1. The New Way to Wear Black, 2012
  2. The New Way to Wear Black, 2012
  3. A.1.R.
  4. A.1.R.
  5. The New Way to Wear Black, 2012
  6. A.1.R.
  7. A.1.R.
  8. A.1.R.

We Shall Overcome!

There are words that mark historic moments and echo them through new times, whenever they are evoked. They are words that are joined together with simplicity, creating short phrases that take on their own aura. Each time the meaning of these messages is called on; it is because there is a path to be carved out. To change the present and carve out new directions in the future we need to understand and learn from the past – these are the temporal bridges that make it possible to go forward over turbulent waters when it no longer seems possible to reach the other side.
We Shall Overcome! is an internationally recognised message that originated in a late-nineteenth century gospel hymn, ‘I Will Overcome Someday’. In 1948, the hymn was adapted by the North American folk singer and activist Pete Seeger, who published the protest song ‘We Will Overcome’. The song became widely known in the 1950s and, at the end of the decade, was appropriated by the civil rights movement in North America, becoming the anthem of this movement during the 1960s, with the title ‘We Shall Overcome’. The slogan was used during the Selma to Montgomery marches in March 1965; sung by Robert F Kennedy in South Africa during the anti-apartheid struggle; spoken by Martin Luther King in his last speech before being assassinated, in 1968, and then chanted by more than 50,000 people at his funeral; adapted to the Czech language during the Velvet Revolution in Prague and shouted by thousands of people in Wenceslas Square; and adopted in India in countless situations. Joan Baez, Bob Dylan, Roger Waters and Bruce Springsteen are just some of those who have produced versions of this anthem.
Rita GT has appropriated the title of this historic song – the anthem of the struggle for freedom of expression, for equal social and racial rights, of pro-democracy movements throughout the world – in order to give it a new spatial and temporal dimension. Fifty years after Selma, in a museum, We Shall Overcome! finds a new form of artistic creation with Rita GT’s solo show, part of the ‘Echoes on the Wall’ programme dedicated to Portuguese artists based in other countries. Living in Angola since early 2012, Rita GT has confronted issues such as the supposed crisis generated by the fall in oil prices, the kumbu (money) dictatorship, being pula (white) or latona (mixed-race), being bumbo or not bumbo (black), issues which generate social tension. In the rest of the world, we are witnessing mass illegal migration, a rampant increase in refugee numbers, human trafficking and mass deaths. Everywhere there is a bubbling sense of discontent, injustice, of the duping of democracy by subversive tyrannies that undermine and dominate the intricacies of society, politics and economy. There is a reactivating of social drives that, in the words of the artist, ‘contaminate evolution, peace and above all Love’.
The conceptual project presented by Rita GT begins with the physical act of constructing the piece for the MNAC atrium, presented as a performance. This time, everything unfolds after the start of the opening event at Rua Serpa Pinto, in front of an empty wall that still holds part of the echo by Ana Cardoso, the previous artist in this series of exhibitions. During this part of the performance – which in a sense is the result of a consensual act of anthropophagy – a group of people, wearing overalls made of patterned African fabric designed by the artist, enter the museum carrying brooms and buckets of wallpaper paste. In front of the guests, the group will unroll rolls of wallpaper and cover the wall with a geometric pattern (also designed by Rita GT), a provocative interplay of positive and negative, of Greek or square crosses in white, and hooked crosses or swastikas created by the gaps on the black background. In the meantime, the Nigerian musician Keziah Jones will make a musical intervention marking the rhythm of the work.
His voice will emphasize the slogan for a group of dancers that move around outside and within the museum, to a marching rhythm, in a Japanese style, in a simple choreography of strong and repetitive gestures, evoking the freedom of expression of the body, of movement, of the very overcoming of our own selves: To Fall/ To Raise/ To Fall/ To Raise/ To Fall/ To Raise.
The artist will take part in hanging the wallpaper and, using spray paint, will draw signs linked to the concept of the slogan that echoes around MNAC. Once the performance is finished, the overalls will be hung on the wall. The video recording of the performance will be available in the exhibition space and online from the next day.
Thus, various aspects of the use of these words of struggle and protest are evoked, in a multidisciplinary action: music and the power of words, as they resonate within those who speak them out loud; the link established by the African fabric with black and women’s rights; the act of marching and the principle of peaceful protest; the power of the group in the importance of the struggle for rights that have been denied; the fight against entropy, cohesion through the repetition of movements and the semiotic dimension; the idea of resistance, of not giving in and having the capacity to overcome; the importance of artistic interpretation and of what should be perpetuated. As Robert Rauschenberg said with respect to ‘Signs’, his landmark work about 1960s America: ‘[The] Danger lies in forgetting’.
Adelaide Ginga

Kalunga (on chokwe studies), 2015
Red clay and rope
50 x 40 cm each

rita gt ritagt e-studio luanda
rita gt ritagt e-studio luanda
rita gt ritagt e-studio luanda

