Panoramic in Moving Fragments

Panoramic in Moving Fragments

In Panoramic in Moving Fragments, Or Mónica de Miranda’s Twin Visions of (Un)Belonging, Ana Balona de Oliveira analyzes the artist’s project Panorama (2017–2018), where her “gazing subjectivity” is avowedly “fragmented and fragmentary”, challenging the “notion of the ‘panoramic’ gaze” without geographical, historical or mnemonic or emotional affectivity. More than proposing a ‘shift of the gaze’, the essay lays out in the open “Miranda’s panoramic visions – inhabited, affective and spatio-temporally situated landscapes of architecture and nature” where “meanings are always contingent and positional, ever-changing and relational, but, as far as being and becoming are concerned, they are also arenas for struggles of recognition and resistance”, posing “[the artist’s] larger questions, if always deeply personal and affective, of history, memory, desire and a condition of (un)belonging to manifold spaces and times”.