Jo Ractliffe photographed this tiled mural at the fortress of São Miguel in Luanda, capital of Angola. This fort was built by the Portuguese and was an important center during the slave trade with Brazil during the 17th century. The massive structure still exists, although only traces of its former splendour remain.
Ractliffe first travelled to Angola in 2007, five years after the country’s protracted civil war ended (1975-2002). This conflict, which displaced millions, intertwined with the South African Border War (1966-1990) that swept across Angola and Namibia as both countries struggle to break free from South African rule. Working in analogue, Ractliffe focusses her camera on details that can easily be missed, recording evidence of the past and exploring the after-effects of this war in her black-and-white photographs. Unlike classical documentary photography, her images don't show subjects that are immediately comprehensible. Drawn from two series, Terreno Ocupado (Occupied Land, 2007) and As Terras do Fim do Mundo (The Lands of the End of the World, 2009-10), the photographs in this room initially appear innocuous. The natural world seems unspoilt and tranquil until one looks very closely, prompted by the titles which reveal that we're looking at former battlefields, mined terrain and mass graves.
"The residues of those and more recent histories of violence and disaster still live in these landscapes in subtle and ephemeral ways."
Information
Jo Ractliffe
*1961, Cape Town, South Africa
Lives and works in Cape Town, South Africa
© Jo Ractliffe. Courtesy of Stevenson, Cape Town / Johannesburg / Amsterdam
Audioguide
Jo Ractliffe photographed this tiled mural at the fortress of São Miguel in Luanda, capital of Angola. This fort was built by the Portuguese and was an important center during the slave trade with Brazil during the 17th century. The massive structure still exists, although only traces of its former splendour remain.
Ractliffe first travelled to Angola in 2007, five years after the country’s protracted civil war ended (1975-2002). This conflict, which displaced millions, intertwined with the South African Border War (1966-1990) that swept across Angola and Namibia as both countries struggle to break free from South African rule. Working in analogue, Ractliffe focusses her camera on details that can easily be missed, recording evidence of the past and exploring the after-effects of this war in her black-and-white photographs. Unlike classical documentary photography, her images don't show subjects that are immediately comprehensible. Drawn from two series, Terreno Ocupado (Occupied Land, 2007) and As Terras do Fim do Mundo (The Lands of the End of the World, 2009-10), the photographs in this room initially appear innocuous. The natural world seems unspoilt and tranquil until one looks very closely, prompted by the titles which reveal that we're looking at former battlefields, mined terrain and mass graves.
"The residues of those and more recent histories of violence and disaster still live in these landscapes in subtle and ephemeral ways."
Further artworks from this exhibition
Intro
Sammy Baloji
Untitled, 2018
Lubaina Himid
Dreaming Has a Share in History, 2016
Yto Barrada
Belvedere 3, 2001
Zohra Opoku
‘I have arisen from my egg which is in the lands of the secrets. I give my mouth to myself (so that) I may speak with it in the presence of the gods of the Duat. My hand shall not be turned away from the council of the great god Osiris, Lord of Rosetau, this one who is at the top of the dais. I have come (so that) I may do what my heart desires in the Island of Fire, extinguihing the fire which hcomes forth.', 2020
Alberta Whittle
Power from Below: decolonial agents (matrix), 2021
Wong Hoy Cheong
Study for Colonies Bite Back, 2001
Dineo Seshee Bopape
Lerole: footnotes (The struggle of memory against forgetting), 2017