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Exhibitions
EUGÈNE GREEN THE IMAGE OF THE WORD DE 2019-11-26 a 2020-02-06
The exhibition we are now presenting – that is also the first screening of Eugène Green's films in an exhibition context - focuses on the originality of his worldviews and the uniqueness of the filmic universe created by th...
EUGÈNE GREEN THE IMAGE OF THE WORD
DE 2019-11-26 a 2020-02-06
![]() The exhibition we are now presenting – that is also the first screening of Eugène Green's films in an exhibition context - focuses on the originality of his worldviews and the uniqueness of the filmic universe created by this French filmmaker, who fell in love with Portugal. The image of the word is, in Green’s terminology, another way of saying "cinema” and thinking about the possibilities of intersection between images and words. In addition to the centrality of the word, theatricality and neo-primitivism, a critical view of the contemporary world is also one of the affinities that his cinema maintains with the work of Manoel de Oliveira. Lisbon Revisited – that was produced especially for Serralves, and which will be screening permanently during the exhibition – is not only Eugène Green's third Portuguese film, it also offers a wry look at the problems affecting our cities. Exhibition organised by the Serralves Foundation – Casa do Cinema Manoel de Oliveira, curated by António Preto. Related Activities
GUIDED TOURS
08 DEC | Sun | 12pm By António Preto 12 JAN | Sun | 12pm By Ricardo Vieira Lisboa 26 JAN |Sun | 12pm By Luís Urbano
CONFERENCES
27 NOV | 6:30pm EUGÈNE GREEN - O CINEMATÓGRAFO, ARTE DA PRESENÇA 08 JAN | 6:30pm MATHIAS LAVIN - A PALAVRA NO CINEMA
CARTA BRANCA A EUGÉNE GREEN
3 JAN | Sex | 21h30 Blow-Up, 1966 4 JAN | Sab | 17h00 Conte d'automne, 1998 5 JAN | Dom | 17h00 Ukikusa [Ervas Flutuantes], 1959 10 JAN | Sex | 21h30 Braguino, 2017 11 JAN | Sab | 17h00 Le parc, 2016 12 JAN |Dom | 17h00 Mimosas, 2016
RETROSPETIVA INTEGRAL
17 JAN | Fri | 9:30pm Toutes les nuits, 2001 18 JAN | Sat | 5:00pm Le nom du feu, 2002 Le monde vivant, 2003 19 JAN | Sun | 5:00pm Le pont des Arts, 2004 25 JAN | Sat | 5:00pm Correspondances, 2009 A Religiosa Portuguesa, 2009 26 JAN | Sun | 5:00pm Les signes, 2006 La Sapienza, 2014 31 JAN | Fri | 21h30 Faire la parole, 2015 1 FEV | Sat | 5:00pm Le fils de Joseph, 2016 2 FEV | Sun | 5:00pm Preso egon denaren gogoa, 2018 Como Fernando Pessoa Salvou Portugal, 2018 En attendant les barbares, 2017
CABRITA - A ROVING GAZE DE 2019-11-20 a 2020-03-15
Pedro Cabrita Reis is part of the history of the Serralves Museum of Contemporary Art, which, in the very same year of its opening in 1999, hosted an exhibition of his work. A ROVING GAZE marks the artist’s return to Serralves p...
CABRITA - A ROVING GAZE
DE 2019-11-20 a 2020-03-15
![]() Pedro Cabrita Reis is part of the history of the Serralves Museum of Contemporary Art, which, in the very same year of its opening in 1999, hosted an exhibition of his work. A ROVING GAZE marks the artist’s return to Serralves precisely twenty years later. Specifically conceived for the Museum’s spaces, a single, large-scale work with a very clear autobiographic quality will reflect the ever-present relationship between Cabrita Reis’s artistic practice and his reflection on the role of museums. Far from any chronological concern, A ROVING GAZE includes photographs of a large selection of Cabrita Reis’s works from 1999 to the present, displayed on structures created by the artist, along with a series of objects, drawings, documents and other works, the whole generating a total installation environment in which the artist’s life and work intersect. ![]() Related Activities
VISITAS ORIENTADAS
26 JAN (DOM) 12h00 Por Raquel Sambade, educadora 15 FEV (SÁB) 15h30 Por Laredo, Associação Cultural (Língua Gestual Portuguesa) 22 MAR (DOM) 12h00 Por Joana Mendonça, educadora
NOVO BANCO REVELAÇÃO: 2019 DE 2019-11-07 a 2020-03-15
This is the 2019 edition of the NOVO BANCO Revelação award, the only sponsoring initiative to support young artistic production in Portugal devoted to the specific field of photography, resulting from a partnership with NOVO BAN...
NOVO BANCO REVELAÇÃO: 2019
DE 2019-11-07 a 2020-03-15
![]() This is the 2019 edition of the NOVO BANCO Revelação award, the only sponsoring initiative to support young artistic production in Portugal devoted to the specific field of photography, resulting from a partnership with NOVO BANCO. The applications received this year were reviewed by an international jury made up of Susana Lourenço Marques (Professor of Photography and the History of Photography at the Faculty of Fine Arts of Porto University), the Ecuadorian Manuela Moscoso (appointed curator of the 2020 Liverpool Biennial) and the Spanish independent curator, Pedro de Lhano. In dialogue with Filipa Loureiro and Ricardo Nicolau — the two curators responsible for managing the logistics of the event and the presentation of the exhibition in Serralves —, the jury distinguished the projects proposed by Diogo da Cruz, Luís Ramos and winner Alice dos Reis, which were brought to fruition thanks to the NOVO BANCO production grant and can now be seen at Serralves. The performative installation proposed by Diogo da Cruz investigates the status of photography and its legitimizing role in knowledge and events. Bringing art and science close together, the artist follows the work of a team of researchers who seek to capture the unknown through a powerful ‘camera lens’ installed in the centre of a mountain aimed to photograph black matter. Luís Ramos’ project, loaded with ironic references to the art world — such as a sculpture made of industrial objects that may be mistaken for a post-minimalist work —, discusses the heuristic potential of the different devices used to create photographic images, with particular attention to the mobile phone in which so many images are accidentally generated and immediately discarded. In the broader scope of her research on the relationship between species, miscegenation, hybridism and ocean ecology, Alice dos Reis submitted a sci-fi film conceived on the grounds of a photographic practice facilitating the horizontal axis of relationships and allowing humans to look ‘with animals instead of at animals’. Besides producing the video she submitted to the jury, Alice dos Reis chose to be particularly involved in the monograph dedicated to the winner. As an outcome of this investment, one of the exhibition rooms was conceived as a reading room, where visitors can — before or after watching her video — get acquainted with the universes explored therein.
NORA TURATO - SOMEONE OUGHT TO TELL YOU WHAT IT’S REALLY ALL ABOUT DE 2019-10-04 a 2020-01-19
This is the first solo exhibition in Portugal by Nora Turato (Zagreb, 1991), a Croatian artist who lives and works in Amsterdam, where she was also a resident artist at the prestigious Rijksakademie for a two-year period. In 2018 ...
NORA TURATO - SOMEONE OUGHT TO TELL YOU WHAT IT’S REALLY ALL ABOUT
DE 2019-10-04 a 2020-01-19
![]() This is the first solo exhibition in Portugal by Nora Turato (Zagreb, 1991), a Croatian artist who lives and works in Amsterdam, where she was also a resident artist at the prestigious Rijksakademie for a two-year period. In 2018 Serralves presented Turato’s performance-based work in the context of "The Museum as Performance”. This year she is returning with a video entirely shot in the Auditorium of the Serralves Museum of Contemporary Art. someone ought to tell you what it’s really all about is the result of one week’s filming in Serralves when the artist appeared on the Auditorium’s stage and (pushing her voice to the extremes) explored a "self-written” monologue - a mixture of phrases taken from books, films, commercials and social network posts. This text, the way that it is recited, and the reference to the theatre, conjure up the emotional crisis of an actress (played by Gena Rowlands) described in a film that served as a fundamental reference for this work: John Cassavetes' Opening Night (1977). In someone ought to tell you what it’s really all about, Nora Turato is the tormented actress who enters into syncopated monologues, on the verge of hysteria, and thereby contradicts the restrictive idea that the theatre is based on professional recitation of a pre-written text, inaugurating a volatile and insubordinate performance space. As in Cassavetes' film, the crisis is not described or illustrated, but informs the formal operations and filmic decisions, resulting in an object that is fundamentally different from the mere recording of an artist's performance. The artist, who first gained renown for her performances - in contexts such as the 2018 Manifesta in Palermo and the 2018 Liste art fair in Basel - has been exhibiting her work in several distinguished institutions, such as the Beursschouwburg Art Centre, in Brussels (2019) and the Kunstmuseum Liechtenstein (2019), and is considered to be one of the most exciting young artists of today. Curator: Ricardo Nicolau, Deputy Director of the Serralves Museum of Contemporary Art ![]()
ÁLVARO SIZA - IN/DISCIPLINE DE 2019-09-19 a 2020-02-02
Name: Álvaro SizaDiscipline: as little as possibleThis confessional note - once written by Álvaro Siza on the inner flap of one of his sketchbooks - was the point of departure for the exhibition commemorating the twentieth anniv...
