Redefining The Power (with Didi Fernandes)

2011 - Photography (Photography)

150 x 100 cm

Kiluanji Kia Henda


Redefining The Power (with Didi Fernandes) is a metaphor of how reflections on history and society during the Angolan Civil War (1975-2002) are largely ignored within the canon of history. Resulting from Kia Henda’s research on the Fortaleza de São Miguel built by the Portuguese in the 15th century in Luanda, Angola, the Redefining The Power series was created 10 years after the Angolan Civil War as a reflection on the reactivation of memory surrounding historical monuments. Through this work, the artist aims to replace the memorialized colonial heroes and war symbols through re-appropriation, determining traumatized lands as forms of resistance and pride. Kia Henda seeks out empty monument pedestals and invites loved ones and celebrated Angolan personalities to participate in stylized performances— the figure portrayed here, Didi Fernandes, is an Angolan designer and activist. These photographs freeze the moments of creativity as actions of reclaiming once abandoned public spaces. At once true, documentary and fictional, this series brings together the historical context with our contemporary moment.


A self-taught artist, Kiluanji Kia Henda employs a strong sense of humour in his work, which often hones in on themes of identity, politics, and perceptions of post-colonialism and modernism in Africa. Practicing in the fields of photography, video, and performance, Kiluanji Kia Henda has tied his multidisciplinary approach to a sharp sense of criticality. In complicity with historical legacy, Kia Henda realizes the process of appropriation and manipulation of public spaces, and the different representations that form part of collective memory.


Colors:



Related artist(s) to: Kiluanji Kia Henda » João Maria Gusmão, » Latin America, » Mona Hatoum, » Pedro Paiva, » Adriano Pedrosa, » Akram Zaatari, » Amal Kenawy, » Asli çavuşoğlu, » Ato Malinda, » Bisi Silva

Bayramiç Stone Mill
© » KADIST

Asli Çavusoglu

2020

In the exhibition Pink as a Cabbage / Green as an Onion / Blue as an Orange , Asli Çavusoglu pursues her work on color to delve into an investigation into alternative agricultural systems and natural dyes made with fruits, vegetables, and plants cultivated by the farming initiatives she has been in touch with...

Mesopotamia Women’s Cooperative
© » KADIST

Asli Çavusoglu

2020

In the exhibition Pink as a Cabbage / Green as an Onion / Blue as an Orange , Asli Çavusoglu pursues her work on color to delve into an investigation into alternative agricultural systems and natural dyes made with fruits, vegetables, and plants cultivated by the farming initiatives she has been in touch with...

Future Tense
© » KADIST

Asli Çavusoglu

2018

Future Tense (2017), a 16-page diary, is a project in the form of a newspaper that brings together 50 oracles by people from various political opinions and ethnicities who consulted sand, lead, tarot cards, coffee grounds, blank sheets of A4 paper, dreams, water, clairvoyance, astrology, pendulums and horoscopes in order to reveal the point that Turkey has reached in news casting...

The Devrek Sun Agricultural Development Cooperative
© » KADIST

Asli Çavusoglu

2020

In the exhibition Pink as a Cabbage / Green as an Onion / Blue as an Orange , Asli Çavusoglu pursues her work on color to delve into an investigation into alternative agricultural systems and natural dyes made with fruits, vegetables, and plants cultivated by the farming initiatives she has been in touch with...

"Two young men from Aadloun", Studio Shehrazade, Saida, Lebanon
© » KADIST

Akram Zaatari

1966

“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...

Anonymous, Madani's parents home
© » KADIST

Akram Zaatari

1950

“While taking the picture it was challenging to make the boys sit properly without moving...

Two Palestinian Sisters
© » KADIST

Akram Zaatari

1950

Hashem El Madani, a studio photographer in Saida, began working in 1948...

"Najm", Studio Shehrazade, Saida, Lebanon
© » KADIST

Akram Zaatari

1956

“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...

"Anonymous", Studio Shehrazade, Saida, Lebanon
© » KADIST

Akram Zaatari

1970

“People often asked if they could pose with the Kodak advertisement where a full scale woman is featured with a camera offering Kodak rolls...

A girl and her brother. Studio Sherazade. 1960s
© » KADIST

Akram Zaatari

1960

“When you position your hand on someone’s shoulder, your shoulders become straight and horizontal...

Anonymous. Madani,’s parent’s home. The Studio, 1949-50
© » KADIST

Akram Zaatari

1950

“Other photographers used to send me negatives of cross-eyed people, asking me to retouch them...

"Baqari’s wife", Studio Shehrazade, Saida, Lebanon
© » KADIST

Akram Zaatari

1957

“These are negatives that were scratched because of a jealous husband from the Baqari family, who never let his wife out by herself...

Anonymous, Studio Sherhazade
© » KADIST

Akram Zaatari

1950

“In the 1980s I started using coloured paper backdrops, one of which was yellow...

"Anonymous (Jradi and a friend)", Studio Shehrazade, Saida, Lebanon
© » KADIST

Akram Zaatari

1972

“The two men were relatives and both were in the Lebanese Army.” Hashem El Madani...