Chapter 1.

Publishing: a logical and necessary point of departure for the implementation of any new publication project in a world which we might well regard as already saturated with publications.

Image 1. Dakar

 

Chapter 2.

Images 2.3.4.5 and 6.

IRON MAIDEN (The lecture)

(work in process)

Chapter 3.

| IRON MAIDEN (THE LECTURE) | | SYNOPSIS. |

| Project under construction, Momu & No Es, 2012. |

 

We are in a conference room on the stage: Mr. Peterson (actor comedian and performance artist), a table, a chair, a laptop, a microphone and a projection screen to support your presentation. IRON MAIDEN (THE LECTURE) offers a compact view of the biography and the expectations of Mr. Peterson.

A monologue of an inhabitant of Africa, in which the protagonist describes his visions of future from its present realities by relying on a series of images that use the charm and fascination of the non-referential, we can represent something that matters.

IRON MAIDEN (THE LECTURE) is a video project and performative where through a presentation (lecture) starring Mr. Peterson begins a story that mixes fact and fiction to approach Africa’s position in the collective consciousness. This research project is based around issues of ethnic difference, postcolonial policies and collective processes desnormalizan the course of one’s own artistic research, critical paths open and constructive approach that allows us how you are representing yourself, how one is to its environment, and to what extent the accuracy (in the construction of a “fiction epeculativa”) is important.

“The more we do not representa That ourselves, the more people will make careers out of us or misrepresenting Representing us The Way They want to Represent us.” P.

| IRON MAIDEN (THE LECTURE): REPORT OF THE PROJECT. || DESCRIPTION. |

IRON MAIDEN (THE LECTURE) is a video project and performative where through a presentation (lecture) starring Mr. Peterson begins a story that mixes fact and fiction to approach Africa’s position in the collective consciousness. This research project is based around issues of ethnic difference, postcolonial policies and collective processes desnormalizan the course of one’s own artistic research, critical paths open and constructive approach that allows us how you are representing yourself, how one is to its environment, and to what extent the accuracy (in the construction of a “fiction epeculativa”) is important.

Mr. Peterson is a comic actor and performance artist. He rose to fame with her YouTube channel popularized in which he starred in a series of sketches entitled 2 minutes: “If Michael Jackson HAD Been Born black”, while studying drama at the Ecole National des Beaux-Arts in Dakar. Mr Peterson is a South African comedian, 29, who moved to Senegal to fifteen years after his mother was intended for the diplomatic embassy in Haiti. Their shows very marked by the influence of comedian Andy Kaufman, have been around the world thanks to its resounding success in the network media.

Now Mr. Peterson was invited to give a lecture.

Title: IRON MAIDEN (THE LECTURE)

Issue: Expectations Greats

We are in a conference room on the stage: Mr. Peterson, a table, a chair, a laptop, a microphone and a projection screen to support the presentation.

When Mr. Peterson began to do shows, it did so spontaneously in the middle of the street, always in front of walls with ads labeled. For that reason when he decided to make his first show inviting audience, decided to do it in front of a large graffiti announcing a male hairdresser.

IRON MAIDEN offers a compact view of the biography of Mr. Peterson. During the 30-minute video he explains his debut, displays its influences, its collections, collections of disks that had his father, local and international albums include (Max Normal / Waddy Jones of Dien Woord Ant fame), culture South African fear of VHI, inspiration in culture North American 80′s, comics orrore alla Parigi-Dakar, movie posters of Gambia and the inspiration of Nigerian movies DIY horror, her videos and collaborations with other artists.

Mr. Peterson puts us in a diffuse state of proximity in which the different elements he presents combines reality and fiction, and where through his narrative are a series of characters trapped in space temporary physical and mental suffering Dakar a transformation. What begins as a generational proximity becomes a terrible vision and conclusions that we are at the threshold of perplexity and discomfort of the vision of this otherness. Cultural factors become dissonant elements that lead to discomfort in such situations. The social, artistic, and faith in the future, expectations and reality blend in this conference that makes the fantasy only provide raw elements while encouraging.

“The more we do not representa That our selves, the more people will make careers out of us or misrepresenting Representing us The Way They want us to Represent”

Mr. Peterson.

| THEORETICAL INVESTIGATION. |

| REPRESENTATION OF AFRICA, THE IMAGINATION OF THE POST-ALETERIDAD. |

 

“One critic said that Naomi Campbell, sitting looking beautiful, was not an honest representation of people in Africa. They asked: If it were a woman with a distended stomach ulcers and open sores, would be deeper for you? ” (Crítica generada durante la exposición The Rape of Africa 2010 en la Galería Robilant + Voena en Londres) en relación a una de las fotografías de David LaChapelle.)

The approach to new social and cultural realities through three phases: the expectations, vision and the subsequent analysis. The stereotypes are part of the expectations, always loaded with the need for a close encounter with otherness, to verify that there are so abysmal differences between them. In the second phase, a look, it becomes a casual observer or tourist who takes a superficial impression that subjective and again he has seen. These approaches do not cease to be vision and awareness of oneself to try to locate in this new scenario. The third phase, which remains as it has created a gap in expectations, in your assumptions and ideas. These are not as clear as they were at the beginning of the process.

We all have an imagination and a more or less formed the African continent, we see images every day, on television and in newspapers. What happens when one wants to approach that reality, to that otherness from the construction of another otherness? What happens when that otherness has an imaginary part of almost definite? What reactions are generated at a series of images that we have used the charm and fascination of the non-referential?

| ABOUT OUR WORK AND OUR RESEARCH BACKGROUND. |

In our work, we would generate a detachment from reality and its limits from personal experience, to get insurance alter what seemed impregnable, and committing to non-standard interpretations of it. Our work allows us to propose new uncharted realities with different structures of thought and execution. Think about possible futures, probable, or preferable, leads us to think often on the issues addressed by science fiction. (Understanding the science fiction genre that recounts events possible speculative developed within a purely imaginary space-time, whose credibility is based narrative in the fields of physical science, natural and social).

In IRON MAIDEN (THE LECTURE), the application forms and concerns of a science fiction story set in Africa, we can imagine a new space-time to the stereotypical representations of people trapped in a perpetual state of crisis. Offering a choice of a landscape of possibilities, as opposed to an imaginary African continent which in turn refers to many post-apocalyptic societies of which we speak the dystopias.

This idea of ​​a representation that functions as the beginning and end of a new reality leads us to consider other possible realities existing simultaneously, through a careful reorientation of stress, to bring attention to the need for vigilance towards the present and the future rather than a preoccupation with the past.

The video presented here allows Mr. Peterson, to articulate a monologue in which he describes his visions of the future from its present realities, based on a series of images that use the charm and fascination of the non-referential, let stand for something that matters.

“… You’ll need a nightclub Also Called Tropicana, where ‘mercenaries, evil nouveau riche Africans and prostitutes and guerrillas and expats hang out. Always end your book with Nelson Mandela Saying Something About rainbows or renaissances. Because you care. ” (How to Write about Africa/ a satirical Text by Binyavanga Wainaina).