ÁLVARO SIZA - IN/DISCIPLINE
DE 2019-09-19 a 2020-02-02
![]() Name: Álvaro Siza Discipline: as little as possible This confessional note - once written by Álvaro Siza on the inner flap of one of his sketchbooks - was the point of departure for the exhibition commemorating the twentieth anniversary of the Serralves Museum of Contemporary Art. Álvaro Siza: in/discipline reveals the salutary disquiet and insubordination that inform Siza’s creative method, construed over more than six decades in the cross-fertilization of knowledges, cultures, geographies, works and authors, and subsidiary to his questioning of architecture on the grounds of both what is inside and what is outside of this disciple. Featuring thirty of Siza’s projects dated from 1954 to 2019 (both built and unbuilt) the exhibition traces the professional trajectory of the architect, examining the early years of his education through the full consolidation of his voice as an architect; his readings, sketchbooks and travel records, and the ways his work has been portrayed, photographically in seminal publications and verbally in personal statements by many of those contemporaries who have crossed paths with it over time. Exhibition curated by: Nuno Grande and Carlos Muro The exhibition is organised by the Serralves Foundation - Museum of Contemporary Art, Porto, with contributions from the Serralves’ Álvaro Siza Archive, the Álvaro Siza fonds - Canadian Centre for Architecture, Montreal and the Álvaro Siza Archive - Calouste Gulbenkian Foundation, Lisbon. Image: Álvaro Siza, image from Sketchbook nº110. Col. Álvaro Siza Fonds - Canadian Centre for Architecture, Montreal (CCA). Exclusive Sponsor of the Exhibition
![]() Related Activities
OPENING | 18 SEPT (WED), 10PM
Opening of the exhibition to the public
PENSAMENTO
21 SET (SÁB) 17h00 A IN/DISCIPLINA DE ÁLVARO SIZA 06 OUT (Dom) 12h00 VISITA ORIENTADA por Inês Caetano, Serviço Educativo 23 OCT (QUA) 18h30 RELAÇÕES E CUMPLICIDADES ENTRE ÁLVARO SIZA E OS FOTÓGRAFOS DA SUA OBRA 26 OUT (SÁB) 17h00 VISITA ORIENTADA por Nuno Grande, co-comissário da exposição 20, 21, 22 e 26 NOV ÁLVARO SIZA TALKS 2019 – CONVERSATIONS ON ARCHITECTURE 23 NOV (SÁB) 17h00 VISITA ORIENTADA por Carles Muro, co-comissário da exposição 07 DEZ (SÁB) 10h00 – 17h00 A EUROPA EM ÁLVARO SIZA – Cidade, Democracia e Arquitetura 08 DEZ (DOM) 12h00 VISITA ORIENTADA por Carles Muro, co-comissário da exposição 11 e 12 (SÁB) 10h00 – 17h00 OLHARES CRUZADOS 01 (SÁB) 17h00 VISITA ORIENTADA por Nuno Grande, co-curador da exposição
CINEMA
CARTA BRANCA A ÁLVARO SIZA 4 OUT | SEX | 18H O Arquitecto e a Cidade Velha - Catarina Alves Costa 5 OUT | SAB | 18H A Dama de Chandor - Catarina Mourão 6 OUT | DOM | 18H Rear Window - Alfred Hitchcock 11 OUT | SEX | 18H The Apartment - Billy Wilder 12 OUT | SAB | 18H Vale Abraão - Manoel de Oliveira
LOOPED: FILMS FROM THE SERRALVES COLLECTION DE 2019-09-12 a 2019-09-29
Looped: Films from the Serralves Collection is a set of continuously screened films, structured across three different stages. The first stage (12 to 17 September) addresses the concepts of time and memory. The second stage (18 to...
LOOPED: FILMS FROM THE SERRALVES COLLECTION
DE 2019-09-12 a 2019-09-29
![]() Looped: Films from the Serralves Collection is a set of continuously screened films, structured across three different stages. The first stage (12 to 17 September) addresses the concepts of time and memory. The second stage (18 to 23 September) includes films that make different use of the languages and techniques of television, video and advertising and that reflect on these universes. The third and final stage (24 to 29 September) is related to performance and the presence of various performance-based practices recorded in films and videos, which exist and impose themselves as autonomous objects. Films by: !Von Calhau!, John Baldessari, Pedro Barateiro, Dara Birnbaum, E. M. de Melo e Castro, Mauro Cerqueira, Filipa César, Ângela Ferreira, Walter Gutman, Tony Oursler, Fernando José Pereira, Francisco Queirós, Richard Serra, João Tabarra, Francesco Vezzoli, Marijke van Warmerdam
Há Luz no Parque 2019 DE 2019-07-18 a 2019-09-21
Há Luz no Parque - Every Thursday, Friday and Saturday, from 18 JUL to 21 SEPSchedule: 9:30 pm to 00 am (last ticket: 11pm Entrance: R. Dom João de Castro, 210The 5th edition of the installation "There’s Light in the Park" ...
Há Luz no Parque 2019
DE 2019-07-18 a 2019-09-21
![]() Há Luz no Parque - Every Thursday, Friday and Saturday, from 18 JUL to 21 SEP Schedule: 9:30 pm to 00 am (last ticket: 11pm Entrance: R. Dom João de Castro, 210 The 5th edition of the installation "There’s Light in the Park" represents a special moment in the programme of Serralves Park. During the summer months, the Park is open to the general public at night, and invites visitors to take part in different environmental and cultural experiences. Various iconic pathways, trees and elements are decoratively illuminated, projecting a play of light which creates new scenarios, centred around the Alameda dos Liquidâmbares, the Lake and the Farm. The programme of activities accompanying the installation, includes guided visits to the Park, which in a nocturnal experience, highlight and demonstrate the convergence between natural and artistic dimensions and, in symbiosis, recount stories and reinforce the remarkable natural heritage as visitors discover the nocturnal life of the park. THE CONCEPT When lighting an outdoor environment, it is possible to consider lighting as simply a way to guarantee the space’s functionality - responding to basic requirements in terms of visibility and safety. However, conciliation of such functional principles with a more expressive dimension makes it possible to explore the multiple creative, playful and pedagogical potential that artificial lighting can have for people, nature and built spaces. GUIDE One of the main characteristics of the Park's nocturnal lighting is, above all, the ability to organise it and suggest directions to visitors along the various available paths and routes. INTERACT In certain places in the Park, visitors will be invited to manipulate the light, thereby transfiguring its effects on the landscape or even on people. RELAX Determinados pontos no Parque procuram recriar um ambiente lumínico que convida à pausa e ao relaxamento do visitante, fazendo-o sentir-se "em casa” e disfrutar de um confortável momento de conversa ou de simples introspeção. PROVOKE Intervindo na Arquitetura de forma provocadora e efémera, a luz revela nesta intervenção o seu poder enquanto instrumento de transformação visual ou verdadeiro material de construção. EDUCATE Certas intervenções no Parque reforçam simbolicamente a importância de dois elementos naturais no nosso planeta: a água e o fogo. Access: 5€ Amigos de Serralves: free entrance
Voyage to the Beginning and Back DE 2019-07-11 a 2019-11-03
Marking the 30th anniversary of the Serralves Foundation, Voyage to the Beginning and Back, The Serralves Collection 1989-2019 presents significant works from its collection or that occupy an important place in the genesis and his...
Voyage to the Beginning and Back
DE 2019-07-11 a 2019-11-03
![]() Marking the 30th anniversary of the Serralves Foundation, Voyage to the Beginning and Back, The Serralves Collection 1989-2019 presents significant works from its collection or that occupy an important place in the genesis and history of the Serralves Collection and Museum. Either because they were part of the original set of works assembled to set up Serralves Museum and the Collection, or because they were specifically produced for Serralves (for the spaces of the Villa, Museum or other parts of the city commissioned by Serralves) or because their first public presentation was in Serralves or because they were part of major solo exhibitions (and remembered as key moments both in the artist’s career and the history of the institution). This is a way to write the history of Serralves and emphasise the fundamental role that it has played in the careers of renowned artists, establishing a sufficiently special relationship between them and the Museum which has often led to the production, presentation (and acquisition) of new works. Álvaro Lapa, António Dacosta, Ângelo de Sousa and Joaquim Rodrigo are some of the artists who have been linked to Serralves from the outset, and whose works were included in the original set of works constituted by the then Secretary of State of Culture. The artists who will present works specifically produced for Serralves include Mathieu Abonnenc, André Cepeda, Hamish Fulton, Runa Islam, Albuquerque Mendes, Charlotte Moth, Maria Nordman, Lygia Pape, Augusto Alves da Silva, Mariana Silva and Simon Starling, that are presented alongside works by artists who have had important solo exhibitions in Serralves, including Pedro Cabrita Reis, Luc Tuymans and Lothar Baumgarten. Serralves Villa also hosted major solo exhibitions and served as an inspiration for projects and works specifically designed for its spaces, including artists such as Pedro Barateiro, Ana Jotta, Nick Mauss, Antoni Muntadas, Richard Tuttle and Luc Tuymans. This exhibition will present some of the works in the specific places of the Villa for which they were originally conceived, as well as works previously presented elsewhere and now installed in the Villa, thereby enabling new interpretations and interactions. ![]() Related Activities
INAUGURAÇÃO | 10 JULHO (QUA), 18h30
18h30 Abertura da exposição 18h30 Conversa entre os artistas Albuquerque Mendes, André Cepeda, André Guedes, Augusto Alves da Silva e Charlotte Moth, e Marta Almeida (Diretora Adjunta) e Ricardo Nicolau (Adjunto do Diretor) 20h00-00h00 Ativação da peça "Tango”, de Albuquerque Mendes (na Casa de Serralves)
Game, Set, Match DE 2019-06-28 a 2019-12-08
The collection of artists’ books of the Serralves Museum, curated by Guy Schraenen until his death in 2018, is one of the leading collections in Europe. Represented are all types and tendencies of this art genre, which emerged i...
Game, Set, Match
DE 2019-06-28 a 2019-12-08
![]() The collection of artists’ books of the Serralves Museum, curated by Guy Schraenen until his death in 2018, is one of the leading collections in Europe. Represented are all types and tendencies of this art genre, which emerged in the late 1950s when artists invented the concept of the ‘artist’s book’, a new and revolutionary way of dealing with the space of the book and with the diffusion of ideas and works. On the occasion of its twentieth anniversary, the three-chapter exhibition Game, Set, Match will present major publications by visual artists of all horizons. It will highlight three main investigative fields within the universe of artists’ books: while chapter one deals with the tautological notion of the artist’s book as book, chapter two reflects on the book as an artwork in its own right, equivalent to a painting or a sculpture; chapter three focuses on works that exist at the interface between book and object. Altogether, the presented works are examples of how artists metamorphose the ordinary aspects of the book. Rather than destroying its ideas, they give new life and perspectives to it. Game, Set, Match: Three Concepts of the Artist’s Book is organised by the Serralves Foundation – Museum of Contemporary Art, Porto, and is curated by Maike Aden after concepts by Guy Schraenen. Game, Set, Match: three concepts of the artist's books. Image: part of Sol LeWitt Lignes en quatre directions et toutes leurs combinaisons, Bordeaux, Capc Musée d’art contemporain, 1983
MANOEL DE OLIVEIRA — THE HOUSE DE 2019-06-25 a 2019-11-03
The inaugural exhibition of the Casa do Cinema Manoel de Oliveira explores multiple representations of the house in the director’s films, focusing in particular on the film, Visit, or Memories and Confessions (1982), that was pr...
