Kiluanji Kia Henda

Luanda, Angola. The streets are deserted, the buildings empty and no ships leave the harbour. What's left are ghosts and memories. Concrete Affection – Zopo Lady is inspired by journalist Ryszard Kapuściński's descriptions of the last colonial days in Angola in 1976 and the exodus of Portuguese and white Angolans from Luanda.

Angola's complex history seen through the eyes of a fake taxidermy sable antelope. She takes us on a journey that links colonial ideas from the past with contemporary reality. This short contemplation on the conservation of memory is a brilliant mix between static painted, staged histories, and a physical parade through the streets.

Samuel Muxingueno escapes from conflict areas in eastern Angola, and seeks shelter in Luanda. Here, his main enemy becomes his own shadow. Seeking to get rid of it, Samuel turns to life in the darkness of a deserted building. To be able to get back into the light, he makes a radical decision.

Resetting Birds’ Memories tells the story of Kinaxixi Square in the centre of Luanda. The square will come to life trough the body of an actress. This square symbolises the violent past, with successive rulers placing monuments to themselves on it, glorifying their ideologies. Kia Henda reveals the relationship between pre-colonial Angola and the present-day nostalgic view of that era. The performance has a political layer, but is not a literal illustration of this history. Rather, the poetry of this work invites to reflect on the perpetual changing world. Changes that are often represented through monuments in public space.

Luanda, Angola. The streets are deserted, the buildings empty and no ships leave the harbour. What's left are ghosts and memories. Concrete Affection – Zopo Lady is inspired by journalist Ryszard Kapuściński's descriptions of the last colonial days in Angola in 1976 and the exodus of Portuguese and white Angolans from Luanda.

Angola's complex history seen through the eyes of a fake taxidermy sable antelope. She takes us on a journey that links colonial ideas from the past with contemporary reality. This short contemplation on the conservation of memory is a brilliant mix between static painted, staged histories, and a physical parade through the streets.

Angola's complex history seen through the eyes of a fake taxidermy sable antelope. She takes us on a journey that links colonial ideas from the past with contemporary reality. This short contemplation on the conservation of memory is a brilliant mix between static painted, staged histories, and a physical parade through the streets.

Samuel Muxingueno escapes from conflict areas in eastern Angola, and seeks shelter in Luanda. Here, his main enemy becomes his own shadow. Seeking to get rid of it, Samuel turns to life in the darkness of a deserted building. To be able to get back into the light, he makes a radical decision.

Samuel Muxingueno escapes from conflict areas in eastern Angola, and seeks shelter in Luanda. Here, his main enemy becomes his own shadow. Seeking to get rid of it, Samuel turns to life in the darkness of a deserted building. To be able to get back into the light, he makes a radical decision.

Samuel Muxingueno escapes from conflict areas in eastern Angola, and seeks shelter in Luanda. Here, his main enemy becomes his own shadow. Seeking to get rid of it, Samuel turns to life in the darkness of a deserted building. To be able to get back into the light, he makes a radical decision.

Resetting Birds’ Memories tells the story of Kinaxixi Square in the centre of Luanda. The square will come to life trough the body of an actress. This square symbolises the violent past, with successive rulers placing monuments to themselves on it, glorifying their ideologies. Kia Henda reveals the relationship between pre-colonial Angola and the present-day nostalgic view of that era. The performance has a political layer, but is not a literal illustration of this history. Rather, the poetry of this work invites to reflect on the perpetual changing world. Changes that are often represented through monuments in public space.