A gathering place for various collectors, this fair has as purpose the sale and exchange of coins, postcards, stamps and other related collectibles. It takes place under the arcades of the buildings surrounding the square.

Ana Vieira belongs to the first generation of Portuguese artists who, in the 1960s, started to question the central place of traditional formats of painting and sculpture in artistic production. The work Untitled (1968) is part of a body of work produced by the artist at the beginning of her career that highlight her rejection of the nature of painting and her exploration of the reflective poetics of space. This historical work by Ana Vieira is presented at Palácio da Bolsa within the scope of the itinerary programme of Serralves Collection, which aims to make the Foundation's collection accessible to diverse audiences from all the regions of Portugal.

This fair started spontaneously at Praça da Batalha where handmade products (costume jewellery, wallets, among others) were sold. In the 90's the Porto City Hall regulated this activity, though the creation of Batalha Handcraft Fair.

National Geographic has explored the planet for over 130 years and is distinguished by challenging, protecting and inspiring humanity to go beyond. It all started in 1888 with an invitation, which brought together the 33 founders of the National Geographic Society in Washington D.C. Among them geologists and cartographers, bankers and lawyers, scientists and military leaders began to delineate the purpose of the organisation. Everyone believed that science coupled with a clearer perception of our world would have the power to change it, improving it. With neither staff nor headquarters, the National Geographic Society began charting new routes, discovering new cultures and going beyond. We celebrate Alexander Graham Bell, Amelia Earheart, Alexander Graham Bell, Robert A. Bartlett, Richard E. Byrd, Barry Bishop, Jane Goodall, Sylvia Earle, Dian Fossey, Jacques Cousteau, Robert E. Peary, and so other big names in the National Geographic’s history. To share the expeditions, discoveries and scope, the National Geographic magazine was created in 1888. Its first edition was sent to an exclusive list of 200 members. In 2015, the National Geographic Partners was founded and its platform reaches over 450 million people, 43 languages, in 172 countries every month. The will of our 33 founders was fulfilled. We reached the four corners of the earth and went further. 131 years later, we continue to point our lenses at the most inhospitable places and the harshest realities of our planet, we continue to pursue big questions and challenge thoughts once accepted, we continue to protect and inspire humanity to go beyond. But none of this would be possible without your contribution. Thanks to you we have already awarded over 14,000 research grants, supporting ambitious projects in the areas of science, exploration and conservation. When you read, watch, buy or travel with us, you are supporting the work of our scientists, explorers and educators around the world. Because of you, our cause exists. Thank you for helping us contribute to a more sustainable planet.

There are more than 5 million Lego bricks, spread over 2,000 square meters, totalling about 100 sets, in 12 themed areas. Includes recreations of iconic films such as the Titanic or the Star Wars saga. With the potential to attract people of all ages, it combines fun with knowledge, as one of the themed areas recreates the human body in LEGO, thus becoming a Biology lesson from a different perspective. For fans of the Star Wars saga, this exhibition is also a must-visit, featuring spaceships, characters, lightsabres, iconic scenes from the films, as there is a strong likelihood of being wowed by the detail put into each reconstruction. The Battle of Coruscant, Trench Run or TIE Fighter are some of the recreations on display in the Star Wars District. The trip is made not only to the futuristic world of this cult series, but also to the historical past, romanticized by the film Titanic. For the Lego construction of the most famous ship of the 20th century, about three meters high and 11 meters long, around 500 thousand bricks were used. There is also a zone dedicated to characters from superhero films to scale, like Captain America or Thor; a 1:1 scale Avenue of Sports Stars, where Robert Lewandowski is on the list; a zone of robotics and fantasy; an animation area, which include the famous blue creatures, The Smurfs, among other attractions, such as train track scale models, and recreations of high-speed train models (Pendolino, ICE and TGV).

