PORTFÓLIO MÓNICA DE MIRANDA

MÓNICA DE MIRANDA

No longer

with the

memory but

with its

future

Apresentado no Oratorio di San

Ludovico, Veneza Presented at

Oratorio di San Ludovico, Veneza

And the Berlin Biennale

Path to the stars , 2022, Video, color, sound, 34’41’' (Music : Xullaji) Video still

By the agile curve of the gazelle’s neck

Agostinho Neto, The Way to the Stars, 1953

by Ana Nolasco

This exhibition takes form as a multimedia installation

centered around three axis that constitute a whole. The

first axis, center around the Kwanza River which works

in first place as a metaphor for the strength of the

struggle for liberation and the hope undergoing a

continuous metamorphosis. In second place unfolding

in to reflect on the boundaries between history and

fiction, through the point of view of voices silenced by

canonical narratives. Then finally thirdly , it reflects on

the Anthropocene and on Man’s desire to conquer and

how this leading to their destruction, due to the lack of

inner spiritual freedom and balance with the Universe.

The first axis centers around, a video taken along the

Kwanza River that references the struggle for liberation

of Angola, through the use of poetic language, across

several narratives such as that of the Kwanza River, and

the cradle of the Ndongo kingdom. Through this the

strength o Mother Nature is represented , creating an

analogy between the woman’s body and the territory.

The territory being the first body to be penetrated by

the colonizers in search of material wealth, thus forth

creating a link between the land to the sea, the past,

the present and the future. In the video we are

confronted with a warrior woman and her shadow

whose stories are unraveled throughout the narrative; a

boat that symbolizes the passage of ideas, people and

memories, as well as soldiers who, through the lines of

a map of Angola, try to read their future and a child

who decides to travel to space. This video is

accompanied by a series of photographs surrounding

the same theme of landscape representation, through a

performative act. Through these acts the traditional

concept of landscape is subverted presupposing a

disincarnated spectator - reducing it to a mere look -,

fixed in space and time. This concept, which is rooted

in the Renaissance and the primacy of the European

male gaze that cuts nature apart, fragmenting it,

through its modernity, creating a rift between man and

nature, in which man is left to constitute a whole.

Another aspect of the project is the series Path to the

Stars, which consist of a set of images depicting the

struggle for liberation of the PAIGC taken from the

archive of Amílcar Cabral. In these images, the

representation of the man is seen purely from the male

point of view, celebrating heroism defined by warlike

acts used to prove ones virility. This one sided point of

view leaves another story in the shadows, that of the

women who participated in the armed struggle, of

whom are depicted on the reverse side of the image.

Through the gesture of embroidering, an interlacing of

the inside and the outside of the image creates a

suture, thus forth bringing the inside and outside of the

image together. As much as the past is constantly

being reconstructed by the present, the archive of

memory constitutes the humus from which the renewal

of history can drink, ending the possibilities for

imagining different futures. These lines of embroidery

do not divide, but undo borders through the gesture of

care - usually associated with the female universe, the

domestic space – re-inscribing in history the presence

of the gestures of these warrior women of the past.

Through the placement of embroidered images in the

space of a gallery, the public / private dichotomy,

instituted by the hegemonic western male gaze in

which the public space is reserved for men can be put

into question.

Another core idea of the exhibition consists of the

series Path to the Stars, which through a strategy of

appropriation and irony, plays with the semantic

ambiguity of the relationship between titles and image.

It does so by transposing this concept into a fictional

space, inspired by the space race between the United

States and Russia, and their struggles for emancipation

throughout history.

Just as the animals symbolize the struggle against

the ambitions of Man such as those at risk of

extinction due to the immense ambition of Man -

like the tiger of the Tamils that are in themselves

a well-known guerrilla for the revolution, or the wolf

of Clarisse Pinkola’s book, Women who run

with wolves (1989), Much like the struggle of these

animals the struggle for female emancipation, is

also hostage to that ambition. With these ambitions

comes the inauguration of the Anthropocene

era - in which human action determines the

evolution of the earth, directly impacting the

chemical composition of soils, seas and the

atmosphere - marking the probable beginning of

their end.

In this work femininity is not understood here as a

biological essence, but as a form of sensitivity that

escapes the phallocentric view of the world, which

is based on the supremacy of instrumentalist

reason, and formed through a vertical hierarchy in

which “more” is always better,

even if it means more misery, destruction and

inequality. Ecofeminism, in the sense of “ecois”

- home - encompasses the entire ecosystem and its

spiritual forces - embodied here on the

Kwanza River, which can be viewed as an ascension

platform from the female body and the

Earth, capable of redesigning the past and reinvent

a future that links the material to the spiritual.





The Island

Angolan-Portuguese artist Mónica de Miranda's

research-led practice is grounded in postcolonial

politics in relation to Africa and its diaspora. Her

most recent project The Island contemplates the

complex experiences of Afrodiasporic lives and

Europe’s colonial past. Fusing fact and fiction,

The Island explores a long trajectory of black

presences in Portugal by bringing together

intertwined narratives – drawing on African

liberation movements, migratory experiences,

and identity formations through a black feminist

lens.

Using film and photography, de Miranda

deploys the metaphor of the island as a utopian

place of isolation, refuge, and escape: a space

for collective imaginings that speak to new and

old freedoms. Anchored in cultural affinities and

ecofeminism, the artist considers soil as an

organic repository of time and memory, where

ancestral and ecological trauma linked to

colonial excavations continue to unfold.

The Island urges us to develop a more conscious

relationship between our bodies, the past and

the lands we inhabit – and all that they hold –

towards regenerative possible futures.

Apresentado no Autograph, Londres

RU Presented at Autographi, London,

UK,

The exhibition features two new Autograph artist

commissions seen for the first time: a 37-minute

film work The Island, and an associated series of

photographs part of Autograph’s project Amplify

– Stranger in the Village: Afro European Matters,

supported by the Art Fund.

https://autograph.org.uk/exhibitions/monica-demiranda-the-island

All that

burns melts

into air

Apresentado no Sabrina Amrani

Gallery, Madrid, Espanha Presented at

ASabrina Amrani Gallery, Madrid, Spain

Mirror Me, 2020

Inkjet print on cotton paper. 70 x 105 cm

Sea Whispers, 2020

Inkjet print on cotton paper, 50 x 75 cm

Imperial Cinema, 2020

Inkjet print on cotton paper, 150 x 294 cm + 2x 50 x 75 cm

All that burns melts into air by Luísa Santos

All that it burns melts into air is a

investigation project by Mónica de Miranda

that takes the form of an exhibition in the

expanded field of the methodological

intersection of installation and film and that,

in this physical (in space) and conceptual (in

times and places) expansion that he

invokes), takes the form of a scenario where

a story is told, partly fictional and partly

documentary, composed of different parts.

The whole formed by these parts reflects, in

turn, a deep connection with conflicting

memories and historical facts.

Part I - the title

All that it burns melts into air is a reference

to “All that is solid melts into air”, the

beginning of a sentence in the first chapter,

entitled “the bourgeois and the

proletarians”, from the Communist Party

Manifesto, written by Karl Marx and Friedrich

Engels in 1848. The full sentence - “All that is

solid melts into air, all that is holy is

profaned, and man is at last compelled to

face with sober senses, his real conditions of

life, and his relations with his kind” (Marx and

Engels,, [1848] 1985) - reflects the

revolutionary character of modern

capitalism that transformed Europe and

Africa in the middle of the 18th century,

evoking an image of the industrial era with

its effects on human beings. On the other

hand, it also refers to the language of

chemistry to suggest that solid traditions

evaporate into the air. A modern world

supposedly linked to social reform in its

implications with collective thinking and

action seems, in this metaphor, to have

given way to a world of disconnected

atoms (individuals).

