{"id":6134,"date":"2022-11-24T18:47:57","date_gmt":"2022-11-24T18:47:57","guid":{"rendered":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/\/?p=6134"},"modified":"2022-12-14T15:34:25","modified_gmt":"2022-12-14T15:34:25","slug":"a-arte-urbana-da-me-muito-vivo-experiencias-muito-profundas-nas-comunidades-entrevista-atho-simoes","status":"publish","type":"post","link":"https:\/\/mcostastudio.pt\/clients\/waau\/site\/2022\/11\/24\/a-arte-urbana-da-me-muito-vivo-experiencias-muito-profundas-nas-comunidades-entrevista-atho-simoes\/","title":{"rendered":"\u201cUrban art gives me a lot, I live very deep experiences in the communities\u201d Interview to Tho\u0301 Simo\u0303es, in Luanda"},"content":{"rendered":"\t\t
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EN<\/a> | PT<\/a><\/p>

Author: Marta Lanc\u0327a, in Luanda<\/span><\/p>

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You are defined as a multilingual artist who refuses labels and trends or styles. Do you identify with that idea? Why?<\/h4>

I feel more comfortable not having definitions. I think these definitions have a lot to do with the academia, and I am not a scholar. At a certain point, I had to interrupt my studies and go into the workforce, but I already had this artistic calling since my childhood. I always felt that art was something inherent within me. In my professional life I learned to use tools, to practice and absorb more knowledge; with experimentation I became more and more the artist that I am. I have always felt this way. It’s the sum of everything I’ve absorbed, from the moment when I realized that art was my path. <\/span><\/p>

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Did you have an artistic sensibility from a young age?\u00a0<\/h4>

I liked to play a lot. Fidgety and mischievous, I was always involved in games, in play… everything interested me. I always wanted to learn and master new games. At that time, our games and play were not seen as stimuli for the child to develop the aptitudes and skills that would be useful at a professional level in the future. But my childhood experiences dictate the rules of my own game to this day.<\/span><\/p>

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As if playing was something wrong\u2026\u00a0<\/h4>

Playing was seen as a distraction from one\u2019s goals. In primary school, I was a good student, with good results, good grades, and a diligent student. It seemed I was on the right track, but from secondary school onwards, I was fed up. Every now and then, I would wonder, “when does it end?” I remember thinking, “but am I going to sit at a desk until I’m eighteen?” Sometimes my ass would hurt, and I would think, “if my ass hurts already, imagine when I’m eighteen or twenty! How many years do I have left?” I still did an intermediate degree in Fine Arts, but I was really fed up with having my ass stuck to a chair and all that routine, then at 20 I found out that I was going to become a father for the first time, I went looking for my first job, and the rest is history.<\/span><\/p>

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And when did you become interested in painting, and later collage, digital urban art, performance, installations, film, and photography?<\/h4>

I must have been six years old, or even younger, when I saw a portrait of my mother made by my father. My mother is very beautiful, always has been. Seeing that drawing caught my attention. I asked my father: “how did you do that? It looks like a photograph but, was it really you?” He was already good at it. He studied at an industrial school. At that time, people who had an aptitude for engineering, architecture, etc., went to an industrial school. My father explained: “by following techniques and methods, that’s easy”. It never left my mind, and from then on, the challenge was to practice until I could draw well. I understood the level I was at because I was a child – I still had to “work my fingers to the bone” until I could draw a proper portrait – but it was my trigger to keep on trying. So, I continued to improve between playing ball, games, and drawing. Whenever I could, I drew. When I started to have access to comic books, I drew Scrooge McDuck, and so on. Later, when I felt comfortable with drawing, I learned to paint, and then I carried that into life and became a visual artist. When I say I don’t want labels, I don’t want to condition myself.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Congolandia Universo in Disenchantment performance, 2018
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Carpinteiro, 2022
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\u00a0<\/p>

But are you okay with the label of Artist?\u00a0<\/h4>

Artist is a much more open, broader term. It allows you to create without strings attached. Now the vehicles, the means, the processes… for me, it is according to my creative ability to use them to materialize my ideas and realize my creations. <\/span><\/p>

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A professional artist, in the sense that you make a living from art, or do you still have a foot in other activities, like advertising?<\/h4>

I am a professional Artist. It is my full-time job. Before I established myself, I had to take on several jobs and projects. Fortunately for me, they were all in the field of visual communication. I worked in communication and advertising for fifteen years. I started working as an inker in a printing company for long enough to learn the science of colors, types, and printing. Then I moved from small agencies to the big advertising agencies in the Angolan market. Creative Directors, Photographers, Directors, Editors, Producers, and Post-producers, I learned everything I had to learn from the best that the communication market had to offer me. Everything that came into my life only added to the artist.\u00a0<\/span><\/p>

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What was your childhood like?\u00a0<\/h4>

I was born in Malange, spent part of my childhood in Benguela, and came to Luanda. I lived in Vila Alice and Mutamba near the National Theatre. I studied at Sa\u0303o Jose\u0301, and next door, there was the Barraca\u0303o, the first art school, according to the experts. It was created by Teresa Gama, an artist, sculptor, and poet, and there we, the kids from the neighborhood, had access to classes in our free time after school. I studied in the morning and spent the afternoon there in the Barraca\u0303o. Then I learned to modulate clay, to work with colors, and other things I didn’t know. Later, in high school, I already felt more comfortable with some things, except photography. Photography led me to apply to art school, but while I was there, the subject never had a teacher. Only after I left did it start. Photography was what I wanted to learn the most at the time. I had never explored it and was eager to learn.\u00a0<\/span><\/p>

I found photography already in advertising. Creative directors like Cla\u0301udio Chocolate and Anto\u0301nio Pa\u0301scoa were my first mentors in my journey through the world of visual communication. They introduced me to a world of productions that involved art directors, copy writers, photographers, directors, and other professionals with whom I worked long enough to learn what was necessary for my baggage. However, we had a major crisis in 2012.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Samuel Maharero, 2016
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Njinga, 2019
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\u00a0<\/span><\/p>

Going back to the first decade of the century [when we met], there was a breeding ground for artists, from the Unap, the Elinga Teatro, and the Luanda Triennial. And I remember the Nacionalistas collective, you participated in the exhibition Angola Combatente<\/i> (2005)?<\/h4>

It was not my first collective exhibition but a milestone in our common trajectory. With the Nacionalistas, we have previous remarkable events. Lino Damia\u0303o and I already knew each other from Barraca\u0303o, SD, and Marcos Kabenda from art school, Nelo Teixeira and Yonamine we already knew each other from other times, Mwambi Wassaki, the great Mestre Kapela, our base was at Unap. I came and went intermittently because of work, but I always found time and a way to get involved in common projects that the guys would create.\u00a0<\/span><\/p>

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The name Nacionalistas was a tribute to the nationalists who fought for independence, right?\u00a0<\/h4>

