesbyrd, reportager og romaner om Congo. Og det var ikke kun den koloniale propaganda, der skabte mareridtet. Også Congo-reformbevægelsen, den første internationale menneskerettighedsbevægelse, dyrkede rædselsfortællingerne - som stadig dominerer.Bogen krydsforhører en række tekster og forfattere - fra Stanleys og dr. Livingstones rejseberetninger og Conrads Heart of Darkness over Hergés Tintin til nyere dansk og international Congo-litteratur. Med disse vidnesbyrd som baggrund foreslår Det mørke kontinent, at den vestlige verdens holdninger til Afrika - hvad angår bl.a. frihandel, deltagelse, nødhjælp og intervention - har litteraturhistoriske forudsætninger i fortællinger og fortælleformer, der siden 1870 har udviklet sig på globaliseringens og nye mediers betingelser.

Installed in a loosely chronological order, the exhibition will give an overview of Tapta's oeuvre, which is mainly divided into two "periods": the textile works made in the 1960s until the early 1980s and the works in neoprene from the 1980s to 1990s. The exhibition first focuses on Tapta's textile works, in which she steadily distanced herself from traditional weaving by applying experimental techniques such as twisting her woven pieces and, in particular, through the use of ropes, which she knotted and joined together into organic volumes. Her work protruded outwards from the wall, became more three-dimensional and increasingly interacted with the space and the viewer, who was invited to experience the works not only visually but also in a tactile and physical manner, stepping around and even inside them.In addition to about twenty original textile works, the exhibition will premiere the unique reconstruction recently made of Tapta's Forms for a Flexible Space (1974). This imposing installation made of cords, in which the visitor can enter and taka a seat, is-as far as is known-the only still existing environment of which Tapta created several in the early 1970s. However, since the original is in extremely poor condition, an exhibition copy was made last year during the Tapta exhibition at Wiels, Brussels, and will be shown in its entirety for the first time at Muzeum Susch. Tapta's activation of the viewer, as seen in the textile sculptures, also manifests itself in the black neoprene works that she began to make in the late 1980s and which-following an intermediate phase of experimenting with rubber and stretching ropes across the vaults of the exhibition spaces-marked a radical turn in her use of materials. Handcrafted rope sculptures now gave way to sculptures and installations from the industrially manufactured material, neoprene-further developing, however, her idea of flexible sculpture. Large black surfaces connected by metal bars and bolts form open structures, through or past which the viewer can walk. Sometimes, the different elements of the sculpture are connected by hinges, allowing their shape to be changed-according to the size of the space or the will of the visitor.Some of the archival documents that will be shown next to the scale models, feature Tapta as a professor at the La Cambre National School of Visual Arts in Brussels. From 1976 to 1990, she led the textile workshop there, renaming it Flexible Sculpture. This commitment as a teacher was as important to her as her artistic practice. Rather than instructing her students in a particular technique, she prioritised the development of an open and critical mind. Her students included Ann Veronica Janssens, Monica Droste and Marie-Jo Lafontaine. Tapta (the pseudonym of Maria Wierusz-Kowalska, born Maria Irena Boyé) was born in Poland in 1926 and came to Belgium as a political refugee with her husband, Krzysztof, after taking part in the Warsaw Uprising of 1944. She studied weaving at the La Cambre National School of Visual Arts, Brussels, from where she graduated in 1949. Shortly afterwards, the couple moved to the Belgian Congo (now Democratic Republic of the Congo), where they lived from 1950 to 1960. On their return to Belgium in 1960, until her sudden death in 1997, she worked in Brussels as an artist and-from 1976 until 1990-as a professor at La Cambre.

Offers expansive and intersecting understandings of erotic subjectivity, intimacy, and trauma in performance, in ethnography, and in institutional and disciplinary settings.

From the beginnings of the slave trade through colonization, the struggle for independence, Mobutu's brutal three decades of rule, and the civil war that has raged from 1996 to the present day, Congo: The Epic History of a People traces the history of one of the most devastated nations in the world. Esteemed scholar David Van Reybrouck balances hundreds of interviews with a diverse range of Congolese with meticulous historical research to construct a multidimensional portrait of a nation and its people.Epic in scope yet eminently readable, both penetrating and deeply moving, Congo--a finalist for the Cundill Prize--takes a deeply humane approach to political history, focusing squarely on the Congolese perspective, and returns a nation's history to its people.