Tila Likunzi, Pet Art Gallery, Now Expressions

dimensions:	60x80cm
price: 		sold
date: 		2019
category: 	phototransfer, collage 

dimensions: 	variable
price: 		not for sale
date: 		2018
category: 	installation, performance, photography

This installation and performance writing reflects on the artist’s process of becoming a mother, questioning the roles attributed to women, to men, in the experience of maternity. 

(…) And aren’t we the most powerful figures our time? I shudder at the century: (…) I have such an aversion to the showing-off of the malevolent males of the century. “WITCHES” ARE FROM THE RIB OF MAN AND KINGS THE TRUNK OF THE TREE AND THE SPRING OF LIFE! And yet, it is stormy nature that springs from us. Knowledgeable, rhetorical, discursive, relatable. The cult of nipples and the break from male pragmatism - what a Machiavellian beauty - being a woman who menstruates. _ adapted from O OBITUÁRIO by Indira Grandê 

dimensions: 	variable
price: 		not for sale
date: 		2018
category: 	installation, performance, photography

This installation and performance writing reflects on the artist’s process of becoming a mother, questioning the roles attributed to women, to men, in the experience of maternity. 

(…) And aren’t we the most powerful figures our time? I shudder at the century: (…) I have such an aversion to the showing-off of the malevolent males of the century. “WITCHES” ARE FROM THE RIB OF MAN AND KINGS THE TRUNK OF THE TREE AND THE SPRING OF LIFE! And yet, it is stormy nature that springs from us. Knowledgeable, rhetorical, discursive, relatable. The cult of nipples and the break from male pragmatism - what a Machiavellian beauty - being a woman who menstruates. _ adapted from O OBITUÁRIO by Indira Grandê 

dimensions: 	variable
price: 		not for sale
date: 		2018
category: 	installation, performance, photography


This installation and performance writing reflects on the artist’s process of becoming a mother, questioning the roles attributed to women, to men, in the experience of maternity. 

(…) And aren’t we the most powerful figures our time? I shudder at the century: (…) I have such an aversion to the showing-off of the malevolent males of the century. “WITCHES” ARE FROM THE RIB OF MAN AND KINGS THE TRUNK OF THE TREE AND THE SPRING OF LIFE! And yet, it is stormy nature that springs from us. Knowledgeable, rhetorical, discursive, relatable. The cult of nipples and the break from male pragmatism - what a Machiavellian beauty - being a woman who menstruates. _ adapted from O OBITUÁRIO by Indira Grandê 

dimensions: 	100x150cm
price: 		request artist
date: 		2016
category: 	photography

Where does life come from and whence does it go? 
Even modern science does not know the answer for sure.  
To our ancestors the mysteries of life and death were solely in the hands of the Gods and the gift of life and fertility was their blessing to grant or to withhold. Our ancestors regarded the earth as the living body of the Earth Goddess that continuously gave birth to existence; the source of life itself. 
Yet, life lives on life, the cycle of existence is a continuous self-devouring and self-recreating process of transformation and regeneration.  All life must die and yet, death is a sacrifice to life that ultimately ensures its continuity. Thus, to our ancestors, life and death were not so much seen as opposing forces, but rather as two aspects of the same inexplicable mystery.

dimensions: 	100x150cm
price: 		request artist
date: 		2016
category: 	photography


Where does life come from and whence does it go? 
Even modern science does not know the answer for sure.  
To our ancestors the mysteries of life and death were solely in the hands of the Gods and the gift of life and fertility was their blessing to grant or to withhold. Our ancestors regarded the earth as the living body of the Earth Goddess that continuously gave birth to existence; the source of life itself. 
Yet, life lives on life, the cycle of existence is a continuous self-devouring and self-recreating process of transformation and regeneration.  All life must die and yet, death is a sacrifice to life that ultimately ensures its continuity. Thus, to our ancestors, life and death were not so much seen as opposing forces, but rather as two aspects of the same inexplicable mystery.

dimensions: 	100x150cm
price: 		request artist
date: 		2016
category: 	photography