It was inspired by Pan-Africanism, which was also attractive because it was provocative. I wasn’t in the formation of the Nacionalistas, but I was included anyway, because I was already part of the same group of people who created it. When I joined the movement, the members already had some projects in their portfolio. Then I met the Elinga Teatro and the Orlando Se\u0301rgio group, Rau\u0301l Rosa\u0301rio, Kiluanji Kia Henda, Anabela Aia, Sunny Dilage, and all the Elinga group. It was a very important period for me. It was a school, a house full of art and culture. I started to have access to theatre, dance, music and cinema, and I gained more experience at Elinga Teatro. At that time, I carried out my first multidisciplinary project, “Art and Fashion”. At this event, Muambi Wassaki made his debut in fashion and haute couture. I continued to participate in many projects with those restless and creative people.\u00a0<\/span><\/p>

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And the first Luanda Triennale was taking place, coordinated by Fernando Alvim.\u00a0<\/h4>

I had the opportunity to share a studio with Ihosvanny at Baiarte (the gallery where you were). I started to design the project <\/span>Congola\u0302ndia<\/span><\/i>. At the time, I wasn’t prepared. I didn’t know exactly what I wanted or how to bring it out. I knew the elements. I asked you to write a text, which you did very well, I went to Alvim “I want to do that project”. At the beginning, they bought the idea, I even started the first rehearsals, but unfortunately, they didn’t move forward. I never stopped dreaming about it and the opportunity arose a few years later, when some of these friends, now more experienced, got together in the legendary Rialto on a summer afternoon and created Fuckin’ Globo. Luis Pedro “LP”, Joa\u0303o Ana, Orlando Se\u0301rgio and Kiluanji Kia Henda. <\/span><\/p>

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It’s a ten-year gap. But during those years, you were working as an independent artist\u2026\u00a0<\/h4>

I was already able to keep myself professionally stable. But then the crisis came in 2011, and I was unemployed. I didn’t feel like doing it all over again, going back to square one. I shared with my family that “I was more tempted to chase my dream of dedicating myself to art full-time”. The family supported my decision, and I started working, using all the tools I had. Then Fuckin’ Globo came along. In the first edition, I didn’t participate because I was painting Murals and doing graffiti in the streets, absorbing much of what is urban. <\/span><\/p>

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Fuckin’ Globo is a group show, but everyone has their own individuality and is free to do what they want. There doesn’t have to be a direct relationship with the other shows, but you do share resources and production, don’t you?<\/h4>

I embraced and got involved in this project precisely because of that. It was very important at that time; a collective experience where everyone brought their own project. It is an intriguing and stimulating challenge because you are inserted in a small space, and from that cubicle, you have to build a narrative for your work. You are the producer of the work. Although you have your privacy, it is essential to be open to other artists, with other works. The challenge is exactly this capacity of being able to leave everything out in the open and taking risks. It depends a lot on how you interact. You balance it out.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Mural Angola (Airport 4 de Fevereiro), 2022
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Mural Angola (Airport 4 de Fevereiro), 2022
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\u00a0<\/p>

Why was Fuckin\u2019 Globo so important in your journey?\u00a0<\/h4>

It was the project that appeared at the time that interested me the most. There I was able to develop some bolder creations. Once the project was approved, I could develop just like that, which is a great advantage for me to be able to present creations that continue to be highly appreciated. <\/span><\/p>

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Each piece is fundamental…\u00a0<\/h4>

I didn’t even enter the building during my first participation (in the second edition). Occupying a space inside the building is the general concept of the event. I stayed in the street, on the fa\u00e7ade on the opposite side of the road, and made an enormous mural journal attached to the fence surrounding the block, I did this work in protest against the demolitions of the architectural heritage of downtown Luanda. There is an uncontrolled fever to tear down what is old and filled with history to replace it with skyscrapers of concrete, metal, and glass. Besides participating as an artist, I was also involved as a producer in the following five editions. Whenever the rest of the team would ask me, “so, what’s your project?” I would say “I don’t have one yet”. The staff… “But how come? You needed to have it ready by yesterday?” I would say “I don’t have time for that right now. I’m working on other projects”. I prefer to be like a blank sheet of paper than to come up with pre-conceived ideas. The challenge of starting with no ideas and letting them flow excites me, I’ll absorb the experimentations and, from there start to interpret what would come to me as ideas in a clear way and move forward with them. It was like that with <\/span>Congol\u00e2ndia Universo em Desencanto<\/span><\/i> (2020). I picked up the thread because I accidentally found that text and remembered what we had done. All that was left was to get people back together and try again.\u00a0<\/span><\/p>

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It is one of your most consistent projects, there have been several sequels.\u00a0<\/h4>

Yes, there have been several sequels. I’m still working on it because there is always going to be more to do. <\/span><\/p>

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And how was the impactful action of the Murals of Leba (in Serra da Leba, Lubango)?\u00a0<\/h4>

I had already been doing urban art for a while, however the Murals of Leba is a project of a gigantic scale, because we managed to bring together artists from all over the country, from Cabinda to Cunene, from the “pros” to the “amateurs”, everyone who liked and did graffiti could participate. It was idealised by Vladimir Prata, who invited me to direct it. We gathered a collective of artists and went to Leba. The weather conditions and the wonderful and unforgiving ecosystem of the mountains was our baptism of fire to become what we are today in urban art. I believe that everyone who participated in that left with a much clearer vision of what it is to be an urban artist, my goals were clear and defined. In Sierra da Leba, I became the urban artist that I am. I go from one place to another, and another, I add things, learning by experimenting and applying the knowledge acquired in the streets and places where the ordinary folks I come across are my true masters. So, it gets complicated to put labels on it.\u00a0<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Prende e Larga, 2016
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Senhores do Vento, 2016
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\u00a0<\/p>

Urban art is a powerful force of expression worldwide… How do you connect to the streets?<\/h4>

Although I was sure that art was the path I wanted to follow (I always thought this and didn’t see another route for me) when I started, I felt I wasn’t getting the acceptance I wanted. But I wasn’t going to give in either, meaning I was constantly advised to replace my mediums with other materials that met the demand at the time. I’d have a better chance of being recognized. That’s what some people did, and it worked for them, well-catered for the art markets in the diaspora. But I was stubborn; for me, it was either my way, my intuition, my self-awakening or nothing. So, I kept going, slower, working more inwards than outwards in Angola, consistently and without great expectations, just continuously going and adding one step at a time. I thought: “no matter the time, my path is slower and more tortuous, but I will get there too”, calmly. Since I couldn’t promote my work in galleries as I would have liked, I decided to focus on the streets. I’ve always been passionate about graffiti. As a kid, I used to say, “one day I’m going to be a graffiti artist”. The streets gave me fame and notoriety. The Leba Murals introduced me and other Angolan graffiti artists to the world. I love doing things in the street, it is much less complicated to carry my projects outside of the format. <\/span><\/p>

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The street is an interesting space, of access and interaction with the city.\u00a0<\/h4>

It’s exactly like that, I understood that and will never leave the street. The street gives me a lot, so much so that it opens doors. Some of my projects already have space in galleries, museums, art fairs, collections, and so on. I conquer many things through the street. I live for the street intensely; I have to live on the street, I have to go to the street, I have to really mix myself. I don’t lose focus, which is exactly that. <\/span><\/p>

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But do you do what you want, or are you asked, for example, to come and draw certain figures at the Embassies?<\/h4>