MANOEL DE OLIVEIRA — THE HOUSE
DE 2019-06-25 a 2019-11-03
![]() The inaugural exhibition of the Casa do Cinema Manoel de Oliveira explores multiple representations of the house in the director’s films, focusing in particular on the film, Visit, or Memories and Confessions (1982), that was produced at a time when Oliveira, already in his seventies, was forced to leave the house where he had lived with his family for over forty years. The director decided that Visit should only be presented posthumously. It was thereby predestined to have a paradoxical statute: as a work of memories and confessions, in which the filmmaker remembers the past while discussing his own cinematographic convictions, while also providing a preview of themes explored in his subsequent films — the most substantial part of his oeuvre — which unexpectedly was still to come. The film’s overall tone revolves around saying farewell to a place, and to his own life, but it actually turned out to be more prophetic than testamentary. The film harbours an eloquent expression of the importance of the house in Oliveira’s films, as revealed in the many houses featured in his work: those facing the street, as in Aniki Bóbó (1942) and The Box (1994) or those which, on the contrary, enclose spaces, as in Convent (1995), revolving around the diabolical dilemmas of the intimacy of a couple. The house-theatre of bourgeois farce in The Past and the Present (1972), the house-prison in Benilde or the Virgin Mother (1975), the two rival houses that lead to a tragic conclusion in Doomed Love (1978) or the romantic disenchantments of Francisca (1981). The ruined houses, offering views over the prosperous vineyards of the Douro, which stir up social eroticism in Abraham’s Valley (1993) or incendiary behaviour in The Uncertainty Principle (2002). The house-stage of My Case (1986), in which cinema is theatrically compelled to face itself, or the house-tomb of The Day of Despair (1992), in which the director theatrically stages his personal identification with Camilo Castelo Branco. The house-ship of A Talking Picture (2003), the house-island of Party (1996) or the house-world, an asylum for alienated persons, in The Divine Comedy (1991). The house from which one flees, in Gebo and the Shadow (2012), or to which one inevitably returns, in I’m Going Home (2001). The strange case of the house that is traversed between Journey to the Beginning of the World (1997) and Porto of My Childhood (2001), which simultaneously constitutes a beginning and end, halfway between memories and ruins. These are some of the houses which can be visited during this exhibition and its accompanying film series. They either serve as grounds for a social portrait of Portugal and an inquiry into the state of the world, or for a biographical construction of the director, as a space that embodies the origin and centre of gravity of his entire oeuvre, while also opening doors towards questioning the act of filming and the nature of cinematographic art. As a film set, theme, symbol, dramatic entity or stage, the house is the territory that underpins the relationship between the private and the public, and the individual and the collective. It is no accident that Visit rehearses themes that were explored a decade later in NO or the Vain Glory of Command, the great fresco with which Oliveira questioned the entire history of Portugal — from Viriato to the 1974 Revolution. This contrast of scales is extended, in Visit, to the tension between the word and image, between documentary recording and fictional recreation, between the visible and the invisible that, in addition to making space a condenser of different epochs, makes this film — and in this regard it resembles a house — a dense place, that accumulates dialogues and crossed various gazes between the past, present and future. A film of beginning and return, Visit, or Memories and Confessions, demonstrates, like no other film, that cinema is a spectral art. A phantasmagorical device that Oliveira shows us — and in which he shows himself — in order, in a final word, and a final image, to demonstrate that it is possible to inhabit a film in the same way that we inhabit a house. Visit, or Memories and Confessions, 1982 NO or the Vain Glory of Command, 1990 Day of Despair, 1992 A Talking Picture, 2003 Porto of My Childhood, 2001 The Rite of Spring, 1962 The Past and the Present, 1971 Benilde or the Virgin Mother, 1974 The Divine Comedy, 1991 The Satin Slipper, 1985 Christopher Columbus: The Enigma, 2007 Anxiety, 1998 Related Activities
GUIDED TOURS
14 JUL | 12H00 António Preto 29 SET | 12H00 Ricardo Vieira Lisboa 13 OUT | 12h00 Nuno Grande 27 OUT | 12h00 Regina Guimarães
CINEMA PROGRAMME
Visit, or Memories and Confessions, 1982 PT - 68 min. 25 JUN | 3PM 26 JUN | 5PM 27 JUN | 3PM 28 JUN | 5PM 29 JUN | 4PM 30 JUN | 6PM NO or the Vain Glory of Command, 1990 PT - 108 min. 25 JUN | 5PM 26 JUN | 3PM 27 JUN | 5PM 28 JUN | 3PM 29 JUN | 6PM 30 JUN | 4PM
CINEMA CYCLE - OPEN DOORS
7 JUL | 16h00 | Abraham’s Valley, 1993 PT | 203 min. 9 JUL | 16h00 | The Past and the Present, 1971 PT | 115 min. 10 JUL | 16h00 | Party, 1996 PT, FR | 93 min. 11 JUL | 16h00 | Benilde or the Virgin Mother, 1974 PT | 106 min. 12 JUL | 16h00 | My Case, 1986 FR | 88 min. 14 JUL | 16h00 | Doomed Love, 1978 PT | 261 min. 16 JUL | 16h00 | The Box, 1994 PT | 96 min. 17 JUL | 16h00 | Gebo and the Shadow, 2012 FR | 95 min. 18 JUL | 16h00 | Porto of My Childhood, 2001 PT | 60 min. 19 JUL | 16h00 | I’m Going Home, 2001 FR, EN | 89 min. 21 JUL | 16h00 | The Divine Comedy, 1991 PT | 140 min. 23 JUL | 16h00 | The Old Man from Belém, 2014 / The Day of Despair, 1992 PT | 19 min. PT | 76 min. 24 JUL | 16h00 | The Convent, 1995 FR | EN | PT | GR | 91 min. 25 JUL | 16h00 | The Uncertainty Principle, 2002 PT | 133 min. 26 JUL | 16h00 | Magic Mirror, 2005 PT | 137 min. 28 JUL | 16h00 | Francisca, 1981 PT | 167 min. All films will be presented in their original language, with English subtitles, except for Party, Mon Cas and I'm going home, which will have Portuguese subtitles.
MANOEL DE OLIVEIRA - THE COLLECTION DE 2019-06-25 a 2019-10-13
Deposited in full at the Serralves Foundation since 2016, the Manoel de Oliveira Collection combines a vast set of documentation, consisting of various working materials - such as scripts, photographs, texts, preparatory drawings ...
MANOEL DE OLIVEIRA - THE COLLECTION
DE 2019-06-25 a 2019-10-13
![]() Deposited in full at the Serralves Foundation since 2016, the Manoel de Oliveira Collection combines a vast set of documentation, consisting of various working materials - such as scripts, photographs, texts, preparatory drawings and props, among other items - as well as prizes, posters, correspondence and the director’s entire personal library. The collection is a precious instrument to further our knowledge of his work, as well as the history of cinema, art and culture in Portugal in the 20th and 21st centuries. The selection of documents presented herein, conceived in conjunction with the temporary exhibition Manoel de Oliveira: The House, proposes a journey through the filmmaker’s archive, built up over more than eighty years, while focusing on some of his unmade projects. Starting from a list - in which the filmmaker lists his rejected funding requests, specifically in the period between 1952 and 1963 - the exhibition enables us to foresee the scale that Manoel de Oliveira's oeuvre could have attained, in a different political context and with more favourable production conditions. But whereas his oeuvre - the most extensive body of work in the history of Portuguese cinema - experienced numerous setbacks and interruptions, especially during the Estado Novo regime, it is also certain that many of his abandoned projects inspired or were reintegrated into, in part or in full, other films that he directed. This exhibition provides clues to Manoel de Oliveira's working processes and personal obsessions, complemented by the presentation of two documentaries: Manoel de Oliveira (1981), produced by Augusto M. Seabra and José Nascimento for RTP’s "Ecran” programme; and Conversazione a Porto: Manoel de Oliveira e Agustina Bessa-Luís (2005), by Daniele Segre. Above all, the exhibition highlights the determination and persistence with which this oeuvre was built. Related Activities
GUIDED TOURS
14 JUL | 12H00 António Preto 29 SET | 12H00 Ricardo Vieira Lisboa 13 OUT | 12h00 Nuno Grande 27 OUT | 12h00 Regina Guimarães
JOAN JONAS DE 2019-05-25 a 2019-09-01
Joan Jonas (New York, 1936) is a pioneer of performance and video art and an acclaimed multimedia artist, whose work encompasses video, performance, installation, sound, text and drawing. A central figure in performance art in the...