Where does life come from and whence does it go? 
Even modern science does not know the answer for sure.  
To our ancestors the mysteries of life and death were solely in the hands of the Gods and the gift of life and fertility was their blessing to grant or to withhold. Our ancestors regarded the earth as the living body of the Earth Goddess that continuously gave birth to existence; the source of life itself. 
Yet, life lives on life, the cycle of existence is a continuous self-devouring and self-recreating process of transformation and regeneration.  All life must die and yet, death is a sacrifice to life that ultimately ensures its continuity. Thus, to our ancestors, life and death were not so much seen as opposing forces, but rather as two aspects of the same inexplicable mystery.

dimensions: 	100x150cm
price: 		not for sale
date: 		2020
category: 	photography


I FOUND OUT THAT THE MOST ‘PAID FOR’ IMAGE WITH #ANGOLA HASHTAG AT THE WORLD’S BIGGEST CORPORATION FOR IMAGE COLLECTION AND RENTING, IS THE PHOTOGRAPH OF PRINCESS DIANA WALKING DOWN A MINEFIELD IN HUAMBO – CENTRAL ANGOLA. SUCH IMAGE, WITH ITS UNCOUNTABLE VERSIONS BY DIFFERENT PHOTOGRAPHERS IS THEREFORE PROTECTED, FROM BEING USED WITHOUT BEING LICENSED. HENCE THE REASON WHY, IN THIS INSTANCE DIANA DOES NOT APPEAR HERE. HOWEVER WITH A QUICK SEARCH, IN THE WORDS BIGGEST ONLINE SEARCH ENGINE, THE IMAGE CAN EASILY BE FOUND. SEARCH IT. THE PHOTOGRAPH WAS TAKEN IN JANUARY 1997 AROUND A YEAR BEFORE DIANA’S DEATH. TO BE CLEAR, ON A PERSONAL LEVEL I AM A HUGE ADMIRER OF DIANA. ON A CRITICAL SEMIOTICS LEVEL THO, THE FACT THAT THE MOST POPULAR #ANGOLA IMAGE EVER AND STILL DIFFUSED IN THE WORLD’S PRESS PORTRAYS A WHITE BODY DRESSED ON THE HIGHLY POWERFUL SEMIOTIC SYMBOL OF ‘HALO’ DOES NOT LEAVE ME AT EASE. THE HALO TRUST WAIST COAT, THIS WORK ARGUES, IS ANOTHER SYMBOL OF THE RELATIONSHIP OF COLONIALITY, BETWEEN THE WEST AND THE GLOBAL SOUTH AND THEREFORE DEMANDS REFLECTION IN REGARD TO THE TASK OF DECOLONIALITY. LET ME PUT IT CHRONOLOGICALLY – ANGOLA 500 YEARS AGO - ANGOLA COLONIZED BY THE PORTUGUSE - ANGOLA INDEPENDENT - ANGOLAN CIVIL WAR - WESTERN POLITICAL INFLUENCE FOR ANGOLA’S CONFLICT - USE OF LAND MINES - ANGOLA IN PEACE - HALO TRUST AID. #HALO TRUST THANKS ANYWAYS #BUT WE ARE STILL THINKING. 22 YEARS LATER, IN SEPTEMBER 2019, PRINCE HARRY RE-TRACES HIS MOMS STEPS AND VISITS THE EXACT SAME FIELD IN HUAMBO. ANOTHER IMAGE TO BE LICENSED.
_ Sandra Poulson

dimensions:	119x98cm
price: 		1800 EUR
date: 		2020
category: 	painting, acrylic on canvas 

The first time I saw a Tchingange, I saw it in my home town in Alto Catumbela, Angola, when I was 5 years old. There were these creatures 
dancing and it really used to frighten me! Only now in my adulthood did I realize that they were dancing to repel bad spirits. These memories inspired me to create a nostalgic Tchingange collection. This is one of my #tchinganges (a masked dancer), as amulets and lucky charms to repel all bad spirits. _ Joana Taya

dimensions:	119x98cm
price: 		1800 EUR
date: 		2020
category: 	painting, acrylic on canvas 