All that it burns melts into air, by Mónica de

Miranda - as “All that is solid melts into air”,

by Marx and Engels - brings us to an

imaginary of the present time marked by

the reality and urgency of global warming.

Marx was hardly thinking about climate

change in the 1840s. However, he was

beginning to reflect on what he would

come to describe as a metabolic cleft, a

rupture in material exchanges between

humanity and nature. Agriculture typical of

Marx’s time, of

the industrial revolution, was characterized

by intensive methods of large-scale

cultivation that appeared as a solution to

maximize production and that resulted in

monocultures. Like agricultural

monocultures, social monocultures can - as

colonialism demonstrates - be destructive.

All that it burns melts into air (instead of “All

that is solid melts into air”) suggests

precisely the layers of meaning printed on

the manifest. From the metaphor that

everything that burns (often in attempts to

erase memories) melts and merges with air

in a transformative process, it refers to

social and political changes in Africa.

During the rise of liberation movements in

Africa, Socialism explored the experience of

modernity, in its utopia and in its fall from a

safe institution to something decadent very

different from its initial project. It is

important to remember that Modernism

was also the force that organized Africa into

colonies and, thus, also the engine behind

fascism. In the text of Marx and Engels,

there is a feeling of both beauty and

strangeness (in the Kantian sense of

unheimlich) in their paradoxical

understanding of the sublime as something

both terrifying and fascinating. The

manifesto is about the simultaneously

destructive and productive forces, about

the sublime terror of a new world order, an

order that is unstable in its constant process

of destruction and renewal.

These paradoxical effects of modernism

appear visually translated in Mónica de

Miranda’s All that it burns melts into air. A

partly fictionalized and partly documentary

portrait, the exhibition-installation-film

shows places between ruin and the forest,

between the utopian visions of the

modernist avant-garde and the post-fall

images of Socialism and its ideologies.

While relics appear as an entrance to places

in the political history of the past as a way of

dealing (or reconciling) with these

memories in the present, the ruins, taken by

nature, appear here as a metaphor for

memories that have been erased (or

burned) to make room for other buildings.

In their conflictual temporalities, the ruins

refer to both the past and the future. In

other words, the past reappears

transformed into the present, in a

transcendent process of rebirth that, in its

ethereal quality, has the potential to travel

again from today to tomorrow.

Part II - the space(s), the place(s) and your

time(s)

When we entered All that it burns melts into

air, we immersed ourselves in a set of

spaces on the island of São Tomé. In this

immersive process we almost forget the

physical dimensions of this island located in

a country with less than a thousand square

kilometers. In the photographs and video,

the immense fields, the wide pools, the

colonial buildings without end, a platform

that is a bridge broken to the sea confront

us from their paradoxical magnitude of

rubble left by the Portuguese during the

colonial period.

Reminiscent of Alan Berger’s drosscapes -

places whose surfaces have been

transformed according to new values that

have erased real geographic aspects (2007)

- these spaces are presented as the

remnants of colonialism and represent the

fall of an empire. These residues go far

beyond the physicality of matter - the ruins

of the present - to the immateriality of the

memories of the past that were imprinted in

spaces and that are transported to the

present. In these temporal journeys, both

spaces and memories are subject to

processes of appropriation and

transformation. This is particularly visible in

the images of the old Cinema Império,

portrayed with the twins dressed in white in

front of them, underlining their physical

symmetry that points to their existence and

double temporality. Rescued and restored

in 2001, after almost a decade of

abandonment, with Taiwanese money, it

was appropriated and renamed - today, it is

called Cinema Marcelo da Veiga - for a use

that goes beyond the original use of film

projection and is now a place for big events

on the island.

This appropriation is probably even more

terrifying when made by the hand of nature.

Decadent nineteenth-century buildings

engulfed by nature that covers them with

moss, moisture, and plants that grow in the

cracks of what remains of their walls and

windows into the void; empty corridors and

stairs; pools covered with leaves and dirty

water. With independence, in 1975, the

housing and exploitation of the farms

ended up being handed over to workers

who became salaried workers in the State.

Today, in most of these fields (over a

hundred in São Tomé) there is no job (Pape

and Rebelo de Andrade, 2011). We must

remember that when we are wandering in

the spaces of All that it burns melts into air

we are in equatorial Africa, where the

struggle of man against nature is daily. In a

humid tropical climate in which

temperatures are between 21 and 27

degrees centigrade, a month without

someone taking care of the land will be

enough for a vegetable garden to fail to

fulfill its function by being buried in the

grass that grows quickly. In these

conditions, wood, the raw material of the

fields, rots, and the metal rusts in a short

time as the images of the Clube Naval

denounce. In times of prosperity, man

advances with nature but in times of

stagnation or crisis, nature advances and is

at an advantage over any human action

(Pape and Rebelo de Andrade, 2011). The

concrete structure of the Clube Naval,

abandoned, subject to constant humidity

and intense rains, along with the fastgrowing

vegetation, appears full of cracks

with exposed and corroded metal

elements. Only the fragile metallic skeleton

remains on the small balcony.

The old platform from which the twins spot

whales is also in ruins, as if to remember

that the geostrategic implantation of this

country, with the arrival of the Portuguese in

1470 on the island of São Tomé and a year

later on the island of Príncipe, was the of a

platform. Facing the Atlantic routes and the

African coast, its implantation dictated its

use as a commercial warehouse, especially

for the slave labor trade.

Along with the photographs, we passed a

giant palm turned upside down, and we are

invited to enter two large structures that,

once again, leave us in a temporal limbo.

With a design based on the gardens that

we can see in the images, they are

aquariums suspended from pillars and

wooden beams with a weak appearance.

With an exotic physiognomy, the aquariums

refer us to the images that, as a general

rule, we associate with paradise - robust

vegetation, exotic trees, huts. However, a

closer look will realize that aquariums are

ecosystems that house a set of plants in a

biodiversity out of place, recontextualized

inside boxes. The huge palm was also

pulled from the earth, turned upside down

and hung in a brutal process of uprooting,

reconfiguration and recontextualization.

The three-dimensional part of the

exhibition-installation-film is thus presented

as a set of sculptures-memory from a

specific era in history.

These memory sculptures are reminiscent

of Oskar Hansen’s 1959 “Open Form”

principles, whose principles are based on

the active participation of individuals to

create their own environment and co-create

the spaces they inhabit. One of the

foundations of the “Open Form” is to reveal

the tensions inherent in the construction of

a building by exposing its structure (Rainer

and Engel, 2016). And the complexes

portrayed in All that it burns melts into air,

in their physically fragile state, bring about

precisely the current state of the utopian

ideas on which they were built.

All that it burns melts into air creates a

space for reflection, discussion, and debate

on aspects of the conflicting and cultural

memories of Socialism and Colonialism

based on notions of territory and place, of

cultural identity, displacement and refuge.

The space contained in the installation

reflects this aspect of the work, creating a

place that is (re) appropriate, (re) inhabited,

and (re) contextualized. By letting us enter

the installation, instead of observing it from

a distance, Mónica de Miranda proposes an

experience reminiscent of Hélio Oiticica’s

Tropicália (1967), of entering and living in a

(in) suspended place.