Both, I have produced a lot of commissioned work. Over time I have gained prestige. At some point, commissions go toward what I do instead of being someone else’s project. I am sometimes asked, “but what is your style?”, because there are always theses and theories about inspiration and concepts that then define us as an artist. When they ask me those questions, I associate myself with the work of a DJ who mixes layers and more layers of music but manages to create harmony and music so good that people vibrate with it. That’s exactly my job. It has nothing to do with inspiration. I know I must be consistent and constantly be on the streets. Early in the morning, I’m already there, engaging with what’s happening, with the colors, smells, noises, conversations, situations, and movement, whether in my niche of friends, my stratosphere, or other social circles. I absorb those things and then go into the studio to create. I just mix layers of what I absorb. Sometimes in painting, sometimes in video, and sometimes in photography. And often I do this in performances. <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Anglobal SA, 2016
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Angolana (Rua dos Mercadores), 2018
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What issues worry you, and have been in the subconscious of your intervention? I can see that you have thought about the city, what are you trying to convey?<\/h4>

Social issues are what immediately comes to mind. I try to pay attention, to be more of an observer than an interventionist. So, I can detect social discrepancies in conditions where a minority has access to all the services and more, while the majority is full of problems at all levels. Education, health, employment, transport, housing, the list only gets longer. My work is often connected with political interventions, sometimes I have to answer for them, but usually, the political interpretations come from the observer and not from me, at the time of doing it, it is pure intuition and immersion in the creative process, what is revealed was already there before, I just translate it into my artistic language.\u00a0<\/span><\/p>

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These inequalities are present in Entre Monstros e Homens <\/i>(Between Monsters and Men), your latest exhibition.<\/h4>

I spent a year preparing the exhibition, which was based on observation. So, I observed a lot of day-to- day life in the city, the social problems of people who live in the periphery, but also of the more privileged who, despite being in better conditions, also face fundamental problems in their day-to-day lives. <\/span><\/p>

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Basically, it’s a regime that benefits no one\u2026<\/h4>

Many people live in an illusion. I did a performance that portrayed an individual who lived in a gated community – it’s very fashionable to live in gated communities – in a large villa, but water would run down his living room\u2019s wall every day. <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Congolandia (S\u00e9rie Retratos), 2022
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Where did the water come from?\u00a0<\/h4>

The water came from the wall, which he shared with a building of a few floors that had in the basement an engine room that treated and pumped water. When it was pumped to serve the whole building, it entered his house through the wall, and there was no way of solving it. Once, he had a party, his cousin lent him a tank where he put the beers. After the party, he didn’t give the tank back to his cousin, instead he placed it against the wall, got some pumps, started sending water into the tank, purified it, filled bottles, sealed them, and sold them in the market. So, he turned the room into a factory of bottled water for sale. <\/span><\/p>

\u00a0<\/p>

What did you want to show in that performance?\u00a0<\/h4>

We are talking about our resilience and the abnormal difficulties that are completely surreal and grotesque. The tendency in Luanda is to normalize everything, so this became normal. The absurd has become so normal that the normal has become abnormal. It’s very complicated that there’s no problem. I began to observe and concluded that it’s so macabre that it’s difficult to distinguish who’s human in this reality or who isn’t human anymore, who’s already become a monster but doesn’t even realize it. We keep kicking each other from the moment we get out of bed until we go back to sleep. Hence the title <\/span>Entre Monstros e Homens <\/i><\/b>(Between Monsters and Men).<\/span><\/p>

\u00a0<\/p>

There’s that painting of the zungueira<\/i> too\u2026<\/h4>

This work is one of the highlights of that exhibition. It’s about a <\/span>zungueira<\/span><\/i> woman (Angolan vendor who carries her products in a bowl on top of her head), I saw at a demonstration. It\u2019s not often that you see women organized to demonstrate on a subject that concerns them. At the time, there was a wave of violence against women; many were killed for no reason. So, there was this demonstration. What caught my attention? A woman who, as far as I could tell, was working, walking from one end of the city to the other with a heavy load on her head and a baby on her back. She had kept her stock with a security guard so that she could take part in the demonstration, and she was holding a big placard that said something like “More respect!” and the baby was on her back. When I looked at that image… what strength! I thought, despite the million difficulties she faces every day and having that baby on her back to look after, she still had time to go to the demonstration to shout for her rights.\u00a0<\/span><\/p>

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And she might have a frustrated and drunk husband at home who doesn’t work…\u00a0<\/h4>

That’s right… this is a widespread picture in the mostly unemployed or low-income population. <\/span><\/p>

\u00a0<\/p>

The city and everyday situations are on your horizon. In urban art, the walls will scream their urgencies, but it is interesting to make this reflection on the upper middle classes. And to realize that, with such an unequal society, they also face difficulties. They can’t have a functional health system even if they have all the money. They must go to South Africa, London, or Portugal when sick. So many women and children die at the hospitals… It’s to be complicit in all of this.\u00a0<\/h4>

A lot of people die here every day. I’ve been to many places and only identified problems that would not be problems in a normalized society. I have travelled a lot and I continue to travel around Angola. One time I went to do some work in a pediatric ward. The deaths that I saw were striking… it was 15 days of anguish, seeing children leave without it necessarily being their time to leave, but because our health system is collapsing. <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00a9 Marta Lan\u00e7a<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u00a0<\/h4>

What was the job?\u00a0<\/h4>

It was to paint in rooms for hospitalized children, with elements and colors that would give off a good vibe. That time was heavy. Imagine the dramatic moments… There was no way of identifying real culprits, because even the culprits in the situations I witnessed were themselves, victims. They couldn’t even realize it sometimes, there are so many people, imagine, so many. Depending on the seasons, there are terrible times. The rainy season is the worst, it’s pandemonium for everyone. For the doctors and technical nurses, cleaning, and security staff. It’s a never-ending fight. Fighting to save lives. <\/span><\/p>

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You are an artist who is very involved in the real…\u00a0<\/h4>

The projects take me to unexpected places, and they open my eyes, they make me feel the realities. I involve myself completely. My paths lead me to explore my surroundings, urban art gives me a lot, and I appreciate being able to see and live such profound experiences with and in communities. <\/span><\/p>

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What other community projects have surprised you?\u00a0<\/h4>

What involves me the most is the fact that I am painting in the peripheries, and what that brings me. I can, for example, visit a place where crime is high, and the community lives insecure and distrustful. Things change in the community when I develop a project in that place. The colors, the vibrations, and the themes we choose to paint shift the environment, change the way people interact in that environment, and new things emerge. More and more, I develop and have access to projects that I didn’t expect. For example, today, I work with a lot of young people. When I started, I knew I would share knowledge with young beginners, but I am surprised by the young people who assist and work with me, and we find purpose in the work that we develop. Regardless of our shared projects, they themselves also focus on going to communities and positively impacting them with their art and work, the environments in their neighborhoods and communities. And when they do that, everything changes. I am floored and awestruck when I see the things they do on their own initiative.\u00a0<\/span><\/p>

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Are you a master?\u00a0<\/h4>

