Name: Álvaro Siza Discipline: As little as possible This confessional note - once written by Álvaro Siza on the inner endpaper of one of his sketchbooks – was the starting point for this commemorative exhibition of the 20th anniversary of the Serralves Museum of Contemporary Art. Álvaro Siza: in / discipline reveals to us the salutary disquiet and insubordination of his creative method which, forged at the cross-fertilization of knowledges, cultures, geographies, works and authors, has sustained, for more than six decades, a constant questioning of architecture from, simultaneously, what is inside and outside the discipline. Featuring thirty projects carried out between 1954 and 2019 (both built or unbuilt), the exhibition traces the professional trajectory of Álvaro Siza, since the period of his education to his full consolidation as an architect, through his readings, his sketchbooks and travel records, and the way his work was portrayed, photographically in seminal publications and verbally in personal statements by many of those contemporaries who have crossed paths with it over time.
Galeria Municipal do Porto opens the exhibition "9kg de Oxigénio". The exhibition is the result from the challenge launched by Galeria Municipal do Porto to the project "Uma Certa Falta de Coerência" to develop an exercise that reflects on the relationship between independent curatorial practice, self-managed by artists, and an institutional exhibition context. In this sense, "Uma Certa Falta de Coerência", which has been developing its work independently since 2008, will present this exhibition in which it will "test the production policies and ways of understanding, taking as its starting point the exercise of survival under conditions adverse and subject to institutional oppression". "Uma Certa Falta de Coerência" will transfer the atmosphere of the small space it occupies on Rua dos Caldeireiros, where air breathability is often questioned, and will feature works by artists who, over the past few years, have collaborated with the project: Babi Badalov, Daniel Barroca, António Bolota, Camilo Castelo Branco, Merlin Carpenter, Rolando Castellón, June Crespo, Luisa Cunha, Stephan Dillemuth, Loretta Fahrenholz, Pedro G. Romero, Dan Graham, Alisa Heil, Mike Kelley, Ruchama Noorda, Silvestre Pestana, Josephine Pryde and Xoan Torres.
Galeria Municipal do Porto opens the exhibition "Depois do Estouro", curated by Tomás Abreu and results from the "Expo'98 no Porto" competition project. "Depois do Estouro" was selected by an independent jury of the Galeria Municipal do Porto’s artistic team, composed by Daniela Marinho, postdoctoral researcher at the Department of Arts and Cultural Studies at the University of Copenhagen, Miguel Ferrão, who directs with Eduardo Guerra the artistic project Musa paradisiaca, and Nuno Faria, artistic director of Museu da Cidade. This exposition arises from the effects that the socioeconomic and technological developments by the end of the last century had on contemporary culture and "proposes a reflection on paradoxes of their consequences, while challenging notions of time manipulation". It brings together a set of works, produced at the end of the last decade by 13 young artists who grew up in Portugal in the 1990s, which "focus on issues of humanity, physical space and time": Alice dos Reis, Francisco M. Gomes, Henrique Pavão, Hugo de Almeida Pinho, Igor Jesus, Jorge Jácome, Lucia Prancha, Mariana Rocha, Mariana Vilanova, Pedro Huet, Rodrigo Gomes, Sara Graça and Tomás Abreu.
