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Once Upon a Time

Mónica de Miranda

2013 00:22:15 Portugal, Angola, Cape Verde, BrazilStereo16:9HD video
Tags:
Expedition/Travel, Memory, Post-colonialism

Description

Once Upon a Time is about these encounters of diaspora and the displaced ‘homeland’ and describes a personal tale of my own diaspora and traveling culture, which crosses the boundaries of nation-states and is located in between different geographical places. Through this film work I explore a historical interpretation of the term ‘diaspora’ but also try to further explore and conceive the term in relation to more recent forms of migration and transcultural experience. I look at the 16 ‘diaspora’ through a transcultural comparison in a Lusophone postcolonial context, delineating the relationship of my own diaspora group, ancestral homeland and countries of present residence. I recognize that the relations of a diasporic group are presently not only aligned with their country of actual residence and their ancestral homeland but have been blurred with many other diasporas and cultures. 

“Once Upon a Time is a travel diary, a tale of stories of mislaid events of mis-encounters, desires and memories. It refers to the nuances of the transitory expressions of a path to landless roots that are here yet are from there.” 
–Monica de Miranda, 2013

About Mónica de Miranda

Mónica de Miranda 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 and the artistic director of Hangar (2014), an art and research centre in Lisbon. Hangar’s programs 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.

Her work has been presented at major international events such as: 1st Malta Biennale; 3th Lagos Biennale; 6th Lubumbashi Biennale; 12th Berlin Biennale; 12th Dakar Biennale; 5th International Biennial of Casablanca; Bamako Encounters – 13th African Biennale of Photography; 14th Venice Architecture Biennale; BIENALSUR 2021; Houston FotoFest 2022; 18th Fotografia Europea, Reggio Emilia. She represented the Portugal Pavilion at La Biennale di Venezia 2024.

Solo and group exhibitions have taken place at: Sharjah Biennale, Sharjah, Wexner Art Center, Ohio; Photo Ireland, Dublin; Caixa Cultural, Rio de Janeiro; Bildmuseet, Umeå; Kadist Art Foundation, Paris; Gulbenkian, Lisbon; MUCEM, Marseilles; AfricaMuseum, Tervuren; MAAT, Lisbon; MUAC, Mexico City; Barbican, London; Autograph, London; Frac des Pays de la Loire, Nantes; Uppsala Museum, Sweden; MNAC, Lisbon; Camões Cultural Institute, Luanda, among others.

Mónica de Miranda received the Soros Arts Fellowship (2024) and La Caixa Foundation Fellowship (2022). She won the Expanded Photography Prize in Torino (2024), and was nominated for the Louis Roederer Photography Prize for Sustainability (2024), EDP Foundation’ New Artists Award (2019) and Novo Banco Photo Prize (2016).

Mónica de Miranda is also a researcher with the Foundation for Science and Technology (2013-2024) in the Center for Comparative Studies at University of Lisbon where she coordinates the cluster Post-Archive: Politics of Place, Memory and Identity.