MÓNICA DE MIRANDA

MÓNICA DE MIRANDA

MÓNICA DE MIRANDA | Line trap (da série from the series Arquipélago), 2014, cotton treads on inkjet print , 52,5x70 cm

©Paulo Simão

MÓNICA DE MIRANDA | Line trap (da série from the series Arquipélago), 2014, cotton treads on inkjet print , 52,5x70 cm

©Paulo Simão

MÓNICA DE MIRANDA | Line trap (da série from the series Arquipélago), 2014, cotton treads on inkjet print , 52,5x70 cm

©Paulo Simão

MÓNICA DE MIRANDA Botanic gardens (da série from the series Arquipélagos), 2014, Inkjet print, photographic installation,230 x 340 cm

MÓNICA DE MIRANDA Twins (da série from the series Arquipélagos) 2014, inkjet print, 100x150 cm each (tryptich)

MÓNICA DE MIRANDA Island (da série from the series Arquipélagos), 2014, Inkjet print, 80 x 100 cm

©Paulo Simão

MÓNICA DE MIRANDA | Paradise (da série from the series Under Construction), 2009, néon, 25 x 105 cm

©Paulo Simão

MÓNICA DE MIRANDA, Islands (da série from the series Arquipélago), 2014, inkjet print, 91,5x600 cm

MÓNICA DE MIRANDA, Islands (da série from the series Arquipélago), 2014, inkjet print, 91,5 x 800 cm

Vistas da exposição Views from the exhibition Arquipélago, Carlos Carvalho Arte Contemporânea, Lisboa Lisbon

©Paulo Simão

Vistas da exposição Views from the exhibition Arquipélago, Carlos Carvalho Arte Contemporânea, Lisboa Lisbon

©Paulo Simão

Vistas da exposição Views from the exhibition Arquipélago, Carlos Carvalho Arte Contemporânea, Lisboa Lisbon

“Arquipélago” is a project of creation and artistic research that reflects landscape representation as a scenary, as an imagined stage, recreated from the fictional sense that lies behind the image of an island and the idea of a botanical garden. This exhibition shows how landscape opens to view human participation in transforming the environment, through this fundamental visual reference function for the purposes of territorial deconstruction. This takes place at the time when the nature of the recreated becomes a cultural exportation, loaded up with references, symbols, subjet matters, which will converts itself into cultural souvenirs.

©Paulo Simão

Mónica de Miranda Porto,1976. Lives and works between London and Lisbon. [Solo shows selection] Arrivals and departures (Palácio D. Manuel. Évora, Portugal, 2016), Hotel Globo (Museu do Chiado . Lisboa Lisbon, Portugal, 2015) Arquipélago (Carlos Carvalho Arte Contemporânea . Lisboa Lisbon, Portugal, 2014), Erosion (curated by Gabriela Salgado, Appleton square, Lisboa, Portugal, 2013), An Ocean Between us (curated by Gabriela Salgado, Plataforma Revolver, Lisboa Portugal, 2012), Tuning (National theatre, Utrech, Holland, 2009), Just do it (curated by Fatima Lambert, Quase galleria, Oporto Porto, Portugal, 2009), Underconstruction (curated by Paul Goodwin, Pav. 28, Lisbon, Portugal, 2009), London caravan (INIVA, London, Inglaterra GB, 2008), New geographies (Plataforma Revólver, Lisbon, Portugal; ImagineIC, Amesterdão, Holanda), Tunning A1 (Voyeur project, Lisbon, 2008), New Geographies (198 Gallery, London, GB, 2007) [Group shows selection] Novo Banco Photo Prize (Museu Colecção Berardo . Lisboa Lisbon, Portugal, 2016) Telling Time (comissariada por curated by Gabriela Salgado), 2015, 10th Bamako Encounters (National Museum of Mali Bamako, Mali, 2015, Ephemeral Landscapes (galeria Quadrum. Lisboa Lisbon, Portugal, 2015) Bienal de São Tomé (Cacau, São Tomé e Principe, 2014), Hotel Globo/ Ilha de São Jorge (14ª Edição da Bienal de arquitectura de Veneza, Fondazione Giorgio Cini , Venice, 2014), Artchipelago (Instituto Francês, Rosehill, Mauricias, 2014), A Visão Incorporada- Performance para a câmara, (Internacional de Vídeo, Museu do Chiado, Lisboa Lisbon, Portugal, 2014), De Ultramar (The Pipe Factory, Glasgow, 2014), Analogue Eye (Cidade do Cabo Cape Town, Africa do Sul, 2014),

