Galeria Municipal do Porto

ping! — Programa de Incursão à Galeria
Gineceu & Estigma / Especulações Botânicas

Von Calhau! is the name that conceals all musical and visual projects of Portuguese duo Marta  ngela and João Alves, worked out together since 2006. Their recent public presentations include performances, concerts, movie projections, exhibitions, radio programs and workshops at different venues such as Atelier MTK (France), ZDB Gallery and Museu de Serralves (Portugal) and more recently Residency Unlimited (USA).

 Part of the public programme of "Erro 417: Expectativa Falhada".

Luan Okun 

Integrated in the public programme "Erro 417: Expectativa Falhada".

As part of the public programme of the exhibition "Erro 417: Expectativa Falhada", the poet and indigenous researcher Ellen Lima proposes a walk through the gardens of Palácio de Cristal. The route will seek to promote a reflection on ancestral and contemporary temporality, inviting participants to think about the relationship between life and the present.

"We open the gallery space to the conflicts that arise in the search for a decolonization of artistic and cultural spaces. What care and concerns should institutions have when dealing with historically depredated and violated identities and cultures? How can we reflect on the processes of restitution, compensation and historical review, and dismantle the erasure mechanisms of culturae and identity? We reinforce the importance and usefulness of conflict in these movements and progress, constant unequal negotiations of limits, places of speech and expression - as Fanon said, only the oppressor knows peace, because is rarely challenged. And dialogue is also a battleground." Marta Espiridião

As part of the public programme of the exhibition "Erro 417: Expectativa Falhada", a talk will happen between the poet and indigenous researcher Ellen Lima and Coletivo FACA. Created in 2019, the collective seeks to rethink the way in which culture in general, and art in particular, integrates the debate around issues related to LGBTQI+ themes, feminism, colonialism, racism and non-normativity in museum spaces.

The artist Milena Bonilla and the curator Juan Luis Toboso will make a guided visit to the exhibition "The Hour Before The Sunset". 

Next Saturday the printed version of the seventh edition of Contemporânea will be launched. The session will also count with a talk between Eduarda Neves, Maria Coutinho and Susana Ventura.

On Sunday, january 23, curator Marta Espiridião will make a guided tour to the group exhibition "Erro 417: Expectativa Falhada". 

On December 11th, the Galeria Municipal do Porto will open two new exhibition projects, — "The Hour Before Sunset", by artist Milena Bonilla, curated by Juan Luis Toboso and the group exhibition "Erro 417: Expectativa Falhada", curated by Marta Espiridião, resulting from the project Expo'98 in Porto.

Felícia Teixeira works since 2011 as a visual artist, in partnership with João Brojo, integrating national and international exhibitions, in spaces such as Galeria Graça Brandão, Maus Hábitos, Espaço Mira (Portugal) and New Jorg (Austria). In 2014, she completed her master's degree in Contemporary Artistic Practices at the Faculty of Fine Arts of the University of Porto. In parallel, she develops work in cultural production having already collaborated with the Serralves Foundation, the Câmara Municipal do Porto, Maus Hábitos, the Faculty of Fine Arts of the University of Porto, the Casa da Animação, UPTEC and the Municipalities of Vila Real and Fundão.

The Galeria Municipal do Porto conducts a guided tour of the exhibitions on the first Saturday of each month.

Terracota workshop oriented by the artist collective Formabesta (Juan and Salvador Cidrás), in partnership with Ó! Cerâmica.

Based on the idea of ​​“playing” and “learning by doing”, this workshop starts from a series of traditional clay shapes to carry out a continuous process of transformation into other forms that arise from improvisation, chance and collaborative action. As Bruno Munari reminds us, what matters is the possibility of playing with countless possibilities, incessantly changing, testing and testing. Only then, "the mind becomes flexible, the thinking dynamic: the creative individual".

Salvador Cidrás and Vicente Blanco are visual artists and professors in the area of ​​Visual Expression at the University of Santiago de Compostela at the Facultad de Formación de Profesorado de Lugo. Graduates in Fine Arts from the Universidad de Vigo, PhDs in Humanities (USC) and Fine Arts (UGR), respectively, and graduates in Ceramics from EASD Ramón Falcón, Lugo, they develop their artistic research in different mediums, such as video, drawing, sculpture and installation. Their work has been exhibited individually in different contemporary art museums, such as the Museo Reina Sofia (Madrid), CGAC (Compostela), MUSAC (León), as well as in several group exhibitions.

The artist Filipe Marques and curators Isabeli Santiago and Juan Luis Toboso will make a guided tour to the exhibition PANDEMIC – I Don’t Know Karate But I know Ka-razor, opened in the past September 18th.

This workshop is the result of a research residency that the artist carried out in the Gardens of Palácio de Cristal, to give rise to an interpretation of the political, healing and historical implications of the relationship between humans and plants. It will consist of two connected moments.

The session also counted with the participation of Fernanda Botelho and the Landra project, composed by Sara Rodrigues and Rodrigo B. Camacho.

The practice of the multidisciplinary researcher and artist Uriel Orlow integrates film, photography, drawing and sound and has focused especially on themes such as the residues of colonialism, the spatial manifestations of memory, and the botanical world as a political stage. His work has been exhibited in several internationally recognized institutions, such as Tate Modern (United Kingdom), Palais de Tokyo (France), Kunsthaus Zürich and Center d’Art Contemporain Genève (Switzerland). He has published three monographs — Conversing with Leaves (2020), Soil Affinities (2019) and Theatrum Botanicum (2018) — and currently teaches at the University of Westminster, the Royal College of Art (United Kingdom) and the Zurich University of the Arts (Switzerland).

