Lisbon

View of “Rosângela Rennó,” 2019.

View of “Rosângela Rennó,” 2019.

Rosângela Rennó

Cristina Guerra Contemporary Art

It was more than a century ago that Lenin thundered his way into twentieth-century history. For some, his name became synonymous with the onset of Communist totalitarian terror; for others, it represented the greatest hope for liberation in human history. These days, Lenin’s ideology is generally considered obsolete, but his image—replicated ad infinitum by the USSR propaganda machine and its cult of personality—continues to hold power as both a point of reference and a source of controversy, especially in Europe in the wake of the dissolution of the Soviet Union and the struggle for democracy in the Eastern Bloc.

This was the geographic and political context of Rosângela Rennó’s installation Good Apples/Bad Apples [proposal for a document/monument], 2019, which featured 740 framed images (each approximately five by seven inches) that show or reference Lenin in some way, stretching horizontally

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