This process translates precisely the ways in

which São Tomé was born, as a laboratory

implanted in the middle of the Atlantic

Ocean between cultural crossings, and how

today it is suspended somewhere between

the past, present, and future times and

between the places of ruin, paradise, and

war, always with the struggle between man

and nature as a backdrop. On the rubble

and the force of nature, there are the lives

of old people, adults, young people and

children descended from former Angolan,

Mozambican and Cape Verdean slaves,

people who were bought, exchanged and

sold as if they were goods during the

century XIX and still in the recent past, part

of the 20th century. The people who lived in

these places, surrounded by the same palm

trees and coconut palms that still today give

a false image of paradise are the same ones

who experienced conflicts and atroci

ties. And it is in this duality that the

memories, identities, and places that make

up All That it burns Melts into Air are

constituted and where they look for ways to

deal with the past in the present.

All cultures are partly defined by what they

value and preserve from their past heritage.

Architecture is an essential part of this

legacy but in many parts of the world it is

being destroyed (Serageldin, 1997). In the

case of São Tomé, the destruction of the

symbols of the past is a celebration of its

end but it is also a living testimony and

therefore a process in constant

transformation that results from multiple

natural and human contributions. All these

factors and mutations leave vivid marks in

the material places of spaces as well as in

the immaterial places of memories, they

shape the present and determine the

future. A portrait somewhere between

human and natural ruins, between the

utopian views of the modernist avant-garde

and the post-fall of socialist ideologies, All

That it burns Melts into Air is thus designed

in questioning the processes of building

(and destroying) memories, of identities,

and places that constitute both the past, the

present and the future.

Part III - the characters

As relevant as the space(s) and time(s), in

the construction of the narrative (s) of All

that it burns melts into air, are the

characters that inhabit them - a group of

girls dressed in sets of dark blue skirts and

white blouses, which could be uniforms of a

colonial school, sing a song of São Tomé in

the local language with the forest as a

backdrop; a young woman dressed in white

wanders among the ruins; and two twin

sisters also dressed in white seem to haunt

all the imposing places on the Island.

In a constant oscillation between the

symbolic and the documentary, the

photographs and the film of All that it burns

melts into air operate as a claim to the

present and the future where nature

regenerates the scars generated by the

colonial past. The camera becomes the eye,

used to record moments and combines

daily observations with fictions between

choreographies and strolls.

In the paths between the forest and the

ruins, the compositions that determine the

images play an important role in the ways in

which we perceive them. In the history of

modern art and contemporary art, the

hierarchy of verticals and horizons and the

orientation of an image were and are

important tools for the construction of

images - remember Barnett Newman’s

Onements (1948), vertical paintings with a

line along the means to invoke the notions

associated with the Divine of dividing and

forming, good and bad, feminine and

masculine; or Duchamp’s readymades, such

as the Bicycle Wheel (1913-1951), a bicycle

wheel with the central axis attached to a

four-legged bench to simultaneously

indicate its modern industrial origin and its

classic aesthetic values. The ideas of the

double and the symmetrical image also

appear throughout the photographs and

film of All that it burns melts into air: the

twins dressed in the same; the spaces that,

inhabited by the twins, seem even more

symmetrical. Symmetries serve here as a

tool to reinforce tensions: between the past

and the present; between the present and

the future; between ruin and

reconstruction; between this place and

another place; between the colonized and

the colonizer; between the paradise of

exuberant nature and the hell of war.

The images insist on parity and duality to

ask for our attention to every detail that

forms them. There is no type of hierarchy or

centrality inherent in one of the characters.

On the contrary, they operate as an

entrance to a situation, to a story. It is not so

much who those people are but what is

happening there. And there is rarely any

response more powerful than the visual

effect of the double and the symmetry.

This effect of duality of the characters - as of

the places - of All that it burns melts into air

operates as an emblem of the uniqueness

of São Tomé, a reminder that it is the micronarratives

that, from outside - as when we

hear the girls singing in the forest - part or

all of them escape us, which constitute, and

often contradict, what we understand as the

past. Ultimately, what (the characters of) All

that it burns melts into air seems to tell us is

that only with as complete an

understanding of the past as possible can

we live the present and project a future.

Whales whispers, 2020


Sea Club, 2020


Tales of

Lisbon

Apresentado no Arquivo Municipal

de Lisboa - Fotográfico, 2020

Presented at Arquivo Municipal de

Lisboa - Fotográfico, 2020

Imagens da exposição no Image views Arquivo Municipal de Lisboa - Fotográfico, 2020

Timeline, 2019

Impressão jacto de tinta sobre papel de algodão Inkjet Printing on Cotton Paper, 60x100 cm


The Archive as A Productive Space of Empathy

Bruno Leitão

In order to understand this exhibition, it is important

to consider that the archive that appears in a form

close to its entirety started more than 10 years ago.

With her work “Archive Monica Lisbon”, the Luso-

Angolan artist recreates a photographic archive of

the city of Lisbon. An artist perpetuating,

expanding, and recreating the visual imagery that a

city imbues is not in itself a surprising event.

However, the archive is deserving of creating an

image of Lisbon that could be so unexpectedly

fictional: irregular constructed houses, selfconstruction,

and roads without concrete, that they

do not represent the visual imagery that propagates

from the city of Ulysses.

This is a city that appears fictional yet is entirely real.

The residences that Mónica de Miranda portrayed

no longer exist in many cases. This reality is invisible

to many; Lisboans and almost all foreigners.

The fictional elements that are introduced by the

artist in collaboration with writers, actors and sound

designers emerge later, in her other works where

experiences are guessed and attempts are made to

reconstitute lives, family events and destinations far

beyond cement and bricks.

The work “Arquitecturas” creates a posteriori

architectural plan for houses that were founded on

dreams instead of sketches. The luxury of urban

planning and architectural design doesn’t provide

happiness in the same way that its absence does

not invalidate it. We can consider architecture as a

privilege or a right, but we can’t comprehend that

sometimes dreams don’t wait for the right

conditions, on the contrary dreams and necessity

are the only conditions to build a house.

This archive doesn’t describe the object as much as

it describes its conditions and circumstances. For

this reason, in the eyes of the law, everything can be

an archive according to its provenance, temporal

condition and origin. The relationship that Michel

Foucault weaves between the archive, archaeology,

the institution and censorship form a system in

which the elements influence each other. The

influences that Monica de Miranda’s exhibition

proposes are not a story about winners over loses,

but rather a story that compels us to empathy and

allows us to inscribe invisible experiences in a city

that needs to make them visible and needs to make

them its own. Empathy is an essential phenomenon

for social and territorial cohesion.

Photography has always had a privileged

relationship with the notion of archives, its unique

character has always proved to be an undisputed

proof that what it portrays does exist. This

unquestioned existence provokes a narrative

indebted to western epistemologies in which

mechanical reproduction perfectly fits as evidence.

It is a raw technique for the need of reason.

Monica de Miranda’s archive reveals an invisible

Lisbon. But her artistic investigation is not only

claimed in the gradual demonstration that there is

an existing version of this city that does not appear

in the tourist brochures. In addition, not only does

the artist demonstrate this evidence, but she also

delves deeply into an inquisitive and humanising

process of these lives. Starting with photographic

evidence and moving on to dissatisfied literary

fiction we are left with photographic simplicity.

Her artefacts are loaded with symbolic weight that

end up subverting the expectation of a truth

corroborated by technical representation. As stated

by James Baldwin, “hate is always self-hate, and

there is always something suicidal about that.”

