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 exhibition "Revolução de 24 de Agosto de 1820: Prelúdio do Liberalismo em Portugal" will open at Museu Militar do Porto, curated by Fernando Gonçalves. Open to the public for ten months (until 1 August 2021), the exhibition depicts the bravery of a group of notable citizens of Porto, who took the first step towards the end of the British influence and the resulting liberal monarchy 200 years ago. The North demanded the return of the King, a Constitution, justice, and prosperity. The seeds of progress and modernity were sown in Portugal and there are documents and historical items that prove it.

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).

"Joaquim Vieira's Porto is by no means the same Porto to what we all presume to know or recognise - it is a more lively and surprising Porto, the imagined and imaginary city of an artist who also invites us to use our imagination as we travel through his spaces, often stunning and unmistakable." - Arnaldo Saraiva

In Turma de 95 (Class of 95), a trivial group school photo from 25 years ago plays dramaturgically as a powerful time machine. Appropriating Class of 76 by Alex Kelly, the founder of Third Angel, Raquel Castro revisits and questions her adolescence and that of her classmates by interweaving memories of the past and present-day reality. Using as starting point previous interviews and a documentary theatre convention, the stage director creates in Turma de 95 a personal portrait of a generation grappling with the expectation and pains of adolescence, in a Portugal that was undergoing an economic expansion and opening itself to Europe.

In these night tours to the Serralves Park, participants will have the opportunity to learn more about the history and fun facts of the Park as they set out to explore its most iconic spaces and its most notable trees, now lit up. An unforgettable experience not to be missed. Maximum Capacity: 9 adults

The 20th anniversary of Orquestra sinfónica is a celebration of the orchestra itself and of the music that only it can give us. The programme chosen for this concert illustrates it with the premiere of a piece by Daniel Moreira that gives voice to several soloists and creates dialogues between them and the orchestra.

European Philosophical Song Festival raises questions about identity: of the various participating countries and of Europe as a community, particularly as Europe is becoming more fragile and notions of what it means are being reassessed. We have given the task of writing texts to thinkers (philosophers, historians, anthropologists). In terms of form, the texts follow the poetic codes of song, that is, a structure that includes verses and a chorus, which can rhyme. As for the content, it is not about poetry, lyricism, or emotions, but rather of considering sociological, anthropological, or philosophical aspects of our contemporary world. Our goal is to respond indirectly and with humour to the growing contempt that populist discourse display towards intellectuals and the disappearance of thought from the public space, in favour of entertainment. After each song, the members of the jury will comment and discuss the themes invoked by the lyrics. - Massimo Furlan & Claire de Ribaupierre.

In its 7th edition, the International Anti-Racist Film Festival intends to contribute to the decoding and exposing the racial, ethnocentric, and xenophobic system that prevails in the architecture of time and space in which we live in. In order to question this architecture, it is urgent to discuss its devices and its lexicons and grammars, namely those used in the education system, by the security forces and border police, the judicial services and courts and the agencies institutionally in charge for fighting discrimination and for integration. MICAR 2020 also intends to trigger a plural and effective debate on consistent alternatives for fighting racism and ethnic-racial discrimination and for building an egalitarian society that fosters effective integration, participation and full mobility and citizenship for every man and woman. We shall discuss the role played by culture and the media - for instance, entertainment, debate and political analysis programmes - and the way in which these have been trivialising, in the public and olitical arena, forms of violence and incitement to hatred that again victimise women and men who daily face racism and xenophobia.

Citizens' well-being involves adopting healthier lifestyles, not forgetting cultural enrichment and leisure. Mercado da Terra comes about with a new concept of Urban Market, in an approach in which organic agricultural products are combined, with traditional jams, teas, smoked meat (fumeiro), Portuguese gastronomy and the most varied forms of handicrafts. In this new concept, health also appears, including alternative therapies and culture, with a special focus on stimulating reading and promoting and preserving local cultural activities. In the square of Capela da Nossa Senhora da Conceição next to Rua Padre Luís Cabral The programme presented may undergo some changes beyond the control of the organisation, namely due to weather conditions.

1. Hurt , Offended, Mournful, Sad, Plaintive, Sensitive, Half Rotten, Under the Weather; 2. Psychophysiological function that consists in experiencing a certain kind of sensation; 3. Meaning, Definition, Interpretation, Idea, Regard, Thought, Aim, Intent, Purpose, Goal, Aspect, Point of View, Direction, Moving Orientation; 4. Attention, Caution, Voluptuousness, Sensuality; 5. The sensory mechanisms constituting a unit distinct from other functions (for commom sense, eyes, ears, etc.) Ana Isabel Castro was born in 1994. She graduated from Escola Superior de Dança and attended the Advanced Training in Performance and Choreographic Creation by Companhia Instável. As an ERASMUS grant holder at MUk in Vienna, she worked with choreographers Esther Balfe, Saju Hari and Georg Blaschke. Throughout her career she has been collaborating as a performer with Compagnie 7273, Circolando, Companhia Instável, KALE Companhia de Dança and Joclécio Azevedo. In 2019 she presented her first creation Marengo via PALCOS INSTÁVIES at Festival DDD 2019, Porto. Deeogo Oliveira, 27 years old, born in Porto, has maintained his passion for dance since he was 9 years old. In his career he highlights that he is a member of the urban dance group Momentum Crew, completing the Advanced Training in Performance and Choreographic Creation by Companhia Instável, and his latest solo, ninguém, which he autonomously created and performed at the invitation of Erva Daninha and Teatro Municipal do Porto. He co-created and performed SOLO, with stage director Manuel Tur.