I am a master to them, but I learn a lot. It’s a sum of skills. My work isn’t just painting walls. After all, I influence them, some children only need to see me once, and it’s enough for their lives to change. The first time I realized this was many years ago in a village in Benguela that we visited with a multidisciplinary project. We got there, and there were only children, so we made a mural with the children. That made an impression on those kids. I started to understand that sometimes it’s important to just get there, and they see it. And when they see me with other kids that they consider their equals, then it starts. “Oldman, can I paint with you? Can I be part of it?” Those who insist end up getting on board. And after a year, he’s already painting in his neighborhood, with a group of friends to whom he gives a little training, and things begin to change. For me that\u2019s everything. <\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Autora: Marta Lan\u00e7a<\/p>

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Definem-no como artista multilinguagem que recusa r\u00f3tulos e tend\u00eancias ou estilos. Identifica-se com essa ideia? Porqu\u00ea?<\/h4>

Sinto-me mais confort\u00e1vel em n\u00e3o haver defini\u00e7\u00f5es. Na minha opini\u00e3o, isso das defini\u00e7\u00f5es tem muito a ver com a academia e eu n\u00e3o sou formado na academia. A dada altura tive que interromper os estudos e ir para o mercado, mas j\u00e1 vinha com essa veia art\u00edstica, desde a inf\u00e2ncia. Sempre senti que a arte era algo inerente em mim, com a vida profissional fui aprendendo a usar ferramentas, a praticar e absorver mais conhecimento, com a experimenta\u00e7\u00e3o fui-me tornando cada vez mais o artista que sou. Sempre senti assim. \u00c9 o somat\u00f3rio de tudo o que vou absorvendo, a partir do momento em que percebi que a arte era o meu caminho.<\/p>

\u00a0<\/p>

Tinha sensibilidade pl\u00e1stica desde novo?<\/h4>

Gostava muito de brincar. Irrequieto, traquino, estava sempre envolvido em jogos, em brincadeiras, tudo me interessava. Queria sempre aprender e dominar os novos jogos, brincadeiras. Naquela altura as nossas brincadeiras e jogos n\u00e3o eram encarados como est\u00edmulos para a crian\u00e7a desenvolver as aptid\u00f5es e habilidades que seriam \u00fateis no futuro a n\u00edvel profissional. Mas as minhas experi\u00eancias de inf\u00e2ncia ditam at\u00e9 hoje as regras do meu jogo.<\/p>

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Como se a brincadeira fosse algo errado…<\/h4>

A brincadeira era vista como algo que distra\u00eda dos objetivos. Na escola prim\u00e1ria eu at\u00e9 era bom aluno, com bons resultados, boas notas, aluno aplicado. Parecia que estava no bom caminho mas, a partir do secund\u00e1rio, j\u00e1 me sentia farto, de quando em vez perguntava-me \u201cquando \u00e9 que isso acaba?\u201d Lembro-me de pensar \u201cmas vou sentar-me numa carteira at\u00e9 aos dezoito anos?\u201d. \u00c0s vezes o rabo do\u00eda, \u201cse o rabo j\u00e1 d\u00f3i, imagina quanto for aos dezoito ou vinte! Quantos anos me faltam ainda?\u201d Ainda fiz o m\u00e9dio de Artes Pl\u00e1sticas, mas estava mesmo farto de ter o rabo preso a uma carteira e de toda aquela rotina, ent\u00e3o aos 20 anos soube que ia ser pai pela primeira vez, fui \u00e0 procura do meu primeiro emprego e o resto \u00e9 hist\u00f3ria.<\/p>

\u00a0<\/p>

E quando despertou para a pintura, e mais tarde colagem, arte urbana digital, performance, instala\u00e7\u00f5es, filmes, fotografia?<\/h4>

Devia ter seis anitos, ou at\u00e9 menos, quando vi um retrato da minha m\u00e3e feito pelo meu pai. A minha m\u00e3e \u00e9 muito linda, sempre foi. Ter visto aquele desenho chamou-me a aten\u00e7\u00e3o. Fui perguntar ao meu pai: \u201cmas como \u00e9 que fizeste isso? Parece uma fotografia mas, afinal, foste tu?\u201d Ele j\u00e1 tinha jeito, estudou numa escola industrial. Na altura ia para a escola industrial quem tivesse aptid\u00f5es para engenharia, arquitetura, etc. O meu pai explicou: \u201cseguindo t\u00e9cnicas e m\u00e9todos, isso \u00e9 f\u00e1cil\u201d. Nunca mais me saiu da cabe\u00e7a, da\u00ed para a frente o desafio era tentar at\u00e9 conseguir desenhar bem, percebia o n\u00edvel em que estava por ser crian\u00e7a \u2013 ainda faltava \u201ccomer muito arroz com feij\u00e3o\u201d at\u00e9 conseguir fazer um retrato como deve ser \u2013 mas foi o meu gatilho para continuar tentando. Ent\u00e3o fui me desenvolvendo, entre jogar \u00e0 bola, os jogos, as brincadeiras e os desenhos. Sempre que podia desenhava. Quando comecei a ter acesso \u00e0s revistas de banda desenhada, desenhava o Patinhas, e por a\u00ed fora. Mais tarde, quando j\u00e1 me sentia confort\u00e1vel com o desenho aprendi a pintar, e depois transportei isso para a vida e acabei por me tornar artista visual. Quando digo que n\u00e3o quero r\u00f3tulos, \u00e9 porque n\u00e3o me quero condicionar.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Congolandia Universo em Desencanto performance, 2018
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Carpinteiro, 2022
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Mas tudo bem com o r\u00f3tulo de Artista?<\/h4>

Artista \u00e9 um termo bem mais aberto, mais vasto, permite criar sem amarras. Agora os ve\u00edculos, os meios, os processos\u2026 para mim \u00e9 conforme a minha capacidade criativa de us\u00e1-los para materializar as minhas ideias e realizar as minhas cria\u00e7\u00f5es.<\/p>

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Artista profissional, no sentido que vive da arte, ou continua com um pezinho nas outras atividades, como publicidade?<\/h4>

Sou Artista profissional, \u00e9 o meu trabalho a tempo inteiro. Antes de me afirmar, tive de assumir v\u00e1rios empregos e projetos, felizmente para mim foram todos na \u00e1rea de imagem e comunica\u00e7\u00e3o. Trabalhei em comunica\u00e7\u00e3o e publicidade durante quinze anos. Comecei a trabalhar como arte finalista numa gr\u00e1fica por tempo suficiente para aprender a ci\u00eancia das cores, dos tipos e da impress\u00e3o, depois transitei entre pequenas ag\u00eancias at\u00e9 \u00e0s grandes ag\u00eancias publicit\u00e1rias no mercado angolano, Diretores Criativos, Fot\u00f3grafos, Realizadores, Editores, Produtores, P\u00f3s- produtores, aprendi tudo o que tinha para aprender com os melhores que o mercado da comunica\u00e7\u00e3o me podia oferecer. Tudo o que entrou na minha vida s\u00f3 agregou mais ao artista.<\/p>

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Como foi a sua inf\u00e2ncia?<\/h4>