Baldwin talks about empathy, the indispensable

ability to understand the entire dimension of a city

in its unique plurality. Monica de Miranda’s work is

nothing more than the possibility of getting closer,

immersing ourselves in the real and fictional stories

of fellow citizens. This exhibition unlocks streets that

we didn’t know, but above all, it immerses us in the

extraordinary lives of those who go unnoticed.




Casa Aurora House Aurora, 2019 Instalação de som e impressão jacto de tinta sobre papel de algodão 45 x 30 cm cada Sound

installation and Inkjet Printing on Cotton Paper Each one 45x30 cm Miraloures, Estrada Militar, Loures Data de recolha Collection

date: September 15th 2019 Proprietário Owner: Desconhecido Unknown Demolição Demolition: 2009-2019

Casa Kapunga House Kapunga, 2019 Instalação de som e impressão jacto de tinta sobre papel de algodão 45 x 30 cm cada

Sound installation and Inkjet Printing on Cotton Paper Each one 45x30 cm Mira Loures Estrada Militar, Data de recolha Collection


Casa Cruzado House Cruzado, 2019 Instalação de som e impressão jacto de tinta sobre papel de algodão 45 x 30 cm cada

Sound installation and Inkjet Printing on Cotton Paper Each one 45x30 cm Talude Estrada Militar, Catujal Data de recolha Collection


Casa Luzia House Luzia, 2019 Instalação de som e impressão jacto de tinta sobre papel de algodão 45 x 30 cm cada Sound

installation and Inkjet Printing on Cotton Paper Each one 45x30 cm6 de Maio Estrada Milita1,, Data de recolha Collection date:

October 2019 Proprietário Owner: Desconhecido Unknown Demolição Demolition: 2016-2019

In(sul)ar

Apresentado no Presented at

Walk and Talk Festival, Açores,

2019

Video Still In(sul)ar, 2019, HD video sound, 9’’

Of Becoming (and of Death)

by João Silvério (Curator)

The work of Mónica de Miranda can be

understood as an agent that continually

reconnects artistic processes with the transitory

condition of the spectator. Regardless of the

themes that she investigates, or of socio-political

reflections that strap in her identity a real and

emotional sense with the place and history of

those who inhabit it, her works contain part of

her self-referential experience but not always

autobiographical, because it is not a testimony

of the journey but of someone who recognizes

herself in the transition and in the territorial

change.

This change, or this logic of circulation, lies not

only in the fact that she has lived in several

countries and known different cultures, but

essentially in the way she interprets the temporal

relations and the memory of these experiences,

that contribute to the construction of metanarratives

which are articulated under a line/

time; as an information flow that integrates

seemingly diverse places and temporalities. This

abstract line locates places that intersect at

different moments of time, and in the specific

case of her work they are not reduced to a linear

determination of the past, but rather to

recognize the temporal correlation that allows an

active relationship of the subject over the

present.

In this sense the exhibition “Atlantic – Journey to

the center of the earth” is exemplary of her work

process for two main reasons. The first is present

in the title in which we can infer two apparently

contradictory planes, the first being the word

that determines an immense and mutant

geographic mass that is the Atlantic Ocean; and

the second is the Journey to the Center of the

Earth, a reference to Julius Verne’s utopian work

that is close to her. However, the placement of

the hyphen amplifies this transitory possibility

which, although present in her work, is an

aggregating element that expresses the

multiplicity of senses in the reception of the

same by the viewer, having as a structuring line

the reference to two substances: water and earth

which are opposed in their constitution.

The second reason that leads me to this brief

reflection is the duality between the ocean and

the earth, a physical but simultaneously

immaterial differentiation, an imaginary that

goes back to the beginnings of humanity, and

for this same reason metaphysic: between

fluidity and solidity. It is riven by the need to

know what is hidden beneath the earth which

naturally supports the ocean and breathes in the

volcanic mouths of the Atlantic islands of the

Macaronézia, such as the Azores or, in this case

in particular, the Cape Verde archipelago,

specifically in Ilha do Fogo (Island of Fire).

Monica de Miranda recognizes in this island an

intensity of the life of our planet in the sense that

it is renewed by the volcanic eruptions that

ferment of fire and of lava that immediately

cools and everything crystallizes, everything

transforms and updates; in an approximation to

the paradoxical duality that the presence of the

volcano contains: between life and death. The

photographs of women dressed in black with

bare feet, as in “Untitled. From the series City-

Scapes” and “Formation”, or the artist’s own

body in the diptych entitled “Horizon”, are

relevant in the sense that this figure transmits

the idea of osmosis with the burned soil in which

its own regeneration survives the desertified

landscape. The volcano is a presence that rises

in the landscape and is also a recurring image in

the collective imagination and visual

representation throughout history. But in this

work of Mónica de Miranda is, above all, a sign

that presents a second skin that models and

transmutes the landscape, not only by the visual

mantle that covers all in an ash relieve, but

because it announces an interior and organic

experience that resides in an unknown place, so

close to the center of the earth, whether this

model is an imaginary and fictional construction

or a given geological matrix.

And as a fictional construction the intervened

pigmented and waxed series of photographs -

entitled “Bedrock”- rescue this intermittent

materiality which, while present, merges into the

printed image affirming in artist’s gesture the

intervention on the image as a recording of a

journey; a time that is updated in its finalization.

Under the same methodology, a sculptural

object in the form of a library shelf, contains

black sand inside a box in its base. This natural

element, the black sand, is also subject to the

logic of the image but escapes to the

photographic, contributing to the construction

of meta-narratives that are pointed by references

that approach territorial mapping. However, this

mapping is only recognizable if we take into

account the geography of places and the

temporal correspondence that is continually

reorganized in the becoming that Monica’s work

represents, in each layer, or in each register that

welcomes her affections, and undoubtedly in her

politic reflection that confronts us as image/time

of the places that Monica de Miranda seeks in

the correspondence of the Self with the Other.

Video Still In(sul)ar, 2019, HD video sound, 9 ‘’



Exhibition view, In(sul)ar, 2019 Walk and Talk Festival, Açores

Exhibition view, In(sul)ar, 2019 Walk and Talk Festival, Açores

South

Circular

Apresentado no Prémio Novos

Artistas 13 edição Presented at EDP

Foundation New Artists Award

13th edition, MAAT

South Circular, still frames from the video 2019

HD video, Sound, 22,57”

Cavaleiro Negro, Black Knight 2019, Impressão iacto de tinta sobre papel de algodão Inkjet printing on cotton paper, 80 x 240 cm

6 de Maio, 2019, Impressão iacto de tinta sobre papel de algodão Inkjet printing on cotton paper, 80x240 cm

Reading Circle , 2019, Impressão iacto de tinta sobre papel de algodão Inkjet printing on cotton paper, 80 x 240 cm

Tomorrow is

another day

Apresentado na galeria Presented at

Carlos Carvalho Arte

Contemporânea, Lisboa Lisbon, 2018

Sem título (da série City-scapes) Untitled from the series city-scapes, 2017, impressão jacto de tinta sobre papel de algodão inkjet print

on cotton paper, 70 x 105 cm

Imagens da exposição View from the exhibition Tomorrow is another day (Carlos Carvalho Arte Contemporânea, Lisboa Lisbon, 2018

©João Grama

Untitled (da série from the series Twins), 2018, Impressão sobre papel de algodão Inkjet print on cotton paper 94,5 x 144,5 cm