The first time I saw a Tchingange, I saw it in my home town in Alto Catumbela, Angola, when I was 5 years old. There were these creatures 
dancing and it really used to frighten me! Only now in my adulthood did I realize that they were dancing to repel bad spirits. These memories inspired me to create a nostalgic Tchingange collection. This is one of my #tchinganges (a masked dancer), as amulets and lucky charms to repel all bad spirits. _ Joana Taya

dimensions: 	90x110cm
price: 		not for sale
date: 		2020
category: 	painting, acrylic on canvas

Through my work I engage with three tiers of trauma: the first being colonial trauma, the second civil war and then the third being the intimate trauma experienced particularly by women within the community through the acts of rape and domestic abuse. Within the tightly confined interior scenes in the paintings, the room(s) become a way of mapping individual stories and experiences and there are often crossovers and overlaps that then begin to create a sinuous archive of the communities I am part of. _ Teresa Firmino

dimensions: 	90x120cm
price: 		not for sale
date: 		2020
category: 	painting, acrylic on canvas

Harassment is a set of offensive behaviors that bother, disturb and humiliate a certain person. This behavior aims to destabilize the victim in order for the harasser to take advantage of her or fulfill his desires. 

dimensions: 	90x120cm
price: 		not for sale
date: 		2020
category: 	painting, acrylic on canvas

Harassment is a set of offensive behaviors that bother, disturb and humiliate a certain person. This behavior aims to destabilize the victim in order for the harasser to take advantage of her or fulfill his desires. 

dimensions: 	60x45cm
price: 		request artist
date: 		2020
category: 	photography

“An open window is of the color of the landscape”, said one of Afonso Cruz’s pages. Books, music, silence. And the only outside is framed by squares and adorned by curtains. The outside is far away, and without sharing its smells, its temperatures. The small holes in the wall, opened in the hours of few mosquitoes, are our tunnels of distant access to the comings and goings that we had gotten so used to. From our window, we see other windows. We see and imagine colors and the landscapes that cannot be reached from our storey. From our tunnel we see other tunnels, other curtains, other routines. Other ways to occupy the dead hours, the silences that won’t allow more books, more music, more meditations, more workout videos on YouTube. In the windows around my window I saw others and I saw mirrors. So many “I’s” seeking to fill hours, in strange routines of quarantine and oscillating balancings on window sills. 

dimensions: 	60x45cm
price: 		request artist
date: 		2020
category: 	photography


“An open window is of the color of the landscape”, said one of Afonso Cruz’s pages. Books, music, silence. And the only outside is framed by squares and adorned by curtains. The outside is far away, and without sharing its smells, its temperatures. The small holes in the wall, opened in the hours of few mosquitoes, are our tunnels of distant access to the comings and goings that we had gotten so used to. From our window, we see other windows. We see and imagine colors and the landscapes that cannot be reached from our storey. From our tunnel we see other tunnels, other curtains, other routines. Other ways to occupy the dead hours, the silences that won’t allow more books, more music, more meditations, more workout videos on YouTube. In the windows around my window I saw others and I saw mirrors. So many “I’s” seeking to fill hours, in strange routines of quarantine and oscillating balancings on window sills. 

dimensions: 	60x45cm
price: 		request artist
date: 		2020
category: 	photography

“An open window is of the color of the landscape”, said one of Afonso Cruz’s pages. Books, music, silence. And the only outside is framed by squares and adorned by curtains. The outside is far away, and without sharing its smells, its temperatures. The small holes in the wall, opened in the hours of few mosquitoes, are our tunnels of distant access to the comings and goings that we had gotten so used to. From our window, we see other windows. We see and imagine colors and the landscapes that cannot be reached from our storey. From our tunnel we see other tunnels, other curtains, other routines. Other ways to occupy the dead hours, the silences that won’t allow more books, more music, more meditations, more workout videos on YouTube. In the windows around my window I saw others and I saw mirrors. So many “I’s” seeking to fill hours, in strange routines of quarantine and oscillating balancings on window sills. 

