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Yonamine, Pão nosso de cada Dia (Our Daily Bread), 2016, toasted bread, nails, 11' 5 3/4“ × 26' 3”.

Yonamine

Cristina Guerra Contemporary Art

Yonamine, Pão nosso de cada Dia (Our Daily Bread), 2016, toasted bread, nails, 11' 5 3/4“ × 26' 3”.

The work was extraordinary, arresting: Most of the longest wall of the gallery was covered by a field, about eleven and a half feet high by twenty-six feet wide, of 2,500 slices of toast. Many of these were branded using a customized toaster, with a selection of images forming an irregular pattern: two portraits (face and bust) of José Eduardo dos Santos, president of Angola, and the numbers 0, 1, 7, and 8 (the most frequent), along with 5 and 6. The work’s title, Pão nosso de cada Dia (Our Daily Bread), 2016, reinforces a chain of implicit associations. Few things are more universal and commonplace than bread. It simultaneously invokes both family and domestic intimacy and the most fundamental political and social struggles—not to mention its religious connotations in Catholicism. The expression “our daily bread” also evokes the quotidian routine that seems to repeat itself

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