Curated by Cindy Sissokho and Marie-Ann Yemsi, the exhibition takes inspiration from Édouard Glissant’s imagined museum and his personal collection, bringing historical and contemporary artistic practices into dialogue with his ideas on landscape, displacement, memory and belonging. Moving beyond the physical boundaries of the museum and featuring Miranda’s Earthworks – Invisible Gardens Mural, the exhibition explores landscape as a living relation and a space for environmental justice, collective memory and material transformation.
©️ Detail from Earthworks – Invisible Gardens (2025) by Mónica de Miranda
Its inaugural edition, Exercises in Empathy, unfolds across Rio de Janeiro, Santiago, Bogotá, Boston, Milan, Lisbon and Luanda, exploring empathy, human relationships and our shared responsibility through art, featuring Mónica’s installation Earthworks. The Catholic Universities Art Triennial, curated by Nuno Crespo, will take place across eight cities, seven countries and three continents in 2026–2027, bringing together seven Catholic universities, 104 artists and 14 curators, including Monica de Miranda, in an international platform for artistic creation, research and dialogue.
©️ Installation view of Earthworks (2025), image courtesy of Jim Winslet
Organized by kilowArt platform and Dr Klitsa Antoniou, Carbon Tierra Biennale II: Breath in the Ashes explores the lasting impact of extractive industries on landscapes, bodies and communities. Focusing on breath as a space of exposure, memory and inequality, the Biennale brings together reflections on altered environments, industrial residues and the forms of life that persist within conditions of damage and instability. Through contemporary art, including Monica’s All That Burns Melts into Air, the project invites us to consider how histories of extraction continue to circulate through the air, the land and everyday life.
©️ Still from All That Burns Melts into Air (2020) by Mónica de Miranda
Curated by Keyna Eleison, the exhibition explores Portuguese as a language in constant movement, shaped by centuries of displacement, encounters and reinventions across Africa, the Americas and Asia, featuring Miranda’s work School of Revolution. Acknowledging the violence of colonial history, it highlights language as a space of invention, memory and survival, carrying the marks and transformations of the communities that have shaped it.
©️Installation view of The School of Revolution (2024) by Mónica de Miranda
Miranda’s solo exhibition The Sun Does Not Rise in the North, curated by Pedro Medina, takes its title from the eponymous work, which serves as the exhibition’s central axis, offering a poetic reflection on migration and borders while proposing alternative imaginaries for the social construction of the future. Although the main staging revolves around this work, the exhibition seeks to establish a sense of continuity between the building’s different spaces through works that address questions belonging to a closely related constellation.
©️ Still from The Sun Does Not Rise in the North (2023) by Mónica de Miranda
Curated by Sérgio Fazenda Rodrigues, Linha de Costa explores the idea of physical and cultural boundaries, reflecting on Portugal’s historical relationship with the sea and the legacy of the colonial period. Bringing past and present into dialogue, including Mónica’s film Beauty, the exhibition addresses themes of displacement, expansion, acculturation, independence and identity, offering a reflection on the country’s historical and cultural complexity while celebrating openness, inclusion and the permeability of borders.
©️ Still from Beauty (2018) by Mónica de Miranda
Curated by Adelina Luft and Krisztian Török, Cultivators of Life brings together artists, researchers, gardeners and practitioners from Europe, the Caribbean, Southeast Asia and Latin America to explore the connections between biodiversity, ecological knowledge, land cultivation and artistic practice. Through new commissions, including Mónica’s Earthworks – Invisible Gardens Mural, collaborative projects and research, the exhibition creates a dialogue between ancestral and indigenous knowledge, environmental sciences and contemporary art, proposing new perspectives on care, reciprocity and coexistence in a time of ecological transformation.
©️ Exhibition view of Earthworks – Invisible Gardens (2025) by Mónica de Miranda
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