Deprecated shortcode. Use O Silêncio da Terra problematizes the photographic archive of the Diamond Company of Angola, constituted with the explicit objective of documenting the civilizational mission undertaken in Lunda, between 1917 and 1974. The ambiguity of the exhibition’s title – O Silêncio da Terra – is combined with the ambiguity of the image of colonial photography.This Exhibition – which unfolds in twospaces, Galeria do Paço and Museu Nogueira da Silva – invites the viewer to broaden one’s gaze and to live dialectically with the diéerent sides of what one sees and what is given to see. These images of colonial photography are confronted by counter-narratives oéered by post-colonial art, exposing the contradictions of the instituted narratives. Thus, creating tensions and loopholes that resonate with visual artefacts. Creating a dynamic where in the eyes of the present, returns an unênished past full of incomplete relationships and The exhibition at Galeria do Paço is conceived in dialogical and critical terms between the selection of the photographic archive, which are intercepted by a set of art works delving into issues related to memories, colonial and post-colonial narratives and discourses surrounding late Portuguese and European colonialism. Through the proposal of an intercepted reading between photographs in their archival and colonial dimension and contemporary art, the exhibition highlights it’s inspiration of the concept of ‘third space’ (Bhabha, 1994) conducive to the (re) negotiation of meanings creating multiple perspectives and temporalities. Featured artists: Adopting the Deleuzian idea of the fold as a desire of change (1993), The Fold(s) is a curatorial project composed of four books operating as four individual exhibitions by Carolina Grilo Santos, Joana Patrão, Mónica de Miranda, and Rouzbeh Akhbari. Under the artistic direction of Luísa Santos, The Fold(s) was developed in the context of the Seminar in Curatorship by the MA and PhD students in Culture Studies of The Lisbon Consortium, Faculty of Human Sciences, Universidade Católica Portuguesa. SABRINA AMRANI GALLERY A partly fictionalised, partly documentary portrait, this exhibition-installation-film displays 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. 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. The exhibition proposes a territorial, urban and architectural reading, calling for a series of plans, projects and works considered relevant and qualified, of which there are significant records. This reading takes place through a series of documentary, technical and artistic material that allows a structured and open understanding of the proposed ecologies, integrating a cartographic interpretation of the municipality, extensive archival material from public and private institutions, works of art that open reëections about this territory and artistic and investigative projects The MNAC presents a selection of the most recent works from the MNAC collection, whose entry is due to acquisitions and donations made in the last decade. Curatorship: Adelaide Ginga, Emília Tavares. Umeå University, Sweden. Ground Control explores connections between plants, politics and history. It brings together works by contemporary artists who are interested in the political dimensions of botany: plants as a commodity, the circulation of plants around the world, and their classification. Contributing artists: Maria Thereza Alves, Gerd Aurell, Hanan Benammar, Céline Condorelli, Suzanne Husky, and Mónica de Miranda.This exhibition is produced and curated by Bildmuseet in collaboration with Marseille-based curator Clelia Coussonnet. Representing a cultural mapping process, this is an exhibition that allows to understand an artistic scene based on a system of connections between artists, subjective interactions from the emotional field and established friendships, as well as connections resulting from the referential field of work. The Transperiphery Movement seeks to counter the center-dominated, hierarchical view of history by re-telling the histories of resistance strategies and emancipative possibilities of interperipherality. Visitors may embark on this transperipheral travel at the exhibition, which seeks to explore the shared, transnational history of Eastern Participating artists : Collective Exposition in collaboration with and curated by Tobi Maier com Cecilia Vicuña, José de Almada Negreiros, Mónica de Miranda, Namsa Leuba, Nenad Bogdanović, Paula Rego, Sonia Delaunay among others. The exhibition Entretecido | Interlace presents and analyses the material properties of textiles in an attempt to create a leap beyond the immateria of l life online, whilst demonstrating some of the connections that exist between the realms of the digital and reality. Entretecido | Interlace attempts to address the ramiêcations of textile production of fashion, and architecture, as codiêcation or expression of identity politics or regional folklore.
open questions.
Alida Rodrigues, Ângela Ferreira, Catarina Simão, Délio Jasse, Filipa César, Francisco
Vidal, Henrique Neves Lopes, Irineu Destourelles, Kiluanji Kia-Henda, Marilu Námoda,
Mónica de Miranda, Nuno Nunes-Ferreira, René Tavares, Rita Rainho / Ângelo Lopes.
Participants
Luísa Santos, Rouzbeh Akhbari, Joana Patrão, Mónica de Miranda, Carolina Grilo Santos, Ilaria Sponda, Jeanne Pasque, Manon Klein, Agustina O’Farrell, Victoria Page , Alexandra Tavares Agostinho, Ana Carvalho, Anaïs Jung, Brian Jay de Lima Ambulo, Denise Wieslhuber, Gloria Adu-Kankam, Joana Flor Rato, João Carvalha
carried out especially for the exhibition
Curated by
Luís Santiago Baptista
Paula Melâneo
Europe and the Global South.
Clemente Padín; György Galántai; Katrin Winkler ; Manthia Diawara; Mónica de Miranda;
Naeem Mohaiemen; Judit Flóra Schuller