Deprecated shortcode. Use 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 Mónica de Miranda participates in the exhibition with her series Casa Portuguesa. Conceived and curated by historian Isabel Castro Henriques, the group show explores the mechanisms and legacies of Portuguese colonialism in Africa during the 19th and 20th centuries. It aims to dismantle the myths created by colonial ideology, decolonize Portuguese imaginaries, and provide an accessible, educational framework for rethinking the history and impact of Portugal’s colonial past. ©️ Casa Portuguesa (2016) by Mónica de Miranda Somerset House Foundation – 1-54 Fair ©️ Photo by Kevin Meredith In September, The Monastery of Leça do Balio inaugurates the exhibition People in Motion. Curated by Roberto Cremascoli, the exhibition is a contemporary reflection on migration, belonging and empathy, exploring what moves us as people and communities. During the artistic itinerary, Mónica presents Greenhouse, a Creole garden that combines sculpture, stage, installation and meeting space. ©️Still from Transplanting by Mónica de Miranda (2024)
Commissioned by the Somerset Foundation for the 1-54 Fair in London, Earthworks is a site-specific installation reflecting on the concept of Terrestrial Communities. A public space that invites audiences to reconsider the role of botanical spaces in shaping our environmental futures.