The notion of time, explored in Filipe Marques' exhibition at the GMP, is also materialized in the almost 10-hour video “Whatevah you do, don't look me too long in the eyes. Now it’s your turn to cry”, and serves as a catalyst for the creation of three performances, where voice, body and sound will be explored sequentially, authored by António Poppe, Flávio Rodrigues and José Marrucho.

With a degree in Fine Arts and a Master in Contemporary Artistic Practices from the Faculty of Fine Arts of the University of Porto, Carla Filipe started exhibiting in the early 2000s. She is a co-founder of the Salão Olímpico and Apêndice projects. In 2009, she received a grant from the Calouste Gulbenkian Foundation. Through an attentive look and a deep involvement with her surroundings, Carla Filipe seeks the basic elements that give meaning to the life of a specific community, building her work from the permeable relationship between art objects, popular culture and activism. Recently, she joined The 32nd Bienal – Live Uncertainty (São Paulo, Brazil, 2016), co-curated O ontem morreu hoje, o hoje morre amanhã (Galeria Municipal do Porto, Portugal, 2018) and held the solo exhibition Amanhã não há arte (MAAT, Portugal, 2019).

With a degree in Painting and Contemporary Artistic Practices by the Faculty of Fine Arts of the University of Porto, Francisco Babo develops, together with José Oliveira, the programming at Café CCOP, through the duo Leosandro Vincitelli. He is editor of Pánčho magazine and founder of the band Kã and the project Sashimi Fishmonger. Recently, he was involved in the performance of the Windhund group in the event MIDL#03 (Independent Resource Location, Portugal, 2019), in the performance and exhibition Monsieur Mercure (Home alonE, France, 2019) with Svenja Tiger, in the exhibition Xau Aí (Galeria do Sol, Portugal, 2018), and the presentation of Cabaré Brutal, in a duet with Svenja Tiger (CCOP Auditorium, Portugal, 2019-2020).

The Galeria Municipal do Porto conducts a guided tour of the exhibitions on the first Saturday of each month.

With a law degree from the Catholic University of Portugal, Maura Marvão completed a master's degree in Arts Administration from New York University (USA). She worked at the United Nations and at the New Museum of Contemporary Art (USA), she was president of the International Contemporary Art Diffusion Association and taught the subject of Cultural Marketing at several institutions, amongst them at the School of Arts — Catholic University of Portugal. Currently, she is the representative in Portugal and Spain of the auctioneer Phillips, member of the Board of Directors of the Youth Foundation (Department of Culture), and founder and president of the Portuguese center of the National Museum for Women in the Arts in Washington.

The artist Pedro G. Romero will talk about Fado and Flamenco, offering a selection of vinyl records from the sound archive of Fonoteca Municipal and a list that are part of, in addition to his research, the exhibition The new babylonians: crossing the Border.

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The Galeria Municipal do Porto conducts a guided tour of the exhibitions on the first Saturday of each month.

Kiluanji Kia Henda (Luanda, Angola, 1979) – one of the most relevant artists and activists in the contemporary art scene – presents the performance “Resetting Bird's Memories”. Here, the story of Kinaxi Square, in Luanda, is told through the bodies of actress Zia Soares and Odete Mosso who bring it to life and, through them, the violent past of that place, its rulers and its monuments is represented. A performance that invites reflection on the changing world, the nostalgic vision of that time and the pre-colonial relationship.

The musical project Sound Preta, composed by DJ Clita, DJ Patisol and LOLA will present a DJ-Set, part of the public program of the project "Anuário 20".

The Galeria Municipal do Porto conducts a guided tour of the exhibitions on the first Saturday of each month.

The artist Uriel Orlow will talk about some of his recent art projects which look to the botanical world as a stage for politics and history: trees as witnesses, the migration of flowers, botanical nationalism, gardens as tools of resistance, and medicinal plants testifying to neo-colonialism – these are some of the themes that Uriel Orlow has been engaging within his research-based art practice. The artist takes specific places and micro-histories as starting points for conversations about human plant entanglements and creates artworks in which plants are both narrators and protagonists. 

Yayo Herrero is a Spanish anthropologist, engineer, professor and activist known for her expertise in ecofeminism and ecosocialism at European level. She was the state coordinator of Ecologists in Action and has extensive experience in numerous social initiatives on human rights and social ecology. She is currently a professor at the National University of Distance Education and the general director of FUHEM.


Marta Lança is a Phd student on Artistic Studies at FCSH - Universidade Nova de Lisboa where she holds a postgraduate degree in Portuguese Literature. She has been working as a journalist, translator, editor and producer. In 2010, she created the BUALA portal. Recently she organised the meetings Sou esparça and massive liquidity: gestures of freedom (MAAT, Portugal, 2020) and Terra Batida: a network of art and science on socio-environmental conflicts (Festival Alkantara, Portugal, 2020), with Rita Natálio.

Researcher and independent curator, Vera Carmo graduated in Sculpture and completed her master's degree in Museum and Curatorial studies at the Faculty of Fine Arts of the University of Porto. She currently attends the PhD program in Fine Arts at the same institution. Professor at the University Institute of Maia, she is also a collaborator on the CineVideoArte platform —  Catalog of Films and Videos of Portuguese Artists and co-creator of the MOLA fanzine, dedicated to the independent spaces of the city of Porto. She is a founding member of the Rampa association.

In an attentive exercise of reflection on the city and its multiple dynamics and manifestations, the curatorial team of Anuário 20 invites for two talks about the title "Cartografias do comum – o lugar do coletivo na cidade", collectives, initiatives and spontaneous self-managed movements which, during the year of 2020, contributed to the reconfiguration of a more inclusive and plural community-territory.

 

Guilherme Blanc, curador of "Wall גדר جدار", by Inés Moldavsky, at Galeria Municipal do Porto, will make a guided tour to the exhibition. 