With a passionate, uncompromised and raw work, Mary Ocher has been standing out for the uniqueness with which she travels through traditional folk and garage from the 60s, ethereal voices and abstract synths, pop-experimental and African and South Americans rhythms. Based on a provocative stance, the music of this composer, performer, poet and visual artist rises up against the social current, deaing with themes such as authority, identity and conflict. With four albums and an anthology of home recordings, two EP's and two compilation albums of remixes, Mary Ocher has a range of collaborations that include names like the psych rock guru King Khan and Joachim of Faust.

Spontaneous and popular fair where you can buy birds, food and cages. Even if you do not want to buy anything, you can enjoy the singing birds, their colour and the liveliness of the fair. When passing through the fair, one must take a look at the breath-taking view of the Douro River and its bridges.

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.

Tenshô is the name of the shadow theatre created by the artist Beniko Tanaka who draw inspiration from the book Do Japão para o Alentejo by Tiago Salgueiro. Through the live manipulation of Japanese puppets, the performance brings to the audience a lively account of what was a true culture clash. After long journeys, the first Portuguese to arrive in Japan landed right in the middle of the Samurai period, followed by an epic journey, which brought to Europe the first representatives of Japan in 1584 and the first Japanese Christians to Lisbon. On a trip which goal was a meeting with the Pope, in Rome, young Japanese people ended up spending time in Portugal, where they learned to speak Portuguese, to play musical instruments, danced with noble people and began to communicate in a Westernized way. It is this journey full of emotions and adventures that gives rise to Tanaka’s performance. Venue: Auditorium Grupo Musical de Miragaia, Rua da Arménia

Argentine-Brazilian pianist Pablo Lapidusas shows that the classic trio of piano, double bass and drums remains an inexhaustible source of creative resources. His compositions are sophisticated, his technique immaculate and the almost telepathic communication with Cuban bassist Leo Espinosa and Brazilian drummer Marcelo Araújo is surprising. The two released albums, Live in Johannesburg (2015) and Bora (2018), reveal the contagious energy of this trio. In this opening concert of Outono em Jazz, PLINT joins the most recognised and versatile Portuguese jazz singer, Maria João.

Every day is a good day to get to know the Heart of Porto, but this is even more inspiring to discover how the Museum and Estádio do Dragão are key leading infrastructures in the city and where the architecture mirrors the same winning spirit of the club. The event will also be celebrated with four exceptional theme tours, specially prepared to explain how FC Porto challenges the creatives’ imagination and punctuates, architecturally, the history of Invicta. Distinguished by innovation and creativity, the FC Porto Museum is a pioneer as an affiliated member of UNTWO (United Nations World Tourism Organization) and breaks the barriers of the classic by setting up bold and technological exhibition solutions and configuration. Estádio do Dragão is designed by the prestigious architect Manuel Salgado and has accumulated important national and international awards for architecture and environmental management since its inauguration in 2003. Visits to the Museum and the Stadium are available in different languages via the Museum & Tour APP, with contents that provide an even more exclusive experience. The four theme Tour Porto FC on this day are subject to the maximum capacity applied to all visits to Estádio do Dragão and within the scope of the health authorities’ guidelines; visits to Estádio do Dragão have predetermined times.

Born in the deep part of the nation, between Caramulo and Serra da Estrela, Úria takes the blues from the Dão Delta to the stage. From rural legend to urban legend, everything is right: half man half gospel, hands of fado and feet of rock and roll. It is this way that for almost a decade now all the texts associated with Samuel Úria begin. And this will be no exception. So we must paraphrase Camané and steal the title of his live album from hom - "como sempre, como dantes". In fact, to present these concerts at this distance to Porto and Lisbon only with the suggestive idea that they will be the "concerts presentation of a new album", without a title or more than a well-know song - "Fica Aquém" was released at the end of November - it is nothing more than a matter of trust. Of mutual trust, we would say. But are there any reserves when we talk about Samuel Úria? We refer to who over the past few years has brought us unquestionable songs, songs that touched us, that excited us, that made us dance, songs that created their own space that, with no disrespect towards others, can only be occupied by Samuel Úria, just because it was a non-existent lyrical and musical territory, pioneered and conquered by the most talented singer-songwriter of this century - "Vem de novo", "Fusão", "Carga de Ombro", "É preciso que eu diminua", "Lenço Enxuto", "Espalha Brasas", "Teimoso" , "Não arrastes o meu caixão" and "Babarella e Barba Rala" are examples of this, and many more. And will anyone who has trusted us with all this deserve to be under suspicion? Or, on the contrary, will him be able to demand the same from us in return? We believe so, that it deserves all the expectations that the phrase "concerts for presenting the new album" creates. "Fica Aquém", the recently revealed song, further strengthens that spirit. Don't miss it!

