비록 떨어져 있어도
Divided We Stand

Kiluanji Kia Henda

Kiluanji Kia Henda

born 1979 in Luanda, Angola
lives in Luanda, Angola and Lisbon, Portugal

The photographic and sculptural work of Kiluanji Kia Henda has intense resonance, in a moment when the role of monuments is being rigorously scrutinized, while migrants risk death, fleeing homelands wrecked by war and economic depression. Kia Henda's practice is rooted in a rigorously documentarian approach to photography, which he has used – for instance in his series of photographs Balamuka – Ambush (2010), which is part of the cycle of works entitled “Homem Novo” (new man, 2010–ongoing) – to depict the statues razed from the streets of his hometown Luanda, during processes of de-colonization. Writers on Kia Henda’s work have observed the way he bridges the African tradition of “austere documentary” with imaginative and bracingly critical forays into storytelling and sculptural allegory. In the series Redefining the Power (2011-12), also part of “Homem Novo”, the artist produced triptych photo-prints combing reproduced postcards of Portuguese monuments in colonized Angola, contemporary photographs of the monument pedestals without their figures, and subsequent images showing Angolians performing atop the pedestals, literally and symbolically usurping their power.
Apart from a series of works selected from the “Homem Novo” series, at the Busan Biennale, Kia Henda presents Ilha de Vénus (The Isle of Venus) (2018), a work comprising sculpture, photography, and sound. The installation is an allegory about the way Europe protects its official culture history, in contrast to the criminal disregard it shows to the plight of colonized populations which have suffered from it. On a monochromatic black floor, the artist places concrete cinder construction blocks to create a foundation and many plinths. Atop this structure, the artist has placed miniature statues – cheap versions of iconic European classical figures – each covered in fluorescent condoms, which become abstracted vestments when stretched over the tiny muscular figures. On the gallery walls, photographs of migrant-carrying ships have been hung, with each boat blocked by a simple black rectangle. The proudness of European history thus tangles with the shameful blindness of the European present.
주요 개인전

2017
In the Days of a Dark Safari, Goodman Gallery, Cape Town, South Africa
2014
A City Called Mirage, Galeria Filomena Soares, Lisbon, Portugal
2012
Homem Novo, Galleria Fonti, Naples, Italy
2008
Estórias e Diligências, SOSO Gallery, Luanda, Angola

주요 그룹전

2017
South-South: Let me begin again, Goodman Gallery, Cape Town, South Africa
2016
The Incantation of the Disquieting Muse: On Divinity, Supra-Realities or the Exorcisement of Witchery, SAVVY Contemporary, Berlin, Germany
2015
Surrounding The Audience, New Museum Triennial, New York City, United States