Opening hours:
Thursday: Opening
From Friday to Saturday: noon-8pm
Sunday: 10am-7pm
Stand C03
Cordoaria Nacional, Lisbon
Mónica de Miranda
Mónica de Miranda (Porto, 1976) is a Portuguese/Angolan visual artist, filmmaker and researcher whose interdisciplinary and research-based practice critically looks at the convergence of politics, gender, memory, space and history. Her work encompasses drawing, installation, photography, film and sound, on the boundaries between documentary and fiction. Mónica investigates strategies of resistance, geographies of affection, storytelling and ecologies of care.
She is the founder of Hangar (2014), an art and research centre in Lisbon. Hangar’s programmes provide spaces where artists, curators and researchers, mainly from the global south, can co-create and build social and creative networks to benefit their communities.
As artist and co-curator of the project Greenhouse, Monica represents the Portugal Pavilion at La Biennale di Venezia 2024.
Her work has been presented at major international events such as: 6th Lubumbashi Biennale; 12th Berlin Biennale; 12th Dakar Biennale; 5th Biennale Internationale de l’Art Contemporain de Casablanca; Bamako Encounters – 13th African Biennale of Photography; 14th Venice Architecture Biennale; BIENALSUR 2021; Houston FotoFest 2022; 18th Fotografia Europea, Reggio Emilia.
Solo and group exhibitions have taken place at: CAIXA Cultural, Rio de Janeiro; Bildmuseet, Umeå; Kadist Art Foundation, Paris; Gulbenkian, Lisbon; MUCEM, Marseille; AfricaMuseum, Tervuren; MAAT, Lisbon; MUAC, Mexico City; Barbican, London; Autograph, London; Frac pays de la Loire, Nantes; Uppsala Museum, Sweden; MNAC, Lisbon; Camões Cultural Institute, Luanda, among others. Mónica’s work features in public and private collections worldwide.
Inkjet print on cotton paper
250 x 150 cm (6 parts 83 x 75 cm). Ed. 3
To ARCOLisboa, Mónica de Miranda is exhibiting a photographic work firstly presented during the Biennale Arte 2022, La Biennale di Venezia and at the 12th Berlin Biennial. Astronaut, from the Path to the Stars series focuses on the struggles of women throughout history, including colonization, gender, and identity. This polyptych uses the figure of the child astronaut, referencing afrofuturism and the drive to redesign past narratives and reinvent a future that connects the material to the spiritual. The stars exist at the intersection of science and magic, at the center of cosmic time — the time of the universe.
Inkjet print on cotton paper
250 x 150 cm (6 parts 83 x 75 cm). Ed. 3 (detail)
Inkjet print on cotton paper
250 x 150 cm (6 parts 83 x 75 cm). Ed. 3 (detail)
Maria Condado
For Maria Condado, the landscape transcends visual composition, being a vast and profound terrain of exploration, where not only pictorial elements, but also political and social aspects intertwine. The garden is not just a constructed natural space, but rather a reflection of a system: it is the product of cultures and human experiences that have shaped and influenced its form and function. Each element of the garden, from plants to structures, carries with it a meaning that reveals different ways of seeing and interacting with the world. For the artist, it is about understanding and questioning the social and cultural dynamics that shape how we perceive and relate to the environment around us.
The artist has exhibited widely in group and in solo exhibitions throughout the country namely Revolução na Noite (Centro de Arte Oliva, 2024), O Sono de Debussy (Galeria Carlos Carvalho, Lisboa, 2022), A Play of Boundaries (Carlos Carvalho, Lisbon, 2018), Uma loja, cinco casas, uma escola (Casa Bernardo, Caldas da Rainha, 2016), Ensaios sobre a (in)flexibilidade do natural – parte 2 (Ministério do Ambiente, Lisboa, 2014), Onde é a China?, (Museu do Oriente, Lisboa, 2016), 16º Programa de Exposições (Carpe Diem Arte e Pesquisa 2009), Hangart 7, (Salzburg, Áustria, 2009), Vestígio (Pavilhão 28, Hospital Júlio de Matos, Lisboa, 2005) and II Rothschild Bank Painting Prize Finalists Exhibition – Palácio das Galveias, Lisbon. Her works are held in numerous public and private collections such as PLMJ Foundation, Lisbon, Coleção Norlinda e José Lima, São João da Madeira, Grupo RAR, Porto.“Hortus” is the name of her artist book edited in 2016 by Stollen Books, Lisbon.
Aguarela, acrílico e lápis de cor s/ papel, 21 x 29,5 cm
Maria Condado presents a 366 x 200 cm canvas that covers a wall of the gallery's booth, creating a space where the artist’s studio is deliberately inserted into the public context of the exhibition. In this work, as well as in her smaller-format pieces, Condado explores visual narratives and dreamlike scenarios that immerse the viewer in an engaging interplay of distinct shapes, textures, and colors, where movement becomes a crucial element of human perception and experience.
Watercolor, acrylic and color pencil on paper
42 x 29,5 cm
Watercolor, acrylic and color pencil on paper
42 x 29,5 cm
Watercolor, acrylic and color pencil on paper
21 x 29,5 cm
Watercolor, acrylic and color pencil on paper
35,5 x 30 cm
Watercolor, acrylic and color pencil on paper, 29,5 x 21 cm
Watercolor, acrylic and color pencil on paper
29,5 x 38 cm
Daniel Blaufuks
Daniel Blaufuks (Lisbon, Portugal, 1963) uses mainly photography and video, presenting his work through books, installations and films. He has a predilection for issues such as the connection between time and space and the intersection between private and public memory.