JOAN JONAS
DE 2019-05-25 a 2019-09-01
![]() Joan Jonas (New York, 1936) is a pioneer of performance and video art and an acclaimed multimedia artist, whose work encompasses video, performance, installation, sound, text and drawing. A central figure in performance art in the late 1960s, her artistic practice has played a fundamental role for the development of many contemporary artistic genres, ranging from performance art and video to conceptual art and theatre. She is currently considered to be one of the most influential voices in contemporary art, especially for new generations of artists. This is the most complete exhibition of Jonas' oeuvre ever held. Works from the late 1960s are in conjunction with the most recent installations by this historical artist who continues to think about some of the most urgent and important contemporary issues. The exhibition is organized by the Tate Modern in partnership with the Serralves Foundation - Museum of Contemporary Art, Porto Curators - Marta Almeida, Assistant Director and Paula Fernandes, Curator, Serralves Foundation - Museum of Contemporary Art, Porto and Andrea Lissoni, Senior Curator, International Art (Film) Tate Modern and Julienne Lorz, Chief Curator, Gropius Bau, Berlin [Image: Joan Jonas, Lines in the Sand, 2002, still from the video recording of the performance, The Kitchen, New York NYC, 2004. JOAN] ![]() Related Activities
INAUGURAÇÃO 24 MAI (SEX), 19h00
19h00 Mirror Piece I & II: Reconstrução (1969/2018-2019) 20h00 Abertura da exposição ao público
PENSAMENTO
23 JUN (DOM), 12h00 Visita orientada à exposição por Patrícia do Vale, educadora 29 JUN (SÁB), 17h00 Visita orientada "Sobre Experimentar e Objetos Museais Instáveis” à exposição Joan Jonas por Sofia Ponte, investigadora (título em inglês: "ABOUT EXPERIMENTS AND UNSTABLE MUSEUM OBJECTS”) 07 JUL (DOM), 12h00 Visita orientada à exposição Joan Jonas por Inês Soares, educadora 20 JUL (SÁB), 17h00 Visita orientada à exposição Joan Jonas por André Teodósio, ator 04 AGO (DOM), 12h00 Visita orientada à exposição Joan Jonas por Patrícia do Vale, educadora 31 AGO (SÁB), 17h00 Visita orientada à exposição Joan Jonas por Diana Policarpo, artista
THOUGHT
25 MAI (SÁB), 16H00 | Conversa com a Artista e Performance Mirror Check (1970) 25 MAI (SÁB), 18H00 | Mirror Piece I & II: Reconstrução (1969/2018-2019) 26 MAI (DOM), 18h00 | Mirror Piece I & II: Reconstrução (1969/2018-2019) 26 MAI (DOM), 19h00 | | Performance Mirror Check (1970)
OLHAR APRENDIZ: AS MÚLTIPLAS FORMAS DO OLHAR - PROJETO COM ESCOLAS 2018-2019 DE 2019-05-23 a 2019-09-15
Ensuring continuity for the Annual Schools Project, in the 2018/2019 school year we’re focusing on the theme of "ways of seeing". The Serralves Foundation’s Educational Service once again promotes practical and theoretical ref...
OLHAR APRENDIZ: AS MÚLTIPLAS FORMAS DO OLHAR - PROJETO COM ESCOLAS 2018-2019
DE 2019-05-23 a 2019-09-15
![]() Ensuring continuity for the Annual Schools Project, in the 2018/2019 school year we’re focusing on the theme of "ways of seeing". The Serralves Foundation’s Educational Service once again promotes practical and theoretical reflection on a central theme for the contemporary era: What do we see when we look? How do different ways of seeing the world affect our opinion of it and of the people with whom we live? The exhibition "Apprentice Gaze - Multiple Forms of Looking" presents works developed by pre-primary to secondary schools, after the participation of teachers and students in meetings, seminars and workshops developed by the Educational Service’s team. We invite everyone to experience the "mechanisms of seeing" proposed by the different classes, which enable us to reflect upon and review (look again? with greater attention?) the role of visuality in today's world. ![]() ![]() Related Activities
BIBLIOTECA NA BIBLIOTECA | AUTOEDIÇÃO NO PORTO, 1999–2019 DE 2019-03-21 a 2019-06-16
LIBRARY IN THE LIBRARY
Self-publishing in Porto, 1999-2019
This exhibition includes books, magazines, fanzines, multiples and graphic
materials (posters, leaflets, flyers) published independently in Porto since
1999 - the ...
BIBLIOTECA NA BIBLIOTECA | AUTOEDIÇÃO NO PORTO, 1999–2019
DE 2019-03-21 a 2019-06-16
![]() LIBRARY IN THE LIBRARY Related Activities
13 APR (SAT), 5PM | TALK
With Ricardo Nicolau e Mário Moura, curators of the exhibition.
ANTONI MUNTADAS - COLEÇÃO DE SERRALVES DE 2019-03-15 a 2019-06-30
"Interventions: About the Public and the Private” is a project specifically conceived by Antoni Muntadas for the Serralves Villa in 1992. Composed of twenty-one brass elements, each containing the designation of the correspondin...
ANTONI MUNTADAS - COLEÇÃO DE SERRALVES
DE 2019-03-15 a 2019-06-30
![]() "Interventions: About the Public and the Private” is a project specifically conceived by Antoni Muntadas for the Serralves Villa in 1992. Composed of twenty-one brass elements, each containing the designation of the corresponding space at the Villa when it was inhabited and a photograph of that time (whenever one was found), the project represents one of the artist’s research platforms of choice. In the catalogue published by the Serralves Foundation in 1992, Muntadas refers to his project as follows: "The project is centred around observing and reflecting on the ‘private’ and the ‘public’ and their respective functions as well as on how a private place becomes public and vice versa. (…) I find it easy to understand that the way the space is used and distributed in the ‘public’ sphere often recreates the hierarchical organization of the ‘private’. ‘Public’ and ‘private’ share structures of organization, power and decision-making, which are apparently similar. The memory of the ‘private’, based on the identification of places or spaces through designation (texts/images) should constitute the starting point for a reflection on the use and consumption of both the ‘private’ and the ‘public’, as seen from a cultural perspective (once the political and social perspectives have been assumed).” With his EEC Project, 1992, Muntadas sought to focus attention on the relationship between cultural symbols and the economy as well as to question the objectives and economic prowess of the European Community. The cultural future of a united Europe was presented in the form of a 6 by 4 metre carpet that represented the European flag with a depiction of the Member State currency in each of the twelve stars. In 1992, copies of the carpet were exhibited in other public spaces of European cities, such as Brussels, Dublin, London, Madrid, Montpellier, beside Porto.
SUSAN HILLER DE 2019-03-01 a 2019-07-10
In 2005 the work of Susan Hiller (Tallahassee, Florida, USA, 1940–2019, London) was the subject of a monographic exhibition in the Serralves Museum that reflected the historical importance of her oeuvre, dating back to the 1970s...
SUSAN HILLER
DE 2019-03-01 a 2019-07-10
![]() In 2005 the work of Susan Hiller (Tallahassee, Florida, USA, 1940–2019, London) was the subject of a monographic exhibition in the Serralves Museum that reflected the historical importance of her oeuvre, dating back to the 1970s, and including her recent research in the fields of video, sound and fiction. In her artistic practice, she combines the heritage of conceptual art and alternative systems of knowledge and cosmogonies (e.g. mystical rituals, paranormal phenomena and supernatural forces). The interactive installation Die Gedanken sind frei [Thoughts are free], originally presented at Documenta 13 in 2012, is one of her most impressive works and incorporated the Serralves Foundation collection in 2013. Using a jukebox and sitting on seats designed by the artist, audiences can listen – in whatever order they choose – to 100 songs with political content, collected by Susan Hiller. The songs come from many different parts of the world and cultures, ranging from the 1524–25 Peasants' War in Germany to the 2011 Arab Spring. The songs’ lyrics can be found on the walls around the jukebox and spectators also have access to a "songbook" selected by the artist that compiles the song lyrics, texts and images. Coll. Fundação de Serralves – Museu de Arte Contemporânea, Porto. Artist’s donation 2013 ![]() Related Activities
JOANA VASCONCELOS - I'M YOUR MIRROR DE 2019-02-19 a 2019-06-24
This exhibition presents more than 30 works made from 1997 until now, covering two decades of art practice and assessing her whole development as an artist. It includes many of her best known works like Cama Valium [Valium Bed] (1...
JOANA VASCONCELOS - I'M YOUR MIRROR
DE 2019-02-19 a 2019-06-24
![]() This exhibition presents more than 30 works made from 1997 until now, covering two decades of art practice and assessing her whole development as an artist. It includes many of her best known works like Cama Valium [Valium Bed] (1998), A noiva, Burka (2002), Coração independente vermelho [Red independent heart] (2005), Marilyn (2011) and Lilicoptère (2012), as well as new works made for the occasion like Finisterra, I´ll Be Your Mirror or Solitário [Solitaire] (all 2018). The exhibition continues throughout the gardens of Serralves Park with the display of several monumental outdoor sculptures. This exhibition has been organized by the Guggenheim Museum Bilbao, in partnership with the Serralves Museum of Contemporary Art and Kunsthall Rotterdam, and has been curated by the independent curator Enrique Juncosa. ![]() Joana Vasconcelos (Paris, 1971) is one of the best known artists of her generation. She studied in Lisbon, and eventually started exhibiting in the 1990s, but it was not until 2005, when she participated in that year's Venice Biennale, showing A noiva [The Bride] (2001-2005), a huge candelabra made with tampons, that she achieved a wide international recognition. A noiva was shown in the first room of the main exhibition in the Venice Biennale, surrounded by works by The Guerrilla Girls, creating an immediate buzz as one of the things not to be missed that year. Since then, and during the last 14 years, her work has been widely seen, obtaining both critical and popular acclaim. Recent projects include an exhibition at the Palace de Versailles, which was visited by 1,800,000 visitors in 2012; her project for the Portuguese Pavilion in the Venice Biennale of 2013, Trafaria Praia, a boat that was changing location in the canals of the city, and a survey show at the Palácio da Ajuda in Lisbon (also in 2013). Vasconcelos has also developed, during this time, several major public sculpture projects in different parts of the world. Vasconcelos uses different materials from daily life to produce her work, including home appliances, tiles, textiles, popular ceramics, furniture, bottles, medication or plastic cutlery. She uses them to build striking sculptures loaded with meaning, going from an exploration of identity (individual, female, national or European), to political questions dealing with postcolonial global societies. Her work also incorporates humour and emotions, while calling for the viewer’s participation and interpretation. Vasconcelos’ work mixes ideas from high and low cultures, national clichés, techniques of manipulation to induce consumerism and a very effective understanding of architectural space, to invite us to rethink much of what we take for granted in daily life. She uses traditional craft techniques but also cutting edge technology in works that constitute syncretic situations of historic and cultural density, like a three dimensional visualization of a multicultural epic. Enrique Juncosa (Palma de Mallorca, 1961) is a writer and a curator. He was the Director of the Irish Museum of Modern Art in Dublin from 2003 to 2012, job for which he was granted the Order of the Civil Merit by the Spanish Government. Before that he was Deputy Director of the Museo Reina Sofía in Madrid and also of Instituto Valenciano de Arte Moderna (IVAM) in Valencia, Spain. He has curated more than 60 exhibitions in different museums, including the Whitechapel Art Gallery and Tate Britain, both in London; The Hamburguer Banhoff, Berlin; MAXXI, Rome; Musée des Beaux Arts, Nantes; Kunsthalle Bielefeld; SMAK, Gent; Astrup Fearnley Museet vor Moderne Kunst, Oslo; Guggenheim Museum, Bilbao; The Gulbenkian Foundation, Lisbon; MACBA, Barcelona; Museu de Arte Moderna, Rio de Janeiro; or The Spanish Pavillion at the Venice Biennale. He is currently preparing a retrospective of Miquel Barceló for the National Museum in Osaka. He has published seven collections of poetry and a book of short stories. He has also written many essays on contemporary art. Some of them were collected in The Irish Years (Dublin, 2013). Related Activities
PENSAMENTO
23 FEV (SÁB), 15H30 | Visita Orientada à exposição em LGP por Laredo, Associação Cultural 10 MAR (DOM), 12H00 | Visita Orientada à exposição por José Costa 23 MAR (SÁB), 17H00 | Um Olhar Para a Arte Contemporânea com Joana Vasconcelos, artista, Petra Joos, curadora no Guggenheim Bilbao e Isabel Pires de Lima, professora catedrática 31 MAR (DOM), 12H00 | Visita Orientada à exposição por Rita Faustino 28 ABR (DOM), 12H00 | Visita Orientada à exposição por José Costa 10 MAI (SEX), 18H30 | Conversa com a Artista Conversa sobre "A Máscara na Arte" com Joana Vasconcelos, artista, e Alain Grouette, terapeuta e naturopata 11 MAI (SÁB), 15H30 | Visita Orientada à exposição em LGP por Laredo, Associação Cultural 26 MAI (DOM), 12H00 | Visita Orientada à exposição por Rita Faustino 09 JUN (DOM), 12H00 | Um Olhar Para a Arte Contemporânea com Joana Vasconcelos, artista, Miguel Amado, diretor do Cork Printmakers e Natasha Howes, curadora na Manchester Art Gallery 15 JUN (SÁB), 17H00 | Percurso para Adultos por José Costa 16 JUN (DOM), 12H00 | Visita Orientada à exposição por Rita Faustino
CONTEMPORARY PROJECT: HORÁCIO FRUTUOSO DE 2019-02-15 a 2019-05-05
‘Poetry Club’ is the first solo exhibition by Horácio Frutuoso (Póvoa de Varzim, 1991) to be held in a museum. The title is directly related to two specific aspects that distinguish his artistic practice: his careful use of ...