Guilherme Blanc is the Artistic Director of the Batalha - Film Centre. Between 2018 and 2020 he was the Director for Con­temporary Art and Film in the City of Porto, where he directed projects such as the Galeria Municipal do Porto, the Fórum do Futuro and discursive programmes in contemporary art. Over the years he has worked as an independent film curator in col­laboration with institutions such as the Institute of Contempo­rary Arts London and the Barbican Centre. Between 2014 and 2018 he was deputy to the Councillor for Culture and to the Mayor of Porto. Since 2017, he lectures Film in the Bachelor's and Master's degree courses at the Universidade Católica Por­tuguesa - Escola das Artes. 
 

In this workshop, a relational cartography will be drawn between images, words and concepts related to the Primeira Exposição Colonial Portuguesa and its legacy.

Due to the relevance of the work developed around the Primeira Exposição Colonial Portuguesa (Porto, Portugal, 1934), InterStruct Collective was invited to carry out the ATLAS project, which crosses and unites the different moments of this program. Created in 2018, the collective aims to foster a dialogue around interculturalism, providing a discursive platform where people from different cultural backgrounds can collaborate, propose interventions and stage artistic projects of social significance. InterStruct Collective is composed by members and associates are located in countries in Europe and America — Claire Sivier, Desirée Desmarattes, Isabel Stein, Melissa Rodrigues, Miguel F., Sebastian Ioan and Vijay Patel —, allowing for broader points of reference and expanding the discussion.

A film about the Portuguese colonial empire as it is seen and shown through photography, from the end of the 19th century until the 1974 revolution that put an end to the political regime that ruled Portugal.

With a PhD in History (specialization in Empires, Colonialism and Post-Colonialism), Joana Pontes also studied Psychology at the Faculty of Psychology and Educational Sciences of the University of Lisbon, and Cinema, at the Lisbon Theatre and Film School. From 2004 to 2008, she was advisor to the Program Directorate of the Portuguese public Television (RTP). Currently, she is dedicated to writing and making documentaries. She is professor at the ESCS - School of Social Communication. In 2007, her documentary O Escritor Prodigioso was awarded the Grande Prémio da Lusofonia. She is co-author of the book A Hora da Liberdade (2012).

In this workshop, which focuses on the Esforço Colonizador Português in Porto, different research, experimentation and criticism practices will be explored to encourage re-inscription of the monument in the public debate and in the space of the city, beginning with its history and materiality.

Designer and researcher, Bárbara Neves Alves received her PhD in Design at Goldsmiths, University of London with an investigation around the concept of miscommunication, which challenges the notion of 'good communication' as a design objective. Lately, in Amsterdam, she has focused her work and research on topics such as communication ecologies, communication policies, noise, participatory methods, socially responsible design and decolonization practices. In addition to her investigations, Bárbara Neves Alves collaborated with the collective Cascoland and has taught as a guest teacher at several higher education institutions in the Netherlands.

A critical, historical and political analysis of the Primeira Exposição Colonial Portuguesa will be proposed in this conference, inserting it into the national and international context, and discussing its vestiges in the collective memory and in the current urban space.


Patrícia Ferraz de Matos is an anthropologist and researcher at the Institute of Social Sciences at the University of Lisbon. Since 2019, she is an associate editor of the Anthropological Journal of European Cultures and a member of the History of Anthropology Network. She holds a PhD in Social and Cultural Anthropology focusing her studies on the history of Portuguese anthropology and colonialism. In 2005, she received the Victor de Sá Contemporary History Prize, awarded by the University of Minho for her research entitled As Côres do Império — Racial Representations in the Portuguese Colonial Empire. She is also the author of A vida e a obra do Professor Mendes Correia (1888–1960): articulações entre antropologia, nacionalismo e colonialismo em Portugal (2011).


Alexandra Balona is licensed in architecture, a researcher, writer and independent curator based in Porto. She is PhD student at the European Graduate School & Lisbon Consortium, with a research on the Political Potentiality of Marlene Monteiro Freitas’ Choreographic Work, supervised by Samuel Weber and Isabel Capeloa Gil. With Sofia Lemos, she co-founded PROSPECTIONS for Art, Education and Knowledge Production, co-curated Metabolic Rifts, and co-edited Metabolic Rifts Reader (2019). She curated Migratory Images – Thinking Lab on Performative Arts in Porto City Theater, is a member of SINAIS DE CENA scientific and editorial board, and publishes regularly on performing arts.

The trees, the roots, the flowers, the shells, the statues, the fountains, the walks, the silenced ones, the grass, the weeds, the peacock, the garden, the nature, the experience, the change, the justice, the renovation. The CLP's propose an animated reading of words, images, music, sounds, and other additives, which take root in the Acoustic Shell, but take us along the garden through three narratives, three different routes, which end up meeting and crossing paths. The common link is to bring down the statue-muses without a voice, stirring the bottom of the lake, and revealing the stories of women creators, literates, botanists, artists, singers. In the end, the dance is at the bottom of the sea around the shell.

The group Círculo das Leitoras Peripatéticas is comprised by Sofia Gonçalves, Susana Gaudêncio and Susana Pomba. In 2014, the artists attended a residency at the Moinho da Fonte Santa, in an isolated geographical area in the municipality of Alandroal, Alentejo, where they worked with materials from the Biberstein ‑ Gusmão Library to write a script that was read during a walk around the Moinho (water mill). This residency, entitled Elogio ao tempo lento, resulted in the first edition of the collective, composed of three ‘librettos’ presented as access routes to the library and its surrounding landscape.

In this workshop, a relational cartography will be drawn between images, words and concepts related to the Primeira Exposição Colonial Portuguesa and its legacy.