Nasci em Malange, passei parte da inf\u00e2ncia em Benguela e vim para Luanda. Vivi na Vila Alice e depois na Mutamba, perto do Teatro Nacional. Eu estudava no S\u00e3o Jos\u00e9 e ao lado de casa havia o\u00a0Barrac\u00e3o, primeira escola de artes, segundo entendidos. Foi criada por Teresa Gama, artista escultora e poeta, e ali n\u00f3s, os mi\u00fados das redondezas, t\u00ednhamos acesso a aulas nos tempos livres depois da escola. Estudava de manh\u00e3 e passava a tarde a\u00ed no Barrac\u00e3o. Ent\u00e3o aprendi a modelar barro, a trabalhar com cores e outras coisas que n\u00e3o sabia. Mais tarde, no ensino m\u00e9dio j\u00e1 me sinto mais \u00e0 vontade com algumas coisas, menos com a fotografia. Foi a fotografia que me fez candidatar \u00e0 escola de artes, mas enquanto l\u00e1 estive a cadeira nunca teve professor, s\u00f3 depois de eu sair \u00e9 que come\u00e7ou, fotografia era o que eu mais queria aprender na altura, nunca tinha explorado e estava ansioso para aprender. Encontro a fotografia j\u00e1 na publicidade, diretores criativos como o Cl\u00e1udio Chocolate e Ant\u00f3nio P\u00e1scoa foram os meus primeiros mentores na minha viagem pelo mundo da imagem e comunica\u00e7\u00e3o, eles me introduzem a um mundo de produ\u00e7\u00f5es que envolvia diretores de arte, copys, fot\u00f3grafos, realizadores, e outros profissionais com quem trabalhei tempo suficiente para aprender o necess\u00e1rio para a minha bagagem. Entretanto tivemos uma grande crise em 2012.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Samuel Maharero, 2016
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Njinga, 2019
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Voltando atr\u00e1s, na primeira d\u00e9cada do s\u00e9culo [quando nos conhecemos], podemos dizer que havia um viveiro de artistas, desde a Unap, o Elinga Teatro, a Trienal de Luanda. E lembro do coletivo Nacionalistas, o Th\u00f3 participou na exposi\u00e7\u00e3o Angola Combatente <\/i>(2005)?<\/span><\/h4>

N\u00e3o foi a minha primeira exposi\u00e7\u00e3o colectiva mas foi um marco na nossa trajet\u00f3ria comum, com os Nacionalistas temos eventos marcantes anteriores a este. Eu e o Lino Dami\u00e3o j\u00e1 nos conhec\u00edamos desde o Barrac\u00e3o, o SD e o Marcos Kabenda da escola de artes, o Nelo Teixeira, o Yonanamine j\u00e1 nos conhec\u00edamos de outros carnavais, o Mwambi Wassaki, o grande Mestre Kapela, a nossa base era na Unap. Eu ia e vinha de forma intermitente por causa do trabalho, mas arranjava sempre tempo e forma de me envolver em projetos comuns que a malta bolava.<\/p>

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O nome Nacionalistas era uma homenagem aos nacionalistas que lutaram pela independ\u00eancia, n\u00e3o \u00e9?<\/h4>

Inspirava-nos no pan-africanismo, que tamb\u00e9m atra\u00eda por ser provocador. N\u00e3o estive na forma\u00e7\u00e3o dos Nacionalistas mas fui inclu\u00eddo mesmo assim, porque j\u00e1 fazia parte do mesmo grupo de pessoas que o criou. O pessoal j\u00e1 tinha na carteira alguns projectos quando me juntei ao movimento. depois conheci o Elinga Teatro e a malta do Orlando S\u00e9rgio, o Ra\u00fal Ros\u00e1rio, o Kiluanji Kia Henda, a Anabela Aia, a Sunny Dilage e toda aquela malta do Elinga. Foi um per\u00edodo muito importante para mim, foi uma escola, uma casa repleta de arte e cultura. Passei a ter acesso ao teatro, \u00e0 dan\u00e7a, \u00e0 m\u00fasica e ao cinema, fui agregando cada vez mais experi\u00eancia no Elinga Teatro. Naquela altura, realizei o meu primeiro projecto multidisciplinar, o \u201cArte e Moda\u201d, neste evento o Muambi\u00a0Wassaki estreou-se na moda e alta costura. Continuei a participar em muitos projectos com aquela gente inquieta e criativa.<\/span><\/p>

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E vivia-se a primeira Trienal de Luanda, coordenada por Fernando Alvim.<\/h4>

Tive a oportunidade de partilhar ateli\u00ea com o Ihosvanny no Baiarte (galeria onde tu estavas). Comecei a desenhar o projeto Congol\u00e2ndia<\/i>. Na altura n\u00e3o estava bem formado, n\u00e3o sabia exatamente o que queria, como trazer para fora. Sabia os elementos. Pedi-te um texto, que fizeste muito bem, fui ter com o Alvim “quero fazer esse projeto”. No princ\u00edpio, aderiram \u00e0 ideia, ainda comecei os primeiros ensaios mas infelizmente n\u00e3o avan\u00e7aram. Nunca deixei de sonhar com aquilo e acabou por surgir a oportunidade uns anos depois, quando alguns destes amigos, agora j\u00e1 com mais estrada, reuniram-se na Baixa, no lend\u00e1rio Rialto numa tarde de ver\u00e3o, e bolaram o Fuckin\u2019 Globo. O Luis Pedro \u201cLP\u201d, o Jo\u00e3o Ana, o Orlando S\u00e9rgio e o Kiluanji Kia Henda.<\/p>

\u00a0<\/p>

S\u00e3o dez anos de intervalo. Mas durante esses anos foi trabalhando como artista independente\u2026<\/h4>

Eu j\u00e1 conseguia manter-me minimamente est\u00e1vel em termos profissionais. Mas depois vem a crise de 2011 e fiquei desempregado. N\u00e3o me apetecia repetir tudo de novo, voltar \u00e0 estaca zero. Partilhei com a minha fam\u00edlia \u201cestava mais tentado a correr atr\u00e1s do sonho de dedicar-me \u00e0 arte a tempo inteiro\u201d. A fam\u00edlia apoiou-me e comecei a trabalhar, usando todas as ferramentas que tinha. Depois surge o Fuckin\u2019 Globo. Na primeira edi\u00e7\u00e3o n\u00e3o participei porque estava a pintar Murais e a fazer grafite nas ruas, a absorver muito do que \u00e9 urbano.<\/p>

\u00a0<\/p>

O Fuckin\u2019 Globo \u00e9 uma exposi\u00e7\u00e3o coletiva mas cada um tem a sua individualidade e \u00e9 livre de fazer o que quiser. N\u00e3o tem de haver uma rela\u00e7\u00e3o muito direta com as outras apresenta\u00e7\u00f5es mas voc\u00eas partilham recursos e produ\u00e7\u00e3o, n\u00e3o \u00e9?<\/h4>