CONTEMPORARY PROJECT: HORÁCIO FRUTUOSO
DE 2019-02-15 a 2019-05-05
![]() ‘Poetry Club’ is the first solo exhibition by Horácio Frutuoso (Póvoa de Varzim, 1991) to be held in a museum. The title is directly related to two specific aspects that distinguish his artistic practice: his careful use of language — his exhibitions have made extensive use of written sentences on gallery walls and floors, as a form of spatial representation of what has historically been called visual poetry — and his constant creation of synapses and associations. In this exhibition the most evident association is between different media: painting and writing on the walls — and writing on the paintings themselves — blend together and destabilise all hierarchies between visuality and reading. To a certain extent, the sentences occupy the place of the labels which traditionally accompany paintings, often providing elements — in particular titles — that allow viewers to make certain interpretations. On the other hand, the iconography represented in his works also refers to the idea of an assembly, a club, or even a secret society. For example, the presence of white and black horizontal stripes — which may refer to the patterns used to identify convicted criminals (or at least deviants) — printed on t-shirts that are simply folded, placed or worn by a masked individual, or by a famous person (not always for the best reasons): Kanye West. In addition to these figures, the exhibition includes portraits of some of the artist’s closest friends, potential members of a specific, anonymous club. It should be noted that some of the paintings are premeditatedly declared to be copies of copies, for example, by reproducing certain images or the pages of the notebooks where the artist kept these images. Painting has lost its solemnity — it is a medium to which the artist attaches no greater importance than to the written texts which frequently cover it, at least in part — a fact which is reinforced by the type of language that the artist uses in his own canvases and on the walls, halfway between an eminently personal, diary-like tone (shamelessly confessional, in certain cases), while simultaneously denouncing permeability in relation to so-called popular culture (mass-market cinema and music) and making sophisticated, literary use of various figures of style (alliteration, chromesthesia, onomatopoeia and synecdoche). On other occasions, the artist simply makes use of techniques of repetition, that in music are achieved through refrains or syncopated rhythms which invite us t step onto the dance floor. Horácio Frutuoso’s writing is portable. It is a way of capturing that which, as in dance, is fleeting, evanescent, temporary: a dream, an idea, a strange relationship between two things. It responds to a sense of urgency. It is a light, easily transportable medium. As with everything else in Frutuoso’s artistic work, it seems to be peripheral, but may assume a central role. And vice versa. Exhibition curated by Ricardo Nicolau, Deputy to the Director of the Serralves Museum. Sponsor of the exhibition
![]() Related Activities
PENSAMENTO
23 FEV (SÁB), 17H | Conversa com o artista e com o comissário da exposição por Joana Mendonça
TACITA DEAN DE 2019-01-29 a 2019-05-05
"Making images like a gambler in light, I must acknowledgethat my preference for using film is bound up in theblindness it necessitates in order for me to see."Tacita Dean, 2018The renowned British European artist Tacita Dean has ...
TACITA DEAN
DE 2019-01-29 a 2019-05-05
![]() "Making images like a gambler in light, I must acknowledge that my preference for using film is bound up in the blindness it necessitates in order for me to see." Tacita Dean, 2018 The renowned British European artist Tacita Dean has been part of the history of Serralves’s programming since her solo exhibition in 2002. Inspired by this museum, she went on to film her work Boots (2003) in the Casa de Serralves, which was then acquired for the Collection. This exhibition is an exciting opportunity to show Boots alongside her new and ambitious film project Antigone (2018), which premiered last year in her simultaneous trilogy of exhibitions that took place in the Royal Academy of Arts, the National Gallery and the National Portrait Gallery in London. Antigone has been many years in the making and the central ideas have manifested in other works over the past three decades, most significantly in Boots. This double-screen 35mm one-hour film is an epic exploration of the artist’s sister’s name Antigone, which features poet and playwright Anne Carson and actor Stephen Dillane. The film diptych evokes the eponymous mythological figure and her blind and lame father, Oedipus and the idea of their journey into the wilderness between the two plays by Sophocles, Oedipus Rex and Oedipus at Colonus. This important presentation has also brought together other earlier works that follow the trajectory of her thinking in relation to Antigone as early as 1991 and includes two of the artist’s most recent large-scale blackboard drawings as well as a multi-part photogravure from the Serralves Collection. Concept: Tacita Dean and Marta Moreira de Almeida We inform that, on the morning of February 11, the circulation corridor at the Tacita Dean exhibition is closed to the public. Related Activities
PENSAMENTO
02 FEV (SÁB), 15H30 | VISITA ORIENTADA À EXPOSIÇÃO EM LGP por Laredo, Associação Cultural 03 FEV (DOM), 12H | VISITA ORIENTADA À EXPOSIÇÃO por Patrícia do Vale 30 MAR (SÁB), 17H | UM OLHAR PARA A ARTE CONTEMPORÂNEA por Margarida Mendes 06 ABR (SÁB), 17H | UM OLHAR PARA A ARTE CONTEMPORÂNEA por Nuno Carinhas 14 ABR (DOM), 12H | VISITA ORIENTADA À EXPOSIÇÃO por Patricia do Vale 23 ABR (TER), 19H | VISITA EXCLUSIVA PARA AMIGOS por Paula Fernandes. 04 MAI (SÁB), 17H | VISITA ORIENTADA À EXPOSIÇÃO por André Romão
JOAN MIRÓ AND THE DEATH OF PAITING DE 2018-12-12 a 2019-03-03
'Joan Miró and the Death of Painting' focuses on works of the year 1973 when the eighty-year old artist was preparing for an important retrospective at the Grand Palais in Paris. In a series of slashed and punctured can...
JOAN MIRÓ AND THE DEATH OF PAITING
DE 2018-12-12 a 2019-03-03
![]() 'Joan Miró and the Death of Painting' focuses on works of the year 1973 when the eighty-year old artist was preparing for an important retrospective at the Grand Palais in Paris. In a series of slashed and punctured canvases of 29 March 1973, woven reliefs (‘Sobreteixims’ and ‘Sobreteixims-Sacks’) made in collaboration with Josep Royo in 1972 and 1973, and in five ‘Toiles brûlées’ (Burned Canvases) executed between 4 and 31 December 1973 Miró gave full vent to his aesthetic rage. Just as critics were announcing the ‘death of painting’ as a fait accompli in the face of practices that challenged the master narratives of High Modernism — process art, performance, and land and installation art — Miró put painting under pressure in an attempt to renew its means and procedures. The exhibition brings together eleven works from the Portuguese State Collection, on loan to Fundação de Serralves, with twenty-three paintings and objects from public and private collections in Spain and France. A documentary section allows the visitor to gauge Miró’s working methods in making the ‘Sobreteixims’, while a film by the renowned Catalan photographer Francesc Català Roca records the process of creation and destruction in the ‘Toiles brulées’. In the accompanying catalogue, curator and acclaimed Miró scholar Robert Lubar Messeri examines the Catalan artist’s concept of aesthetic assassination. He traces the artist’s engagement with the practices of what he called ‘anti-painting’ in 1927–28 to unearth how the tension between painting and anti-painting in his subsequent work reached a crescendo in his production of 1973. The publication also features the first English and Portuguese versions of an interview between Joan Punyet Miró, the artist’s grandson, and Josep Royo, with whom Miró entered in 1969 into a highly productive and long-lasting working relationship. ![]() Related Activities
PENSAMENTO
16 DEZ (DOM), 11H | Visita orientada à exposição por Raquel Correia. 6 JAN (DOM), 11H | Percurso para Famílias por Raquel Correia. 20 JAN (DOM), 11H | Visita orientada à exposição por Andreia Coutinho. 26 JAN (SÁB), 15H30 | Visita orientada em LGP à exposição por Laredo. 03 FEV (DOM), 11H | Visita orientada à exposição por Raquel Correia. 05 FEV (TER), 18H30 | Conferência 17 FEV (DOM), 11H | Percurso para Famílias por Raquel Correia. 23 FEV (SÁB), 15H | Visita para Amigos de Serralves por Raquel Correia.