Due to the relevance of the work developed around the Primeira Exposição Colonial Portuguesa (Porto, Portugal, 1934), InterStruct Collective was invited to carry out the ATLAS project, which crosses and unites the different moments of this program. Created in 2018, the collective aims to foster a dialogue around interculturalism, providing a discursive platform where people from different cultural backgrounds can collaborate, propose interventions and stage artistic projects of social significance. InterStruct Collective is composed by members and associates are located in countries in Europe and America — Claire Sivier, Desirée Desmarattes, Isabel Stein, Melissa Rodrigues, Miguel F., Sebastian Ioan and Vijay Patel —, allowing for broader points of reference and expanding the discussion.

Milteto is a multidisciplinary orchestra driven by the Porto collective Favela Discos.

The concert is part of the public program of the "Anuário 20" project.

Imperial and colonial history has been told and reinvented by Portuguese cinema. Ghosts of an Empire have been running through this cinematographic imagery since the beginning of the 20th century... 100 years of films. The documentaries and fictions of the colonial past are contrasted with contemporary films and perspectives. Seven Portuguese filmmakers - Fernando Matos Silva, João Botelho, Margarida Cardoso, Hugo Vieira da Silva, Ivo M. Ferreira, Manuel Faria de Almeida, Joaquim Lopes Barbosa - as well as José Manuel Costa, director of the Cinemateca, and Maria do Carmo Piçarra, researcher, open the vaults of memory, dialoguing with the actors Ângelo Torres and Orlando Sérgio. They uncover the myths of the discoveries, an imperial fiction, a factory of the colonial epic, as masks of domination... ghosts that persist even today. The film develops a path of emotions in memories and very current experiences.

Author and director Ariel de Bigault works between France, Portugal, Brazil and Africa. Her work has been connected to the routes of the Lusophone World. After beginning her cinematographic journey with some documentaries in Portugal, she directed the series Éclats Noirs du Samba, that brings together huge Afro-Brazilian artists, including Gilberto Gil, Martinho da Vila and Grande Othelo and Margem Atlântica (2006), which portrays African immigrants, people from different ages, who are building a place and an identity in Lisbon. In 2020, she finished Fantasmas do Império. At the same time, she carried out research and dissemination work on contemporary African music, especially Lusophone.

In this workshop, Dori Nigro proposes to create an intimate space for reflection and for action-redress in relation to colonial history, the past and present, with reference to memories and narratives of dehumanisation and resistance.

Performer and art-educator, Dori Nigro currently resides in Porto. PhD student in Contemporary Art, from the Universidade de Coimbra, and master in Contemporary Artistic Practices, from the Faculdade de Belas Artes do Porto, he also has a specialization in Art Education from the Universidade Católica de Pernambuco and a bachelor's degree in Social Communication/Photography, from the ssociação de Ensino Superior de Olinda. He is a creative member of the collective of artists C3 (Portugal/Serbia/Spain, 2015), member of the Núcleo Anti‑Racista do Porto and co-creator of the collective of artistic creation Tuia de Artifícios (Brazil/Portugal, 2007), which works by inviting the community to share artistic experiences through performance creation exercises and interventions in intimate or public spaces.

Commencing with the analysis of graphic materials developed in the framework of the Primeira Exposição Colonial Portuguesa, this workshop will discuss the problem of the lack of representation of black people in the field of graphic design, in order to create various narratives and stories of blackness.

Graphic and communication designer, Inês Borges has focused her work in the areas of typography, branding and editorial projects. She graduated in Communication Design from the Universidade  Lusófona de Humanidades e Tecnologias and, in 2019, completed her master's degree in Graphic Design from the Escola Superior de Artes  e Design das Caldas da Rainha do Instituto Politécnico de Leiria, with a dissertation entitled Graphic Design as a form of decolonization — A study and reflection on the visual discourses of discrimination and ways of combating them.

Based on her research into education and pedagogical programmes in Portugal, Cristina Roldão will propose a reflection about ways of perpetuating coloniality in the social, economic and political spheres, through analysis of concepts such as Lusotropicalism, colonial legacy, white privilege, among others.

Cristina Roldão is a sociologist, guest professor at the Higher School of Education of the Polytechnic Institute of Setúbal, researcher at CIES-IUL — Center for Research and Studies in Sociology and member of the coordination of the thematic section Classes, Inequalities and Public Policies of the Portuguese Association of Sociology. Social inequalities at school are her main research domain, with a particular focus on the processes of exclusion and institutional racism that affect people of African descent in Portuguese society, issues she addresses in her doctoral thesis and in recent research of which she was part of, such as Caminhos escolares de jovens africanos (PALOP) who access higher education (2015).


Melissa Rodrigues is performer and art-educator. She completed postgraduate/specialization studies in Performance, at the Department of Fine Arts of the University of Porto and earned an undergraduate degree in Anthropology from the Department of Social and Human Sciences of NOVA University of Lisbon. She studied Contemporary Dance and Performing Arts at c.e.m. - centro em movimento (Lisbon). As a researcher in the areas of Performance and Visual Culture, she has developed research in Image and Representation of the Black Body, in collaboration with visual artists, social scientists and performers. Melissa is a member of the InterStruct Collective, the Rampa association and the Porto Anti‑Racist Nucleus.

In this workshop, a relational cartography will be drawn between images, words and concepts related to the Primeira Exposição Colonial Portuguesa and its legacy.

Due to the relevance of the work developed around the Primeira Exposição Colonial Portuguesa (Porto, Portugal, 1934), InterStruct Collective was invited to carry out the ATLAS project, which crosses and unites the different moments of this program. Created in 2018, the collective aims to foster a dialogue around interculturalism, providing a discursive platform where people from different cultural backgrounds can collaborate, propose interventions and stage artistic projects of social significance. InterStruct Collective is composed by members and associates are located in countries in Europe and America — Claire Sivier, Desirée Desmarattes, Isabel Stein, Melissa Rodrigues, Miguel F., Sebastian Ioan and Vijay Patel —, allowing for broader points of reference and expanding the discussion.

