Hangar On Art

Hangar On Art

© Ana Garrido.



Hangar On Art

Presented by

Mónica de Miranda and Nithya Iyer






05/03 | 6 pm
EP 1 – Afro-Now-Ism
Azu Nwagbogu and Mónica de Miranda

01/04 | 6 pm
EP 2 – “South-to-South is not a postcode”
Cindy Sissokho and Fabian Villegas

22/05 | 6 pm
EP 3 – I am my own source
Sandim Mendes

29/05 | 6 pm
EP4 – Hybridity Has Come A Long Way
Dzifa Peters and Ângela Ferreira

04/07 | 6 pm
EP 5 – Taking care of this place we hold
Margarida Mendes

11/07 | 6 pm
EP6 – Colonisation is in good health
Kiluanji Kia Henda

18/10 | 6 pm
EP7 – Blue Note
Simon Njami


Hangar On Art is a radio program that investigates, experiments, enquires into art practices and critical theory as an extension to the Hangar exhibitions, residencies, education and research program . The program sets a dialogue of a wide range of relationships which are established between artists, theorists , curators and researchers.
Hangar On Art will feature thoughtful reflections, Creative interventions and thematic analysis.

Mónica de Miranda is a Portuguese artist of Angolan origin who lives and works between Lisbon and Luanda. Filmmaker, Artist and researcher, her work is based on themes of urban archaeology and affective geographies. She works in an interdisciplinary way with drawing, installation, photography, film, video and sound, in its expanded forms and in the boundaries between fiction and documentary. She is graduated in Visual Arts and Sculpture from Camberwell College of Arts (London) and PhD in Artistic Studies from Middlesex University (London). In 2019, she was nominated for the New artist prize at MAAT and in 2016 for the Novo Photo Banco Prize, exhibiting as one of the finalists at the Berardo Collection Museum. Her solo exhibitions include: Geografia Dormente (Galeria Municipal de Arte, Almada, Portugal, 2019); Tomorrow is another day(Carlos Carvalho Gallery, Lisbon, 2018); Panorama (Banco Economico, Luanda, 2018); Atlantic. A Journey to the center of the earth (Galería Sabrina Amrani, Madrid, Spain, 2017); Panorama (Tyburn Gallery. London, UK, 2017); Arrivals and departures (Palácio D. Manuel, Évora, 2016); Hotel Globo (Museu Nacional de arte contemporânea do Chiado, Lisbon, 2015); Arquipélago (Galeria Carlos Carvalho , Lisbon, 2014); Erosion (Appleton Square, Lisbon, 2013); An Ocean Between Us(Plataforma Revólver, Lisbon, 2012); Novas Geografias (198 Gallery, London / Plataforma Revólver, Lisbon / Imagem HF, Amsterdam, 2008).

Among her collective exhibitions : African Cosmologies- Foto fest (Houston, USA,2020), South circular, Maat (Lisbon, 2019); Utopia and Dystopia in Contemporary Landscapes at Bienar du Sur, MAAC ( +Guayaquil, Ecuador,2020 ); Taxidermy of the future, Biennale Lubumbashi (Congo, 2019); Architecture and Manufacturing, at MAAT in Lisbon (2019); Panorama, Banco Económico (Luanda, 2019); Doublethink: Doublevision, Pera Museum (Istanbul, 2017); Daqui Pra Frente, Caixa Cultural (Rio de Janeiro and Brasília, 2017-2018); Vila Franca de Xira Biennial Photography (2017); Dakar Biennial in Senegal (2016); Bienal de Casablanca (2016); Addis Foto Fest (2016); Encontros Fotográficos de Bamako (2015); MNAC (2015); 14ª Bienal de Arquitectura de Veneza (2014); Bienal São Tomé e Principe (2013); Estado Do Mundo, Fundação Calouste Gulbenkian (2008).

She is one of the founders of the Hangar project (Artist Residency Centre, Lisbon, 2014).

Her work is represented in several public and private collections, including: Calouste Gulbenkian, MNAC, MAAT, FAS, Centro Cultural de Lagos, Photographic Archive of Lisbon.