Untitled (da série from the series Twins), 2018, Impressão sobre papel de algodão Inkjet print on cotton paper 50 x 75 cm

Achilles’ heel, 2018, Impressão jacto de tinta Inkjet print, 50 x 160 cm


©João Grama

Black boards, 2018, Impressão jacto de tinta Inkjet print, 58 x 90 cm

Still life, 2018, Instalação Installation, Impressão jacto de tinta Inkjet print, 7 60x40 cms,

Imagens da exposição View from the exhibition Tomorrow is another day (Carlos

Carvalho Arte Contemporânea, Lisboa Lisbon, 2018

©João Grama

Imagens da exposição View from the exhibition Tomorrow is another day

(Carlos Carvalho Arte Contemporânea, Lisboa Lisbon, 2018

©João Grama


©João Grama



©João Grama


©João Grama


©João Grama


©João Grama


©João Grama


©João Grama


©João Grama


©João Grama


©João Grama



©João Grama


©João Grama

Atlantic

Sem título (da série City-scapes) Untitled from the series city-scapes, 2017, impressão jacto de tinta sobre papel de algodão inkjet print on cotton paper, 70 x 105 cm

Eruption, 2017, Impressão jacto de tinta sobre papel de algodão Inkjet print on cotton paper, 70 x 105 cm

Bedrock, 2017 Intervenção sobre impressão jacto de tinta com ceras e pigmentos Wax intervention and pigments onto inkjet print, 33 x 50 cm cada each

Vulcano, 2017, Impressão jacto de tinta sobre papel de algodão Inkjet print on cotton paper, 4 x 70 x 105 cm

Formation, 2017, Díptico, Instalação fotográfica, Diptych, photographic installation, 90 x 205 cm

Horizon, 2017 Díptico, instalação fotográfica Diptych, photographic installation, 90 x 205 cm

Panorama

Ticket Office (da série from the series Cinema Karl Marx) 2017, Impressão jacto de tinta sobre papel fine art Inkjet print in fine art paper, 60 x 90 cm

Cinema Karl Marx (do projecto from the project Panorama) 2017, Impressão jacto de tinta sobre papel fine art Inkjet print in fine art paper, 100 x 249 cm

Hotel Panorama (da série from the series Panorama) 2017, Impressão jacto de tinta sobre papel Fine Art Inkjet print in fine art paper, 81 x 300 cm

Twins (da série from the series Cinema Karl Marx) 2017, Impressão jacto de tinta sobre papel fine art Inkjet print in fine art paper, 60 x 90 cm

Like a Candle in the Wind, 2017, Intervenção sobre impressão jacto de tinta com ceras e pigmentos Wax intervention and pigments onto photo, 33 x 50 cm





Panoramic in Moving Fragments,

Or Mónica de Miranda’s Twin Visions of

(Un-)Belonging

by Ana Balona de Oliveira

In the recent project Panorama (2017), Mónica

de Miranda returns yet again to looking at

modernist architecture in Angola. In Hotel

Globo (2014-2015), she had already critically

examined the changing urban surface of

Luanda through video, photographic and

performative incursions into the interior

landscapes of the 1950s Hotel Globo. The

modernist hotel is still functioning in Luanda’s

downtown, whose architectural heritage has

been increasingly replaced with gentrified

high-rise luxury buildings. In Miranda’s work,

the Globo became a spatio-temporal and

affective ‘lens’ through which her bodily gaze

looked at the multiple geographies and

histories of the city – colonial, postindependence,

post-Cold War, post-civil war –

in order to think the complexity of its layered

present and to imagine the possibility of

different futures.[1]

In Panorama, the abandoned Hotel Panorama –

located on the island of Luanda (Ilha do Cabo)

from where its guests once had panoramic

views of the city and the Luanda bay, on one

side, and the Atlantic Ocean, on the other –

becomes the main protagonist; or so the title

of the entire installation seems to tell its

viewers. But, in Miranda’s non-linear – and, in

fact, fairly non-narrative – visual story, there are

other architectural ‘characters’ in various

locations in Luanda and beyond. Furthermore,

many such vacant spaces appear occupied by

actual, if always enigmatic, characters; in the

case of Panorama, these are twin sisters. In

Hotel Globo (2014-2015), Once Upon a Time

(2012), An Ocean Between Us (2012) and

Erosion (2013), among other previous works,

the artist herself appeared on screen alongside

male collaborators, whereby she hinted at the

possible narrative existence of a couple as

much as at non-binary notions of identity (as far

as gender, sexuality, race, nation and culture

are concerned) and at a non-masculinist gaze.

In these works, the characters lend themselves

to being perceived as different versions of a

self that could be simultaneously male and

female, European and African. In Archipelago

(2014) and Field Work (2016), the twin sisters

made their first appearance within Miranda’s

oeuvre, as another strategy to address the ‘inbetweenness’

and the ‘doubling’ of self and

other and here and there that is proper to the

hybrid subjectivity of diaspora. Appearing as

children in the latter installations, in Panorama

the twins have grown up.

As we shall see, by drawing upon the name

and history of the Hotel Panorama, the

Panorama to which the installation as a whole

refers poses larger questions, if always deeply

personal and affective, on history, memory,

desire and a condition of (un-)belonging to

manifold spaces and times.[2] It also examines

the notion of the ‘panoramic’ gaze and of its

purportedly all-encompassing visual

knowledge and pleasure. The work disrupts

such a conception of the gaze and the

attendant possibility of fully containing,

retrieving or fixating the ever-changing

processes of personal and collective

becoming, particularly those marked by the

diasporic experience. So, although

contemplative, the gazing subjectivity in

Miranda’s work is far from totalized and

totalizing and, instead, avowedly fragmented

and fragmentary. The gaze – bodily, psychic

and geographically and historically situated – is

split into many gazes. It does attain some sort

of panoramic view, but only by the

juxtaposition of its fragments. Such fragments

do not equate the separated and categorized

parts of a given totality that is divided into

components only to be thoroughly mastered

and seamlessly made whole again as an object

of power/knowledge.[3] They do not equate

mere playful signifiers either, lending

themselves to the endless game of reification

and commodification of histories, spaces and

identities proper to what Frederic Jameson

famously called the postmodern cultural logic

of late capitalism.[4] The fragmented and

fragmentary nature of Miranda’s panoramic

visions – inhabited, affective and spatiotemporally

situated landscapes of architecture

and nature – resist the depoliticized moment

when meanings get lost and a concern for

agency is done away with. Meanings are always

contingent and positional, ever-changing and

relational, but, as far as being and becoming

are concerned, they are also arenas for

struggles of recognition and resistance.[5]

As to history, memory, desire and the condition

of (un-)belonging to manifold spaces and

times, Panorama’s multiple and multiplying

gazes do not redeem a sense of loss of stable

points of origin or rootedness – an origin that

could only mythically be seen to allow for a

unified vision, knowledge and experience of

the world, of the self and of communities.

Rather, such a loss is positively embraced in the

ethico-political activity of (un-)belonging to an

always shifting network of routes across

continents, islands and oceans.[6] Grounded in

her own autobiographical experience of being

from both Europe and Africa, Portugal and

Angola (with the United Kingdom and Brazil

also partaking of her affective geography), the

longing that arises from the loss of a stable

sense of belonging does not fall into the

mythic traps of nostalgia.