In this session, excerpts from various documentary films about the Primeira Exposição Colonial Portuguesa will be shown and commented, followed by a debate, open to the general public, on issues of visual literacy and the ethics of representation.

Actress and stage director since 1996 and teacher in secondary and higher education since 2001, Ana Cristina Pereira (also known as Kitty Furtado) holds a PhD in Cultural Studies from the University of Minho, with the thesis Alteridade e identidade na ficção cinematográfica em Portugal e em Moçambique. Her main research interests are themes such as racism, social identity, social representations and cultural memory in cinema, from a post-colonial and intersectional perspective, on which she has published several scientific articles. She is a researcher on the (THE)OTHERING project and a member of the Núcleo Anti‑Racista of Porto.

This workshop will propose a practical and poetic exercise of observation, analysis and reframing of archival images, for a critical reflection on ethics and representation of the black body, ranging from colonial and post-colonial imagery to contemporary visual culture.

Based on her work as a writer and artist, Gisela Casimiro will examine, question and unveil the interconnections between colonialism, the image and representation.

Writer, artist and activist, Gisela Casimiro heads the Culture department at INMUNE – Instituto da Mulher Negra in Portugal. She published her first book of poems entitled Erosão (2018), was part of anthologies such as Rio das Pérolas (2020) and Venceremos! Discursos escolhidos de Thomas Sankara (2020) and participates in As Penélopes (2021). In recent years, she has been a regular columnist for Hoje Macau, Buala and Contemporânea. She also presented exhibitions in spaces such as O Armário, Galeria Zé dos Bois, Galeria Balcony and Museu Nacional de Etnologia.

The Galeria Municipal do Porto will reopen to the public on April 6, carrying on with the two exhibitions opened at the end of last year – Nets of Hyphae and Que horas são que horas: uma galeria de histórias – which can be visited until April 25th at the regular hours during the week and from 10am to 1pm during weekends.

Given the new measures to contain the pandemic, which determine the closure of cultural spaces from this Friday, January 15, the Galeria Municipal do Porto will be closed during the confinement period.

The Galeria Municipal do Porto has decided to temporarily suspend its Public Programmes during the month of November, according to the latest announced measures to respond to the Covid-19 pandemic.

Therefore, the two programs scheduled for the month of November were cancelled: the conversation between Margarida Mendes and the winner of the 2nd edition of the Paulo Cunha e Silva Art Prize, which would take place on November 14, Saturday, at 4 pm, and the concert presenting the album Waves and Whirlpools, by Luís da Riviera, scheduled for November 15, Sunday, at 6:30 pm.

The guided tours that the Galeria Municipal do Porto conducts on the first Saturday of each month, at 4 pm, are also suspended, due to the limitation of gatherings to five people.

GMP will continue, however, with its doors open, with the exhibitions Paulo Cunha e Silva Art Prize – 2nd edition and Waves and Whirlpools, on view until November 15.

Admission is free, subject to the maximum limit of 30 people and other hygiene and safety rules.

The winners of the second edition of the Paulo Cunha e Silva Art Prize have been named. The biannual prize is aimed at artists under 40, and was created by the Porto City Council as a tribute to the former Councillor for Culture, Paulo Cunha e Silva, doctor, art critic and curator, whose professional activity was always linked to theoretical reflection on contemporary art.

Although the Paulo Cunha e Silva Art Prize aims to award a single artist from a group of finalists, the jury proposed dividing the monetary value of €25,000 between this edition’s six finalists – Basir Mahmood, Firenze Lai, Lebohang Kganye, Shaikha Al Mazrou, Song Ta and Steffani Jemison –, whose works are on display at the Galeria Municipal do Porto.

Due to the restrictions resulting from the pandemic situation, the jury members Isabel Lewis, John Akomfrah, Margarida Mendes and Shumon Basar were unable to visit the exhibition and personally assess the work of the finalists that they had nominated. These exceptional conditions also meant that the six finalists were unable to install or accompany the assembly of their works in the exhibition space, prior to the inauguration of the exhibition. As a result, the judges considered that it was impossible to ensure the ideal conditions for awarding a single winner of the Prize’s second edition and therefore suggested the division of the prize money between the six finalists.

The jury had already analysed the portfolios of 48 artists, selected by a group of 16 curators, appointed by them. Lastly, they selected the six finalists who have now been declared joint winners. In the words of the four jurors, these artists have “voices – aesthetic, ethical, technical – that articulate the current moment, or, even, sense what is to come.”

Basir Mahmood (Pakistan) uses video, film and photography to reflect on social and historical situations, rooted in daily life, while Firenze Lai (Hong Kong) tries to express states of expanded perception through her paintings and drawings. Lebohang Kganye (South Africa) merges fictional characters with “real” characters, to create stories that incorporate sculpture, installation and film. Sculpture is also the preferred art form of Shaikha Al Mazrou (UAE), who is fascinated by materiality in art, working with colour and shapes to create geometric and abstract arrangements.

Song Ta (China) often seeks to provoke and antagonise the established boundaries between institutional and commercial definitions of art, by creating works that explore the daily conduct of specific groups in society and Steffani Jemison (USA) addresses privacy and opacity as strategies for abstraction and political resistance.

The exhibition of the works of the finalists – now confirmed as winners ex-aequo – can be visited until Sunday, November 15, at the Galeria Municipal do Porto. During the weekend, the GMP will only be open between 10 am and 12:30 pm, due to implementation of new curfew measures in Portugal.