Nithya Iyer is an interdisciplinary artist and researcher of South Indian Tamil-descent. Raised in Melbourne, Australia, she currently resides in Lisbon, Portugal. Her practice dialogues between written, embodied and visual inquiries that explore alternative modes of sense- and meaning-making as a means of exploring alterity, intersubjectivity and decoloniality. With a focus on cumulative and iterative projects that span solo and group performance through to experiential, participatory installation, writing and voice, Nithya seeks to articulate generative modalities of arts practice as means of both research and form, attempting to disrupt traditional parameters of aesthetics and performance through the enactment of ambiguous territories.

Nithya was the recipient of the 2020 Ian Potter Cultural Trust arts grant, facilitating a year-long residency at the Hangar Centre for Artistic Investigation where she produced ‘An Indefinite Series of Discontinuous Acts’ – a collaborative research project exploring the possibilities of alternate forms of knowledge-making. In the same year she was commissioned to facilitate a workshop, ‘Notes from Atopia’, exploring pandemic placelessness as part of the 4Cs Project – From Conflict to Conviviality through Creativity and Culture.

Nithya is the co-founder of interdisciplinary arts collective L&NDLESS, performing durational and experimental works at festivals across Australia. Her solo performance debut ‘Vengayam’ premiered at the This Is Not Art festival, (New South Wales, Australia), later featuring at the Kampni Kutcheri festival in Bengaluru, India, by the esteemed Natya STEM Dance Kampni. In Lisbon, Nithya’s performance on the history of the colour Lapis Lazuli, entitled LAZULI/#FA0027, was featured at Nanogaleria, curated by Miguel Palma, Luisa Santos and Ana Fabiola Mauricio.

Nithya was trained for 12 years at the Chandrabhanu Bharatalaya Academy of Indian Dance and a former member of Indian dance collective Jambudvipa Ensemble. Nithya holds a BA in Politics and International Relations/Accounting and Finance, and a Masters in Therapeutic Arts Practice from the Melbourne Institute of Experiential and Creative Art Therapy.

Dzifa Peters is a German-Ghanaian visual artist and researcher. She studied Fine Arts with focus on sculpture and installation at Kunstakademie Dusseldorf, as well as Postgraduate Media Arts at Academy of Media Arts Cologne with focus on photography and installation. As a Ph.D. candidate in Culture Studies, she is currently working on her doctorate in the field of AfroDiasporic identities and their visual representations at The Lisbon Consortium and the Research Centre for Communication and Culture (CECC) at Universidade Católica Portuguesa in Lisbon. She is also a Visiting Doctoral Researcher at the Graduate Centre for the Study of Culture (GCSC) at JustusLiebig-Universität Giessen, as well as working internationally as a freelance artist and on curatorial projects. Her research project is funded by the Fundação para a Ciência e a Tecnologia (FCT) and analyses colonial, postcolonial, diasporic, and contemporary identities through the format of photography, to investigate phenomena of identity constructions that indicate alternations of coexisting cultural identities and perspectives. Research fields include: Postcolonial Studies, Black Studies, Migration Studies, Media Studies, Memory Studies, Performativity Studies, Semiology, Visual Culture Studies, Linguistics, Anthropology and Arts-based Research. Her method of analysis embodies a comparative approach within Cross-Cultural Studies and embraces interdisciplinarity between the research fields. In her artistic work, Dzifa Peters also examines forms of cultural identity and their representations. She works with the media photography, photomontage, with sound and video, texts and installations. Her work is project and process oriented. As an artist who grew up in two different cultures(Germany and Ghana), she increasingly uses autobiographical material in an autofictional manner in order to negotiate socio-collective topics. She has participated in several exhibitions internationally and has received various artistic grants amongst them DAAD (German Academic Exchange Service) and Ministry for Families, Children, Youth, Culture and Sport of the State of North Rhine-Westphalia Germany.

March 5th, 6 pm
EP1 – Afro-Now-Ism
Azu Nwagbogu and Mónica de Miranda

Conversation between Azu Nwagbogu and Mónica de Miranda about the exhibition Just my Imagination (Run Away with Me).

Azu Nwagbogu is the Founder and Director of African Artists’ Foundation (AAF), a non- profit organisation based in Lagos, Nigeria. Nwagbogu was appointed as the Interim Director/ Head Curator of the Zeitz Museum of Contemporary Art in South Africa from June 2018 to August 2019. Nwagbogu also serves as Founder and Director of LagosPhoto Festival, an annual international arts festival of photography held in Lagos. He is the publisher of Art Base Africa, a virtual space to discover and learn about contemporary art from Africa and its diasporas. Nwagbogu is a curator with a special interest in future museology.

