Despite the importance of chattel slavery to the making of Portugal and its overseas empire, this terrifying history of black bondage is entirely muted in the public memory of Lisbon. In contrast to the (recently established and far overdue) National Museum of African American History and Culture in the United States or the Museu Afro Brasilin São Paulo, Brazil, there are no such museums or reckoning public memorials in Lisbon along the lines of the Mémorial de l’Abolition d’Esclavage as in Nantes, France. More recently, however, a slavery museum was established in the historic “Mercado de Escravos” (Slave Market) of the southern Portuguese port of Lagos, which is said to be the site of the first trade in enslaved Africans in Europe. Yet, Lisbon remains largely silent on its legacy of white terror and black captivity. 
AbstractSince this is a matter that is not yet resolved, where the strength of ideologies and re-uses may change deeply or even reverse the ways it is evoked, the colonial past may become a problem (Vecchi, 2018a). This is the case of Portuguese colonialism which is frequently invoked to stress resentments: whether from the country that was colonised or the colonising country (Ferro, 2009). As soon as the Portuguese Revolution of 25 April 1974 took place, Mozambique promoted the elimination of colonialism symbols. This predictable attitude, aiming to show that the colonisation had ended, was later amended by the future Governments, with the colonial stat-ues (at least, the ones that remained) being relocated to a place where they may be observed and contextualised. This action aimed to preserve the memory, which may enable the development of intercultural dynamics, softening the mentioned resentment: promoting questioning, in order to understand certain logics and, at the same time, filling gaps in the forgotten memory and in the Mozambican identity (Khan, Falconi & Krakowska, 2016). This paper refers to the cases related to the new life of two colonial statues in Maputo – Mouzinho de Albuquerque and Salazar –, during the post-colonial period and the permanence, until today, of the first monumental trace of Estado Novo [Second Republic] (Monumento aos Mortos da Primeira Guerra Mundial [World War I monument]), showing the importance that the preservation of memory has in a country or a na-tion’s life, even when it is associated with the former coloniser. This sort of mental decolonisation (Mbembe, 2017; Thiong’o, 1986), aims the questioning of the way the colonial past weighs on the current intercultural relations, in Mozambique, when the country establishes a relation with the former coloniser, allowing its inhabitants to look at the past as a way to build future dynamics. 
For Romero, this is one of the points of art: to help us face up to our own part in slavery and its legacy, and a powerful way to reveal, and explore, our past. “With this story, we wanted to tell the British angle – this is British history,” says Romero of The Whip. “We’re in constant dialogue with our past: we have to be.” 
The mission of the EXCHANGE project (2015-2020) (2) is to reflect critically on the perpetuation of the “European dream” of a community of solidarity in which national, linguistic and cultural differences are overcome to produce a space in which citizens can move freely and safely. The surveillance technologies that the project studies have a shared feature: they are genetic machineries that seek to identify individuals for the purposes of criminal prosecution. 
The authors were confronted with the lack of information on the representation of black men and women in European painting, which led them to very direct and immediate questions: who were the people represented? What were the motivations for representing them? And why did black people in European painting rarely have individualized identities? 
The exhibition Lost Lover speaks about the political, historical and geographical conditions through which knowledge is produced and controlled. The screening program assembled by Lara Koseff was originally presented in Rio de Janeiro, in the courtyard of Lanchonete, now in Rampa, Porto.
In the front room, 11 single-channel video pieces are projected in a loop. The authors, who are mostly from South Africa, confront us with the abandon of fear, thus calling to action topics that are often and strategically silenced. 
When history and duties to memory are ignored, truth can easily be thought of as a personal choice. Once accommodated in powerful discourse, these “truths” assume impunity: often disregarded and rarely condemned, even though they represent hate speech. Hatred has been normalized and has propelled a radicalism in which “good” struggles against “evil.” In this dichotomy, evil is once again the ‘other’. A discourse that does not humanize the ‘other’ authorizes barbarism – as we have seen in the post-election reactions 
The societies in which we live at different latitudes are legacies of colonialism and constituted by imperial ruins. Depending on our skin colour, social class, academic background and where we live, we can inherit privilege – by benefitting directly or indirectly from the wealth European exploration accumulated – or we can inherit, even accumulate, the oppression of institutional racism and be exposed to inequality and racist colonial violence. 
But we can't reverse History, even with the several attempts to naturalize it, to deny it and to manipulate it. Hence the importance of paying attention to the reluctant times we are now living in, which repeatedly insist on following the same old paradigms and refuse to make structural changes. 
Which colonial or imperial history are we talking about? What do we know about this past, whether distant or recent? What do we really know about such fundamental questions as occupational or income structures in former colonial societies, or patterns of consumption, degrees of literacy, cultural practices, ideological possibilities, levels of political education and participation, or citizenship and land policies, in the city, countryside or in between? 
Our duty, as creative people, to paraphrase the late Nina Simone, should always be to reflect the times we live in. We do this also by challenging constructions of history that have and continue to favour the powerful as we fight for the future we want to see and experience in the world, beyond our own physical existences. 
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