Full text here

Angolan House, 2017, Intervenção sobre impressão jacto de tinta com ceras e pigmentos Wax intervention and pigments onto photo, 33 x 50 cm




Field Works


Museu Berardo, 2017

When words escape, flowers speak, (da série from the series Twins), 2017, Impressão jacto de tinta sobre papel Fine Art Inkjet print in Fine Art paper, 170 x 234 cm

Known Album, 2016, Impressão jacto de tinta sobre papel de algodão, instalação fotográfica, medidas variáveis Inkjet print in Cotton paper, photographic installation, variable dimensions

Botanic gardens (da série from the series Arquipélagos), 2014, Inkjet print, instalação fotográfica photographic installation, 230 x 340 cm

Twins, 2016, impressão a jato de tinta sobre papel de algodão inkjet print on cotton paper, 75 x 400 cm

Temos reconhecido uma miríade de metáforas ligadas a

viagens – por entre imagens de navios, a paisagem

costeira, o mar, a natureza e edifícios não-identificados –

no trabalho fotográfico e fílmico de Mónica de Miranda.

Estes locais evanescentes são, por vezes, habitados por

dois personagens – um homem e uma mulher – que nos

surgem ocupados numa demanda por algo, num lugar

outro, fora do domínio contido pela imagem. Um agudo

sentido de impermanência é sugerido pela mudança de

lugares, humores, territórios e paisagens, que interpenetra

as imagens com inscrições profundamente nostálgicas.

Disso é exemplo a série intitulada Once Upon a Time

(2013), conceptualmente concebida como um diário de

viagem, uma esteira de retalhos de memórias, anseios,

casas projetadas e comunidades imaginadas, num fluxo

que conduz à catarse pessoal.

Se tomarmos o trabalho de Edouard Glissant, Poetics of

Relation, publicado em 1990, como ponto de partida para

uma análise de pertença e de território, colocamo-nos

diante de uma desconstrução do eu, onde a viagem e a

errância entram em cena.

Mais vincadamente, Glissant convida-nos a pensar

identidade como um rizoma que já não pode ser definido

como um sistema de raízes fixas, legados ou lugares, mas

antes como um produto das suas próprias correlações.

Deste modo, o autor considera os mitos antigos, textos

religiosos e outras articulações fundamentais da cultura

ocidental como narrativas de indivíduos desenraizados.

Da Odisseia de Homero a um conjunto de passagens

bíblicas, comunidades deslocadas e registos de viajantes,

as histórias da diáspora são tecidas na consciência

humana como um padrão uniforme e resiliente. Mas

deixemo-nos examinar a noção de diáspora, que se refere

a uma dispersão de pessoas para longe dos lugares que

elas, e seus antepassados, outrora habitaram, à luz do

trabalho de Mónica de Miranda. Gabriela Salgado

Crosswind, 2016, vídeo HD, som sound, 8’’

Crosswind, 2016, vídeo HD, som sound, 8’’

Control tower, 2016, impressão a jato de tinta sobre papel de algodão inkjet print on cotton paper, 150 x 250 cm

Landing, 2016, impressão a jato de tinta sobre papel de algodão inkjet print on cotton paper, 150 x 250 cm

City-scape, 2016, impressão a jato de tinta sobre papel de algodão inkjet print on cotton paper, 75 x 400 cm

Arquipélago


Carlos Carvalho Arte

Contemporânea, Lisboa Lisbon, 2018

Island (da série from the series Arquipélagos), 2014, Impressão jacto de tinta Inkjet print, 80 x 100 cm

Line trap (da série from the series Arquipélago), 2014, cotton treads on inkjet print , 52,5x70 cm

©Paulo Simão

Line trap (da série from the series Arquipélago), 2014, fios de algodão sobre impressão jacto de tinta cotton treads on inkjet print , 52,5x70 cm

©Paulo Simão

Line trap (da série from the series Arquipélago), 2014, fios de algodão sobre impressão jacto de tinta cotton treads on inkjet print , 52,5x70 cm

©Paulo Simão

Botanic gardens (da série from the series Arquipélagos), 2014, Impressão jacto de tinta, instalação fotográfica Inkjet print, photographic installation,230 x 340 cm

©Paulo Simão

Twins (da série from the series Arquipélagos) 2014, Impressão jacto de tinta inkjet print, 100x150 cm cada each (tríptico tryptich)

Paradise (da série from the series Under Construction), 2009, néon, 25 x 105 cm

©Paulo Simão

Vistas da exposição Views from the exhibition Arquipélago, Carlos Carvalho Arte Contemporânea, Lisboa Lisbon

Islands (da série from the series Arquipélago), 2014, impressão jacto de tinta inkjet print, 91,5x600 cm

Islands (da série from the series Arquipélago), 2014, impressão jacto de tinta inkjet print, 91,5 x 800 cm


©Paulo Simão


©Paulo Simão




“Arquipélago” is a project of creation and

artistic research that reflects landscape

representation as a scenary, as an imagined

stage, recreated from the fictional sense that lies

behind the image of an island and the idea of a

botanical garden.

This exhibition shows how landscape opens to

view human participation in transforming the

environment, through this fundamental visual

reference function for the purposes of territorial

deconstruction. This takes place at the time

when the nature of the recreated becomes a

cultural exportation, loaded up with references,

symbols, subjet matters, which will converts

itself into cultural souvenirs.

Vistas da exposição Views from the exhibition Arquipélago,

Carlos Carvalho Arte Contemporânea, Lisboa Lisbon

©Paulo Simão

Hotel Globo

Apresentado em Presented at Museu

Nacional de Arte Contemporânea -

Chiado, 2015

Hotel Globo, 2015, impressão jacto de tinta Inkjet Print, 40 x 60 cm






An Ocean

Between Us

Untitled da série from the series An Ocean between us, 2013, Instalação: 13 caixas de luz Installation: 13 light boxes, dimensões variáveis variable sizes

Untitled da série from the series An Ocean Between us, 2013, impressão digital com tintas de pigmento em papel semi-mate digital print with pigmented inks, 60 x 90 cm cada each



repeatedly suggests in these figurative details

that we do not know who are all these

protagonists. How is the urban advocating a

particular cause or idea of the constant flow of

people, when the settled lens should make

comprehensive the roots of trade and

commodities.

In Back Pack Paradise, Biting Nails, Road Lines

and Where r u from? maps and places, names of

cities and states persist as part of the body, as a

grafted nationhood, correlating global travel

with the rise in graffiti and tattoo subcultures. In

Road Lines, the palms are presented as maps of

places and travel, forced by cheap deals. In

Biting Nails, the video focuses on a single

character of a woman, whose nails are ‘painted’

with flags from different countries, gradually she

bites her nails, violently tearing these boundary

markers from herself. The transitory metaphor of

flight and loss is highlighted in the acerbic text “I

am not really there or here” on one of four

screen-printed Black Flags series (2010). In the

2009 installation Battle of Europe, much the

same notion was implied by presenting 11 EU

Blue boxing punchbags, hung in a tight circle

that contained the viewer more within its

broader circle of influence rather than allowing

the Schengen experience of borderlessness.