More than 200 forged paintings, seized in the last 15 years by Diretoria do Norte da Polícia Judiciária (detective force), are on display at Alfândega do Porto. "A Arte do Falso" gathers not only counterfeit works of names like Picasso, Júlio Pomar, Cesariny, Malangatana, Amadeo Souza Cardoso, but also unusual objects that reveal the genius of criminals. Between counterfeit banknotes, umbrellas that turn into weapons, paintings exhibited at art gallery auctions that had been screened by specialists, the exhibition holds many surprises, including a machine that would have the gift of healing people all over the world by simply turning on some lights. The forged works on display to the public were located by the detectives of the police force, mainly in the urban areas of Lisbon and Porto, in art galleries, auctions, fairs, exhibitions and antique shops. In the exhibition there is also a space dedicated to the little ones, where they can take fingerprints and compare them on different surfaces.

Specifically conceived for the Contemporary Gallery, Hugo Canoilas' first exhibition (Lisbon, 1977) at the Serralves Museum is both a confirmation and expansion some core concerns in his practice: a speculative approach to the relationship between art and reality (social and political events), a questioning of the characteristics and boundaries of painting, and the emphasis given to collaborative work. With a background in painting, Canoilas has been examining the place of this artistic medium, how it is perceived both by museum visitors and passers-by (the artist is known for public space interventions which are never advertised as works of art). In the case of this exhibition at Serralves, Canoilas dispensed with the place where paintings are most expected to be found - the gallery walls - and decides to intervene on the floor, skirting board and ceiling of the Contemporary Gallery - spaces neglected by most painting exhibitions. On the floor there are three coloured glass pieces that represent jellyfish. Made in Marinha Grande, these jellyfish - possible symbols of climate warming, but also of such ideas as formlessness and metamorphosis on which several works by Hugo Canoilas are based – are meant to be stepped on by visitors. The main role given to the floor is confirmed by the skirting board-painting (a light box, featuring a painting on linen stretched like a canvas, delimiting the space of the exhibition), in which the artist draws attention to an architectural element that is as common as it is unnoticed. On the gallery ceiling, Hugo Canoilas will create a gestural painting that, like his most recent abstract paintings, is based on images of the seabed’s flora and fauna. It should be noted that the painting also functions as a lightbox that creates an aura in the room, affecting the perception of the jellyfish. Jellyfish are fascinating animals that, throughout their unusual life cycles undergo various metamorphoses and reproduce cells in unusual ways. His observation, which witnesses dramatic variations in configuration, defies all notions of stability and all ideas on the relationship between the parts and the whole. Just like this exhibition by Hugo Canoilas, comprised of three distinct elements - floor, skirting board and ceiling - that influence one another (in cooperation, symbiosis, competition, predation and parasitism) and which is an embodiment of an artistic practice that does not crystallize in a form, but which constantly question themselves about its own limits, functions and assumptions.

It is a challenge much aprreciated by composers: take a genre from another time and transform it into new music, which lets us float between different eras. Richard Strauss' Serenade is much more than a mere imitation of Mozart's serenades, as it is marked by originality - not by chance, it was a giant step towards a 17-years-old successful international career for the composer. Bartók's Divertimento was also inspired by the playful and flexible character of this classic genre, presented in a renovated and modernized way. The concerto for soloist and orchestra, on the other hand, finds in Vaughan Williams a very different approach from the continental models, showing the traces of the English popular song,a national identity that the composer so cherished. The melancholy of the piece invites to an attentive listening that will reveal, under its apparent lightness, a complex music and demanding challenge for the soloist.

Vera Mantero, the main name of Nova Dança Portuguesa, debuts in Cultura em Expansão with two of the solos that mark a career spanning more than three decades. Created in 1991, Talvez ela pudesse dançar primeiro e pensar depois marks the encounter of the creator and performer with her identity of movement, stage presence and choice of elements of creation and performance. Olympia, on the other hand, performance on the use of the body by the culture of power, goes beyond dance, also showing itself as the history of the rebelliousness of bodies and the denunciation of art's mercantile relationship with money. In both, the dancer / choreographer establishes the interdisciplinarity of her work, by stealing, deconstructing, and using what she needs so that her dance is complete.

A civil servant wets his feet on a quiet, peaceful and deserted beach, when an old cadaverous, toothless, beggar smelling of alcohol surprises him and grabs his shoes. His respectful and courteous attempt to get them back, is met with an indecipherable attitude on the part of the old woman, evolving from grumpy stubbornness to sadistic wickedness. The man is puzzled with what he sees as unmotivated cruelty on the part of a stranger, but the old woman is determined to force a "honest admission" of a previous insult. In an age oriented towards theatricality, where the game of media fantasies and the histrionic colours with which everyday banalities are adorned blurs the lines between "truth" and "lie", does reason stand on either side, in the middle or nowhere?

