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Abstract
The artistic research ABRIR KAMINHU: ceramics, indigo and urzela focuses on understanding how the artistic work of a black Cape Verdean woman in the field of contemporary art can be made visible. Secondary issues include how colour, resistance, performance, memory, decolonialism, inequality and survival intersect in contemporary art produced by black female artists. This artistic research aims to rewrite art history, given the absence of Cape Verdean women artists within it, and to create a series of artistic installations using ceramics, performance and dyeing. I am interested in post-memory as a tool for study, in the sense of reinterpreting history, which is still based on negative colonial dynamics. In this research, it is important to think about intercultural and social synergies in order to better observe and understand the construction of the Other in art, drawing on the decolonial perspectives of thinkers bell hooks (USA, 1954), Françoise Vergès (France, 1952), Angela Davis (USA, 1944), Lélia Gonzalez (Brazil, 1935–1994) and Conceição Evaristo (Brazil, 1946). This research is also inspired by the artists Barbara Hepworth (United Kingdom, 1903–1975), Ana Mendieta (Cuba, 1948–1985), Magdalene Odundo (Kenya, 1950), Maria Magdalena Campos-Pons (Cuba, 1959) and Regina José Galindo (Guatemala, 1974). The final result is a set of art installations, created by me, which seek to contribute to the construction of a new narrative of contemporary art that includes Cape Verdean women artists.