Abracei e envolvi-me nesse projeto exatamente por causa disso. Para mim, era muito importante naquela altura, uma experi\u00eancia coletiva em que cada um traz o seu projeto individual. \u00c9 um desafio intrigante e estimulante, porque est\u00e1s inserido num pequeno espa\u00e7o, a partir desse cub\u00edculo, tens que construir uma narrativa para a tua obra, \u00e9s o produtor da obra. Apesar de teres a tua privacidade, conv\u00e9m estares aberto, com outros artistas, com outras obras. O desafio \u00e9 exatamente essa capacidade de poder deixar tudo \u00e0s claras e correr riscos. Depende muito da forma como se interage. Tu equilibras.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Mural Angola (Aeroporto 4 de Fevereiro), 2022
Cortesia do Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Mural Angola (Aeroporto 4 de Fevereiro), 2022
Cortesia do Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Porque foi o Fuckin\u2019Globo t\u00e3o importante no seu percurso?<\/h4>

Era o projeto que apareceu na altura que mais me interessou. Ali pude desenvolver algumas cria\u00e7\u00f5es mais arrojadas. Uma vez aprovado o projecto, podia desenvolver tal e qual, e isso \u00e9 uma grande vantagem para poder apresentar cria\u00e7\u00f5es que continuam a ser muito apreciadas.<\/p>

\u00a0<\/p>

Cada pe\u00e7a \u00e9 fundamental\u2026<\/h4>

Na minha primeira participa\u00e7\u00e3o (que foi na segunda edi\u00e7\u00e3o) nem entrei no edif\u00edcio. Ocupar um espa\u00e7o dentro do edif\u00edcio \u00e9 o conceito geral do evento, fiquei na rua, na fachada do lado oposto da estrada e fiz um enorme jornal mural aplicado na veda\u00e7\u00e3o que cercava o quarteir\u00e3o, fiz essa obra em protesto contra as demoli\u00e7\u00f5es do patrim\u00f3nio arquitect\u00f3nico da baixa de Luanda, havia uma febre descontrolada em deitar abaixo o que \u00e9 antigo e carregado de hist\u00f3ria, para substituir por arranha-c\u00e9us de bet\u00e3o metal e vidro. Al\u00e9m de participar como artista, tamb\u00e9m me envolvi como produtor nas cinco edi\u00e7\u00f5es seguintes. Sempre que o resto da equipa me perguntava \u201cent\u00e3o qual \u00e9 o teu projeto?\u201d E eu dizia \u201cainda n\u00e3o tenho\u201d. O pessoal… \u201cMas com\u00e9? Tens que ter isso para ontem?\u201d eu \u201cn\u00e3o tenho tempo pra isso agora, estou a trabalhar nos outros projetos\u201d. Prefiro estar como uma folha branca do que vir com ideias j\u00e1 pr\u00e9-concebidas. Excitava-me o desafio de come\u00e7ar sem ideias nenhumas, e deixar fluir, vou absorvendo as experimenta\u00e7\u00f5es e a partir da\u00ed come\u00e7o a interpretar o que me surgia como ideias de forma clara e avan\u00e7ava nelas, foi assim com a Congol\u00e2ndia Universo em Desencanto<\/i> (2020). Apanhei o fio porque encontrei aquele texto por acidente e lembrei-me do que a gente j\u00e1 tinha feito naquela altura, s\u00f3 faltava voltar a reunir pessoal e tentar de novo.<\/p>

\u00a0<\/p>

\u00c9 dos seus projetos mais consistentes, houve v\u00e1rias sequelas.<\/h4>

Sim houve varias sequelas, continuo a trabalhar nele porque vai dando sempre mais pano para mangas.<\/p>

\u00a0<\/p>

E como foi a impactante a\u00e7\u00e3o do Murais da Leba (na Serra da Leba, Lubango)?<\/h4>

Eu j\u00e1 fazia arte urbana h\u00e1 um tempo, s\u00f3 que os Murais da Leba \u00e9 um projecto de escala gigantesca. Porque conseguimos agregar artistas de todo o territ\u00f3rio nacional de Cabinda ao Cunene, desde os \u201cpr\u00f3s\u201d aos \u201camadores\u201d, toda a gente que gostava e fazia graffitti podia participar. Foi idealizado por Vladimir Prata, que me convidou para realizar. Junt\u00e1mos um coletivo de artistas e fomos para a Leba. As condi\u00e7\u00f5es climat\u00e9ricas e todo o maravilhoso e implac\u00e1vel ecossistema da serra, foi o nosso batismo de fogo para nos tornarmos o que somos hoje, em termos de arte urbana. Acredito que todo o mundo que participou naquilo saiu de l\u00e1 com uma vis\u00e3o bem mais n\u00edtida do que \u00e9 ser um artista urbano, os meus objetivos ficaram claros e demarcados. Na Serra da Leba transformei-me no artista urbano que sou. Vou de um s\u00edtio para outro, e para o outro, vou agregando coisas, aprendendo experimentando e aplicando o conhecimento adquirido nas ruas, nos sitos e nos lugares\u00a0onde as pessoas comuns com quem cruzo s\u00e3o os meus verdadeiros mestres. Ent\u00e3o fica complicado meter r\u00f3tulos a\u00ed.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Prende e Larga, 2016
Cortesia do Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Senhores do Vento, 2016
Cortesia do Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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A arte urbana \u00e9 uma for\u00e7a de express\u00e3o mundialmente poderosa \u2026 Como \u00e9 que o Th\u00f3 Sim\u00f5es se liga \u00e0s ruas?<\/h4>

Apesar de ter a certeza que arte era o caminho que eu queria trilhar (sempre pensei assim e n\u00e3o via outro percurso para mim), quando come\u00e7o, senti que n\u00e3o estava a ter a aceita\u00e7\u00e3o que queria. Mas tamb\u00e9m n\u00e3o ia ceder, ou seja, era constantemente aconselhado a substituir a minha pl\u00e1stica por outra que satisfizesse a demanda na altura, teria mais chances de ser reconhecido. Foi o que algumas pessoas fizeram e resultou para elas, bem projetadas para os mercados de arte na di\u00e1spora. S\u00f3 que eu era teimoso, para mim ou era do meu jeito, minha intui\u00e7\u00e3o, meu auto-despertar ou nada. Assim fui seguindo, mais lento, trabalhando mais para dentro do que para fora de Angola, consistente e sem grandes expectativas, s\u00f3 continuando e somando um passo de cada vez. Pensava: \u201cn\u00e3o importa o tempo, meu caminho \u00e9 mais lento e tortuoso mas vou chegar l\u00e1 tamb\u00e9m\u201d, com calma. Uma vez que n\u00e3o conseguia promover o meu trabalho em galerias como gostaria, decidi focar-me nas ruas. Sempre fui apaixonado pelo graffiti, em mi\u00fado j\u00e1 dizia que \u201cum dia vou ser grafiteiro\u201d. As ruas deram-me fama e notoriedade. Os Murais da Leba apresentaram-me a mim e aos outros grafiteiros angolanos ao mundo. Eu adoro fazer coisas na rua, \u00e9 muito menos complicado realizar os meus projectos fora de formato.<\/p>

\u00a0<\/p>

A rua \u00e9 um espa\u00e7o muito interessante, de acesso e de intera\u00e7\u00e3o com cidade.<\/h4>