Since the 1980s, the artist has been exhibiting his work in Portugal, Spain, France, the United Kingdom, Germany, Switzerland, Italy, Mexico, the United States, and Brazil. Highlights include exhibitions at the Centre Photographique - Rouen Normandie, France; Musée Eugène Delacroix, Paris, France; European Photography Festival, Reggio Emilia, Italy; PhotoEspaña, Madrid, Spain; Museu do Chiado, Lisbon, Portugal; Fábrica Usina, João Pessoa, Brazil; MAM – Museum of Modern Art, Rio de Janeiro, Brazil; Progetti, Rio de Janeiro, Brazil; Kunstverein Ruhr, Essen, Germany; Centro Cultural de Belém, Lisbon; Museu do Chiado, Lisbon; Calouste Gulbenkian Foundation, Lisbon; Haus der Kulturen der Welt, Berlin; Goethe-Institut, Madrid, Spain; MACE – Museum of Contemporary Art of Elvas, Elvas, Portugal; Centro de Artes Hélio Oiticica, Rio de Janeiro, Brazil; Fotofestival Mannheim, Ludwigshafen, Heidelberg; Patio Herreriano - Museum of Contemporary Spanish Art, Valladolid, Spain; Chelsea Art Museum, New York, USA; Palazzo delle Papesse, Siena, Italy; Location One, New York, USA; Serralves Foundation, Porto, Portugal; and Culturgest, Lisbon, Portugal.
His work is part of many collections, such as the Byrd Hoffman Foundation, New York; the Modern Art Centre of the Calouste Gulbenkian Foundation, Lisbon; the Galician Centre of Contemporary Art, Santiago de Compostela; Novo Banco Photo, Lisbon; MEIAC, Badajoz; Berardo Collection, Lisbon; Palazzo delle Papesse, Siena; Sagamore Art, Miami; and The Progressive Collection, Ohio.
Among several awards, the artist was nominated for the Deutsche Börse Photography Prize (2007, 2015), was a finalist for the Pilar Citoler Award (2007) and the European Photography Award (1996). In 2007 he won the BES Photo Award, in 1990 the Kodak National Award, and in 2016 the AICA Prize – International Association of Art Critics.
"While working on the plantations of São Tomé, I realized, as I walked through their vast spaces—many of which are still inhabited today by former servants or their descendants—how much this long chapter of Portuguese colonization needs to be remembered and, perhaps, further studied.
I, who have worked extensively on the Shoah, the so-called Holocaust, consider Portuguese colonialism to be another kind of holocaust, one that lasted for centuries and that, like the Shoah, casts its shadow far beyond the actual duration of the events themselves. It affects not only the psychological lives of descendants, but also their living conditions and the economies of the countries that were part of this imperial chimera. The history of colonialism is also a history of crime and theft, and it belongs, like all such histories, to both parties—the criminal and the robbed—forever binding them together."
Daniel Blaufuks
Noé Sendas
Noé Sendas (b. 1972, Brussels), lives and works in Berlin, Madrid and Lisboa. Sendas began presenting his work in the late Nineties. Explicit and implicit references to artists and literary, cinematic or musical creations are part of his raw materials. Specific concerns about the reflection and practice of visual arts can also be added to his repertoire. These include: the body, as an entity that is simultaneously theoretical and material; the observer’s perception mechanisms; or the discursive and political potential of exhibition methods.
His work has been shown in numerous solo and group exhibitions, including:
Akademie der Kunst, Berlin; CAV Centro de Artes Visuais, Coimbra, PRT; CAM - Centro de Arte Moderna Gulbenkian, Lisboa; Casa de América, Madrid, ESP; Centro Municipal de Arte Hélio Oiticica, Rio de Janeiro, BRA; Contretype - Centre d'art pour l'image et la photographie contemporaine, Bruxelles; C/O Berlin, Berlin; Designhaus Darmstadt, Darmstadt, DEU; Frankendael Foundation, Amsterdam; Fundación Ibercaja Patio de la Infanta, Zaragoza, ESP; Fundación Botín, Sala de Exposiciones, Santander, ESP; Galeria Municipal do Porto, Porto, PRT; Goethe-Institut, Stockholm; Hermitage, São Petersburgo, RUS; Kunstmuseum Bonn, DEU; Laboratorio Arte Alameda (LAA), ciudad de México; Le Plateau, Paris; MAAT Museu de Arte, Lisboa; MARCO, Museo de Arte Contemporánea de Vigo, ESP; MEIAC Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz, ESP; MNAC Museu Nacional de Arte Contemporânea-Museu do Chiado, Lisboa; Multimedia Art Museum (MAMM), Moscow; Museo Calouste Gulbenkian, Lisboa; Museu de Arte Contemporâneo Gas Natural Fenosa, La Coruña, ESP; Museu ICO, Madrid; Museo Patio Herreriano de Arte Contemporáneo Español de Valladolid, ESP; TENT, Rotterdam, NLD; Visual Arts Center - The University of Texas at Austin, USA; Yerba Buena Center of the Arts, San Francisco, USA, (Et al.)
His work is represented in public and private collections in the North and South America and Europe.
