PAINTING - INSTALLATION - PERFORMANCE
On the Streets of Lisbon is an interpretation of the City of Lisbon according to my look as a contemporary plastic artist.
In this collection I cover a part of the ancient history of Portugal and the current daily life of the city in an African view.
The Performance will be presented at the beginning of the Exhibition.
Gallery Ainori, Rua das Fontaínhas 70 A, Alcântara
Saturday, October 27 from 5:00 p.m. to 8:00 p.m. The Exhibition will be open until November 24, 2018.
No comment, Libyan 2017
The nowadays Angolan woman who marks her presence at various levels of society and the world, follows the evolution of technology
ProtectorThe work portrays the human being giving all the attention to preserve nature and the environment.In case of this picture, a strong protecting something fragile.
Two friends without any water at home find a public hose flowing water. All the two, excited, enjoying a bath of joy.
Pintei este quadro no inicio do ano para falar do mundo das injustiças que continua a roer a humanidade, para falar de um povo escravizado e dominado pelo outro ainda neste tempo contemporâneo. E dei o título da '' Resistência''.
Resistência é entre aspa a forma que aquele povo submetido a humilhação começa a organizar-se para se defender da opressão, para mostrar e exigir a igualdade, o seu respeito desde a família, a sociedade e o mundo. A primeira pessoa a criar dignidade para o seu povo é um dirigente correcto, aquele que tem a preocupação de melhorar as condições de vida do seu povo sem pensar em enriquecer a sua família e seu circulo de amigos. Africano és carvão e um carvão ardido que iluminará a chama, aquele fogo que vai servir para iluminar a escuridão.
Cristiano Mangovo Brás was born in 1982 in Cabinda - Angola. As minor refugee in the DRC, he received his undergraduate degree in painting at the Faculty of Fine Arts in Kinshasa. After a training of few months in the studio of the artist Narciso Nsimambote, he worked with master António Ana Etona and Lázaro Patrício Mawete, and then participated in several Workshops on urban scenery and performance.
His work is multifaceted, ranging from portraiture to impressionism and surrealism, through installation, in which he experiments with new techniques and different materials. In any of these currents or trends, it already has its own distinctive trait that distinguishes its style in the context of contemporary Angolan painting.
In parallel, Cristiano Mangovo embraces contemporary sculpture for the passion and desire to give a second life to products that would be discarded for garbage, in order to contribute to environmental preservation. He also complements his artistic creation with the performance aspect, through which he incarnates different characters and interacts with his exposed works, in a paternal creative-creation relationship, as if thus giving them the opportunity to gain a momentary life and leave the canvas to express themeselves for brief moments through his body.
In his promising career, his individual exhibition in 2013 at the Art and Culture Foundation in Luanda, which was the invitation of BAI Bank, to exhibit at BAI Arte that same year. In 2014, he won the MIRELLA ANTOGNOLI ARGELÁ award from the Italian Embassy and the ENSA ARTE Alliance Française prize. He has several collective and individual exhibitions at national and international level (Portugal, France, Italy, South Africa, R.D.Congo, United States of America).
In 2015, Cristiano Mangovo exhibits his sculptures at the Angola Pavilion of Expo Milan, during the months of July and August, within the "Seeds of Memory" exhibition. During this period, he went to Paris, where he worked at the Cité Internationale des Arts, within the framework of the artistic residency that was the ENSA ART Award - Alliance Française 2014. The Cité Internationale des Arts gave him the inspiration for the "Guiadores" Collection, Which was exhibited at the Dr. Agostinho Neto Memorial in Luanda from October 8 to 25. He obtained the support of PRO-HELVETIA, SUISSE ARTS COUNCIL, the Swiss Foundation for Culture to perform an installation and performance in Cape Town, South Africa between March and April 2016.
The idea of the "guiadores" comes with the sculpture that earned him the honorable mention in sculpture in the ENSA Art Prize: a human figure in real size, made of metal spoons, whose head is a motorbike handle, with the headlight on. Transposed to surrealist painting, the leaders take the form of religious leaders (the Pope and the Dalai Lama), politicians (François Hollande) or simply anonymous human figures, in the position of command of their destiny. With the motorcycle handwheels in place of the head, the drivers are leaders who command their destiny and illuminate their path and that of their followers, using the motorcycle as a technological means of our time to escape traffic, to arrive faster and innovate by Alternative way. And in this sense it ends up asking a question of what direction the human being should be guided?
O filho da Zungueira. 100 x 100 cm, Acrílico sobre tela.
As Zungueiras são as vendedoras ambulantes da cidade de Luanda. Elas conhecem muito bem a cidade porque "zungam" (andam de um lado para o outro) em todos os bairros, até nos arredores do palácio presidencial vão lá quando há falta de compradores na cidade. Elas são "corridas" todos os dias pela polícia e pela fiscalização por causa de venderem ilegalmente, e por não pagarem impostos.
O filho da Zungueira, é o menino que fica em casa, aguentando a fome e tudo o que lhe faltar, à espera que a mãe traga de regresso alguma coisa para comerem. Ele está de pé em cima do xadrez, dependendo do sustento da sua mãe num mundo de negócio.
O menino tem esperança que amanhã tudo será melhor, pois ele vive todos os dias num fundo de esperança.
Mas se lhe perguntares como ele vai, é raro ele te dizer o que lhe falta. Somente vai te dizer que está melhor, pois para o miúdo não existe a crise, só existe o vazio que já se acostumou a aguentar.
Filho da Zungueira.
The son of Zungueira. 100 x 100 cm, Acrylic on canvas.
Zungueiras are the street vendors of the city of Luanda. They know the city very well because they "zungam" (pacing) in all neighborhoods, even in the vicinity of the presidential palace they go there when there is a lack of buyers in the city. They are "run" every day by police and enforcement because of illegally selling, and for not paying taxes.
The son of Zungueira, is the boy who stays at home, enduring hunger and all that is missing, waiting for the mother to bring something back to eat. He is standing on the chessboard, depending on his mother's livelihood in a business world.
The boy has hope that tomorrow everything will be better, because he lives every day in a fund of hope.
But if you ask him how he goes, he rarely tells you what he lacks. It will only tell you that it is better, because for the kid there is no crisis, there is only the emptiness that has become accustomed to endure.
Son of Zungueira.
Eu quero eu, 200 x100 cm, acrílico sobre tela, foi o título que chamei a este quadro.
Notarmos que às vezes as nossas próprias dúvidas nos cegam, com receio de não acreditarmos em nós próprios, é já um grande passo. Às vezes, estamos em manipulação consciente ou inconsciente.
Depois de darmos conta, quebramos o ciclo, e escalamos um nível. Assim é que emadurecemos, e começamos a viver segundo a nossa vontade e o nossa auto-estima, acreditando no nosso ''Eu essencial'' para nos guiar individualmente.
Inspirei-me, para realizar esta obra, na necessidade de sensibilizar o ser humano para não duvidar de si.
Temos de ser nós.
Eu quero Eu.
I want it, 200 x 100 cm, acrylic on canvas, was the title that I called this painting.
Note that sometimes our own doubts blind us, for fear of not believing in ourselves, is already a big step. Sometimes we are in conscious or unconscious manipulation.
After we figure it out, we break the cycle, and climb a level. This is how we mature, and we begin to live according to our will and our self-esteem, believing in our "essential Self" to guide us individually.
I was inspired, in order to carry out this work, in the need to sensitize the human being so as not to doubt himself.
We have to be us.
I want it.