but reopened for Angola with the proviso that Chagas could not modify the fragile building or move anything inside. The exhibition's title refers to the Angolan capital, Luanda, and the Biennale's central exhibition, The Encyclopedic Palace. The pavilion was curated by Paula Nascimento and Stefano Rabolli Pansera. Elsewhere in the building, as part of the pavilion, "Angola in Movement" curated works from the collection of the National Insurance Company of Angola. The photographs on display came from Chagas's larger series, "Found Not Taken". This series included conceptually similar photographs from cities besides Luanda. By request of the pavilion's curators, Chagas solely used the Luanda photographs. The artist found the request agreeable because the smaller set of photographs did not take the series out of context. The cities he photographed—London, Luanda, and Newport—each were preparing to host major events and, to Chagas, demonstrated a "sense of renewal" and rehabilitation in its culture. Coming from Luanda, where most resources and objects were reused, Chagas noted how consumer habits have evolved over time. He photographed each object in spaces where it interacted with its environment. Some objects were shot in nearly the same space as they were found, while others had to be moved. Through this method, Chagas felt that he learned the city's rhythm. He planned to continue the series. The pavilion was the biennial's "breakout star". It was a surprise winner of the Biennale's top prize, the Golden Lion for best national pavilion. The jury commended Chagas in expressing the "irreconcilability and complexity of site". The New York Times and Frieze too acknowledged the pavilion's understanding of spatial relations in the juxtaposition of Chagas's photographs against the building's Catholic decorations, reflected in aspects such as the monetary value differences between the weary, discarded objects in the photographs and the aged relics on the palazzo's walls. Frieze added that, compared to other African national pavilions, Angola's was responsive to its context yet unconcerned with "reifying otherness". While artwork has long been used to recontextualize space, Frieze Amy Sherlock appreciated how the cheaply produced, unwieldy posters would likely end up as street or canal debris, another step in the cycle of consumerism. She resisted the urge of taking a poster, considering the wealth of other items she had collected at the Biennale, but when she gave in, she felt "that this inevitability was an essential part of the piece". Art – Das Kunstmagazin,