Mónica de Miranda

Mónica de Miranda (born Porto 1976, with Angolan descent) is an artist and researcher. She has a visual art degree from Camberwell College of arts (London, 1998); a Master’s degree in art and education from the Institute of Education (London, 2000) and a PhD in visual art from the University of Middlesex (London, 2014).

De Miranda is one of the founders of the artistic project of residences Triangle Network in Portugal and the founder of the Project Hangar (Center of artistic research in Lisbon, 2014). Her solo exhibitions include: “Hotel Globo” (MuseuNacional de arte contemporânea do Chiado, Lisbon, 2015) “Arquipélago” (Galeria Carlos Carvalho , Lisbon, 2014), “Erosion” (Appleton Square, Lisbon, 2013), “An Ocean Between Us” (PlataformaRevólver , Lisbon, 2012.


The islands have been a source of fascination in our imagination because, being a separate territory from other lands by water, they lend themselves easily to fantasy and mystification.

The work Archipelagos re-­‐imagines geographical connections, as an archipelago of reinvented places from fictional landscapes across multiple geographic and emotional spaces. The imaginary sense that is behind the island, it is susceptible to interpretations that forms the prospects hinge on the shifting relationship between self and other, the center and the periphery, Africa and Europe, serving as a mediation between local cultures that are distant from its place of origin and are constructed elsewhere. We found the island represented in this project as a locus of a transformation, revealing a translation that raises questions about the metaphorical character of culture, Diaspora, desire, displacement, loneliness, isolation, exile or insularity.

This photographic series shows how the landscape exposes modes of participation of man as transforming its own means, through an essential visual function related to purposes of territorial deconstruction. This takes place at the time wherein the recreated nature space becomes a cultural export space loaded up of references, symbols, names that will convert into objects of cultural souvenir or appropriation. The botanical landscapes, replanted from one place to another – function as a stage or theater – are a way in which I recite my own story of Diaspora and belonging.

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