NOVO BANCO REVELATION 2018 DE 2018-11-30 a 2019-01-29
The finalists and grand winner of the 2018 edition of the NOVO BANCO Revelation Prize have been revealed. This year's Jury - comprised by Anna Gritz, curator at the KW (Institute for Contemporary Art, Berlin), Filipa Loureiro ...
NOVO BANCO REVELATION 2018
DE 2018-11-30 a 2019-01-29
![]() The finalists and grand winner of the 2018 edition of the NOVO BANCO Revelation Prize have been revealed. This year's Jury - comprised by Anna Gritz, curator at the KW (Institute for Contemporary Art, Berlin), Filipa Loureiro and Ricardo Nicolau, curator and deputy to the director of Serralves Museum, and Rita Vitorelli, editor-in-chief of Spyke Art magazine - unanimously chose as finalists of the 2018 NOVO BANCO Revelation Prize - the artists Carlos Arteiro, Ana Linhares, the collective Sem título 2018 and Maria Trabulo, who was declared the grand winner. A group exhibition will be inaugurated at Serralves Museum, to present the works by the four artists, for which they will receive a production grant to implement the projects they presented to the competition. A monographic publication of the work of the grand winner, Maria Trabulo, will be published on this occasion. The NOVO BANCO Revelation Prize is an initiative of NOVO BANCO, in partnership with the Serralves Foundation. To date it has already distinguished 41 artists and aims to encourage artistic production and creation by young Portuguese artists, aged up to 30, based on a logic of dissemination, launch and support for all artists who use the medium of photography. Imagem: "Da série Homens Petrificados" (Petrified Men), 2017 Digitalização de fragmento restante de estátua derrubada ou destruída por motivos políticos depósitos de museus em Portugal, Áustria, Bulgária, Alemanha. © Maria Trabulo According to the jury, all the artists expressed an approach to photography that broadens the scope and possibilities of this medium in the field of contemporary art - for example in projects related to the memory of Portuguese colonial heritage (Ana Linhares), or that jumble up concepts of authorship and identity (collective Untitled 2018), or use photography to explore the impersonal, mechanical character of photographic work in other media, in particular in painting and video (Carlos Arteiro). The jury said that the Prize was granted to Maria Trabulo due to the introspective and idiosyncratic character of her research, as demonstrated in the project that she presented to the NOVO BANCO Revelation Prize in which she questioned the relationship between photography and the limits of human memory – reminding us that photography plays a fundamental role in the constitution of archives, preservation practices and as an archaeological tool. Maria Trabulo lives and works between Porto and Vienna. She is involved in solo and group projects and has participated in several artistic exhibitions in Portugal and abroad. She has received awards from leading international institutions and developed several collaborations with professionals working in the fields of the arts, architecture and the performing arts. She completed her master's degree in Art & Science from the Academy of Applied Arts in Vienna and has a B.A. Hons. degree in Fine Arts, from the Faculty of Fine Arts of the University of Porto and the Academy of Fine Arts in Iceland. Related Activities
OPENINGS: TOM EMERSON in conversation with the Álvaro Siza Archive DE 2018-10-27 a 2019-03-10
‘Conversations with the Álvaro Siza Archive’ is a new series of exhibitions aimed at placing the work of Álvaro Siza in dialogue with some of the most relevant contemporary architectural practices. Invited to act as guest cu...
OPENINGS: TOM EMERSON in conversation with the Álvaro Siza Archive
DE 2018-10-27 a 2019-03-10
![]() ‘Conversations with the Álvaro Siza Archive’ is a new series of exhibitions aimed at placing the work of Álvaro Siza in dialogue with some of the most relevant contemporary architectural practices. Invited to act as guest curator for each individual exhibition, an architect is asked to select materials from the Álvaro Siza Archive and present them in connection to his/her own work. Tom Emerson, of London-based practice 6a architects, will be the first guest curator in the series. Openings play a very special role in the history of architecture and in the life of an architect. Openings are all the holes cut into constructed volumes for the passage of people, light and air. Mostly these are managed by doors and windows. They are in many respects the most active and useful of architectural elements, constantly opening and closing to allow the necessities of life to pass from outside to inside while excluding the perils we wish to avoid. Doors and windows have to be robust to withstand extremes of climate and use over decades, even centuries. Yet they are also the site of our most intimate encounter with architecture, the first touch of the building as you enter and the last as you leave. The opening of the window starts the daily exchange between our private selves and the world beyond, which is why openings occupy such an important part of the architect’s imaginative and technical effort. Openings reveal the most profound relationships between an individual and society. The construction detail drawings presented in the exhibition have been selected from a collection of over 6,000 drawings in the Álvaro Siza Archive held at the Serralves Foundation. They chart the evolution of Siza’s architecture from 1954 to the mid-1970s. Focusing on the first two decades of the architect’s long career, the exhibition not only provides an opportunity to examine some important, even if lesser known, early projects, but it also intersects political and architectural developments which were to fundamentally change Portugal and Siza’s work after the 1974 Revolution. The exhibition, organized by the Serralves Museum of Contemporary Art, is curated by Tom Emerson in conversation with Carles Muro, Adjunct Curator for Architecture Programmes at the Serralves Museum. Image: Archive Arqtº Álvaro Siza. Col. Fundação de Serralves – Museu de Arte Contemporânea, Porto. Donation 2015. © Fundação de Serralves, Porto. Related Activities
GUIDED TOURS
04 NOV (SUN), 12 P.M.
Guided visit to the exhibition OPENINGS: TOM EMERSON IN CONVERSATION WITH THE ÁLVARO SIZA ARCHIVE by Matilde Seabra, educator More information here. 06 JAN (SUN), 12 P.M. Guided visit to the exhibition OPENINGS: TOM EMERSON IN CONVERSATION WITH THE ÁLVARO SIZA ARCHIVE by Matilde Seabra, educator More information here.
PEDRO COSTA: COMPANY DE 2018-10-19 a 2019-01-29
Each film is a letter written by a thousand hands.Companhia brings together works by Pedro Costa produced in collaboration with sculptor Rui Chafes, photographer Paulo Nozolino and film directors Danièle Huillet, Jean-Marie Strau...
PEDRO COSTA: COMPANY
DE 2018-10-19 a 2019-01-29
![]() Each film is a letter written by a thousand hands. Companhia brings together works by Pedro Costa produced in collaboration with sculptor Rui Chafes, photographer Paulo Nozolino and film directors Danièle Huillet, Jean-Marie Straub and Chantal Akerman. The exhibition also features works by artists who Pedro Costa repeatedly summons to his films, including poet Robert Desnos and photographer Jacob Riis, as well as paintings, drawings and films that have accompanied Costa’s life and work as a filmmaker. These include works by Pablo Picasso, Robert Bresson, António Reis, Walker Evans, João Queiroz, John Ford, Jeff Wall, Jacques Tourneur, Maria Capelo, Andy Rector, Jean-Luc Godard and Max Beckmann, among others. Exhibition architecture conceived by the architect José Neves. An exhibition organized by the Serralves Museum of Contemporary Art, coordinated by Filipa Loureiro and Marta Almeida, with the collaboration of Nuno Crespo and Marta Mateus. Image: Courtesy of Pedro Costa Related Activities
BOOK LAUNCH
21 OUT (SUN), 4 PM | Launch of the book "Pedro Costa" of Carlos Melo Ferreira In partnership with the publisher Afrontamento.
CINEMA
20 OCT (SAT), 9:30 PM Our Man (2010) and Horse Money (2014) Screening presented by Pedro Costa and João Fernandes, Sub-director do Museo Nacional Centro de Arte Reina Sofia 21 OCT (SUN), 5:00 PM Casa de lava (1994) Screening presented by Nuno Crespo, critic and university professor, and Carlos Melo Ferreira, researcher and university professor 21 OCT (SUN), 9:30 PM Colossal Youth (2006) Screening presented by José Neves, architect. 28 OCT (SAT), 5:00 PM In Vanda's room (2000) Screening presented by António Guerreiro, critic and essayist. 26 JAN (SAT), 5:00PM In Vanda's room (2000) Screening presented by António Costa. 26 JAN (SAT), 9:30PM Colossal Youth (2006) Screening presented by Óscar Faria. 27 JAN (SUN), 5:00PM Our Man (2010) and Horse Money (2014) Screening presented by António Preto. 27 JAN (SUN), 9:30PM Casa de Lava (1994) Screening presented by Paulo Branco. ACCESS Ticket per session: 3€ Joint ticket 4 sessions (october): 10€ 50% discount for Student/Young, Over 65 and Amigos
THOUGHT
27 OCT (SAT), 5 PM | Guided tour by João Dias, film director 28 OCT (SUN), 12 PM | Guided tour by Melissa Rodrigues, educator 17 NOV (SAT),5 PM | Guided tour by Joaquim Manuel Caetano, Art historian 24 NOV (SAT), 3:30 PM | Guided tour in Portuguese Sign Language by Laredo, Cultural Association 25 NOV (SUN), 12 PM | Guided tour by Melissa Rodrigues, educator 01 DEC (SAT), 5 PM | Guided tour by Rui Chafes, artist
MARCEL BROODTHAERS AND LUC TUYMANS IN THE SERRALVES COLLECTION DE 2018-10-13 a 2018-11-11
This exhibition combines works by two of Belgium’s most important artists: Marcel Broodthaers (1924, Brussels - 1976, Cologne, Germany) and Luc Tuymans (1958, Mortsel, Belgium). Although belonging to different generations, and p...
