Deprecated shortcode. Use A celebration of the Art Institute of Chicago on cultural Pan-Africanism related to the exhibition Black Planet: The Art and Culture of PANAFRICA. Curated by Antawan I. Byrd and it’s open until 30 / 03 / 2025. ©️ Still from As if the World had no West film (2024) As if the World had no West is taking part in Sharjah Biennial 16 an exhibition that explores our precarity in unfamiliar spaces while remaining attuned to them through our cultural ties. It bridges embodied pasts and imagined futures, weaving intergenerational stories and diverse inheritances. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala and Zeynep Öz. ©️ Afterlife from As if the World had no West series (2024) Running from 6 February to 15 June 2025, SB16 will activate venues in Sharjah City, Al Hamriyah, Al Dhaid, Kalba and other locations in the Emirate of Sharjah, and bring together a diverse and broad range of perspectives. Curated by Alia Swastika, Amal Khalaf, Megan Tamati-Quennell, Natasha Ginwala and Zeynep Öz. ©️ Still from As If The World Had No West (2024) by Mónica de Miranda The film Path to the Starstakes part in thegroup show Paysages Mouvants which explores the metamorphosis of contemporary images, conceived as a collective narrative that reimagines the representation of natural environments. Curated by Jeanne Mercier in collaboration ©️ Installation view from Path to the Stars video installation (2022) “The Last Place They Thought Of” This exhibition project brings together the work of the following artists: Lungiswa Gqunta, Soñ Gweha, Gaelle Choisne, Godelive Kasangati, Lou Cocody-Valentino, Michele Magema, Monica de Miranda, Zohra Opoku, MIMI Green and Melissandre Varin. Entitled The Last Place They Thought of, this exhibition featuring installation, video, photography and drawing, aims to reflect on the possibility of a black conceptualization of geography, in opposition to what intellectual and essayist Kathrin McKittrick calls traditional geography. Drawing on the thinking and creations of these artists, the project seeks to explore and think about notions of territory and space from a black and female perspective. Thus, each of these artists, in their work, draw lines of territory from their position as black women, offering stories rarely told, making the opacity of the margin the starting point for a reconsideration of the concept of geography, also through the idea that everything is in relation. Then, by thinking of the territory in terms of Relation, concepts such as the body, nature, landscape and fugitivity can be explored, and the very thing we call geography disturbed. Indeed, it would be transformed by the total integration of what black lives, and more specifically, the lives of black women, have to contribute to the reading and production of space and place. ©️ Still from As if the World Had No West (2024) by Mónica de Miranda The pressing nature of the debate on climate change aligns with the role of art in historical and social dynamics. This year’s project for Paris Photo celebrates the capacity of artists to be agents of cultural metamorphosis, shaping perceptions, provoking resistance, and instigating reform. In Tiago Casanova’s works, documentary elements intertwine with metaphorical narratives to delve into the historical, symbolic, and ecological dimensions of São Tomé and Príncipe. Jessica Backhaus creates scenarios of everyday life, employing distinct perspectives and materials to blend reality with abstraction. Mónica de Miranda’s new series challenges conventional paradigms, emphasizing the interaction between bodies and ecosystems. Roland Fischer’s works fuse geometric shapes with architectural complexities, offering viewers visual encounters that transcend conventional photography. “We are Melting” by Marguerite Bornhauser addresses the urgency of climate change debate through abstract imagery. With Jessica Backhaus, Marguerite Bornhauser, Tiago Casanova, Roland Fischer, Mónica de Miranda. ©️ Still from Greenhouse (2004) by Mónica de Miranda “Colonial Memory, Wounded Civilization” In his essay Discourse on Colonialism, Afro-descendant poet and politician Aimé Césaire pointed out that a civilisation that chooses to close its eyes to its most crucial problems is a wounded civilisation. For him, in two centuries of bourgeois rule, Europe had been incapable of resolving the two major questions that had given rise to its existence: the question of the proletariat and the colonial question. More than seventy years have passed since the publication of that essay and Europe has still not resolved either of these issues. Sunday, 29 September 10.00-11.35 Colonial Memory and the 60th Venice Biennale The proposal in Block 3 is to present the artistic and curatorial experience of three of the national pavilions participating in the current 60th edition of the Venice Biennale; an event which has brought together an extraordinary variety of artistic practices – most of them operating from non-Eurocentric conceptual frameworks, imaginaries and worldviews – under the title Foreigners Everywhere. Two artists and a curator have been invited to talk about the work they have shared with the public in Venice. Marked by different diasporic processes, all three of them inhabit a multiple, multi-localised identity. Introduction: Andrea Pacheco González. Panellists: – Cindy Sissokho, curator of the Wellcome Collection, London. ©️ Still from Greenhouse (2024) by Mónica de Miranda The film Path to the Stars is part of the group show Tide Line which starts from the Revolution of 25 April 1974 to reach the present day, ©️ Still from Path to the Stars film (2022) The Center of Modern Art Gulbenkian open its doors again to the public and with it the exhibition Tide Line (Linha de Maré) where my work Path to the Stars will be showcased. ‘Tide Line’ starts from the Revolution of 25 April 1974 to reach the present day, reflecting on the ongoing revolutions, most importantly those related to the state of the planet. Organised around large installations, the exhibition corresponds, in a fluid way, to a group of ideas that framed the choice of works: transgression (in relation to the Portuguese dictatorship), manifesto (the first Portuguese artistic ecological manifesto), interiority (of the experience proposed by the artwork), mutation (technological, post-human) and evocation (of a real connection with the living world). Of the approximately 80 works on display, many are recent acquisitions never before shown at CAM, including Monica de Miranda’s Path to the Stars, incorporated to the museum’s collection on 2022. Film Path to the Stars follows the journey, from dawn to dusk, of an Angolan freedom fighter las she travels by boat past the banks of the Kwanza River, the largest exclusively Angolan river, which flows into the Atlantic south of Luanda. Along the banks of the river, the woman has several encounters with herself, as she becomes a woman of water, a woman of land, and finally, a woman of language. The bodies flow into each other through the water; metabolically, through the involvement with all living and inanimate elements of the water cycle; metaphorically, through the embodiment of states of mind and memories; or even symbolically, through the cultural construction which weaves the narrative along the banks of the Kwanza River. A metaphor of a female place that threads through various times and spaces, a serene-faced woman intently observes the nature that surrounds her, while her body slowly merges with the watery currents of the river. ©️ Still from Path to the Stars (2022) by Mónica de Miranda
with screenwriter Loo Hui Phang.
– Mónica de Miranda, Portuguese-Angolan artist: “Curating the Living Archives”.
– Sandra Gamarra, Spanish-Peruvian artist: “Memoria Migrante”.
reflecting on the ongoing revolutions, most importantly those related to the state of the planet.