Music appears at the core of Luís Lázaro Matos' practice, and the seven diptych paintings in the Galeria Municipal do Porto exhibition are inspired by the seven songs of his new album, also named Waves and Whirlpools.

The album – composed and written by Luís Lázaro Matos, sung together with Diana Policarpo and produced by Adriano Ferreira Cintra – was released on September 10 and will be played live for the first time on November 15, at the Galeria Municipal do Porto.

Activity subject to prior registration by e-mail: galeriamunicipal@agoraporto.pt.

On November 14, Saturday, the Galeria Municipal do Porto proposes a talk with Margarida Mendes (jury member of the 2nd edition of the Paulo Cunha e Silva Art Prize) and the winning artist.

Activity subject to prior registration by e-mail: galeriamunicipal@agoraporto.pt.

The GMP conducts a guided tour of exhibitions on the first Saturday of each month. In November, two visits will be conducted, at 4 pm and 5 pm.

Activity subject to prior registration by e-mail: galeriamunicipal@agoraporto.pt.

On October 24, Saturday, Mariana Caló e Francisco Queimadela, winners of the 1st edition of the Paulo Cunha e Silva Art Prize, will visit the Galeria Municipal do Porto for a talk with Guilherme Blanc (Artistic Director of the Galeria Municipal do Porto) and Luís Silva (Director of the Kunsthalle Lissabon). At 4pm, in the Auditório da Biblioteca Municipal Almeida Garrett.

Free entry, subject to the collecting of a ticket in advance, at the Galeria Municipal do Porto, starting from 10 am on October 24. You can reserve your place in advance by emailing galeriamunicipal@agoraporto.pt. The entrance is subject to room capacity.

The GMP conducts a guided tour of exhibitions on the first Saturday of each month at 4 pm.

Activity subject to prior registration by e-mail: galeriamunicipal@agoraporto.pt.

On September 13, at 4 pm, the artist Luís Lázaro Matos and the curator Martha Kirszenbaum will lead a guided tour through the exhibition Waves and Whirlpools.

Activity subject to prior registration by e-mail: galeriamunicipal@agoraporto.pt.

Technocistem: corpo e tecnologia na obra feminista de Lynn Hershman Leeson 

This book is published as part of the exhibition Diogo Jesus: Apesar de não estar, estou muito, curated by João Ribas, presented at the Galeria Municipal do Porto between June 2 and August 16, 2020. I was published by Galeria Municipal do Porto and co-published with Chili Com Carne.

Galeria Municipal do Porto reopened to the public on June 2. To ensure the safety of visitors and employees, the GMP has implemented a set of temporary measures:

21h30 – Opening

“No. One. Gives. A. Mosquito's. Ass. About. Trabalho. De. Preto  – Hino de Carne”, 2020
Performance by Nástio Mosquito
with Diogo + Moreno Ácido & B Fachada

Programme presentation 2020/2021

Colectivos Pláka's “Politics of Survival” book launch

ODETE
Dj Set

 

The artist Pedro G. Romero invited the singer Tomás de Perrate to do a closing performance for the 9Kg de Oxigénio exhibition. The visitor will be surprised by the flamenco intonations and songs about memories of imprisonment and longing for freedom, which will come from inside the work “La Cheka” to the involving gallery spaces.

Diogo Baldaia
Miragem Meus Putos
PT, 24’, 2017

Leonor Teles
Balada de um Batráquio
PT, 11’, 2016

José Rito
Will Free
PT, 12’, 2017

Andréia Pires and Leonardo Mouramateus
Vando Vulgo Vedita
BRA, 22’, 2017

 

Madalena Fragoso and Margarida Meneses
A Casa e os Cães
PT, 62’, 2019

Marcelo Tavares
Tu. Tu. Tu.
PT, 12’, 2019

 

Book launch:
“Musonautas, Visões & Avarias
1960-2010: 5 décadas de inquietação musical no Porto”

Concerts by:
Volúpia Mundana
+
João Loureiro, Ana Deus and Rui Fernandes
(BAN)

The American artist, writer, and curator Dan Graham will talk about his wide artistic practice with the curator and art historian Pedro de Llano, according to whom: “talking with Dan Graham is a fascinating experience The themes and ideas continue as a roller coaster and his comments surprise and provoke reflection. Sometimes it is difficult to understand whether he is serious, or even if he is using sarcasm or praise - or both at the same time (…) We are anxious to return to the conversation, continuing to learn from one of the greatest artists of our time and know, for example, what he thinks of the new building designed by Álvaro Siza in his city or the last album of his friend Kim Gordon, among many other things”.

Contemporary architecture, among many other things, is a prolonged and precise logistical exercise in value re-arrangement to maximise profit. The processes that produce our built environment are typically systematised, formal and strictly hierarchical, structures well-suited to social division. Working cooperatively offers an alternative, where there is a real possibility for mutual solidarity and engagement with people’s knowledge and experience. But how to work cooperatively on the city, when the structures which generate and govern it are based on an almost diametrically opposed logic?

Assemble and a small set of their friends, collaborators and accomplices invite the participantsto join them for four days of working together. Basing each day on a set of short readings and sustained bodily and material processes, working together will be used as a space for opening up discussion on the shared ideas, preoccupations and concerns that have been coursing through the undercurrents of Assemble’s working practice over the last ten years.

With the “poetics of the relationship” as one of its central concepts, the 34th Bienal of São Paulo — "Faz escuro mas eu canto" — adopts an innovative format, expanding in space and time. The next edition of the Biennale, in 2020, is marked by the meeting and mutual enhancement of curatorial projects and institutional action, and involves the holding of exhibitions and actions presented at the Biennale’s Pavilion in articulation with a network of more than 20 institutions in São Paulo.