Staging and conceptualising the crisis for

postcolonial internationalism and multiculturality,

de Miranda explores its implausibility, the

detente history that affects the ex-colonies and

colonial subjectivities in a globalised world that

has recanted its debts and is currently whirling to

new economic instructions. Her work Changing

Hats suggests such a lack of balance and the

buffoon as the new subjectivity is explored in

Remain to stay…. Forever.

de Miranda’s graphic yet uncompromised visual

responses to the European Union competes with

the collective nightmares from historic and

geographical colonial haunting. Side by side

they twitch as an ugly unconscious mechanism of

denial that repudiates the interdependent

relationships of cultures and people. Her recent

photographic works including Hotel Globo and

Sleep Over provide the overlapping argument of

the singular community fast withdrawing to

become a place of values where European

essentialism thrives; most importantly where decolonisation

so necessary to move beyond visual

and portrayed geographies of race and places, is

indissolubly bound in corridors and pylons that

maintain the illusions of progression and control

at all costs. As the writer Ralph Ellison states ‘the

true artist destroys the accepted world by way of

revealing the unseen’2

1 The term is often used to refer to the Eastern

hemisphere specifically to Europe.

2 Ralph Ellison, ‘Introduction’. Romare Beardon:

Paintings and Projections, exh. Cat. Albany : The

Art Gallery, State University of New York, 1968

http://www.monicademiranda.org/texts/

Visual geography and recording Europe

by Shaheen Merali

The use of visual geography within the visual arts

has a long and discerning history. Initiated and

operating in the tradition of European

exploration and research, visual geography

represented the results of habitually

institutionalised fieldwork by the use of

paintings, photographs, drawing, prints,

sculpture and other forms of the visual arts. The

symbolic value of representation through the

visual arts provided a system of cross-reference

often of previously unrecorded subjects and

subjectivities that had remained localised and

widely unknown in the old world1. Prior to the

expeditions from predominantly the western

world, the circulation of this specialised form of

the visual arts through print and publication

allowed a mapping of the world according to

their research and studies; a form of mnemonic

system of patterns and images that

accompanied ideas or associations which would

assist in articulating a new world outside of the

European project and subject.

The circulation of visual geography within the

artworld and its institutions including museums,

auction houses and collections as well as its

presence in educational establishments and

societies provided, and continues to stipulate

within the contemporary, the accented history of

development versus underdevelopment. This

binary polarisation justified action around

difference and its suppositions with a dualism

that accommodated the ruthless power

struggles resulting from colonial imposition and

continuing within cultural and intellectual

postcolonial struggles.

The early work by the artist and researcher,

Monica de Miranda, between the years 2007-9, is

based on the evaluation of her personal

understanding of geographical accounts, within

an urban archaeology that becomes

despondently centralised in her later

videoworks; An Ocean between us, Erosion and

Once upon a time (2010-15) and the

photographic works Archipelego, Line trap and

Airport. The seminal work Black House (2009),

part of the Black Flags series, acts as a middle

passage to her practice. Black House is a barren,

permeable structure of a small hut or shed like

construction, sparsely erected from black fabric

over a metal and wire frame. Barrenly lit, the

sculpture is an overwhelmingly eerie experience

of an indoor space suggesting a transitory

dwelling rather than one that proposes any

robust sense of belonging.

Black House, like many of her early projects,

often engaged in rethinking urban life, and

reimagining and reanimating the infrastructure in

their experimental use of materials and formats

which included screenprinting onto coloured

fabrics, sporting objects covered in sequins and

the use of text to drive the context of her

insights. Since 2009, de Miranda’s oeuvre has

gradually traded the explorations in sculptural

forms for a confidence in lens-based

articulations, of multiple projections, duratran

lightbox and panoramic prints. This shift in the

later works allowed de Miranda to open her gaze

to geographies on the move; people, places and

architecture in a restless poetry that retains

factors including a feeling of greater voyeurism

and surveillance, providing ample meaning

beyond the preceding works’ polemic and

redemptive states.

The recent work is effective in its suggestive

abilities of urban malfeasance, often emotive

and remotely sited narratives unsettled between

a polyphony of systems and supporting

networks of departure, transition and arrival. The

photographic and videoworks explore the

cruelty of fate, the remainders for the

constrained within the messianic power of cities

and states. Similar to the visual propositions of

the Canadian artist Stan Douglas and the

Algerian born, British based photographer Zineb

Sedira; de Miranda examines the physical

manifestations and the interweaving threads of

culture, power, politics and histories. Her

subjects, when present, remain weary for each

thing that has changed, often looking outward

from the safety of venetian blinds in a state of

examination, half occluding their identities with

hands and hats.

References to the colonial past remain

fashioned; the subjects as characters wear white

clothes, a necessary accoutrement in the humid

tropicality of the coasts of the Atlantic Ocean

and the Mediterranean Sea. In the Erosion series

(2012), de Miranda returns to visual geography

in a contemporary fusion of two images, the high

rise and the seashore, as the emblematic

collision of progress and nature. The eroding

hulk of a beached cargo ship no longer remains

useful, its reason or presence discarded, through

which de Miranda accentuates the malaise and

deathliness for the places and lives it had

destroyed for its treasonous cargo.

de Miranda, continually offers figurative details in

her works, suggestive elements, often eroded

from multiple usage and the climate they

traverse, to suggest as she does so cryptically,

“Come here to the place you have never left” as

a central text in her installation Once upon a

time. de Miranda suggests a dueling tryst that it

is probable in that we never really leave a place

in the same way that places never leave us. She

Erosion

Untitled da série from the series Erosion, 2013, Impressão jacto de tinta Inkjet print, 26 x 40 cm


Untitled da série from the series Erosion, 2013, Impressão jacto de tinta Inkjet print, 26 x 40 cm cada each


Untitled da série from the series Erosion, 2013, Instalação fotográfica photographic installation digital print with pigmented inks, 80 x 372 cm

Untitled da série from the series Erosion, 2013, impressão digital com tintas de pigmento em papel semi-mate digital print with pigmented inks, 80 x 270 cm

Untitled da série from the series Erosion, 2013, video

Untitled da série from the series Erosion, 2013, video

Once Upon

a Time

Untitled da série from the series Once Upon a Time, 2011, impressão digital com tintas de pigmento em papel semi-mate digital print with pigmented inks, 60 x 90 cm cada each




Untitled da série from the series Once upon a time, 2011, impressão digital com tintas de pigmento em papel semi-mate digital print with pigmented inks, 60 x 90 cm cada each

Once Upon a Time, 2012, tríptico tryptich, video, HD, som sound, 3 ecrans de projecção, 3 projection screens

Biting

Nations

Biting nations 2007 4 videos em HD, som sound, 4’’(detalhe detail)

Biting nations 2007 4 videos em HD, som sound, 4’’

Mónica De Miranda é artista e investigadora.

Nascida em 1976 no Porto (Portugal) tem

ascendência Angolana. O seu trabalho é centrado

em questões como arqueologia urbana e geografias

pessoais apresentando-o de modo interdisciplinar

através de desenho, instalação, fotografia, vídeo e

som. A artista explora a forma expandida e as

fronteiras entre a ficção e o documentário.

Foi nomeada para o Prémio NOVOBanco tendo

mostrado o seu trabalho no Museu Berardo (Lisbon,

2016). Mónica foi também nomeada para o Prémio

Piclet Photo Award (2016).