And everything changed... hopefully not to stay the same. The tide of uncertainty did not prevent us from throwing the anchor that marks the second weekend of September every year: The Museum as Performance. With its 6th edition, the event reiterates its structural importance tn the programming of Serralves Museum. The rules of social distancing cannot prevent the presentation of projects that depend on our presence in a certain space, at a specific time. During the course of two days, Serralves questions the place of performance within the Museum. But we also question ourselves about our own place, calling on artist and works that offer a web of encounters and disciplinary intersections such as performance, dance, music, installation, drawing, sculpture and cinema. The artists participating in this new edition are Máiréad Delaney, José Alberto Gomes/João Dias, David Helbich, Vanda Madureira, Sara Manente with Christophe Albertijn, Ondine Cloez and Michiel Reynaert, Dori Nigro & Paulo Emílio, Ula Sickle, Gustavo Sumpta, André Uerba, Sara Vaz & Marco Balesteros.

Inspired by the triangular shape of the Mezzanine space of Galeria Municipal do Porto as a potencial metarphor for the Bermuda Triangle, Luís Lázaro Matos will transport us to a whirlwind of images kaleidoscopically suspended in space. Progressively interested in contemporary processes of constant monetisation and surveillance in cyber space, the artist has been concerned lately with intersections between the lightness of modern glass architecture and the transparency of social media. Is this triangular area at Galeria Municipal do Porto not only an axhibition space, but also a place of disappearance? Waves And Whirlpools is curated by Martha Kirszenbaum, curator of the France pavilion at the 58th Venice Biennale, 2019.

We see the Douro through the eyes of pioneering photographers: the magnificence of the terraces descending in gentle waves to the river, the bridges and tunnels by Emílio Biel, the work of the vineyard and the grape harvest of his apprentice, Domingos Alvão, the mimosas or the almond trees in bloom of the Estado Novo tourism. When the colour arrived, the overlapping hues of solstices’ gold and the old reds. This was and is the mythical Douro, with rabelos boats sailed by sailors, descending in a queue to the pier, the barrels towards the warehouses of Gaia. This Douro remains on postcards and advertising pamphlets. Carlos Cardoso, year after year, rebuilt today's Douro, maintaining the reality of its permanencies and changes, in black and white, between the memory of the images and their meaning, which only the contrast of shadow and light can make it clearer. Almost immutable in the time of the Ages, the ancient rocks, the granite of the Iberian massif, the shale of its torrid crushing. The shale blades challenged men and forged the destiny of the vineyard, they are the matrix of the territory. The photographer shows us his power, on the paths, in the blockades, on the ground of almond trees and vineyards, but also the raw material for his direct use and, here and there, the failure of the rock in the face of vegetation or the sign of permanence depending on the divine. On this matrix basis, the men produced the terraces according to their needs, then the levels according to the machines. The civilization of communication appropriates the Douro from the railway and explodes with the road. The landscape is made with iron beams, concrete and reinforced concrete spirals, in an old and new figure. To clarify this, there are no baskets for transporting grapes and protecting glass: the road culture is also that of plastic and ephemeral. So, because it is a photographic look, a new collection of images turns abandonment, neglect and discouragement into beautiful images of remains, of impure signs of pure longing. A visible unity is defined between the gaps in the shale blades, in their illusory solidity and the constructions that speak of the technical levels of man's culture. Both crumble, cover themselves with weeds, tear under the vital impulse of the trees: both speak of a past and a changing present. The shale layers dismantle like the railway tracks, defining new layers of ground. The abandoned stations, created to assert their Portuguese nature, are invaded by a thicket and desolation. Sometimes the two worlds of the old recent and the new intersect, in the geometry of the equipment, but always, always the greatest geometry are the mountains that reduce the scar the road that tears them. This built, marked and suffered Douro is doomed to be a dazzle. The matrix undulating of the mountains is deepened with concentric lines and the very white verticals of the levels; the precipices, the starry shales of gleams, the royal road of the river became systematic appropriations of man. But a viewpoint high above, a repainted bench to rest, the quintas (estates) multiplying the quality of the wine are other responses to what Nature offers or denies: Nature is indifferent to man, indifferent to itself, as a concept. The tension between the critical spirit and the longing or the search for beauty are things of man. This is what these images are about.