The play Transfiguration is the story of the sculptor's unfulfilled desire to instil life into his creation. In a gesture of despair, he enters his material clay to give it life. He sculpts clay on his head, burying himself in the material, eradicating his identify and becoming a living work of art, somewhere puppeteer in a puppet. But it is then that the material blinds him and he is forced to look inwards, into the very depths of his self. In a fascinating, expressive and total performance, Sagazan shifts his identity on stage. He pierces, erases and unravels the layers of his face in a frantic and uninhibited search. Painting and sculpting oneself becomes a form of ritual positioned between dance and trance, whose creative motor is improvisation, random and serendipity. - Olivier de Sagazan

The idea that serves as the basis for this performance is the translation from digital to analogue. The "handmade" digital, brought to real life through cardboard, plastic and fabric, in a desperate attempt to make it tangible. As the leading digital in our day-to-day, a Macintosh computer was chosen to be manually converted on stage, activating all users and mechanisms of the computer when is switched on. The five artists on stage become computer system operators and the stage becomes a large analogue computer. Thus, the computer's work environment is a cinema setting, the documents are cardboard folders and the lights of this set design are the glow emanating from the computer screen. We decode the digital by activating the computer on stage, presenting the result on a large screen in front of the viewers. - Cris Blanco

Continuing to explore the magic and the fantastic of Charles Perrault's children's stories, Francisco Santos and Vivonstage organise for the beginning of 2020 the musical PUSS IN BOOTS. The musical PUSS IN BOOTS, follows the adventures of a strange Cat who was left by inheritance to a young peasant. Not knowing what to do with him but showing compassion and affection towards the animals, the young man will be surprised by the Cat’s improvisation skill, who wears some fantastic boots. The Cat, with a big imagination and being very brave will try, through a crazy plan, that its Owner marries the beautiful princess. But, there is always someone to oppose his plans, in this case the odious advisor to the King who intends to take over the throne. Will Puss in Boots be triumphant?

Orquestra Jazz de Matosinhos (OJM) honours Miles Davis, the great hameleon of jazz. When he joined Gil Evans, the golden age of big bans had already passed, but the Canadian arranger had a bold proposal in mind: the recording of an album in the form of a suite with a jazz orchestra extended to unusual instrumentation (including horns, clarinets, flutes, and much more). The album was called Miles Ahead, and it was followed by two others crowning this fruitful partnership: Porgy and Bess and Sketches of Spain. Jazz history would no longer be written without these chapters, which, according to Miles, sought to bring the melody back to the centre of improvisation. OJM will reconstitute the unique sounds of these records, a challenge to some ensembles.

It was at the age of 16 that João Garcia wrote his first songs for the project Keep Your Shoes Off, revealing all his creative talent. Today, at 23, the multi-instrumentalist from Leiria is known artistically as Cateto, a name with which he presented, in 2018, the EP Mixtape, in an indie-rock record influenced by the likes os Radiohead, Ben Howard and Linda Martini. It is, above all, this repertoire that João Garcia brings to Casa da Música while promising to unveil new songs in between.

R. H. Quaytman employs mechanical reproduction techniques and conceptual art traditions to create closed series of works divided into chapters. Subsequent parts are numbered to mark the passage of time and gradually completing life and artistic project. The artist treats all exhibitions and paintings presented as one creative undertaking. R. H. Quaytman approaches painting as if it were poetry: when reading a poem, one notices specific words, we realise that each word has a resonance. Quaytman's paintings, organised into chapters structured like a book, have grammar, syntax and vocabulary. While the work is delimited by a rigid structure on a material level - they appear only in bevelled plywood panels in eight predetermined sizes derived from the golden ratio - the open-ended content creates permutations that result in an endless archive. Quaytman's practice engages three distinct stylistic modes: silkscreen based on photographs, optical patterns such as moiré and scintillating grids, and small hand-painted oil works. Quaytman's work, presented for the first time in Portugal, points to the new possibilities of today's painting. What is a painting, an icon? What are the means of painting in a culture saturated by visual stimulation, from photography to the digital forest of signs? Is painting still a relevant medium to share our story? The exhibition is co-organised by Muzeum Sztuki in Lódz, Poland, and by Fundação de Serralves – Museu de Arte Contemporânea, Porto. Curated by Jaroslaw Suchan

At first it was “me and many”, then it became “many and me” and finally it became just “many”. Not that I got lost, forgotten, diluted or evaporated, no! I simply put myself where I really belong. Very, very slowly, that was the most important thing to understand. Yes, there are many of us!!! Many and little!! There are many of us, little and young!! Lilliput is a journey through the human being. Undertaken by tiny human beings. So little that when compared to those beings which cover the whole stage, we are giants. Giants! Imagine the size of someone who believes we are giants! With great care, we are able to see and listen to them through cameras and sound amplification and ... those little beings may talk about us! On second thought, there are also many of us, little and young ... - Ainhoa Vidal

Monthly, Restaurante Casa da Música becomes a true Fado house, where fado is “served at the table” by top performers, honouring our finest tradition, but also the contemporaneity of Portuguese music par excellence.