dimensions: 	60x45cm
price: 		request artist
date: 		2020
category: 	photography


“An open window is of the color of the landscape”, said one of Afonso Cruz’s pages. Books, music, silence. And the only outside is framed by squares and adorned by curtains. The outside is far away, and without sharing its smells, its temperatures. The small holes in the wall, opened in the hours of few mosquitoes, are our tunnels of distant access to the comings and goings that we had gotten so used to. From our window, we see other windows. We see and imagine colors and the landscapes that cannot be reached from our storey. From our tunnel we see other tunnels, other curtains, other routines. Other ways to occupy the dead hours, the silences that won’t allow more books, more music, more meditations, more workout videos on YouTube. In the windows around my window I saw others and I saw mirrors. So many “I’s” seeking to fill hours, in strange routines of quarantine and oscillating balancings on window sills. 

dimensions: 	60x45cm
price: 		request artist
date: 		2020
category: 	photography

“An open window is of the color of the landscape”, said one of Afonso Cruz’s pages. Books, music, silence. And the only outside is framed by squares and adorned by curtains. The outside is far away, and without sharing its smells, its temperatures. The small holes in the wall, opened in the hours of few mosquitoes, are our tunnels of distant access to the comings and goings that we had gotten so used to. From our window, we see other windows. We see and imagine colors and the landscapes that cannot be reached from our storey. From our tunnel we see other tunnels, other curtains, other routines. Other ways to occupy the dead hours, the silences that won’t allow more books, more music, more meditations, more workout videos on YouTube. In the windows around my window I saw others and I saw mirrors. So many “I’s” seeking to fill hours, in strange routines of quarantine and oscillating balancings on window sills

Medium: Ink and Watercolor 
Size: 30 x 20 cm
Year: 2014
Price: #50,000

Medium: Ink on Watercolor Paper
Size: 14 x 23cm
Year: 2018
Price: #40,000

Medium: Ink on Watercolor paper
Size: 30 x 36cm
Year: 2020
Price: #50,000

Medium: Ink on Watercolor Paper
Size: 26 x 18 cm
Year: 2020
Price: #50,000

Medium: Ink and Watercolor 
Size: 51 x 40cm
Year: 2020
Price: #55,000

Medium: Ink and Watercolor 
Size: 26 x 18 cm
Year: 2020
Price: #50,000

Medium: Ink and Watercolor 
Size: 30 x 20 cm
Year: 2015
Price: #50,000

Medium: Ink on Watercolor Paper
Size: 23 x 44 cm
Year: 2014
Price: #50,000

Medium: Ink and Watercolor 
Size: 30 x 25 cm
Year: 2014
Price: #50,000

Medium: Ink on Watercolor Paper
Size: 30 x 35cm
Year: 2020
Price: #50, 000

Medium: Ink on Watercolor Paper
Size: 38 x 29 cm
Year: 2014
Price: #50,000

Medium: Ink and Watercolor 
Size: 30 x 25 cm
Year: 2014
Price: #50,000

Medium: Ink on Watercolor Paper
Size: 26 x 18 cm
Year: 2020
Price: #40,000

Medium: Ink and Watercolor 
Size: 30 x 25 cm
Year: 2014
Price: #50,000

Medium: Ink on Watercolor Paper
Size: 20 x 40 cm
Year: 2014
Price: #40,000

Medium: Ink on Watercolor Paper
Size: 14 x 23cm
Year: 2019
Price:  #40,000

Medium: Ink on Watercolor Paper
Size: 26 x 18 cm
Year: 2020
Price: #40,000

Medium: Ink and Marker
Size: 28 x 21cm
Year: 2020
Price: #50,000

Medium: Ink and Watercolor 
Size: 26 x 18 cm
Year: 2020
Price: #50,000

Artists: Helena Uambembe, Indira Grandê, Iris B Chocolate, Joana Taya, Paula Agostinho, Sandra Poulson, Teresa Firmino & Yola Balanga.