April 1st, 6 pm
EP2 – “South-to-South is not a postcode”
Cindy Sissokho and Fabian Villegas

Conversation between Cindy Sissokho, Fabian Villegas and Nithya Iyer.
Fabian Villegas is a Mexican-born writer, journalist, artist, scholar and researcher in Southern epistemologies, decolonial thoughts and racial studies. He has presented extensively across Central and South America and globally, and is the founder of the collaborative knowledge production project, Contranarrativas. Cindy Sissokho was raised in the suburbs of Paris and is a curator, cultural producer and writer with a specific interest in intellectual, political and artistic aspects of decoloniality within the arts, and culture. She is currently the Curator and Special Projects Producer at New Art Exchange, Nottingham (UK). Their exhibition at Hangar entitled ‘Our (spatial) stories live in performative futures’ was the result of a series of workshops in which Cindy and Fabian collaborated with artists using their own pedagogical approaches to building counter-narratives in research and arts practice. In this conversation, they discuss challenges and insights of cultivating counter pedagogies and the meaning of South-to-South dialogues as fostered through this work and in their own research journeys.

Cindy Sissokho (France) is a curator, cultural producer and writer with a specific interest in intellectual, political and artistic aspects of decoloniality within the arts, and culture. Her curatorial practice is nurtured by the urgency to broaden and disseminate epistemologies and cultural production from racialized and systemically marginalized perspectives.

Recent exhibition projects include this is a love poem, (2021) curated at EXILE Gallery, Vienna for the international contemporary arts festival Curatedby (Austria) and Breaking Translation(s) (2021) an online exhibition for HANGAR, Lisbon (Portugal). Upcoming exhibition projects will be the curation of Black Tales, a multimedia sound installation by artists Mónica De Miranda and Xullaji for Refuge, the 4th edition of the Lagos Biennale 2023 (Nigeria).

Her practice is also informed through multiple formats of engagement such as talks and pedagogical workshops. Most recent activities were How to Articulate (A) Collective Gaze(s)? in collaboration with Fabián Villegas in 2020 for both Les Rencontres d’Arles (France) and HANGAR, Lisbon (Portugal).

She articulates and brings curatorial and theoretical reflections through writings including art reviews and interviews for Ocula, Terremoto, The Sole Adventurer, The Kitchen, NYC and Nka: The Contemporary African Art Journal, and publication commissions.

She also has a great interest in artist development and artistic consultancy that translate into frequent mentoring roles and portfolio reviews. The most recent being with the PhMuseum, Bologna (Italy) and the annual FORMAT Photography Festival, Derby (UK).

She currently works as a Curator and Special Projects Producer at the New Art Exchange in Nottingham (UK).

Fabian Villegas is a writer, journalist, spoken word artist, scholar and researcher in South epistemologies, decolonial thoughts and racial studies. Since 2007 to date, Fabian Villegas has been invited to give multiple conferences, seminars, lectures and workshops in various universities and academic centers, renowned art biennials and community cultural centers across the globe (México, Dominican Republic, France, Spain, Puerto Rico, Brasil, Uruguay, Argentina, Guatemala, Dubai, Morocco, Costa Rica, U.S, Venezuela, Belice. He is also the co-founder of Contranarrativas, a collaborative project that seeks to create horizontal knowledge production spaces to stimulate the visibility, dissemination, and production of decolonial epistemologies, narratives and peripheral aesthetics of the Global South. Born in Mexico City, Villegas currently resides in the Dominican Republic.

May 22th, 6 pm
EP3 – I am my own source
Sandim Mendes

Conversation between Sandim Mendes and Nithya Iyer.

Sandim Mendes (1986) is a Cape Verdean artist born and raised in Rotterdam, the Netherlands. Her artworks reflect on her upbringing, focussing on the concept of identity within these various cultures. As described by the essay of Mariana Aboim in the book series Atlantica: Contemporary Art from Cabo Verde, Guinea Bissau, Sao Tome e Principe, and its Diaspora, Sandim’s photographic – or imagetic – investigations ask: how can intergenerational modes of storytelling become archival resources of that which is unaccounted for? In what ways can inherited memories catalyse artistic production? During her visit to Hangar in 2022, these questions and more formed part of her inquiry and her exhibition. In this talk with Hangar radio, Sandim shares her approach to creating work, her ancestry and its influence on understanding the role of her work in meaning-making, and the colonialist inheritances of diasporic identities.