ARCOMadrid (Galeria Carlos Carvalho Arte Contemporânea, Lisbon, 2014), Paris Photo (Galeria Carlos Carvalho Arte Contemporânea, Paris, France, 2013), Além das Margens, (Plataforma Revolver - apoiado pela FC Gulbenkian, Lisboa Lisbon, Portugal, 2014) Um retrato quase apagado, (Bienal de Cerveira, curated by Fatima Lambert, Vila Nova de Cerveira, Portugal, 2014) Nas imediações do desenho (Galeria Carlos Carvalho Arte Contemporânea, Lisbon, 2014), Private lives (Centro Cultural de Cascais, Cascais, 2013), Hetero QB (Museu do Chiado, Lisboa Lisbon, 2013), Provas doadas (Palácio do Egipto , Oeiras, 2013), Between Document and Fiction (Marquee Theater, Madison, USA, 2013), Hetero Q.B. – Colectiva Internacional de Vídeo (Museu Nacional de Arte Contemporânea – Museu do Chiado, Lisboa Lisbon, 2013), Devir Menor: Arquitecturas e práticas espaciais críticas na Ibero-América (Guimarães capital Europeia da Cultura, Guimarães , Portugal, 2012), Do silêncio ao outro hino (Centro Cultural Português, Praia e Mindelo, Cabo Verde, 2012), Once Upon a time (Carpe Diem, Lisbon, Portugal, 2012), Arquivos secretos (Arquivo fotográfico de Lisboa, Lisboa Lisbon, Portugal, 2012), L’art est un sport de Combat (Musée des Beaux-Arts, Calais, France, 2011), And then again (Pavilhão Preto, Museu da Cidade, Lisbon, Portugal, 2011), This Location (Mojo Gallery, Dubai, 2011), She is devil (Studio Stefania Miscetti, Roma, Italia, 2010), Teresias-videos de artists made in Portugal (Centro cultural de Espana,Montevideo ,Uruguai, 2010), Whose map is it? (Iniva, London, GB, 2010), New Territories (Pav 28, Lisboa, Portugal, 2009), Mundos Locais (Fundação Carmona e Costa . Lisbon, Portugal, 2008), Paradise (Museum of Modern Art Hertogenbosh, Holanda Holland,

2007), Do u hear me (Gulbenkian , O Estado do Mundo- Instalação de som, Lisboa Lisbon, United Nation,(Singapore Fringe Festival, Singapore, 2007), Un-furnished (File , Rio de Janeiro-Brasil, 2007), Lore and Other Convergence(com with Janini Antonini, INIVA e and Live development Agency, London, GB, 2006), De-colonized Bodies:Video portraits (with Guilhermo Gomez Penã and la la Pocha Nostra, 2006), The art Pavilion (Live development agency, London, GB, 2006), Territories (October Gallery, Londres, GB, 2006), Changing Skins - Rencontres Internationales (roARaTorio, Paris e Berlin, 2006), In the back of our Hands (Centro Pablo de Cuba, Havana, Cuba, 2006), Road lines (Contemporary digital art museum, Buenos Aires, Argentina, 2006), Un-furnished (Node. London, GB, 2006), European’s Workers Union (Liverpool Biennale and London Biennale, Liverpool and London, GB, 2006), London Biennale Self-portraits (ICA-Instituto Contemporâneo de Artes de Londres, curated by Guy Brett, Londres, GB, 2005), We are the revolution (Elastic Gallery , Whitechapell, Lisbon, 2005), In between the Lines: In Search of identity-New visions (Com with Mona Hatoum, Paula Rego , Shirazeh Houshiary e and Balraj Khanna, Doncaster Museum, Doncaster, GB, 2004), Crossing The Borders (The Point, Doncaster, GB, 2004), Changing Channels (The Backfabrik, Berlim, Germany, 2004), London Biennale (Gallery 294, Londres, GB, 2004), Labyrinth (Horniman’s Museum, Londres, GB, 2004), Memories (Victoria & Albert Museum, London, GB, 2004). [collections] Arquivo Municipal de Lisboa - Fotográfico Centro Cultural Lagos Museu do Chiado, Lisboa Figueiredo Ribeiro collection, Abrantes MG colection, Alvito

