Photography (Photography)

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.

Drawing & Print (Drawing & Print)

This score is a graphic record of the detailed choreography of one of Anthony McCall’s Landscape for Fire performances. These took place between 1972-74 in the UK at the Museum of Modern Art in Oxford, Colchester School of Art, in Reading and in North Weald as well as in Sweden at Fylkingen Society of Contemporary Music and Arts, Stockholm, and in the USA at the William Patterson University, Wayne, New Jersey. Many of these events were photographed by David Kilburn and Carolee Schneemann, only one in 1972 was filmed.

Sculpture (Sculpture)

His large installation entitled The Museum of Proletarian Culture (2012) looked at the changes in artistic practice that have occurred in Russia throughout the last thirty years – from the amateur art of the late Soviet era to the commercialized post-Soviet cultural practices and the more recent self-expression via contemporary social networks. Thus, the exhibition becomes a whole installation where it is impossible to distinguish architecture from assemblage, facts from fantasy, document from fiction. It is a museum of museums where viewers find themselves in the era of didactic exhibitions; whereby the main protagonists are workers, engineers, and amateur artists, and finally replaced by the creative class of 1990s and 2000s.

Photography (Photography)

Gabriel Borba Filho was aware of what was happening on the other side of the Atlantic, and Untitled (Nos) is linked to both the social and political climates in Brazil and Spain during the Franco period. The title Nos (Us) echoes this sharing of a situation of misfortune. He was particularly touched by the execution of Salvador Puig Antich, to whom this work pays homage, and also by the political assassination of one of his best friends.

Sculpture (Sculpture)

El neon de los narquitectos