Motorama are now a trio after a series of line-up changes that have already included a total of five members. The new format that includes members from the original line-up Vlad Parshin and Maxim Polivanov - and which has been the same since the release of the most recent studio album Many Nights - will be the one we can expect to see on the Russians' return to Portugal in 2020. Since their first EP, Horse (2008), Motorama have built their own engaging melody with passionate post-punk textures, but it was from Alps (2010) that the band achieved international renown with songs such as "Wind In Her Hair", "Empty Bed" and "One Moment" to become career hits. This was followed by Calendar (2012) and, later, Poverty (2015) and Dialogues (2016) records that brought them to Portugal countless times. Now in a new period we expect to hear Many Nights. In charge of the first act will be Ploho. Sónia Felizardo

What happens when three friends, like César Mourão, Miguel Araújo and António Zambujo, decide to go together on vacation to the Algarve? Conversation after conversation, guitar after guitar, improvisation generates improvisation. Being fans of each other for a long time, when suddenly, they were creating and improvising songs together, with no other intention than to have fun. And so, it was. The good memories of those days led us to want to share these moments of complicity with the audience. They then decided to invite Luísa Sobral, herself a very peculiar improviser, to whom they are devoted fans and friends, to join them. The result? A magnificent Disarray (Desconcerto) of music and good humour, created a la minute, absolutely improvised, absolutely unmissable, that will surprise them as much as the audience, and that might be even better than going on vacation with them.

Alfredo Cunha who we are talking about is the man with his camera and his gaze. Any good photojournalist senses, before he knows it clearly, that an image, which must contain all content and seduction, is, has always been a decisive moment. Before being defined by Cartier-Bresson, it already existed in the mind of those who photograph the event, the face and the movement. In Alfredo Cunha's long 50-year career, much has changed: the country he photographs; the equipment he uses - far from the very first Petri FT, the Leica M3, which he started using in 1973, and all the Leicas that followed and which he has always remained faithful to; photography - from analog, mostly black and white, to digital, which he has been using since 2003. The photojournalistic image responds to the requirement of agreement with the text, it is also linked to where, when, how and why. However, when the photographer has already defined his style, and this is the case of Alfredo Cunha, the seduction of the image overlaps the seduction of the news. In all of them it becomes difficult to associate the image with a style because Alfredo Cunha goes beyond the current trend and theme. And it is in this regard that we can say, with Barthes, that his photographs are the result without a code, they depend on the transmission of his for our affection. Teresa Siza (adapted text)

Written to commemorate the bicentenary of the United States of America, this work is the result of Olivier Messiaen's trip to Utah. Impressed by the huge gorges that characterise the landscape of that region, he used them as a starting point for an elevation of the music, which starts from these geological formations towards the stars, with numerous birdsongs in between. Despite the monumentality of the piece, the orchestra that gives it its body is curiously reduced to 43 instruments, with a predominant percussion section that helps to create extraordinary sound images. A very demanding piece for any of the instrumentalists involved, among which is the prestigious pianist Paulo Álvares, an acclaimed specialist in the repertoire of the 20th and 21st centuries. Directing will be Sylvain Cambreling, a conductor who has already been awarded the MIDEM Contemporary Music Award for his recordings of Messiaen's orchestral works.

FIBRA has as its genesis the visual potential of costumes, adopting them as main character and the starting point for the scenic creation. The clothes-body epidermis emerges as the medium to explore the ambiguity and beauty of human emotions, linked with the notion of deformity and metamorphosis. Based on the limitations and adjustments between the wearable piece and a body, one finds pretexts to reflect upon what’s beautiful and ugly in a symbiotic relationship whose inherent concern is a more active sensory communication between matter, artist and viewer. When putting on the textile wrapping, the performer isolates himself from the outside. Smells, sounds and touch are heightened and, at the same time, concentrated, being dominated. That which is visible takes on a dance of countless identities. - Filipe Moreira & Lola Sousa

This work is organised from research rituals around time, its occupation, suspension and condensation. Gathered in an accumulation logic, on stage are reused objects, low-fi technology, amplification devices and recordings collected randomly during the process. From this environment, the performers make a mosaic of actions, configuring physical and mental spaces that summon the effects of slowness, speed, repetition, continuity, discontinuity, measurement or even forgetting time. The choreographic and sound fabric produced is also interwoven by fragments of shared memories, subjected to transformation and wear and tear processes.

Back to recording solo albums, the remarkable Lena d'Água presents her latest album, Desalmadamente. Considered the first Portuguese woman to join a rock band, Lena d'Água debuted in the Beatnicks, still in the 70s, followed by the foundation of Salada de Frutas, briefly joining Atlântica, performing children's songs and her solo success still in the 80s. Thirty years later, Desalmadamente marks a return to the future, with songs by Pedro da Silva Martins and arrangements and production by the musicians who accompany the artist live, In a concert that will be a "big party", the singer will perform the new songs, nor forgetting the most iconic songs of her vast career. Venue: Associação de Moradores do Bairro Social da Pasteleira