Axiluanda, 2014
In collaboration with Companhia de
Dança Contemporânea de Angola

Faces (Caras não Caras), 2014
Solo Exhibition at Instituto Camões,
Luanda, Angola

  1. Faces (Cara não Caras)
  2. Faces (Cara não Caras)
  3. Faces (Cara não Caras)
  4. Faces (Cara não Caras)
  5. e.studio Luanda dos langa
  6. e.studio Luanda dos langa

Kalunga. Action nº2. 
Dundo, 2013

Fall. Action nº1. Luanda, 2013
100 x 70 cm


  1. Title 1

A.1.R. (African Industrial Revolution), 2012
UNAP, Luanda, Angola
RitaGT and Francisco Vidal
​Curated by RitaGT
Jahmek Productions


Estudio Candonga.
A Metrópole, 2012

Estudio Candonga. Portuguese's Gold Reserve, 2011
Performance with Francisco Vidal

Procession to the Sea, 2011
Performance in Díli, Timor-Leste 

Agora, a Seguir e Como, 2010
with Feedback studio
(Carlos Valencia Maya and Joana Carvalho)
and Francisco Vidal

rita gt ritagt e-studio luanda

Performance in Eurocentric
Museums, 2009

Do Minho a Timor. 
From the series Made in Europe, 
10 Year Warranty, 2009

Made in Europe, 10 Year Warranty
(My Greek Friends), 2008
Collage, spray and acrylic.
148 x 353 cm

rita gt ritagt e-studio luanda
rita gt ritagt e-studio luanda
Made in Europe
Estava pronta para ir viver para Berlim.
Desde que mudei de cidade pela primeira vez, com dezoito anos, para ir estudar para uma faculdade de belas-artes, que ganhei este ritmo.
Cada vez mais imagino: como será morar ali?
Percebi- estou a precisar de uma mala nova! Não é fácil empacotar uma vida, decidir o que fica e o que vai. Fui comprar uma mala sansonite. A mala trazia um autocolante que dizia: Made in Europe, 10 year warranty. Garantie de 10 ans, Fabriqué en Europe.
Esta é e será a “bagagem” mais pesada que transportarei em todas as minhas viagens!
A cidade de Berlim tem várias camadas de história, a segunda guerra mundial é a camada mais presente, uma história constantemente a ser reescrita, principalmente por uma das grandes potências económicas contemporâneas: o turismo. Berlim é supostamente cidade das artes da Europa, Europa central, mas de facto o turismo artístico não é o ponto forte desta capital.
Aqui sinto mais forte o que é ser formada por um pensamento euro-centrado.
Gosto de sentir o peso da arte europeia. 
Mas quem inventou esta disciplina, a História da Arte?
A invenção da instituição Museu remonta ao século XIX, tempos em que grandes colonizadores enviavam etnógrafos a países colonizados em missão de trazerem para o ocidente todo o tipo de peças de arte exótica a serem mostradas nas chamadas worder rooms. Os etnógrafos influenciaram significativamente a construção da imagem de uma pratica artística, “primitivista”, realizada nessas colónias. Essas peças, por conseguinte, foram apropriadas e assimiladas pelos artistas de vanguarda do século XIX, como foi o caso de Picasso e as suas várias visitas á colecção etnográfica do Palais du Trocadéro. Foi a partir da etnografia clássica que a cultura ocidental adquiriu a ideia de arcaico, cerimónias e rituais de outras sociedades, sendo reconstruída a ideia vaga de até então, sobre o “outro”.
E passado algum tempo acontece a grande transição da arte “autêntica” ou “tribal” para arte- “turismo”. Nos tempos contemporâneos, deparamo-nos com uma imensidão de feiras de arte e bienais, em terras que nunca antes ouvimos falar! Por todo o mundo se tenta adoptar esta estratégia de publicidade propagandista através de circuitos artísticos, convidando assim um determinado público a visitar a sua terra e assim activar o circuito capital e económico.
O passado reescreve-se no presente, possibilitando um impulso artístico que será, e sempre foi utópico.
Uma evocação do passado será sempre um fragmento de um acontecimento, um acentuar de apenas alguns aspectos, uma acção subjectiva. 
Made in Europe, 10 year warranty, evoca ironicamente um passado, europeu, mas ao mesmo tempo um futuro próximo, num tempo que é o agora.
RitaGT, Setembro, 2008

Museum of Communications, 2008
Performance to video made in the Museum of Communications, Lisbon, Portugal

Studies on Portuguese Ceramic. Action nº1, 2007
Performance to video made in an abandoned ceramic factory in Caldas da Rainha, Portugal

Temptation of St. Anthony, 2007
Performance to Photography made in the Museum of Antique Art, Lisbon, Portugal

Untitled (I've Got it All)
1 + 1 = 1, 2006
Duratrans print on lightbox
100 x 100 cm

rita gt ritagt e-studio luanda