As sua exposições individuais incluem: Prémio EDP

Novos artistas (MAAT, Lisboa, 2019), Geografia

Dormente (Galeria Municipal de Arte, Almada,

Portugal, 2019); Tomorrow is another day (Carlos

Carvalho Arte Contemporânea, Lisboa, 2018);

Panorama (Banco Economico, Luanda, 2018);

Atlantic; A Journey to the center of the Earth (Galería

Sabrina Amrani, Madrid, Spain, 2017); Panorama

(Tyburn Gallery. London, UK, 2017); Arrivals and

departures (Palácio D. Manuel, Évora, 2016); Hotel

Globo (Museu Nacional de Arte Contemporânea do

Chiado, Lisboa, 2015); Arquipélago (Carlos Carvalho

Arte Contemporânea, Lisboa, 2014); Erosion

(Appleton Square, Lisboa, 2013); An Ocean Between

Us (Plataforma Revólver, Lisbon, 2012); Novas

Geografias (198 Gallery, London / Plataforma

Revólver, Lisboa / Imagem HF, Amesterdão, 2008).

As sua exposições individuais incluem: Fiction and

Fabrication. Photography of Architecture after the

Digital Turn (MAAT, Lisboa,2019); Doublethink:

Doublevision (Pera Museum, Istanbul, Turquia, 2017);

de Xira (Vila Franca de Xira, Portugal,2017);

Contemporary African Art and Aesthetics of

Translations (Dakar biennial, Dakar, 2016); Biennal

Internationale de l’Art Contemporain de Casablanca

(Casablanca, Marrocos, 2016), Addis Foto Fest (Addis

Abeba, 2016), Telling Time (Rencontres de Bamako

Biennale Africaine de la Photographie 10 éme

edition, Bamako, 2015); Ilha de São Jorge (14th

Biennial of Architecture of Venezia, 2014); Line Trap

(Bienal de São Tomé e Principe, 2013); Do silêncio ao

outro Hino (Centro Cultural Português, Mindelo, Praia,

Cape Verde 2012); Once upon a time (Carpe

Diem, Lisboa, 2012); L’Art est un sport de combat

(Musée des Beaux Arts de Calais, França, 2011); This

location (Mojo Gallery, Dubai, 2010); She Devil

(Studio Stefania Miscetti, Roma, 2010); Mundos Locais

(Centro Cultural de Lagos / Algarve, Lagos, 2008); Do

you hear me (Estado do Mundo, Fundação Calouste

Gulbenkian, Lisboa, 2008); United Nations (Singapure

Fringe Festival, Singapura, 2007). Mónica de Miranda

participou em diversas residências como:

Archipelago (French Institute, Mauritius, 2014), Verbal

Eyes (Tate Britain, Londres, 2009); Muyehlekete

(Museu Nacional de Arte, Maputo, 2008), Living

Together (British Council/ Iniva, Georgia/Londres,

2008). Expôs também nas feiras Paris Photo (Paris,

2013-18), ARCO Madrid (Madrid, 2013- 2017), ARCO

Lisboa (Lisbon, 2016-2018), 1.54 (Londres e Nova

Iorque, 2016 - 2018), ArtBo (Bogota, 2017), Artissima

(Milan, 2017). O seu trabalho é representado em

colecções privadas e públicas como Fundação

Calouste Gulbenkian. MNAC, MAAT, Arquivo

Fotográfico de Lisboa, Centro Cultural de Lagos.

www.monicademiranda.org.

Mónica De Miranda is an artist and researcher.

Born in 1976 in Porto (Portugal) she has an Angolan

background. Her work is based on themes of urban

archaeology and personal geographies

and works in an interdisciplinary way with drawing,

installation, photography, film, video and sound. She

explores the expanded forms and the frontiers

between fiction and documentary. She was

nominated for Novo banco Photo prize and exhibited

at Museu Berardo (Lisbon, 2016). Mónica was also

nominated for Prix Piclet Photo Award (2016).

Her exhibitions include: Prémio EDP Novos artistas

(MAAT, Lisbon, 2019), Geografia Dormente (Galeria

Municipal de Arte, Almada, Portugal, 2019);

Tomorrow is another day (Carlos Carvalho Gallery,

Lisbon, 2018); Panorama (Banco Economico, Luanda,

2018); Atlantic; A Journey to the center of the Earth

(Galería Sabrina Amrani, Madrid, Spain, 2017);

Panorama (Tyburn Gallery. London, UK, 2017); Arrivals

and departures (Palácio D. Manuel, Évora, 2016);

Hotel Globo (Museu Nacional de Arte

Contemporânea do Chiado, Lisbon, 2015);

Arquipélago (Galeria Carlos Carvalho, Lisbon, 2014);

Erosion (Appleton Square, Lisbon, 2013); An Ocean

Between Us (Plataforma Revólver, Lisbon, 2012);

Novas Geografias (198 Gallery, London / Plataforma

Revólver, Lisbon / Imagem HF, Amsterdam, 2008).

Her collective exhibitions include: Fiction and

Fabrication. Photography of Architecture after the

Digital Turn (MAAT, Lisbon,2019); Doublethink:

Doublevision (Pera Museum, Istanbul, Turkey, 2017);

Daqui Pra Frente (CAIXA Cultural. Rio de Janeiro,

Brazil 2016); Le jour qui vient (Galerie des Galeries.

Paris, France, 2017); Bienal de Fotografia Vila Franca

de Xira (Vila Franca de Xira, Portugal,2017);

Contemporary African Art and Aesthetics of

Translations (Dakar biennial, Dakar, 2016); Biennal

Internationale de l’Art Contemporain de Casablanca

(Casabalanca, Morocco, 2016), Addis Foto Fest (Addis

Abeba, 2016), Telling Time (Rencontres de Bamako

Biennale Africaine de la Photographie 10 éme

edition, Bamako, 2015); Ilha de São Jorge (14th

Biennial of Architecture of Venezia, 2014); Line Trap

(Bienal de São Tomé e Principe, 2013); Do silêncio ao

outro Hino (Centro Cultural Português, Mindelo, Praia,

Cape Verde 2012); Once upon a time (Carpe

Diem, Lisbon, 2012); L’Art est un sport de combat

(Musée des Beaux Arts de Calais, France, 2011); This

location (Mojo Gallery, Dubai, 2010); She Devil

(Studio Stefania Miscetti, Rome, 2010); Mundos

Locais (Centro Cultural de Lagos / Algarve, Lagos,

2008); Do you hear me (Estado do Mundo,

Fundação Calouste Gulbenkian, Lisbon, 2008);

United Nations (Singapure Fringe Festival, Singapure,

2007). Mónica de Miranda has participated in various

residencies such as: Archipelago (French Institute,

Mauritius, 2014), Verbal Eyes (Tate Britain, London,

2009); Muyehlekete (Museu Nacional de Arte,

Maputo, 2008), Living Together (British Council/ Iniva,

Georgia/London, 2008). She also exhibited at Photo

Paris (Paris, 2013-18), Arco (Madrid, 2013- 2017), Arco

Lisbon (Lisbon, 2016-2018), 1.54 (London and New

York, 2016 2018), ArtBo (Bogota, 2017), Artissima

(Milan, 2017). Her work is represented in private and

public collections, such as MNAC, MAAT, Fundação

Calouste Gulbenkian. Arquivo Fotográfico de Lisboa,

Centro Cultural de Lagos.

Back Pack Paradise, 2021

Impressão jacto de tinta e bordado Inkjet print and embroidery

60 x 40 cm

Back Pack Paradise, 2021

Impressão jacto de tinta e bordado Inkjet print and embroidery

60 x 40 cm

Backpack paradise 2007, tríptico tryptich, impressão jacto de tinta inkjet print, dimensões variáveis variable sizes

Carlos Carvalho Arte Contemporânea

Rua Joly Braga Santos, lote f r/c

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www.carloscarvalho-ac.com

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