\u00c9 mesmo assim, eu percebi isso e da rua n\u00e3o saio. As ruas d\u00e3o-me muito, tanto que faz com que se abram portas, alguns projectos meus j\u00e1 t\u00eam espa\u00e7o em galerias, museus, feiras de arte, colec\u00e7\u00f5es e por a\u00ed vai. Conquisto muitas coisas atrav\u00e9s da rua. Vivo intensamente a rua, tenho que viver a rua, tenho que ir para a rua, tenho de me misturar mesmo. N\u00e3o perco o foco que \u00e9 exatamente esse.<\/p>

\u00a0<\/p>

Mas faz o que quer ou pedem-lhe, por exemplo, para vir desenhar determinadas figuras nas
Embaixadas?<\/h4>

Ambos, produzi muito trabalho por encomenda. Com o tempo ganhei prest\u00edgio, a dada altura as encomendas v\u00e3o de encontro ao que eu fa\u00e7o, em vez de ser o projeto do outro. Quando \u00e0s vezes me perguntam, \u201cmas qual \u00e9 o teu estilo?\u201d, porque h\u00e1 sempre teses e teorias sobre a inspira\u00e7\u00e3o e conceitos que depois nos definem como artista. Quando me fazem essas perguntas, associo-me ao trabalho de um DJ que mistura camadas e mais camadas de m\u00fasica, mas consegue criar uma harmonia e uma m\u00fasica t\u00e3o boa que a gente vibra com ela. \u00c9 exatamente o meu trabalho, n\u00e3o tem nada a ver com inspira\u00e7\u00e3o. Sei que eu tenho de ser consistente e estar constantemente nas ruas. De\u00a0manh\u00e3 cedo j\u00e1 estou l\u00e1, a envolver-me com o que acontece, com as cores, cheiros, ru\u00eddos, conversas, situa\u00e7\u00f5es, movimento, seja no meu nicho de amigos, da minha estratosfera ou noutros meios sociais. Absorvo essas coisas e depois vou para o est\u00fadio criar. Limito-me a misturar camadas do que absorvo. \u00c0s vezes em pintura, em v\u00eddeo, fotografia. E muitas vezes em performances.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Anglobal SA, 2016
Cortesia do Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Angolana (Rua dos Mercadores), 2018
Cortesia do Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u00a0<\/p>

Que temas o preocupam e t\u00eam estado no subconsciente da sua interven\u00e7\u00e3o? Percebe-se que tem um pensamento sobre a cidade, o que est\u00e1 a tentar transmitir?<\/h4>

As quest\u00f5es sociais \u00e9 o que me salta logo \u00e0 vista. Procuro prestar aten\u00e7\u00e3o, ser mais observador do que interveniente. Ent\u00e3o consigo detetar discrep\u00e2ncias sociais em termos de condi\u00e7\u00f5es, em que uma minoria tem todos os servi\u00e7os e mais alguma coisa, j\u00e1 a maioria est\u00e1 cheia de problemas a todos os n\u00edveis. Educa\u00e7\u00e3o, sa\u00fade, emprego, transporte, habita\u00e7\u00e3o, a lista s\u00f3 aumenta. O meu trabalho \u00e9 muitas vezes conectado com interven\u00e7\u00f5es pol\u00edticas, \u00e0s vezes tenho que responder por eles, mas normalmente as interpreta\u00e7\u00f5es pol\u00edticas partem do observador e n\u00e3o de mim, na hora de o fazer, \u00e9 pura intui\u00e7\u00e3o e entrega no processo criativo, o que se revela j\u00e1 l\u00e1 estava antes, eu limito-me a traduzir na minha linguagem art\u00edstica.<\/p>

Essas desigualdades est\u00e3o presentes em Entre Monstros e homens<\/i>, a sua \u00faltima exposi\u00e7\u00e3o.<\/h4>

Passei um ano a preparar a exposi\u00e7\u00e3o que tinha como base a observa\u00e7\u00e3o. Ent\u00e3o, eu observava muito o dia-a-dia na cidade, os problemas sociais das pessoas que vivem na periferia, mas tamb\u00e9m dos mais privilegiados que, apesar de estarem em melhores condi\u00e7\u00f5es, tamb\u00e9m enfrentam problemas b\u00e1sicos no seu dia-a-dia.<\/p>

No fundo, \u00e9 um regime que n\u00e3o beneficia ningu\u00e9m\u2026<\/h4>

Muitas pessoas vivem numa ilus\u00e3o. Fiz uma performance que retratava um indiv\u00edduo que morava num condom\u00ednio – \u00e9 muito moda viver em condom\u00ednios -, numa grande vivenda mas escorria-lhe \u00e1gua na parede da sala todos os dias.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Congolandia (S\u00e9rie Retratos), 2022
Cortesia do Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Cortesia do Artista<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u00a0<\/p>

A \u00e1gua vinha de onde?<\/h4>

A \u00e1gua vinha da parede, que dividia com um pr\u00e9dio de poucos andares que tinha na cave a casa das m\u00e1quinas que tratavam e bombeavam \u00e1gua. Quando era bombeada para servir o pr\u00e9dio todo, entrava-lhe em casa pela parede e n\u00e3o havia forma de resolver aquilo, tentou tudo para evitar e nunca conseguiu. Uma vez deu uma festa, o primo emprestou-lhe um tanque onde meteu as cervejas, depois da festa j\u00e1 n\u00e3o entregou o tanque ao primo, encostou-o na parede, arranjou umas bombas, come\u00e7ou a mandar \u00e1gua para dentro do tanque, depois purificava-a, depois enchia garrafas,\u00a0selava-as e ia vender na pra\u00e7a. Portanto, transformou a sala numa f\u00e1brica de engarrafar \u00e1gua para vender.<\/span><\/p>

\u00a0<\/p>

O que quis mostrar nessa performance?<\/h4>

Estamos a falar da nossa capacidade de resili\u00eancia e das dificuldades anormais completamente surreais e grotescas. A tend\u00eancia em Luanda \u00e9 normalizar tudo, ent\u00e3o isso passou a ser normal. Ou seja, o absurdo tornou-se t\u00e3o normal que o normal \u00e9 que ficou anormal. \u00c9 muito complicado n\u00e3o haver nenhum problema. Comecei a observar e cheguei \u00e0 conclus\u00e3o que \u00e9 t\u00e3o macabro que fica dif\u00edcil distinguir quem \u00e9 realmente humano nessa realidade ou quem j\u00e1 nem \u00e9 humano, j\u00e1 virou um monstro mas nem se apercebe. Continuamos a dar patadas uns nos outros, a partir da hora em que sa\u00edmos da cama at\u00e9 quando vamos dormir. Da\u00ed o t\u00edtulo Entre monstros e homens<\/i>.<\/p>