This last chapter of the series explores the complex relationships between cinema's audiovisual practices and resources and the dynamics inherent in musical production and interpretation, in particular, of North American black music. It explores and shows strategies of artistic intermediary that import the advances of black culture in the areas of music, dance and oratory to the audiovisual territory. According to Arthur Jafa, the epithet of black artistic production (and black culture as a whole) occurs in musical manifestations (from jazz to hip-hop), where these are the dominant form. As such, the promotion of an aesthetic advance in specifically black cinema will only benefit from the identification and understanding of the variables that mark this singularity and popularity. The films that make up the two screenings of this last part of the The Dark Matter of Black Cinema cycle cover the universe of music - particularly jazz - both at the thematic and at the formal level, through the involvement of musicians in the practice of cinema, as directors, technicians or actors. The first screening is dedicated to a director of the L.A. Rebellion movement that greatly influenced Jafa's relationship with cinema, Larry Clark, and what was considered “the only jazz film in the history of cinema”, Passing Through (preceded by the rebellious provocation of the musician-filmmaker Ed Bland). The second screening is held under the aegis of the claim, with the dreamlike editing by Dawn Suggs, the street photography (and denunciation) by Khalik Allah and the page to the father of the black revolution, Malcolm X, “the angriest man in America". This second part is, therefore, characterized by objects of an exploratory nature that seek to pave the way for the possibilities of cinema as an art of synthesis of a whole culture, experimenting with different approaches to the rhythm of editing, the cadence of capturing and projecting images and sounds and the frame rate (from the biggest frenzy to the still image).

Born from the meeting between Gwendoline Robin, astronomer Yaël Naze and oceanographer Bruno Delille, Crater 6899 is a breach that takes us back to the origins of the world, when comets collided with Earth and released large quantities of water. In connection with astronomy (which scans the sky, galaxies, and looks to the far reaches of the universe) and geology (which stirs the earth, stones, the arrangement of rocks and structures), Gwendoline Robin's performance is an event that has changed the history of our planet. A landscape of pending material, evoking earthly deserts and celestial spaces. Northing is fixed, everything is subject to manipulation, change of state, transformation related to time and gestures. Playing with the infinitely small and the tremendously vast, the infinitely close and the tremendously distant. The installation gradually changes and becomes a new landscape to behold.

Campanhã é a Minha Casa is a collaborative project that aims to bring the parish of Campanhã to the big screen. Has it doesn't have a cinema or was never featured in any iconic film in the history of Portuguese Cinema, the project transforms three less conventional spaces into true living rooms, giant but welcoming, where there will be three special cinema sessions. Campanhã é a Minha Casa is a invitation to a collective construction, where everyone is invited to enter and also to participate. To this end, residents of the parish will also be challenged to share their collections of family / home videos and films, portraits of intimacy and real life, which will serve as the basis for making three short films, by the directors Cláudia Varejão, Edgar Pera and Sónia Amen, which will be screened at the beginning of each session. Places where the cinema sessions will take place: Monte do Forte; Bairro S. Vicente Paulo and Quartel da Bela Vista

The Coreto is especially dedicated to performing original music and is back, tonight, to the compositions by its founder, saxophonist João Pedro Brandão. The group brings together a range of figures who have been leaving their mark on the Portuguese jazz scene and has already released four albums which had international acclaim. In this concert, it wanders between written and improvised music, looking for room for each of the soloists in order to highlight their individual voices and their affinities. According to the prestigious composer Ohad Talmor, Coreto brings us "music full of surprises, colours and ideas, wonderfully served by inspired soloists".

The city of Porto hosts another edition of ITF Future Series Wheelchair International Tournament, a competition that will bring together some of the main names in the sport's world hierarchy. The tournament, which will once again be played on the courts of Clube de Ténis do Porto, will feature leading figures like Austrian Nicolas Langmann, currently 34th in the world ranking, Brazilian Gustavo Carneiro, 37th on the list, and the Dutch Carlos Anker, 38th. Experienced Italian tennis players Luca Arca and Silviu Culea, as well as Greek Stafanos Diamantis or Frenchman Nicolas Charrier, are also confirmed. The national representation will be done by the main players in Portugal, such as Jean Paul Melo, 131th of the world list, also Carlos Leitão, currently 136th, and João Couceiro, 272nd. Given the circumstances related to the pandemic, and since the draw only consists of 16 players, the Portuguese Francisco Aguiar and José Sousa are, for now, as substitutes, and can be summoned if any of the registered tennis players is unable to travel to our country.

This performance stems from a person I drew as a memento of a concert. I called it Guintche and, meanwhile, it grew, gained a life of its own, gained autonomy and rebelled. Guintche is a word in the Cape Verdean Creole language: it is the name of a bird, the name of a prostitute, but it can also refer to an attitude, that of someone who jumps from one event to the next, lacking coherence in his/her choices. Through its counterintuitive structure, Guintche responds to wax sculpture - it melts, solidifies, changes its shape... Yet, it always maintains the same nature, that is, it remains made of the same wax. - Marlene Monteiro Freitas

Composer, lyricist, singer, producer and guitarist, Eduardo Branco is a prominent talent in the new generation of Portuguese musicians. After some successful experiences with bands, just over two years ago he recorded an EP under his own name, Ilusão, which would sell over a thousand copies and whose album release concert sold out the IPDJ Auditorium, in the city of Coimbra, which was a success making the musician go on a tour through Lisbon and Leiria. He arrives at Casa da Música with an album, 97, now available on all digital platforms.

