HJP is an Angolan art and research practitioner dissecting philosophical, scenographic and architectonic frameworks in relation to enacted modes of power, moral codes and Christian discipleship.
His practice seeks to push boundaries between visual media and social engagement, employing still and moving images, multimedia installations, placemaking, and sound-based performances as sites of contestation and testimony.

While J. Paris’s ongoing Investigation explores the entanglements between stigmatised social experiences and contemporary built-environments. He is particularly interested in immersing modes of historiography: archiving through regenerative and hospitable notes.

Victoria & Albert Museum
Contempory And
Rimas e Batidas
Ableton

Humming as a Praxis

Sonic Lecture Series

2025, TBA, documented by Hugo Barros.

2024, V&A Museum, documentated by Jamal Springer Lynch

2024, V&A Museum, documentation by New Currency

2024, V&A Museum, documentated by New Currency

2024, V&A Museum, documentated by Mamady Diana

2024, Padrão dos Descobrimentos documented by Rafael Oliveira

2024, Padrão dos Descobrimentos documented by Jordana Leitao

2024, V&A Museum, documentated by New Currency

2024, Padrão dos Descobrimentos documented by Jordana Leitao

2025, TBA, documented by Hugo Barros.

A sonic lecture series by J. Paris initiated at the Raphael Court of the V&A Museum in response to the Tropical Modernism exhibition (2024), and continuing at the Monument to the Discoveries in Belém and Bairro Alto Theatre, this series investigates the entanglements of sound, sorveignty and institutional memory.

Henrique, together with collaborators stage theoretical and acoustic interrogations that traverse economies of power and ongoing colonial conditions. Through sonic gestures, panoramic reflection, and ambient choreography, the work unsettles hegemonic structures, questioning the construction of capital and the roles of spectacle, rehearsal, and spectator as sites of reproduction.

Each lecture frames a form of dramaturgy in which silence, echoes, footsteps, and hums become modes of spatial articulation. Gentle pauses are posed as critical spatial practices, navigating and reclaiming hostile or surveilled architectures. The series experiments with themes of resistance, devotion, and spatial justice, expanding possibilities in the field of performance and sound production intersecting notions of tableaux vivants and still-moving images (Tina M. Campt).

HENRIQUE J. PARIS

Humming as a Praxis