\u00a0<\/p>

Tem aquele quadro da zungueira tamb\u00e9m\u2026<\/h4>

Este \u00e9 uma das obras de destaque dessa exposi\u00e7\u00e3o. \u00c9 sobre uma mulher zungueira que vi numa manifesta\u00e7\u00e3o. N\u00e3o era frequente veres as mulheres organizadas para se manifestarem num assunto que diz respeito a elas. Na altura havia uma onda de viol\u00eancia contra as mulheres, muitas eram mortas por tudo e por nada. Ent\u00e3o houve essa manifesta\u00e7\u00e3o. O que \u00e9 que me chamou a aten\u00e7\u00e3o? Uma zungueira que, pelo que percebi, estava a trabalhar, a palmilhar essa cidade de l\u00e9s a l\u00e9s cheia de carga na cabe\u00e7a e um beb\u00e9 nas costas. Tinha guardado a sua venda num seguran\u00e7a para poder participar na manifesta\u00e7\u00e3o, e estava com um cartaz grande que dizia qualquer coisa como \u201cMais respeito!\u201d e o beb\u00e9 nas costas. Quando olhei para aquela imagem\u2026 que for\u00e7a! Pensei, para al\u00e9m das milhentas dificuldades que ela enfrenta todos os dias, e ter esse beb\u00e9 nas costas para cuidar, ainda teve tempo para ir \u00e0 manifesta\u00e7\u00e3o gritar pelos seus direitos.<\/p>

\u00a0<\/p>

E \u00e9 capaz de ter em casa um marido frustrado e b\u00eabado que n\u00e3o trabalha\u2026<\/h4>

Pois \u00e9… este \u00e9 um quadro generalizado na popula\u00e7\u00e3o em maioria desempregada ou de renda baixa.<\/p>

\u00a0<\/p>

A cidade e as situa\u00e7\u00f5es quotidianas est\u00e3o no seu horizonte. Na arte urbana as paredes v\u00e3o gritar as suas urg\u00eancias, mas \u00e9 interessante fazer essa reflex\u00e3o sobre as classes m\u00e9dias altas. E perceber que, com uma sociedade t\u00e3o desigual, tamb\u00e9m est\u00e3o mal. Mesmo que tenham todo o dinheiro do mundo, n\u00e3o conseguem ter um sistema de sa\u00fade funcional, t\u00eam de ir para a \u00c1frica do Sul, Londres ou para Portugal quando est\u00e3o doentes. Morrerem tantas crian\u00e7as e mulheres nos hospitais\u2026 \u00c9 ser c\u00famplice disso tudo.<\/h4>

Morre-se muito por aqui \u201ctodos os dias\u201d. Andei em v\u00e1rios s\u00edtios e s\u00f3 identifiquei problemas que n\u00e3o seriam problemas numa sociedade normalizada. J\u00e1 andei muito e continuo a andar por Angola, num\u00a0certo tempo fui fazer um trabalho numa pediatria, as mortes que eu via era impressionante\u2026 foram quinze dias angustiantes a ver crian\u00e7as a partirem sem que fosse necessariamente o seu tempo de partir, mas porque o nosso sistema de sa\u00fade est\u00e1 em colapso.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u00a9 Marta Lan\u00e7a<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u00a0<\/h4>

Qual era o trabalho?<\/h4>

Era pintar em quartos para crian\u00e7as internadas, elementos e cores que dessem uma boa vibra\u00e7\u00e3o. Aquela temporada foi pesad\u00edssima. Imagina os dramas\u2026 N\u00e3o tinha como poder identificar culpados reais, porque at\u00e9 os culpados de situa\u00e7\u00f5es que eu vi eram, tamb\u00e9m eles pr\u00f3prios, v\u00edtimas. Que eles nem conseguiam perceber \u00e0s vezes, \u00e9 tanta gente, imagina, tanta. Dependendo das esta\u00e7\u00f5es do ano tem \u00e9pocas terr\u00edveis. Em \u00e9poca de chuvas \u00e9 o fim da picada, \u00e9 um pandem\u00f3nio para todos. Para os m\u00e9dicos e enfermeiros t\u00e9cnicos, pessoal de limpeza e de seguran\u00e7a. Aquilo \u00e9 lutar sem nunca parar. Lutar para salvar vidas.<\/p>

\u00a0<\/p>

\u00c9 um artista muito implicado no real\u2026<\/h4>

Os projetos levam-me a s\u00edtios inesperados e v\u00e3o-me abrindo os olhos, v\u00e3o-me fazendo sentir as realidades. Eu envolvo-me por inteiro. Meus caminhos me levam a explorar o que me rodeia, a arte urbana d\u00e1-me muito, o que agrade\u00e7o poder ver e viver experi\u00eancias t\u00e3o profundas com e nas comunidades.<\/p>

\u00a0<\/p>

Que outros projetos de comunidade o surpreenderam?<\/h4>

O que mais me envolve \u00e9 o facto de estar a pintar nas periferias, e o que isso me traz. Posso por exemplo visitar um lugar em que a criminalidade \u00e9 alta e a comunidade vive insegura e desconfiada. A partir do momento em que desenvolvo um projeto nesse lugar, as coisas se alteram na comunidade, as cores, as vibra\u00e7\u00f5es, os temas que escolhemos pintar mudam o ambiente, mudam a forma como as pessoas interagem naquele ambiente, surgem coisas novas. Cada vez mais desenvolvo e tamb\u00e9m tenho acesso a projetos que n\u00e3o esperava. Por exemplo, hoje trabalho com muita juventude. Quando comecei, sabia que iria partilhar conhecimento com jovens iniciantes, mas surpreende-me que, tanto eu como os jovens que me assistem e trabalham comigo, acabamos por encontrar prop\u00f3sito no trabalho que fazemos. Independente dos nossos projetos comuns, eles pr\u00f3prios t\u00eam como foco entrar para as comunidades e impactarem de forma positiva com a sua arte e trabalho, os ambientes nos bairros e nas comunidades. E quando eles fazem isso, tudo muda. Quando vejo as coisas que eles fazem sozinhos por sua iniciativa, fico sem ch\u00e3o e boquiaberto.<\/p>

\u00a0<\/p>

\u00c9 um mestre?<\/h4>

Sou um mestre para eles, mas aprendo muito. \u00c9 uma soma de val\u00eancias. No fim de contas o meu trabalho n\u00e3o \u00e9 s\u00f3 estar a pintar muros, afinal eu influencio, h\u00e1 crian\u00e7as que s\u00f3 precisam de me ver uma vez, \u00e9 o suficiente para a vida delas mudar. Apercebi-me disto pela primeira vez h\u00e1 muitos anos, numa aldeia em Benguela que fomos visitar com um projecto multidisciplinar. Cheg\u00e1mos l\u00e1 e eram s\u00f3 crian\u00e7as, ent\u00e3o fizemos um mural com as crian\u00e7as. Aquilo marcou aqueles mi\u00fados. Comecei a perceber que importa \u00e0s vezes s\u00f3 chegar l\u00e1 e eles verem. E quando me veem com outros mi\u00fados que eles identificam como sendo iguais a eles, ent\u00e3o a\u00ed mesmo \u00e9 que a coisa fica mais brava. \u201cCota, posso pintar contigo? Posso fazer parte?\u201d Aqueles que insistem, acabam por entrar no barco. E depois de um ano, ele j\u00e1 est\u00e1 a pintar no bairro dele, tamb\u00e9m com um grupo de amigos a quem d\u00e1 uns treinozinhos, e a cena come\u00e7a a mudar. Para mim isso \u00e9 tudo.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

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Do you identify with that idea? Why? I feel more comfortable not having definitions. I think these definitions have a lot to do with the academia, and I am not a scholar. 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