"Playing w / Stupidity" is the result of a collaboration between the artists Cardoz (João Cardoso) and Narso (Bernardo Fernandes) and seeks to portray the dependence we have on the online world, arising at a time when the topic of disinformation and political propaganda is becoming more relevant in society. In this sense, the duo intends that their art, which is divided into sculptures and paintings, be a vehicle of awareness for the subtle control to which we all end up being subject through the electronic devices that accompany us in our daily lives and lead us to question whether there is really free will behind our actions. The exhibition will be on display in Lisbon, at Rua do Beato, 30, from 1 to 18 October, and in Porto, at Hard Club, from October 22nd to November 8th.

One of the most watched films over the 75 years of Cineclube do Porto, The Cabinet of Dr. Caligari which this year celebrates 100 years of existence is a precursor film of German expressionism that has been dazzling, over the years, several generations of cinema lovers, which, because of that we also chose to bring to our celebrations. After a film-concert with Filho da Mãe, in April 2017, at the cinema Passos Manuel, Cineclube do Porto returns to Dr. Caligari with Haarvöl. A collective project with three permanent members (Fernando José Pereira, João Faria and Rui Manuel Vieira) and with various collaborations such as the Galician composer Xoán-Xil López and the Franco / Mexican composer and guitarist Bertrand Chavarria-Aldrete and active in the field of electronic and experimental music since 2012. Haarvöl's music is conceptually developed in the exploration of the properties of sounds, in order to achieve cinematic and image environments. Sounds are not restricted to their medial origins: both digital and analog sources are used and mixed in complex compositions with special attention to detail. The film takes place in Dr. Caligari's asylum who, with his hypnotic powers, controls his patients at will. A twisted and delusional portrait that aims to reflect on a Germany destroyed by the First World War. One of the greatest cinematic events in history. It was with “The Cabinet of Dr. Caligari” that German expressionism was born. Its deformed sets are a milestone in the history of the seventh art and intended to mirror Caligari's crazy gaze on the real world.

The more than one hundred photographs on display in the Manoel de Oliveira Fotógrafo exhibition are one of the big surprises that the director’s personal archive, entirely deposited in Serralves, had been holding. Produced between the late 1930s and the mid-1950s, these images, stored for several decades and mostly never-before-seen, reveal an unknown facet of Oliveira and open new perspectives on how his filmmaking developed. Manoel de Oliveira's passage through the static image is a decisive stage in his career as a filmmaker. In dialogue with both pictorialism, constructivism and Bauhaus' experiments, his photographs are halfway between exploring the classical values of composition and the modernist spirit running through the entire first phase of his film work. Used mostly artistically, photography is for the director an instrument of formal research and experimentation, another way of questioning, often in direct relationship with films, to building his own visual language. These images that are now on view, certainly add a new chapter to the history of Portuguese photography of the 1940s. But they are also a precious instrument to better understand the way Manoel de Oliveira took on, during a period of ten years, the direction of photography of his own films, as well as to contextualize, from a broader perspective, the strict composition that, in general, featured in all his films. Looking at these images, it will not be of much interest to know where the photographer begins and where the filmmaker ends, nor to define, with precision, the extent to which the first one may have sometimes taken the place of the second one. What is important, is to question how this coexistence between two ways of seeing and thinking is embodied in Manoel de Oliveira's work. Curated by António Preto, Director of Casa do Cinema Manoel de Oliveira. All the photographs on display belong to the Manoel de Oliveira Collection, Casa do Cinema Manoel de Oliveira - Fundação de Serralves, Porto.

Teatro do Bolhão is creating an ambitious triptych: after Vida do Grande D. Quixote de la Mancha e do Gordo Sancho Pança, by António José da Silva (O Judeu), and before Shakespeare's The Merchant of Venice, the centre is made with Lorenzaccio, by Alfred de Musset (1834), directed by Rogério de Carvalho. From accounts of the history of Florence in the 16th century involving the overthrow of the tyrant duchy of Alessandro de Médeci, murdered by his cousin Lorenzo, disparagingly called "Lorenzaccio" because he frustrates the ideals of change, Musset creates both personal drama around this figure, haunted by a Hamletian restlessness, and a criticism of a society's decline. A key piece of the French romantic drama, considered hard to perform or staged in amputated versions, has always been a challenge for the company, which now makes its premiere in Portugal, drawing inspiration from its formal freedom to corrupt its dramatic forms and genres. A performance about a human community powerless against the crumbling of power and its capacity for dissimulation, Lorenzaccio aspires to be also a portrait of our time.

Rui Ramos takes the stage of the FC Porto Museum auditorium and goes after the secrets of magic in an adventure full of mishaps and very fun. Under the, performative ingenious and baton of the host, Quem Mora no Chapéu do Meu Avô combines tales and magical art in a show aimed at children, but to participate together with your family, because in the fabulous universe of Histórias para Dragõezinhos, even adults have a blast!