MARCEL BROODTHAERS AND LUC TUYMANS IN THE SERRALVES COLLECTION
DE 2018-10-13 a 2018-11-11
![]() This exhibition combines works by two of Belgium’s most important artists: Marcel Broodthaers (1924, Brussels - 1976, Cologne, Germany) and Luc Tuymans (1958, Mortsel, Belgium). Although belonging to different generations, and primarily working with different artistic media, they have been two of the main influences on the new generations of artists, responsible for the new directions assumed by contemporary art between the 1960s and the present day. Broodthaers was above all a poet until the age of 40 when he decided to devote himself to the visual arts. Over the next 12 years he developed an artistic practice that allied conceptualism, poetry and a sense of humour in an irreducibly singular manner. His career, albeit short-lived, had a major influence on new artists such as Luc Tuymans, recognised as one of the main driving forces behind the renewal of painting in the 1990s. His figurative paintings – inspired by pictures taken from movies, television, the press and history and art history books -, challenge us to think about the status of painting in a world that is saturated with images, thereby making a vital contribution to reanalysis of official histories. Image: Petrus & Paulus [detail],1998, Luc Tuymans, Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto
THROUGH THE... Ana Vieira in the Serralves Collection DE 2018-09-21 a 2018-11-04
Ana Vieira (Coimbra, 1940—2016, Lisbon) is one of the most relevant Portuguese artists from the period spanning the 1960s to today. The Serralves Collection includes works from the artist in various media — objects, installati...
THROUGH THE... Ana Vieira in the Serralves Collection
DE 2018-09-21 a 2018-11-04
![]() Ana Vieira (Coimbra, 1940—2016, Lisbon) is one of the most relevant Portuguese artists from the period spanning the 1960s to today. The Serralves Collection includes works from the artist in various media — objects, installation, photography, print —, reflecting the diversity of her practice and the pioneering character of her critique of the central place accorded to traditional genres — painting and sculpture — in art. This exhibition, organized almost twenty years after Ana Vieira’s retrospective at the Serralves Villa, allows for a revaluation of the artist’s historic role and for an understanding of the surprising relevance of her work. It also marks the artist’s return to an architectural and museological context which underlines the permeability between domestic and public space, between interiority and exteriority, which has always characterized Vieira’s artistic language. As in 1999, the year they were first shown here, the objects and installations in Through the… still question all the notions and stereotypes around the role of the home, and the relationship between women and home. Through the... is organized by the Serralves Museum of Contemporary Art and curated by Marta Almeida, deputy director of the Museum, and Ricardo Nicolau, deputy to the director. Related Activities
ROBERT MAPPLETHORPE: PICTURES DE 2018-09-20 a 2019-01-09
Robert Mapplethorpe (New York, 1946–1989, Boston) created some of the most arresting, polemical, and iconic images in contemporary photography. Robert Mapplethorpe: Pictures, organized in close collaboration with the Robert Mapp...
ROBERT MAPPLETHORPE: PICTURES
DE 2018-09-20 a 2019-01-09
![]() Robert Mapplethorpe (New York, 1946–1989, Boston) created some of the most arresting, polemical, and iconic images in contemporary photography. Robert Mapplethorpe: Pictures, organized in close collaboration with the Robert Mapplethorpe Foundation, brings together 159 works from throughout the artist’s career, from early collages and Polaroids, to the images of flowers, nudes, sexuality and portraits that made him one of the most notable photographers of the last century. Having studied painting and sculpture in New York before turning to the medium of photography, Mapplethorpe was influenced by the art of Joseph Cornell and Marcel Duchamp, as well as the nineteenth-century photography of Julia Margaret Cameron and others, of which he was to become an avid collector. The artist’s early collages, assemblages and photographs, initially taken with a Polaroid camera, develop the interest in sexuality and composition — right angles, geometric shapes of light — that would come to define his mature work. Using a fully-manual Hasselblad camera beginning in 1975 — the viewfinder framing the world in its square format — Mapplethorpe began to employ long exposures and ordered arrangements in the studio to craft portraits, still lives, and nudes whose order, balance, and content redefined photography as an art form. Mapplethorpe treated these subjects with equal attention and precision, from cut flowers and male sex organs, to the cast of friends, lovers, celebrities, and collaborators he depicted, turning a photograph into the controlled performance between artist and subject. Both controversial and classicist, the artist’s pioneering engagement with gender, sexuality, and race is reflected in depictions of queer and non-heteronormative bodies, pleasure, and desire, in photographs suspended in the tension, as with all of Mapplethorpe’s work, between the emotive and political intensity of their content and the clarity of their composition. Robert Mapplethorpe: Pictures is organized by the Serralves Museum of Contemporary Art, Porto, and curated by João Ribas with coordination by Paula Fernandes. All artworks in the exhibition are on loan from the Robert Mapplethorpe Foundation, New York. ADVISORY: The exhibition "Robert Mapplethorpe: Pictures" has images that can hurt the sensibility of some people. Image: Robert Mapplethorpe, Self Portrait,1983 © Robert Mapplethorpe Foundation. Used by permission. Exclusive Sponsor of the Museum and the Exhibition
![]() ![]() Pictures brings together for the first time in Portuguese art historian Jonathan K. Nelson’s most comprehensive overview of Robert Mapplethorpe’s work and a short yet insightful foreword his close friend Susan Sontag wrote upon the artist’s express request. The exquisite binding of this extensively illustrated coffee-table book translates Mapplethorpe’s pleasure in the tactile that led him to the pioneering use of non-photographic materials. The catalogue section follows the chronological order, with occasional exceptions to highlight kinships and/or for aesthetical reasons. 25 x 32 cm (width x height) 400 pp Hard cover Bilingual POR/ENG Design: Pedro Nora Related Activities
THOUGHT
22 SEP (SAT), 11:30 AM | Guided visit to the exhibition by Michael Ward Stout, Chairman of the board of the Mapplethorpe Foundation 29 SEP (SAT), 5 PM | Conference "MAPPLETHORPE AND MICHELANGELO: RENAISSANCE ART MEETS THE MODERN WORLD” in the framework of the exhibition and the EUROPEAN HERITAGE DAYS, with Jonathan Nelson, Associate Professor of the History of Art at the University of Syracuse, Florence (European Heritage Days) 07 OCT (SUN), 12 PM | Guided visit to the exhibition by Sónia Borges, educator More information here. 20 OCT (SAT), 5 PM | Talk in the exhibition with Jack Walls and André Príncipe, artist 27 OCT (SAT), 3:30 PM | Guided visit in Portuguese Sign Language to the exhibition by Laredo, Cultural Association 20 NOV (TUE), 7:00 PM | Guided visit to the Exhibition Exclusive meeting for Friends of Serralves with Paula Fernandes, curator of the Serralves Museum More info here. 08 DEC (SAT), 5 PM | Guided visit to the exhibition by Eduarda Neves, researcher 09 DEC (SUN), 12 PM | Guided visit to the exhibition by Raquel Correia, educator
CINEMA
29 NOV (THU), 9:30 PM | Serralves Auditorium Mapplethorpe, Director: Ondi Timoner This film screening is the result of a partnership between the Serralves Museum of Contemporary Art and Queer Porto — Festival International de Cinema Queer.
"THERE IS LIGHT IN THE PARK" 2018 | WITH JOÃO PAULO FELICIANO DE 2018-07-13 a 2018-09-09
Since 2015, the Serralves Foundation has illuminated the Serralves Park during summer nights. This year’s edition of There’s Light on the Park features a special participation by the artist, João Paulo Feliciano.João Paulo F...
"THERE IS LIGHT IN THE PARK" 2018 | WITH JOÃO PAULO FELICIANO
DE 2018-07-13 a 2018-09-09
![]() Since 2015, the Serralves Foundation has illuminated the Serralves Park during summer nights. This year’s edition of There’s Light on the Park features a special participation by the artist, João Paulo Feliciano. João Paulo Feliciano (Caldas da Rainha, 1963) began exhibiting his work in the mid-1980s and is considered one of Portugal’s most multifaceted artists. While his work includes installations, objects, paintings, drawings, photography, video, sound, graphic design, architecture and performance, he is best known to the general public for his use of light and illuminated art works. Throughout his career, Feliciano has frequently explored the phenomena and technologies associated with light and lighting: types of light, lamps, gel filters, lighting control systems, optical systems, perception mechanisms and the phenomenological dimensions of light in terms of its relationship with space. His solo exhibition at the Serralves Museum in 2004 focused particularly on this part of his oeuvre: light and colour in terms of its relationship to time, space and architecture. Feliciano’s collaboration in this edition of There’s Light on the Park will involve two distinct dimensions: he will participate directly in the event’s lighting design, and he will also oversee an intervention in the Serralves Villa. Several of his "luminous works” will be installed inside the Villa, with an intervention in the Villa’s exterior lighting. João Paulo Feliciano has selected a set of works for this event, ranging from the late 1990s (White Cube/Color Cube, 1999) to the present day (Nostalgia and Temporary Lamp Sculptures, 2018). An updated version of his light projection, Color Building, will be installed on the Museum’s lateral wall. This work was included within his 2004 exhibition in Serralves, and is now presented with a different combination of colours. The diversity of Color Building’s potential colour combinations has given rise to another work that will be on display: Color Studies for Color Building, a sophisticated lightbox that displays dozens of possible combinations of three colours. In the remotest part of the Park, in the middle of the Meadow and in almost complete darkness, Feliciano will install White Cube/Color Cube, a cube of intense animated light, with a random programme that permits infinite and surprising chromatic evolutions. The works installed in the Serralves Villa will be visible from the outside. However, in addition to installing works inside the Villa, the artist will intervene in the Villa’s normal lighting, thus altering the building’s distinct appearance at night. The works on display at the Villa include Shadeless Tree, a tree entirely built from fluorescent lamps, that belongs to the Berardo Collection Museum, and until now has only been exhibited in the Portuguese Parliament in 2006, within the framework of the exhibition 3D — the Berardo Collection in the AR. In total contrast to the luminous exuberance of Shadeless Tree the 2018 work, Nostalgia, a small table sculpture, will also be on display. In the Villa’s main hall, Feliciano will exhibit what he calls Temporary Lamp Sculptures: a series of sculptures that use different types of lamps and supports, specifically developed for the presentation in Serralves. Ticket: €5 (50% discount for Students, >65) Free entrance for Friends of Serralves ![]() Related Activities
OPENING: 13 JUL (FRI), 9 PM
DJs: João Paulo Feliciano, André Cepeda and Rui Toscano. Cocktail with drinks kindly offered by Super Bock.
