Project a Black Planet explores the influence of Pan-Africanism on artistic and cultural production from the 1920s to today, featuring over 300 works including paintings, installations, posters, journals, and films. Pan- Africanism encompasses movements advocating anti-colonial resistance and solidarity among people of African descent. The exhibition highlights the critical role of artists in shaping Pan-African visions, with work from across Africa, Brazil, the Caribbean, North America, and Western Europe. Monica de Miranda is among the artists contributing to this exploration of Panafrica as a conceptual space where rupture, dissent, and collective imagination converge in pursuit of emancipatory futures.
©️ still from The Path to the Stars (2022) by Mónica de Miranda
Aligned with the theme of this year’s Triennial of Photography Hamburg, Mónica de Miranda’s works explore the intersections of identity, memory, and relational landscapes. Through her photographic practice, she examines how personal and collective histories shape the ways we encounter others, creating visual narratives that highlight connection, empathy, and the infinite interplay between the self and land. Her images lie within the Triennale’s reflection on human bonds, emphasizing care, dialogue, and the ethical responsibility of witnessing the other.
©️ Above the Line (2024) from As if the World had no West series by Mónica de Miranda
Mónica de Miranda will be one of this year’s artists in residence at the Sertão Negro Studio and School of Arts. Within this context of collective creation and exchange, her participation will further develop her research on ecologies of belonging, memory, and territory, engaging with the landscape of the sertão and local communities. The residency offers a space for experimentation and dialogue, where her practice intersects with situated knowledge and collaborative processes.
©️ Courtesy of Sertão Negro Studio and School of Arts
For the group show The Tirailleur Trials and Tribulations, at HKW, Mónica de Miranda presents The Spell Stone is a multi-screen video installation that reimagines Angolan liberation through layered, research-driven storytelling, intertwining memory, resistance, and the recovery of voices long silenced by official histories. Featuring documentary testimonies from freedom fighters who participated in Angola’s armed struggle for independence and the subsequent civil war, the work unfolds within a sculptural structure inspired by the Black Star — a symbol of African freedom and unity — transforming the space into both a memorial and a site of dialogue. The installation expands the exhibition’s decolonial narrative, tracing a continuum of anti-colonial resistance across geographies and generations.
©️ still from The Spell Stone (2026) by Mónica de Miranda
The exhibition reflects on landscape as a territory in constant transformation, bringing together different generations, artistic languages and contemporary themes. Rooted in specific geographies yet resonating across cultures, it suggests that landscape is shaped by memory, history and perception as much as by physical space. Mónica de Miranda participates in this group show, fostering an open dialogue between art, culture and territory. Inspired by a poem by Manuel Gusmão, the title evokes the idea that landscape — like art — is never fixed, but continually transformed by place, time and the gaze of the viewer.
©️ Untitled (City-Scape series) by Mónica de Miranda (2017)
Developed in collaboration with the African Women Ambassadors Network in Stockholm, the exhibition brings together African and African Diaspora women artists, exploring connection, memory, and lived experience as forces that shape our social worlds. Lifelines brings into dialogue artistic practices treating lived experience as generative force. Memory takes material form through research and affect, while intimate, political, and collective acts generate meaning. Across shifting geographies and diasporic positions, the exhibition considers how storytelling, embodiment, and material processes become ways of holding memory, relation, and future in the same gesture.
©️ Like Tears in the Rain by Mónica de Miranda (2023)
As part of the sixth edition of the Kochi-Muziris Biennale, Mónica de Miranda presents her site-specific project Earthworks. Curated by Nikhil Chopra with HH Art Spaces, the Biennale emphasizes process as methodology and the collaborative networks that sustain artist-led initiatives. Created with local communities, Earthworks functions as a “social sculpture,” inviting public participation through workshops and creative engagement. The project intertwines ecology, history, memory, body, and space, demonstrating art’s capacity for reflection, social transformation, and cultural change.
©️ Earthworks (2025) by Mónica de Miranda
Aligned with the theme of Coexistence of the Biennale, the project Earthworks revives Indigenous practices of connecting with the land through a unique installation. Inspired by Vandana Shiva, it explores soil as a historical agent, emphasizing its decolonizing and regenerative role.
©️ Photo by Anna Jarosz from the Walking Archives performance (2024)
For the group show Living Place: The Burle Marx Legacy Mónica de Miranda presents a community mural as part of her ongoing project Invisible Gardens. This exhibition takes as its starting point twenty-two landscape projects for public areas developed over seven decades by Roberto Burle Marx (1909–1994) and his collaborators.
©️ Untitled from Invisible Gardens series by Mónica de Miranda (2024)
Project a Black Planet explores the influence of Pan-Africanism on artistic and cultural production from the 1920s to today, featuring over 300 works including paintings, installations, posters, journals, and films. Pan-Africanism encompasses movements advocating anti-colonial resistance and solidarity among people of African descent. The exhibition highlights the critical role of artists in shaping Pan-African visions, with work from across Africa, Brazil, the Caribbean, North America, and Western Europe. Monica de Miranda is among the artists contributing to this exploration of Panafrica as a conceptual space where rupture, dissent, and collective imagination converge in pursuit of emancipatory futures.
©️ still from The Path to the Stars (2022) by Mónica de Miranda