It is important that a public work (especially a memorial) does not show just one face, but that it opens up to different readings. It is a plantation in mourning, burned, which reflects the lugubrious and funerary side of the plantation. And it also pays tribute to the resistance of the enslaved by the gesture of burning the plantation and boycotting the regime of oppression. The plantation is where the process of dehumanization occurs.
Toy Boy has followed the various stages of the country’s post-independence and initiated his artistic practice after the civil war. His work is an expression of life in Luanda, intrinsically linked to the suffering and creativity one feels in the streets. In tune with the city’s artistic movements and circles (such as Elinga Teatro and Fuckin’ Globo), Toy Boy tells us his story with the sincerity and sensitivity that describe him. Dribbling the difficulties in his path and the need for survival, he appropriates a certain pop art, making collages or ready-mades, installations, and using recycled materials such as rust, but, above all, he gives body and voice to the singularities of urban life. In Luanda 2022.
We walked down the Avenue with hundreds of people shouting, «Rabble united will never be forgotten», or would it be «Rabble forgotten always united»?, «our fight is every day, against racism and xenophobia».
Cláudia Simões, another Black woman beaten, her face destroyed in a rear-naked choke, in which the lion was PSP police officer Carlos Canha who attacked her in front of her desperate daughter, watching her mother's despair. Listening to her mother scream: “He wants to pierce my eye.” Listening to the irascible policeman: “Bite, bite, bite,” “these people don’t know the laws” or “you’ll get hit with a bullet.” And the girl begging: “Don’t kill my mother!”
The Syndicate of Angolan Journalists (SJA) marked, on March 28th, another anniversary of an organization that entered the history of the country's democratization in a pioneering position that no one can take away from it, when talking about syndicalism in Angola. But not only that, the SJA will also be called upon to testify for future memory when talking about the achievement of freedom for all, which until then did not exist, with the performance of the state average - the only one that existed - a good mirror of this reality full of omissions and manipulations, where only the booming “voice of the owner” could be heard and little else.
It is important that a public work (especially a memorial) does not show just one face, but that it opens up to different readings. It is a plantation in mourning, burned, which reflects the lugubrious and funerary side of the plantation. And it also pays tribute to the resistance of the enslaved by the gesture of burning the plantation and boycotting the regime of oppression. The plantation is where the process of dehumanization occurs. 
Toy Boy has followed the various stages of the country’s post-independence and initiated his artistic practice after the civil war. His work is an expression of life in Luanda, intrinsically linked to the suffering and creativity one feels in the streets. In tune with the city’s artistic movements and circles (such as Elinga Teatro and Fuckin’ Globo), Toy Boy tells us his story with the sincerity and sensitivity that describe him. Dribbling the difficulties in his path and the need for survival, he appropriates a certain pop art, making collages or ready-mades, installations, and using recycled materials such as rust, but, above all, he gives body and voice to the singularities of urban life. In Luanda 2022. 
We walked down the Avenue with hundreds of people shouting, «Rabble united will never be forgotten», or would it be «Rabble forgotten always united»?, «our fight is every day, against racism and xenophobia».
Cláudia Simões, another Black woman beaten, her face destroyed in a rear-naked choke, in which the lion was PSP police officer Carlos Canha who attacked her in front of her desperate daughter, watching her mother's despair. Listening to her mother scream: “He wants to pierce my eye.” Listening to the irascible policeman: “Bite, bite, bite,” “these people don’t know the laws” or “you’ll get hit with a bullet.” And the girl begging: “Don’t kill my mother!” 
The Syndicate of Angolan Journalists (SJA) marked, on March 28th, another anniversary of an organization that entered the history of the country's democratization in a pioneering position that no one can take away from it, when talking about syndicalism in Angola. But not only that, the SJA will also be called upon to testify for future memory when talking about the achievement of freedom for all, which until then did not exist, with the performance of the state average - the only one that existed - a good mirror of this reality full of omissions and manipulations, where only the booming “voice of the owner” could be heard and little else. 