ANISH KAPOOR: WORKS, THOUGHTS, EXPERIMENTS DE 2018-07-06 a 2019-02-17
There are few living artists of our time who have achieved the recognition and the renown of Anish Kapoor (b. Mumbai, 1954). His vast and profound sculptural work has been conceived for and on the scale of bodies, cities and the l...
ANISH KAPOOR: WORKS, THOUGHTS, EXPERIMENTS
DE 2018-07-06 a 2019-02-17
![]() There are few living artists of our time who have achieved the recognition and the renown of Anish Kapoor (b. Mumbai, 1954). His vast and profound sculptural work has been conceived for and on the scale of bodies, cities and the landscape, and the myriad contexts in which they are located, from the urban scale of metropolitan centres such as London, Naples, New York and Chicago, and the rolling hillsides of England and New Zealand. In recent years, Kapoor also has been invited to present his work in some of the world’s most beautiful formal gardens, including London’s Kensington Gardens and the Palace of Versailles. The gardens and museum of the Serralves Foundation offer a platform of a different history and spatial order in which to encounter the work of the artist. The ensemble of art deco villa designed by architects Charles Siclis with José Marques da Silva, formal gardens designed by the renowned French landscape architect Jacques Gréber, romantic gardens, fields and farm, and a contemporary museum building, library and auditorium designed by Álvaro Siza Vieira, is considered one of the most harmonious ensembles of architecture and landscape in Europe. Within this privileged context, the exhibition presents a selection of outdoor works that are representative of Kapoor’s sculptural language for which materiality, scale and the relationships to architecture, the landscape, and the viewer are constitutive. The choice and relative siting of sculptures in the Park of Serralves have been carefully considered by the artist so as to create an itinerary through time, space, perception and meaning. The presentation of 56 models of realised and unrealised projects conceived over the past 40 years in the central exhibition space of the Serralves Museum returns us to the intimate scale of the artist’s studio as a space of thinking and experimentation. Anish Kapoor: Works, Thoughts, Experiments is curated by Suzanne Cotter and coordinate and organised by Marta Moreira de Almeida, Deputy Director, Serralves Museum of Contemporary Art. ![]() Anish Kapoor é considerado um dos escultores mais influentes a trabalhar nos nossos dias. Nasceu em Mumbai em 1954 e reside e trabalha em Londres. Estudou no Hornsey College of Art (1973–77) seguindo-se estudos pós-graduados na Chelsea School of Art, Londres (1977–78). Entre as mais recentes exposições individuais contam-se: Parque de la Memoria, Buenos Aires (2017); Museo d'Arte Contemporanea di Roma (MACR), Roma (2016); Museo Universitario Arte Contemporáneo (MUAC), Cidade do México (2016); Château de Versailles, França (2015); The Jewish Museum and Tolerance Center, Moscovo (2015); Sak?p Sabanc? Museum, Istanbul (2013); Martin-Gropius-Bau, Berlim (2013); Museum of Contemporary Art, Sydney (2012); Leviathan, Grand Palais, Paris (2011); e Royal Academy of Arts, Londres (2009). Entras encomendas de peças para exposição permanente contam-se Cloud Gate (2004) para o Millennium Park em Chicago; Orbit (2012) para o Olympic Park, Londres; Temenos (2010) em Middlesbrough; e Ark Nova (2013), a primeira sala de concerto móvel e insuflável, Japão. Anish Kapoor representou o Reino Unido na 44ª Bienal de Veneza (1990), com um projeto que lhe valeu o Premio Duemila, e ganhou o Prémio Turner em 1991. Foi eleito para a Royal Academy em 1999, recebeu o Premium Imperiale em 2011 e o Padma Bhushan em 2012. Em 2013 foi nomeado cavaleiro pelos seus serviços em prol das artes e foi laureado em 2017 com o Genesis Prize. Anish Kapoor: Works, Thoughts, Experiments. Serralves, Porto, 2018 Essays by Christopher Bollas, and Suzanne Cotter Published on the occasion of the exhibition Anish Kapoor: Works, Thoughts, Experiments at the Serralves Museum of Contemporary Art and the Serralves Park (on show from 7 July 2018 to 27 January 2019), this book brings together the largest collection of images from the artist’s studio ever published and installation views of the works exhibited in the Gardens of Serralves, including a new monumental outdoor work created for the show. Working backward from the present day to the very beginning of Kapoor's artistic practise in 1976, the book uncovers through its many returns the unique aesthetic form of Kapoor's work. These repetitions and relationships between past and present works locate the history of Kapoor's practise and highlight the intensity and breadth of his thinking of his work. This book allows us the privilege to witness these forms emerge in the private realm of the artist’s studio. Exhibition curator Suzanne Cotter considers Anish Kapoor's sculptural language and its elaboration over time through some of his most emblematic works created for outdoor spaces, and in relation to the exhibition in the Park of the Serralves Foundation, and the importance of the studio as a place for conceptualisation and experimentation that has underpinned the artist’s oeuvre over more than four decades. Lines from Portuguese poet Fernando Pessoa and writer José Saramago concur with Freud’s theory of the unconscious in British psychoanalyst and writer Christopher Bollas’ view of Anish Kapoor’s working process as a delivery wherein the artist helps bring into being the found objects of his unconscious, presented in the materiality of of sculptural form. Size: 210 x 297 mm 288 pages soft cover 348 images from the Studio + installation views of the works at Serralves ISBN 978-972-739-361-9 Related Activities
OPENING: 6 JUL (FRI), 10 PM
Cocktail with DJ set. Drinks kindly offered by Sogrape.
GUIDED VISITS
15 JUL (SUN), 12 PM | by Andreia Coutinho, educator (Portuguese) 21 JUL (SAT), 3:30 PM | PORTUGUESE SIGN LANGUAGE by Laredo, Cultural Association 15 SEP (SAT), 3:30 PM | PORTUGUESE SIGN LANGUAGE by Laredo, Cultural Association 30 SEP (SUN), 12 PM | by Raquel Sambade, educator (Portuguese) 14 OCT (SUN), 11 AM | WALK "Planeta Kapoor: Bilhete de Ida" by Andreia Coutinho, educator
Besides, History - GO HASEGAWA, KERSTEN GEERS, DAVID VAN SEVEREN DE 2018-06-28 a 2018-10-15
This exhibition proposes a three-party conversation: It involves Go Hasegawa & Associates, based in Tokyo; OFFICE Kersten Geers and David Van Severen based in Brussels; and the history of architecture.This conversation is at the c...
Besides, History - GO HASEGAWA, KERSTEN GEERS, DAVID VAN SEVEREN
DE 2018-06-28 a 2018-10-15
![]() This exhibition proposes a three-party conversation: It involves Go Hasegawa & Associates, based in Tokyo; OFFICE Kersten Geers and David Van Severen based in Brussels; and the history of architecture. This conversation is at the core of one of the most interesting debates in contemporary architectural practice and examines the role of the history of architecture - from recent to more distant pasts – in the work of a new generation of architects. By adopting the format of a conversation typical historical categories such as authorship are challenged as one architect appropriates the work of the other and represents it with his own tools, comparing it with his own work to reveal similarities and differences. Kersten Geers, David Van Severen and Go Hasegawa belong to a generation of architects born in the second half of the 1970s who has been developing not only a consistent series of projects and works, but also maintains a clear theoretical stance. Their voices are very present and are becoming strongly influential in the broader conversation that takes place within the discipline of architecture in this second decade of the twenty-first century. This exhibition is organized by the Canadian Centre for Architecture (CCA) and curated by Giovanna Borasi, Chief Curator at the CCA. Curatorial adaptation by Carles Muro, Adjunct Curator for Architecture Programmes at the Serralves Museum. Photos of Kyodo House and Villa Schor by Stefano Graziani Related Activities
OPENING: 28 JUN (THU), 7 PM
19H00 | Guided Visit with Giovanna Borasi and Carles Muro 20H00 | Cocktail
29 JUN (FRI), 6:30 | SERRALVES AUDITORIUM
PRESENTATIONS AND TALK: "BESIDES, HISTORY: GO HASEGAWA, KERSTEN GEERS, DAVID VAN SEVEREN" More info here.
CONTEMPORARY PROJECTS: MARTINE SYMS - LESSONS I- CLXXX DE 2018-06-14 a 2018-09-30
Contemporary Projects: Martine Sysms presents Lessons I-CLXXX is an ongoing, incomplete video work composed of thirty-second clip – a cumulative poem whose structure evolves at random. Snapshots of disconnected experiences and s...
CONTEMPORARY PROJECTS: MARTINE SYMS - LESSONS I- CLXXX
DE 2018-06-14 a 2018-09-30
![]() Contemporary Projects: Martine Sysms presents Lessons I-CLXXX is an ongoing, incomplete video work composed of thirty-second clip – a cumulative poem whose structure evolves at random. Snapshots of disconnected experiences and subjects accumulate into a mass of fragmentary narratives, relating (directly and incidentally) to the lives of black Americans. Drawn from myriad sources – including You Tube videos, 1980s TV shows, Vines and personal footage – the Lessons form a growing corpus that Syms has been making since 2014. In Serralves Museum of Contemporary Art, the Contemporary Projects: Martine Syms Lessons I- CLXXX is curated by João Ribas Director of the Museum. Sponsor of the exhibition
![]() Martine Syms (b. 1988, Los Angeles) uses video and performance to examine representations of blackness. Syms’ recently presented exhibitions in-clude Projects 106: Martine Syms, Museum of Modern Art; Borrowed Lady, Simon Fraser University Galleries, Vancouver; Fact and Trouble, ICA Lon-don; COM PORT MENT, Karma International, Los Angeles; Vertical Elevated Oblique, Bridget Donahue Gallery, New York. She currently runs Dominica Publishing, an imprint dedicated to exploring blackness in visual culture. She is a faculty member in the School of Art at the California Institute of the Arts.
Related Activities
GUIDED VISITS
29 JUL (SUN), 12 PM | GUIDED VISIT by Joana Nascimento, educator 23 SEP (SUN), 12 PM | GUIDED VISIT by Joana Nascimento, educator |