Left to Be Desired Episode 12: Ângela Ferreira

Episode 12 of the SAVA podcast Left to Be Desired features a conversation with artist and researcher Ângela Ferreira. 

Left to Be Desired is available to listen to on Apple Podcasts, Spotify, Amazon Music/Audible and Audacy. You can also access it via the podcast website:  

https://lefttobedesired.libsyn.com/site   

Left to Be Desired explores the distinctiveness of the socialist path through the Anthropocene by bringing together artistic and scholarly insights into the ecologies of global socialism. Maja & Reuben Fowkes invite artists and researchers to talk about their practice and exchange ideas at the intersection of ecology, climate change, art and the Socialist Anthropocene. 

Ângela Ferreira 

Continuing our exploration of global perspectives on the Socialist Anthropocene, in this episode of Left to Be Desired, Maja and Reuben Fowkes talk to artist and researcher Ângela Ferreira about her work on revolutionary Mozambique. We learn that the artist’s main focus is on the first post-independence years, when the government opted for a tolerant form of socialism that was open to forms of creative experimentation, before the adoption of the Soviet model of social and political organization. The podcast includes discussion of Ferreira’s collaborative project Experimental Field (2024), which explores the material and archival residues, as well as the social and environmental dimensions, of the radical agrarian practices developed at a university agricultural laboratory in the 1970s.  

About the Speaker 

Ângela Ferreira 

Ângela Ferreira  is an artist and researcher teaching Fine Art at the University of Lisbon (FBAUL) in Portugal and in Mozambique. Ferreira’s multi-disciplinary practice is concerned with the ongoing impact of colonialism and post-colonialism on contemporary society, an investigation that is conducted through in-depth research and distillation of ideas into concise and resonant forms. The contribution of this artistic practice lies in the construction of a solid and non-pamphleteering artistic decolonial discourse. The source of her archival reference materials often triangulates the three countries of her personal history: South Africa, Mozambique and Portugal, which she represented Portugal at the 52nd Venice Biennale in 2007.