MÓNICA DE MIRANDA | Twins, 2016, impressão a jato de tinta sobre papel de algodão inkjet print on cotton paper, 75 x 400 cm

Temos reconhecido uma miríade de metáforas ligadas a viagens – por entre imagens de navios, a paisagem costeira, o mar, a natureza e edifícios não-identificados – no trabalho fotográfico e fílmico de Mónica de Miranda. Estes locais evanescentes são, por vezes, habitados por dois personagens – um homem e uma mulher – que nos surgem ocupados numa demanda por algo, num lugar outro, fora do domínio contido pela imagem. Um agudo sentido de impermanência é sugerido pela mudança de lugares, humores, territórios e paisagens, que interpenetra as imagens com inscrições profundamente nostálgicas. Disso é exemplo a série intitulada Once Upon a Time (2013), conceptualmente concebida como um diário de viagem, uma esteira de retalhos de memórias, anseios, casas projetadas e comunidades imaginadas, num fluxo que conduz à catarse pessoal. Se tomarmos o trabalho de Edouard Glissant, Poetics of Relation, publicado em 1990, como ponto de partida para uma análise de pertença e de território, colocamo-nos diante de uma desconstrução do eu, onde a viagem e a errância entram em cena. Mais vincadamente, Glissant convida-nos a pensar identidade como um rizoma que já não pode ser definido como um sistema de raízes fixas, legados ou lugares, mas antes como um produto das suas próprias correlações. Deste modo, o autor considera os mitos antigos, textos religiosos e outras articulações fundamentais da cultura ocidental como narrativas de indivíduos desenraizados. Da Odisseia de Homero a um conjunto de passagens bíblicas, comunidades deslocadas e registos de viajantes, as histórias da diáspora são tecidas na consciência humana como um padrão uniforme e resiliente. Mas deixemo-nos examinar a noção de diáspora, que se refere a uma dispersão de pessoas para longe dos lugares que elas, e seus antepassados, outrora habitaram, à luz do trabalho de Mónica de Miranda. Gabriela Salgado

MÓNICA DE MIRANDA | Crosswind, 2016, vídeo HD, som sound, 8’’

MÓNICA DE MIRANDA | Crosswind, 2016, vídeo HD, som sound, 8’’

MÓNICA DE MIRANDA | Control tower, 2016, impressão a jato de tinta sobre papel de algodão inkjet print on cotton paper, 150 x 250 cm

MÓNICA DE MIRANDA | Landing, 2016, impressão a jato de tinta sobre papel de algodão inkjet print on cotton paper, 150 x 250 cm

MÓNICA DE MIRANDA | City-scape, 2016, impressão a jato de tinta sobre papel de algodão inkjet print on cotton paper, 75 x 400 cm

Vistas da exposição Views from the exhibition Novo Banco Photo Prize, Museu Berardo, Lisboa Lisbon

Vistas da exposição Views from the exhibition Novo Banco Photo Prize, Museu Berardo, Lisboa Lisbon

MÓNICA DE MIRANDA | Backpack paradise 2007, tríptico tryptich, inkjet print, dimensões variáveis variable sizes

MÓNICA DE MIRANDA | Biting nations 2007 4 videos em HD, som sound, 4’’

MÓNICA DE MIRANDA | Untitled da série from the series An Ocean between us, 2013, Instalação: 13 caixas de luz Installation: 13 light boxes, dimensões variáveis variable sizes

MÓNICA DE MIRANDA | Untitled da série from the series Erosion, 2013, Instalação fotográfica photographic installation digital print with pigmented inks, 80 x 372 cm