The conversation will be chaired by the curator Marta Mestre and is part of a set of presentations of the project of the 34th Bienal de São Paulo in international institutions.

© Renato Cruz Santos

 

 © José Carlos Duarte

 As part of Fórum do Futuro 2019

© Marc Domage

© Renato Cruz Santos

 

© Dennis Yenmez

© Lucas Fester 

 

© Renato Cruz Santos

Post-Nostalgic Knowings is a course on culture and critical thinking which aims to look at different places in Europe which contain collective stories in disappearance, scanning the potency of recent curatorial and artistic research and intervention. The course presents a variety of “post-nostalgic” approaches by authors addressing places in Ukraine, Poland, Latvia, Lithuania and Spain, to understand how contemporary knowings allow for reading, intervening and may contribute to re-signify those places, whether in its relation to past memories and, most specially, as redefining new contemporary narratives. Trying to overcome the strictly preservationist and conservative approaches, the course will focus on a specific location in Porto, the Freixo hillside, characterized by the simultaneity of industrial history and the current pressure of real estate interests on the buildings and the land. The program includes conferences, debate sessions, along derives, workshops and other spatial strategies to understand and dialogue with the complexity at stake.

 

Conversation DORA GARCÍA and MARIA TRABULO
In partnership
'Times of Contemporaneity 2 – Decolonizing Culture'
curated by CLAIRE BISHOP and NUNO CRESPO
(Colectivos Pláka)

Dora García is a Spanish artist based in Barcelona, known for her research-based archives, videos, and performances. García is currently researching Alexandra Kollontai (1872-1952), revolutionary socialist and the only woman in the Soviet government, who also proposed a theory of revolutionary sexuality. García is preparing a film that traces Kollontai’s influence on Third World, Chicano and Black feminisms.

....

Leitura
'AN ASSEMBLY IN THE DESERT'
Three characters argue on the best governing system to be adopted in their land, following the death of their king. Inspired in an Herodotus passage (Histories, 440 BC).

 

 

Performance by JEREMIAH DAY
followed by conversation with MARIA TRABULO

Jeremiah Day’s personal and idiosyncratic performances bring together the forms of the slide-show, the tradition of the bard, and the focus on the body as working material drawn from post-modern dance. Emerging from research into the work of Hannah Arendt and in particular her widely ignored affirmative argument for council democracy, as elaborated by the writer and activist Fred Dewey, the performance with slide shows depicts key sites of Istanbul and New England.

In a way, through the intervention, Ana Kun is shadowing Maria Trabulo, she’s making an imperfect copy of her gesture: Maria Trabulo went to Tehran and talked to people about an art collection she didn't get to experience first hand, and Ana Kun is now planning a response by reading descriptions of contributors' artworks. In her mind she is constructing this fictitious setting which is a pale reflection of Maria Trabulo’s setting, in the effort to make a prelude to it, to ease the viewer in this antechamber which is the staircase (a fringe-like space which breaks the suspension of disbelief and acts like a palate cleanser between two shows). Whimsical! 

STATUES OF TEHRAN
Documentário, 60' 

Statues of Tehran interrogates the function of monuments in today’s Tehran, an ideology-ridden postmodern megalopolis, afflicted with forgetfulness. It tracks the fate of two important public sculptures, the first, a pioneering work commissioned by the royal family in the 1970s, of then foremost modern sculptor Bahman Mohassess; the second a tribute to the Islamic Revolution standing in Revolution Square, by Iraj Esskandari. Under the aegis of the revolution, the first was destined for neglect and eventually storage, while the second became a landmark in the city’s myriad public projects celebrating the revolution and the Iran-Iraq War.

 

 

Joana Machado
Joaquim Durães
José Maia
Miguel Flor
Rita Castro Neves

Garcia da Selva & Mafalda Santos
Berrante — Xavier Paes
Sereias
DJ Urânio & MC Sissi

Joana Machado
Joaquim Durães
José Maia
Miguel Flor
Rita Castro Neves

ÁGUA FORTE
Mónica Baptista
2018, PT, 15', M/12

 

 

 

 

 

 

 

17h Book Launch

18h Session with Fernanda Bernardo

21h Session with Isabel Soveral 

Tour with the curators
Paulo Vinhas, Hugo Oliveira, Manuel João Neto, Pedro Junqueira Maia, Pedro Tenreiro, Suzana Ralha

“Da Caos à X. 

16h Guided Tour with Sofia Lemos

Premiere  “Estudos Incomunicantes”, de Álvaro Salazar

Directed by de Bruno Nacarato

Produced by Atelier de Composição

Tour with the curators
Paulo Vinhas, Hugo Oliveira, Manuel João Neto, Pedro Junqueira Maia, Pedro Tenreiro, Suzana Ralha

Talk with Her

“Do anarquismo musical aos GNR”

Inês Meneses talks with Alexandre Soares, Rui Reininho e Silvestre Pestana

16h Guided Tour by Musa paradisiaca

18h Session with Filipa Ramos

19h Session without António Poppe

 

Concert with works by:

"The exhibition 'Yesterday Died today, Today Will Die Tomorrow' is an attempt to build something solid, to counter fluidity and initiate some memory of the present and past that might generate echoes and affirm our ability to act, make, map, contribute to the collective while never loosing our singularity, which is the greatest wealth. There are several people involved in this project for the Galeria Municipal and as many ways of seeing and looking at Porto or its nightlife." 