About Exhibition:
THROUGH OUR EYES. “It is in the space between injury and healing, between trauma and triumph, and between accepting what is while committing to what can be that an empowering language of female adulthood is built.” _ Minna Salami 
This exhibition is an exploration of the Angolan or Angolan-based female character and of the life experiences that have shaped and continuously shape this character. 
It is not a portrayal of femaleness or femininity, as characteristics inherent to the gender. A woman is aware of being a woman. 
However, it is in being a woman that a certain way of seeing, thinking and doing emerges; a practice. One can view these practice as ‘female’, ‘feminist’ or even ‘feminine’ for being done by our gender. It does not matter. Here is the crucial point: 
It is in and through the criticality of these practices that female knowledge is produced, made visible and evident as knowledge produced by women. 
Female or all gender-oriented, it is meant for everyone. But it is also knowledge of its own origin: seen through the eyes of female artists. 

About Curator:
Tila Likunzi (b. Luanda, 1982) is an independent art curator and researcher since 2017. In addition to curating Angolan contemporary art, she is dedicated to the independent study of contemporary African philosophy and theology, researching the art and thinking behind endogenous Angolan rituals, customs and religious beliefs. 

https://www.instagram.com/tilalikunzi

About Exhibition:

Ngozi paints with acrylic, oil, discarded textile materials, jute and other found objects to create impasto in her paintings. She does not limit herself to any one style because art is versatile, giving one opportunity to explore. Her themes arise from the situations she finds herself at any period. But her passion lies with protecting and advocating for women and children around the world especially in Nigeria. Below are some of her works.

About Gallery:

Pet Art Gallery is a registered gallery established in 1994, it houses works of Ngozi  Akande and her collections. They also engaged in selling of crafts, textile fabrics and paintings. Pet art gallery organizes Art workshops for children and adult. It does training in adire making and are the organizes of the Children creativity fair. The Pet Art Gallery was located at the Art and Craft, due to the closure of the arts and craft village and COVID 19, we relocated to Kubwa.


Link to Gallery:
https://www.ngoziakandearts.com

Artist: Bale Ola-Olu Olawale

About Exhibition:
“Lines of the North” presents the influences the Northern sceneries and culture have had on Bale Ola- Olu over the years. In specifics, the project explores the architecture, people and grandeur of the North through contemporary linear expressions. In simple but intricate linear presentations, the artist mimicks the aesthetic dynamism of metal rods using ink and watercolour on paper. This resonates with his identity as a metal sculptor with creative keenness on doodling and painting. In fact, some of the drawings to be presented in the project are adaptations of his daily doodles, as he goes about his activities in the North. 

About Gallery:
Founded in 2019, NowExpressions is a non-profit art collective which aims at creating platforms for creative collaborations and inter/multidisciplinary synergies. This is achieved through the constant organization of Artist Talks, Round-table Discussions, Symposia, Conferences, Readings, Performances, Exhibitions as well as Social Engagement Projects, where fundamental issues, trends, ideas and innovations in the creative industry are collectively considered, and appreciated. 

Link to Gallery:
https://www.instagram.com/nowexpressions_collective

Artist: Ngozi Akande

About Exhibition:

Ngozi paints with acrylic, oil, discarded textile materials, jute and other found objects to create impasto in her paintings. She does not limit herself to any one style because art is versatile, giving one opportunity to explore. Her themes arise from the situations she finds herself at any period. But her passion lies with protecting and advocating for women and children around the world especially in Nigeria. Below are some of her works.

About Gallery:

Pet Art Gallery is a registered gallery established in 1994, it houses works of Ngozi  Akande and her collections. They also engaged in selling of crafts, textile fabrics and paintings. Pet art gallery organizes Art workshops for children and adult. It does training in adire making and are the organizes of the Children creativity fair. The Pet Art Gallery was located at the Art and Craft, due to the closure of the arts and craft village and COVID 19, we relocated to Kubwa.


Link to Gallery:
https://www.ngoziakandearts.com