MÓNICA DE MIRANDA | Untitled da série from the series Erosion, 2013, video

MÓNICA DE MIRANDA | Untitled da série from the series Erosion, 2013, video

Visual geography and recording Europe by Shaheen Merali The use of visual geography within the visual arts has a long and discerning history. Initiated and operating in the tradition of European exploration and research, visual geography represented the results of habitually institutionalised fieldwork by the use of paintings, photographs, drawing, prints, sculpture and other forms of the visual arts. The symbolic value of representation through the visual arts provided a system of cross-reference often of previously unrecorded subjects and subjectivities that had remained localised and widely unknown in the old world1. Prior to the expeditions from predominantly the western world, the circulation of this specialised form of the visual arts through print and publication allowed a mapping of the world according to their research and studies; a form of mnemonic system of patterns and images that accompanied ideas or associations which would assist in articulating a new world outside of the European project and subject. The circulation of visual geography within the artworld and its institutions including museums, auction houses and collections as well as its presence in educational establishments and societies provided, and continues to stipulate within the contemporary, the accented history of development versus underdevelopment. This binary polarisation justified action around difference and its suppositions with a dualism that accommodated the ruthless power struggles resulting from colonial imposition and continuing within cultural and intellectual postcolonial struggles. The early work by the artist and researcher, Monica de Miranda, between the years 2007-9, is

based on the evaluation of her personal understanding of geographical accounts, within an urban archaeology that becomes despondently centralised in her later videoworks; An Ocean between us, Erosion and Once upon a time (2010-15) and the photographic works Archipelego, Line trap and Airport. The seminal work Black House (2009), part of the Black Flags series, acts as a middle passage to her practice. Black House is a barren, permeable structure of a small hut or shed like construction, sparsely erected from black fabric over a metal and wire frame. Barrenly lit, the sculpture is an overwhelmingly eerie experience of an indoor space suggesting a transitory dwelling rather than one that proposes any robust sense of belonging. Black House, like many of her early projects, often engaged in rethinking urban life, and reimagining and reanimating the infrastructure in their experimental use of materials and formats which included screenprinting onto coloured fabrics, sporting objects covered in sequins and the use of text to drive the context of her insights. Since 2009, de Miranda’s oeuvre has gradually traded the explorations in sculptural fo rms for a confidence in lens -based articulations, of multiple projections, duratran lightbox and panoramic prints. This shift in the later works allowed de Miranda to open her gaze to geographies on the move; people, places and architecture in a restless poetry that retains factors including a feeling of greater voyeurism and surveillance, providing ample meaning beyond the preceding works’ polemic and redemptive states. The recent work is effective in its suggestive abilities of urban malfeasance, often emotive and remotely sited narratives unsettled between

a polyphony of systems and supporting networks of departure, transition and arrival. The photographic and videoworks explore the cruelty of fate, the remainders for the constrained within the messianic power of cities and states. Similar to the visual propositions of the Canadian artist Stan Douglas and the Algerian born, British based photographer Zineb Sedira; de Miranda examines the physical manifestations and the interweaving threads of culture, power, politics and histories. Her subjects, when present, remain weary for each thing that has changed, often looking outward from the safety of venetian blinds in a state of examination, half occluding their identities with hands and hats. References to the colonial past remain fashioned; the subjects as characters wear white clothes, a necessary accoutrement in the humid tropicality of the coasts of the Atlantic Ocean and the Mediterranean Sea. In the Erosion series (2012), de Miranda returns to visual geography in a contemporary fusion of two images, the high rise and the seashore, as the emblematic collision of progress and nature. The eroding hulk of a beached cargo ship no longer remains useful, its reason or presence discarded, through which de Miranda accentuates the malaise and deathliness for the places and lives it had destroyed for its treasonous cargo. de Miranda, continually offers figurative details in her works, suggestive elements, often eroded from multiple usage and the climate they traverse, to suggest as she does so cryptically, “Come here to the place you have never left” as a central text in her installation Once upon a time. de Miranda suggests a dueling tryst that it is probable in that we never really leave a place in the same way that places never leave us. She