Sandim Mendes (1986) is a Cape Verdean artist born and raised in Rotterdam, the Netherlands. Her artworks are a direct result of this upbringing, investigating the concept of identity within these various cultures. Through photography, performances, textile, drawings, printmaking and installations, she expresses her findings.

May 29th, 6 pm
EP4 – Hybridity Has Come A Long Way
Dzifa Peters and Ângela Ferreira

A conversation between Dzifa Peters and Ângela Ferreira about her artistic practice, discussing projects such as Maison Tropicale (2007), Dalaba: Sol d’Exil (2019), and her solo exhibition A Spontaneous Tour of Some Monuments of African Architecture (2021) at HANGAR – Centro de Investigação Artística, curated by Bruno Leitão.

Ângela Ferreira, born in 1958 in Maputo, Mozambique, grew up in South Africa and obtained her MFA from the Michaelis School of Fine Art, University of Cape Town. She lives and works in Lisbon, teaching Fine Art at Lisbon University, where she obtained her doctorate in 2016. Ferreira’s work is concerned with the ongoing impact of colonialism and post-colonialism on contemporary society, an investigation that is conducted through in-depth research and distillation of ideias into concise and resonant forms. She represented Portugal at the 52nd Venice Biennale in 2007, continuing her investigations into the ways in which European modernism to adapted or failed to adapt to the realities of the African continent by tracing the history of Jean Prouvé’s’ Maison Tropicale’. Architecture also serves as a starting point for the deepening of her long research on the erasure of colonial memory and the refusal of reparation, which finds its most complex materialization in A Tendency to Forget (2015) focusing on ethnographic work of the couple Jorge and Margot Dias. The Pan African Unity Mural (2018), exhibited at the Maat Museum Lisbon and Bildmuseet, Umea, Sweden was conceived, retrospectively and introspectively, for the “here” and the “now”. In addition to its own trajectory, other biographical stories are simultaneously narrated, exposed and hidden in this work. In Dalaba: Sol d’Exil (2019) a work focused on Miriam Makeba, one of the most prominent figures in the struggle against apartheid, Ferreira created sculptural pieces based on the architectural elements of the exile building where Makeba lived in Conakri, almost like a prototype of the relationship between modernist and African vernacular architectures. Her sculptural, sound and videographic homages have continuously referenced economic, political and cultural history of the African continent whilst recuperating the work and image of unexpected figures like Peter Blum, Carlos Cardoso, Ingrid Jonker, Jimi Hendrix, Jorge Ben Jor, Jorge dos Santos, Diego Rivera, Miriam Makeba, Angela Davis or Forough Farrokhzad.

Selected works: #BucketsystemMustFall (2021); A Spontaneous Tour of Some Monuments of African Architecture (2021); Talk Tower for Forough Farrokhzad (2020); 1 Million Roses for Angela Davis (2020); Power Structures (Crouch-touch- pause-engage) (2020); Dalaba: Sol d’Exil (2019); Pan African Unity Mural (2018); Remining (2017); Talk Tower for Diego Rivera (2017); Boca (2016); Wattle and Daub (2016); Hollows Tunnels, Cavities and more… (2016); A Tendency to Forget (2015); Messy Colonialism: Wild Decolonization (2015); Revolutionary Traces (2014); SAAL Brigades (2014); Independance Cha Cha (2014); Entrer dans la mine (2013); Mount Mabu (2013); Stone Free (2012); Political Cameras (from Mozambique séries) (2012); Collapsing Structures/ Talking Buildings (2012); Cape Sonnets (2010/2012); For Mozambique (2008); Maison Tropicale (2007).

July 4th, 6 pm
EP 5 – Taking care of this place we hold
Margarida Mendes

Conversation between Margarida Mendes and Nithya Iyer.