"At these crossroads of memory I often wander into the territory of a very particular epoch: the late 1970s. Everything revolves around an indistinct magma in which proletarians and intellectuals were the protagonists of radical paradigm shifts in the reception and dispersal of music in culture. I glimpse the characters that frequented Brooklyn’s clubs replicating inaccessible modes of Studio 54, realizing the dream of liberation together with their more roly-poly, less sophisticated, cocaine-head female companions. They are my disco-punks. The power is not destructive and nihilistic, it is returned in weekend-perfected dance steps. Saturday Night Fever and Bee Gees’ music is the most engaging scenario of the old myth of the empowerment of the American mechanic, with his unique work ethics. Staying Alive is the other side of the mirror (sprinkled with less white dust) of one of the very first dance experiences that opens the doors to techno and its by-products: the eight-minute version of Donna Summer’s I Feel Love produced by Giorgio Moroder and Pete Bellotte. The unionist revolution choreographed with synchronized hip movements from Saturday night fever breaks away from the hedonist cynicism of those who had managed to squeeze through door number 254 of Manhattan’s 54th street. All of this in 1977. At the other extreme, punk detonated with unexpected violence and speed. Like a bomb releasing contradictory, hyper-fast, guaranteed-penetration bits of shrapnel. A bomb manipulated by an increasing intellectualization, which I cannot but blame on Malcom McLaren (but this is just my totally subjective and irrational intuition). All of this is… strange.
And nevertheless… this intellectualization of punk and post-punk music, which was made of pure energy and contradictory gestures, has for protagonists a long series of actors whose background was, precisely, the art world. Proletarians of image or intellectuals of form?"

 

 

 

Through a low-resolution séance mediated by Game Boy links Riccardo Balli is going to evoke the spirit of corpse reviver Giovanni Aldini (1762 – 1834), credited with having inspired ‘Frankenstein: or the Modern Prometheus’. Aldini is going to tell a compressed version of the original Frankenstein story, exposing its language to retro-gaming jargon and simplifying the plot as if it were an arcade game. The aforementioned 18th-century electrifier was the nephew of eminent scientist Luigi Galvani, who lived in MIDIevil Bologna just like the author of this performance.

 

‘Dust and Shadows’ is an impassioned word based performance by Lydia Lunch, illustrated by an evocative multimedia presentation utilizing images captured and mixed live by Elise Passavant. Psycho ambient soundscapes further the dynamic musicality of Lydia Lunch’s lyrical poetry and hypnotic voice. ‘Dust and Shadows’ is a unique combination of otherworldly textures, images and sound, which deal lyrically with loss, love, rage and survival through the haunting images of the numerous ghost towns littered throughout the Spanish desert.

Presented by Margarida Mendes

 

 

The Paulo Cunha e Silva Art Prize, created by the Municipality of Porto in 2015 as a tribute to the former Councillor for Culture, Paulo Cunha e Silva, is a project aimed at artists under 40 who have held no more than one solo exhibition in an 'internationally renowned institution' or art space. The jury – which in the first edition was comprised by João Laia, Vicente Todolí, Meg Stuart and Julião Sarmento – analysed the portfolios presented by 47 artists, selected by a group of 16 curators, nominated by the four jurors. This exhibition will present works by the Prize’s six finalists – Christine Sun Kim, Jonathas de Andrade, June Crespo, Mariana Caló and Francisco Queimadela, Naufus Ramírez Figueroa and Olga Balema. 

Free entry

© Ricardo Castelo / Fundação EDP

 © Ricardo Castelo / Fundação EDP

 
© Ricardo Castelo / Fundação EDP

Free entry

© Ricardo Castelo / Fundação EDP

Free entry

Free entry

© Ricardo Castelo / Fundação EDP

Free entry

© Ricardo Castelo / Fundação EDP

 

OPENING:

Following the EDP Foundation’s acquisition of the Cabrita Reis Collection in 2015, the Galeria Municipal do Porto, in collaboration with the Museum of Art, Architecture and Technology (MAAT) presents the most comprehensive exhibition to date of this collection. Germinal will focus on a vast and significant set of works that have been acquired by the artist Cabrita Reis over the last three decades, with special focus on the early or founding years of leading Portuguese artists who have affirmed their careers over time. With a broad and solid representation of the so‑called ‘Nineties generation’, complemented by artists from earlier and later generations, the exhibition aims to introduce spectators to a set of remarkable works and reveal the gaze of an attentive and dedicated collector, with close ties to artists and experimental practices, reflecting cosmopolitanism, edginess and a firm commitment to the future.

In this workshop, we will map ideas about the exhibition by registring the languages ​​of the artworks and its connections with sound, movement and image.

Between finitude and accumulation, memory and utility, the practice of collecting develops around the possibility of a relation between the present and the future. In discussion with three voices behind important national collections we unpack reflections fundamental to the act of collecting.

Did you know that some artists use blue as narrative to express their emotions and sensations? In this workshop, we will collect ideas about the colour blue and its meanings. We will think about the blue lighting in the exhibition and get to know through its history the works on view. Are the artworks blue? Is our body blue?

How does love arise? What drives war? Can we imagine these two seperate worlds via through glue and drawing? What is 10 000 years later between Venus and Mars? In this workshop we will value the title of the exhibition and draw up a game board where participants will build these two worlds.

What ways does sound travel in the exhibition gallery? What journeys does it draw? In this workshop, we will hands-on travel with the sound and make an imaginary exhibition made of plasticine scultpures composed of the rhythms we capture with our eyes and our ears.

 

Contemporary architecture, among many other things, is a prolonged and precise logistical exercise in value re-arrangement to maximise profit. The processes that produce our built environment are typically systematised, formal and strictly hierarchical, structures well-suited to social division and control. Working cooperatively offers an alternative, where there is a real possibility for mutual solidarity and engagement with people’s

On November 14, Saturday, the Galeria Municipal do Porto organizes a talk with Margarida Mendes (jury member of the 2nd edition of the Paulo Cunha e Silva Art Prize) and the winning artist.