repeatedly suggests in these figurative details that we do not know who are all these protagonists. How is the urban advocating a particular cause or idea of the constant flow of people, when the settled lens should make comprehensive the roots of trade and commodities. In Back Pack Paradise, Biting Nails, Road Lines and Where r u from? maps and places, names of cities and states persist as part of the body, as a grafted nationhood, correlating global travel with the rise in graffiti and tattoo subcultures. In Road Lines, the palms are presented as maps of places and travel, forced by cheap deals. In Biting Nails, the video focuses on a single character of a woman, whose nails are ‘painted’ with flags from different countries, gradually she bites her nails, violently tearing these boundary markers from herself. The transitory metaphor of flight and loss is highlighted in the acerbic text “I am not really there or here” on one of four screen-printed Black Flags series (2010). In the 2009 installation Battle of Europe, much the same notion was implied by presenting 11 EU Blue boxing punchbags, hung in a tight circle that contained the viewer more within its broader circle of influence rather than allowing the Schengen experience of borderlessness. Staging and conceptualising the crisis for postcolonial internationalism and multiculturality, de Miranda explores its implausibility, the detente history that affects the ex-colonies and colonial subjectivities in a globalised world that has recanted its debts and is currently whirling to new economic instructions. Her work Changing Hats suggests such a lack of balance and the buffoon as the new subjectivity is explored in Remain to stay…. Forever. de Miranda’s graphic yet uncompromised visual

responses to the European Union competes with the collective nightmares from historic and geographical colonial haunting. Side by side they twitch as an ugly unconscious mechanism of denial that repudiates the interdependent relationships of cultures and people. Her recent photographic works including Hotel Globo and Sleep Over provide the overlapping argument of the singular community fast withdrawing to become a place of values where European essentialism thrives; most importantly where de-colonisation so necessary to move beyond visual

and portrayed geographies of race and places, is indissolubly bound in corridors and pylons that maintain the illusions of progression and control at all costs. As the writer Ralph Ellison states ‘the true artist destroys the accepted world by way of revealing the unseen’2 1 The term is often used to refer to the Eastern hemisphere specifically to Europe. 2 Ralph Ellison, ‘Introduction’. Romare Beardon: Paintings and Projections, exh. Cat. Albany : The Art Gallery, State University of New York, 1968 http://www.monicademiranda.org/texts/

MÓNICA DE MIRANDA | Untitled da série from the series Once upon a time, 2011, impressão digital com tintas de pigmento em papel semi-mate digital print with pigmented inks, 60 x 90 cm cada each

MÓNICA DE MIRANDA | Untitled da série from the series Erosion, 2013, impressão digital com tintas de pigmento em papel semi-mate digital print with pigmented inks, 80 x 270 cm

MÓNICA DE MIRANDA | Untitled da série from the series An Ocean Between us, 2013, impressão digital com tintas de pigmento em papel semi-mate digital print with pigmented inks, 60 x 90 cm cada each

MÓNICA DE MIRANDA | Untitled da série from the series An Ocean Between us, 2013, impressão digital com tintas de pigmento em papel semi-mate digital print with pigmented inks, 60 x 90 cm cada each

MÓNICA DE MIRANDA | Untitled da série from the series Once Upon a Time, 2011, impressão digital com tintas de pigmento em papel semi-mate digital print with pigmented inks, 60 x 90 cm cada each

MÓNICA DE MIRANDA | Untitled da série from the series Once Upon a Time, 2012, impressão digital com tintas de pigmento em papel semi-mate digital print with pigmented inks, 60 x 90 cm cada each

MÓNICA DE MIRANDA | Once Upon a Time, 2012, tríptico tryptich, video, HD, som sound, 3 ecrans de projecção, 3 projection screens

Carlos Carvalho Arte Contemporânea Rua Joly Braga Santos, lote f r/c 1600-123 Lisboa | Portugal carloscarvalho-ac@carloscarvalho-ac.com www.carloscarvalho-ac.com A galeria no / Follow us onFacebook |  Flickr  | Issuu Horário Seg-Sex 10h00-19h30 Sáb 12h00- 19h30 Open Mon- Fri 10am-7:30pm Sat 12am-7:30pm Google Map © Carlos Carvalho Arte Contemporânea