Yonamine has theatrically composed the gallery walls with posters made out of a selection of articles from Zimbabwean newspapers, paintings and video animations, showing several graphic references of power such as Napoleon figure and the Ku Kux Klan uniform presented in a navy blue adulterated version colour that evokes the uniforms of Zimbabwe's workers. All these elements are presented as political propaganda in the eve of an election, personifying the conqueror's evil thirst to reach power and control by keeping the opposition voiceless.
The regenerative pillars of society: in order to regenerate, to ill, to let something healthy grow again, we need democratic participation, environmental sustainability, social inclusion, and cultural diversity. These would be the main political goals. The cognitive tools to walk this way are critical thinking, artistic creativity, ethical technology and… that’s my point, the transformative power of media.
‘openness’ means listening to the language of a given community and the commitment to reproduce it in a textbook format. Inclusion of minority groups in the textbook is perceived not as ‘curiosities’, but as an integral part of the cultures being represented so that a wider range of communities and language registers (from formal to informal) is portrayed. In addition, openness applies to the articulation of gender narratives in an inclusionary format. For instance, the masculine gender is supplemented with female and other non-binary genders.
This space, therefore, has huge symbolic significance as a place to host an exhibition about contemporary prisons, and it matters that the two distinct narratives are not confounded. The Portuguese Prison Photo Project invites its viewers to consider the work of two photographers on regular prisons in Democratic Portugal of the 21st century, accompanied by other photographs of prisons selected from diverse national archives.
"This isn't the type of thing you want to talk about" she starts, not really interested in sharing the details, but everyone would point to her door whenever a traveler or a stranger showed up in town.
"I'd take them in and feed them. Prepare their beds and listen to their sufferings. Then they would leave" says Grandma Cane.
Yonamine has theatrically composed the gallery walls with posters made out of a selection of articles from Zimbabwean newspapers, paintings and video animations, showing several graphic references of power such as Napoleon figure and the Ku Kux Klan uniform presented in a navy blue adulterated version colour that evokes the uniforms of Zimbabwe's workers. All these elements are presented as political propaganda in the eve of an election, personifying the conqueror's evil thirst to reach power and control by keeping the opposition voiceless. 
The regenerative pillars of society: in order to regenerate, to ill, to let something healthy grow again, we need democratic participation, environmental sustainability, social inclusion, and cultural diversity. These would be the main political goals. The cognitive tools to walk this way are critical thinking, artistic creativity, ethical technology and… that’s my point, the transformative power of media. 
‘openness’ means listening to the language of a given community and the commitment to reproduce it in a textbook format. Inclusion of minority groups in the textbook is perceived not as ‘curiosities’, but as an integral part of the cultures being represented so that a wider range of communities and language registers (from formal to informal) is portrayed. In addition, openness applies to the articulation of gender narratives in an inclusionary format. For instance, the masculine gender is supplemented with female and other non-binary genders. 
This space, therefore, has huge symbolic significance as a place to host an exhibition about contemporary prisons, and it matters that the two distinct narratives are not confounded. The Portuguese Prison Photo Project invites its viewers to consider the work of two photographers on regular prisons in Democratic Portugal of the 21st century, accompanied by other photographs of prisons selected from diverse national archives. 
"This isn't the type of thing you want to talk about" she starts, not really interested in sharing the details, but everyone would point to her door whenever a traveler or a stranger showed up in town.
"I'd take them in and feed them. Prepare their beds and listen to their sufferings. Then they would leave" says Grandma Cane. 