Margarida Mendes is a Lisbon-based curator and researcher exploring the overlap between cybernetics, ecology and experimental film. Her personal research investigates the dynamic transformations of the environment and its impact on societal structures and cultural production. Through her collaborative practice, programming, and activism, Margarida enacts alternative modes of education and political resilience. In this talk, Margarida discusses the idea of ‘curatorial rhizomes’ as spaces in which different elements are interwoven and disseminated to a plurality of audiences across transdisciplinary and multisensory mediums. Other subjects discussed include: the importance of care in facilitating collective spaces of affect, how ritual has come to play a role in her approach towards imagining collective modalities, and the significance of feminist approaches to ecological inquiry.

Margarida Mendes is a researcher, curator and ecologist, exploring the overlap between systems thinking experimental film, sound practices and ecopedagogy. She creates transdisciplinary forums, exhibitions and experiential works where alternative modes of education and sensing practices may catalyse political imagination and restorative action. Mendes has been long involved in anti-extraction activism and ecopedagogy, collaborating with marine NGOs, Universities and institutions of the art world.

July 11th, 6 pm
EP6 – Colonisation is in good health
Kiluanji Kia Henda

Conversation between Kiluanji Kia Henda and Nithya Iyer.

Kiluanji Kia Henda is a conceptual artist working across multiple disciplines, including photography, videography, performance and installation. Born in Luanda Angola, four years after the country won its independence from Portuguese rule, his work raises questions and possibilities of reinventing identity and politics, both for Angola and in relation to contemporary sites of migration, refuge and decolonization around the world. In March 2022, Kiluanji presented Now That We Found Freedom, What Are We Going To Do With It? An exhibition co-curated by Anna Sophie Salazar, resulting from a residency collaboration with artists from Angola. In this conversation, Kiluanji discusses the intention of the exhibition, the distinction between art and activism, humour as a language of resilience, the importance of correcting historical narratives and the need to acknowledge the ongoing strategies of colonisation.

Kiluanji Kia Henda (Angola, 1979) lives and works in Luanda. In his practice, he uses art as a means of transmitting and constructing history, exploring photography, video, performance, installations, object-sculpture, music and avant-garde theatre as ways of materialising fictional narratives and shifting facts to different temporalities and struggles. Using humour and irony, the artist represents the complexity of themes such as identity, politics, and perceptions of post-independence and modernity in Africa. Working in perverted complicity with historical legacy, he sees the process of appropriation and manipulation of public spaces and structures as different constructions of the collective memory.

October 18th, 6 pm
EP7 – Blue Note
Simon Njami

Conversation between Simon Njami and Mónica de Miranda.

A blue note is a musical notation used for expressive purposes, initially in jazz and blues but later adopted by popular music at large, created to account for the non-standard pitches sung or played by musicians. In this talk, Simon Njami asks – what is that blue note that we can bring into contemporaneity? Simon discusses his conception of education as a form of awareness and criticality, and the importance of alternatives to the classical education system for young people. He also ponders the role of art and curatorial practice as modes of sharing and creative expression in a local yet global context, among others.

Simon Njami is a Paris-based independent curator, lecturer, writer and art critic. Njami was the co-founder and editor-in-chief of “Revue Noire“ a journal of contemporary African and extra-occidental art. He has served as artistic director of the Bamako photography biennale for ten years. He co-curated the first African pavilion at the 52nd Venice Biennale in 2007 and curated the first African Art Fair, held in Johannesburg in 2008. He has served for ten years (2000/2010) as cultural advisor for the AFAA the cultural branch of the French Ministry of Foreign Affairs (today Institut Français) in their cultural cooperation policy. He was member of numerous art and photography juries (10 years at Worldpress). Njami has curated numerous exhibitions of contemporary art and photography, including Africa Remix (2004-2007) and The Divine Comedy (Frankfurt, Savanna, Washington DC, 2014/15) African Metropolis (MAXXI, Rome, 2018) and two Editions of the Dak’Art Biennale (2016/2018). He was member of the scientific boards of numerous museums and a Visiting Professor at UCSD (University of San Diego California). He has directed the Pan African master classes in photography (2008/2019), project that he conceived with the Goethe Institut and he is the advisor of AtWork educational format that he co-created with Moleskine Foundation in 2012 and continues to conduct it until the present moment. He is also currently setting up the permanent collection of contemporary art for the Memorial Acte museum in Guadeloupe. Njami has published seven books, including essays and novels.