From 6 December 2019 to 27 December 2020, the Natural History and Science Museum of the University of Porto (MHNC-UP) hosts, in its core pole (Historical Building of the Rectory of the University of Porto, near Cordoaria Garden), the exhibition Cultures and Geographies. Marking its centennial commemorations, the Faculty of Arts and Humanities of the University of Porto (FLUP) co-organizes with the MHNC-UP, and in collaboration with the Soares dos Reis National Museum, an exhibition that presents the collections that were part of the its museology and artistic holdings during the first phase of its existence (1919-1931). Originally used as teaching resources in three museum-rooms of the first FLUP, these collections, which, in 1941, moved to the Faculty of Sciences of the University of Porto, are now in the care of MHNC-UP. Through a set of 250 extraordinary pieces of archaeology and ethnography, visitors will be invited to travel over time and explore ways of life, experiences and rituals of human communities on each of the five continents.

The Mercado da Ribeira consists of 10 stores, and was created after the renovation of the old market. Food products in its traditional form, tourist products and restaurants. Location: Cais da Ribeira (near the north pillar of Luiz I Bridge).

Often dubbed monumental, profound, and even mystical, Bruckner's symphonic catalogue is one of the most celebrated in the history of Western music. Much less well known are his rare compositions for chamber music, of which the Quintet in F major stands out unquestionably. Guided by Helena Marinho´s comments, we will learn the details of this score that, despite being written for a chamber music formation, managed, to mirror the grandeur and depth of the composer's symphonic music. So much so that it gave rise to different transcriptions, including the version for string orchestra that will be presented in this concert

União das Freguesias de Aldoar, Foz do Doro e Nevogilde promotes a taste for art. The Foz'Arte cultural programme encourages the entire community to participate in a series of cultural events taking place at Forte de São João Baptista in Foz do Douro. Culture, art, history, and architecture are some of the fields that make up the dynamic programme of this event.

"A Varanda" brings three great actors to the stage: Ângela Pinto, António Machado and Maria Curado Ribeiro, in a very current topic: informal carers. In a genre much appreciated by the audiences, this comedy text will speak of life, of putting personal life on hold to care for a family member and its consequences and Love. In a society where informal caregivers exist in almost every family, the topic is addressed in a relaxed and cheerful way. The arrival of a third character proves that there are still happy endings.

Sopa de Pedra is a female vocal collective dedicated to a capella singing of traditional roots, born in Porto at the hands of a group of young people with different origins. Attracted by the melodic and harmonic richness of Portuguese traditional music, as well as their ability to bring people together and translate a people's way of life, they enliven its freshness and update it, with artistic rigor, through new harmonisations and arrangements, facets and voices, in a reinvention of each performance. While not neglecting original songs and traditional music from other countries, they bring to Associação Movimento Terra Solta in Campanhã, a repertoire that can range from Miranda do Douro's songs from Trás-os-Montes to Azorean ballads, from the cantigas de adufeiras of Beira Baixa to the cante alentejano, with room for singer-songwriters like Zeca Afonso, José Mário Branco, João Loio or Amélia Muge.

A series of absolutely improbable, yet extraordinary renditions (featuring Ming Smith, Frida Orupabo and Missylanyus). Renowned director of photography and filmmaker, Arthur Jafa presents in this exhibition works that he has been making as a visual artist for the past two decades. In film, photography and sculpture, Jafa's oeuvre reveals the determinant role of race, gender and social class in mainstream popular culture and in the media in the United States and beyond. From Spike Lee and Stanley Kubrick to Beyoncé and Solange, Arthur Jafa has collaborated with many noteworthy filmmakers, artists and musicians. For this exhibition, Jafa invited photographer Ming Smith and visual artist Frida Orupabo, and incorporated materials from Missylanyus’ YouTube channel to create an audiovisual experience that is both a political reflection and a visionary perspective.