French-Canadian Louis Lortie is considered one of the most versatile pianists in the world, exploring a repertoire that spans several eras. On his debut at Casa da Música, he presents a recital entirely dedicated to the famous transcripts of the Hungarian virtuoso Liszt. Used to disseminate the literature of other composers but also as a way to demonstrate the virtuous resources of the performers, Liszt's transcriptions had a mejor impact on the piano catalogue. Among about 400 scores, Beethoven's nine symphonies stand out for being some the "most demanding pieces ever written". The programme also includes the transcription of the touching song cycle of An die ferne Geliebte, percursor to the great song cycles by Scubert and Schumann.

Jaguar is the name given to some horses, a dance piece and a marionette theatre. In Jaguar we are puppets and, as such, in this manipulated theatre, we entrust ourselves to others and place ourselves in their hands: Mandinga d'Soncent, Wölfli, Blaue Reiter, among others who, although radically different, will be nothing more than an extension of ourselves. Jaguar is an excerpt, a hunting scene or a haunted hunting scene. - Marlene Monteiro Freitas

After years of intense concerts, with a repertoire of previous albums, Capicua makes a reset and starts a new tour, with a new album, a new formation and a new scenario. Madrepérola comes to renew the repertoire, but above all the spirit of the rapper's performance. The idea is to perform the album in its entirety, talking about each song carefully, like someone taking a guided tour of a new home. Being an album of songs, with many guest voices and much more danceable, it demands that this energy be realized on stage. Thus, in addition to the musicians who usually accompany her (D-One, Virtus, Luís Montenegro and Sérgio Alves), Capicua will be flanked by two singing voices (Inês Pereira and Joana Raquel), to do justice to the musicality of the new songs and open new possibilities for discovering the old repertoire, with the reinvention of old songs. Visually, the performance takes on a new identity, with lots of light, textures and brightness, alluding to the iridescence of mother of pearl and the polychrome of underwater charms. It is undoubtedly a new era that begins, full of vital energy and poetry converted into music.

During a trip to Scotland in 1829, Mendelssohn visited the palace of Holyrood, where Queen Mary lived and was crowned. He saw the stairs that her assassins climbed, he saw the ruined altar, covered with ivy and in the open air, in the center of an idyllic landscape. There he claimed to have found the beginning of the Scottish Symphony, which he would finish only 12 years later. The marks of the trip span all arrangements of the piece and will be unveiled in this concert commented by Gabriela Canavilhas and illustrated by examples presented by the orchestra. On the podium will be Scottish conductor Douglas Boyd, artistic director of the Garsington Opera festival.

The truth is that everything remains connected... Here we are insisting once again, with this of Literatourism... Well, and the reason is simple: we think that Literature, Heritage, Tourism and Gastronomy are all connected.And if they are not, they should be... As we understand that it must be so, here we are again for the fourth time to declaim that there is still a long way to go, there are trips that one must go and discover, authors that have a lot gain from being read and reread, wisdoms that have to communicate with one other, and flavours that are only waiting for us to give them the opportunity to reveal themselves... - José Valle de Figueiredo

Tour Nedó is the new show by Manel Cruz and his band. A pretext for making and reinventing music, starting with the latest "Vida Nova" but also the oldest repertoire, including never-before-heard songs and other songs that will never exist. After Ornatos Violeta, Pluto, Foge Foge Bandido and Supernada comes "Vida Nova", the long-awaited debut album by Manel Cruz. The expectation was great and exceeded from the very first moment. Over 12 songs, Manel Cruz makes himself known a little more and there is still a lot to unveil. The songs and poems that leave no one indifferent, stand out individually and as a whole. "Ainda Não Acabei", "Beija-Flor", "Cães e Ossos" and "O Navio Dela" are the singles. On stage, solo or with António Serginho (percussion, piano, xylophone), Eduardo Silva (bass, vocals) and Nico Tricot (piano), musicians with whom he has performed for over 10 years and, in this formation, for more than six years, Manel Cruz seems to be a new man.

"Why is it that when looking at nothing, we still never see anything?" Pedro Tudela and Miguel Carvalhais collaborate as a @c project since 2000, having produced more than twenty records, almost two hundred performances and several sound installations. To mark the twenty years of the project, Tudela and Carvalhais collaborate with André Rangel in the new performance “Não-Nada” (Non-Nothing), specially created for Rivoli's Understage. “Não-nada” is a performance for multi-channel sound and light that explores Rivoli's stage, non-stage and under-stage. It is a performance that distils two decades of radical sound experimentation, a militant and restless journey, a permanent work in progress.

Gabinete do Desenho of Casa Guerra Junqueiro hosts the exhibition "Cadernos A & B: Prelúdio e Fuga", by artist Jorge Feijão. With free entry, until it achieves the venue’s maximum capacity, and following the scrupulous compliance with preventive measures, the exhibition can be visited until 24 January 2021. It is a unique opportunity to discover an immense series of drawings, of small format, between the sketch and the finished drawing, the light and the dark, the speed and the reflection of the hand and thought. As if in this exhibition at Museu da Cidade, the drawing itself was revealed through a certain musical cadence. The set of works that is on display constitutes - let us make the analogy - as a palimpsest of motifs that are similar to an imagery atlas. Widely used in the Middle Ages, palimpsest was a manuscript in parchment or papyrus, which was regularly scraped or erased to allow the reuse of the material and the subsequent overlapping of a new writing, even though traces of the previous handwritten text could be seen.