Clube Ilusionista Fenianos hosts from January 31 to February 1, the Festival de Ilusionismo «S. João Bosco» 2020. The event that has been held for 61 years in this city is open to Porto, its visitors and the general public. January 31st, Opening and Magical Get-Together, at the Clube Fenianos’ Bar. February 1st, Clube’s Noble Hall – PRESTIDIGITATION GALA
The exhibition marks the 30 years of the Foundation and the 20th anniversary of Museu de Serralves, presenting the programme of the Performing Arts Service between 1999 and today. It was born and developed through compromises between seemingly irreconcilable objectives: on the one hand, the need to present concrete data (names, dates, images) that showed where, how and when certain artists performed, and mirrored the pioneering character of the importance given to the performing arts by Serralves; on the other hand, it translates what seems to immediately distinguish these arts: the implication of the spectator, the eminently collaborative spirit, the "here and now" as opposed to "this was". The compromises included by putting on display documentation and letting its visitors know who has performed in Serralves (and when, how and where), while presenting elements that evoked the “here and now.” The documentation was incorporated through a process of collaboration: once the programmers Cristina Grande and Pedro Rocha selected the images and words that best illustrated the last twenty years of their programming (between stage photography and graphic materials that announced and accompanied the activities), it was commissioned to a graphic designer, Luís Teixeira, to create a book that would never be published, whose pages would be exclusively presented on the walls of Biblioteca de Serralves, along with the recordings of shows and props to which these programmers considered to be of special importance. At the same time, it was decided to occupy a considerable area of the library’s mezzanine with an object that would immediately evoke the idea of theatre and could "trigger" the viewer: a small stage waiting to be occupied. The visitor can and should sit down to read (programming texts, key books to understand the performing arts today) and, most importantly, to hear testimonials and memories of spectacles written by people especially attentive to Serralves' performing arts programming - between artists, musicians, writers and current or former directors and programmers of theatres and music and performance festivals - and then read by two actors. These testimonies came to reconcile the irreconcilable: the memories of certain shows, or of concerts and performances - necessarily subjective, incomplete, fragmentary - constitute the necessary counterpoint to data, dates, chronologies, documentation. It is largely thanks to them that this exhibition is not just about "what it was"; it is also now, and it is also here.
Brecht said that margins are as "violent" as the violence of the "river that drags everything" because they confine it. Margin, directed by Victor Hugo Pontes, tell us of a similar violence, associated with young people at risk in the periphery of life, like the characters in Jorge Amado's Captains of the Sands (1937), a book that inspired him and was a “guide”, here deconstructed and reconstructed here by Joana Craveiro’s writing. The dialogue between Victor Hugo Pontes’ choreographic language and the book a second layer was laid, that of the life stories, collected in a previous research, of children living in institutions such as Casa Pia and Instituto Profissional do Terço, and also a third one, consisting of the memories and experiences of the performers themselves and the process of creating the show - all these layers interweave in the original text behind this performance. A cast of kids, aged from 14 to 20 years (plus a dancer and a professional actor) inhabit the stage-house-shelter, mattresses scattered across the floor, the (dreamed?) oasis of a palm tree, as a vital space for the preservation of oneself in a group, a family, even. Margem, a production midway between dance and documentary theatre, moved by an urgent and tribal soundtrack, is admittedly a "very political" work. Racism, sex, revolution and death also appear, but there is a vibrant energy running through Margem, and that energy persists and endures.
The Christmas edition of MARKETPLACE-Casual Style is coming to Jardim do Marquês in the Invicta city of Porto. As always, and being MARKETPLACE-Casual Style a famous market in the city, we will have the best exhibitors from northern Portugal who, as always, will present us the best in Used Articles and New Creators. Apparel & footwear, jewellery / costume jewellery, handicrafts, gourmet products, convent / Traditional confectionery, furniture, vintage items and much more! Be part of the MARKETPLACE-Casual Style world, a Cosmopolitan Market open to the dissemination of new concepts and creators.
The Planetário do Porto - Centro de Ciência Viva (planetarium) is providing virtual expeditions to the sea of the Azores, within the scope of the iSEA science communication project, led by Faculdade de Ciências da Universidade do Porto (FCUP). Open to people over 18, this virtual reality experience has free-of-charge access, by prior registration, and aims to enable the exploration of ecosystems during a "mission" of about one hour. The public’s access to the "journey" is the result of the iSEA project, and aims to create a set of contents and messages about deep-sea ecosystems for scientific communication and to develop a non-intrusive, valid and replicable method in places like science centres and museums. The exploratory study has an emphasis on the themes addressed by the AIR Centre – The Atlantic International Research Centre, in the Azores, in particular on the sustainability of deep-sea ecosystems.
After founding it in the past season, TNSJ wants to consolidate the steps taken to create a Drama Club, in order to make it a space where young people under 18 who feel attracted by this art will be welcomed, encouraged to stay and learn. Under the guidance of Nuno Cardoso, Nuno M Cardoso and Emílio Gomes, the improvisations to which young people will be challenged are the starting point for a work around Shakespeare's Midsummer Night's Dream.
Vincent, a fifteen-year-old teenager, was lovingly raised by his mother, who always refused to reveal his father's name. Vincent then begins to search and discovers that his father is a Parisian, selfish and cynical publsiher, Oscar Pormenor. Vincent does not accept it. The painting that fills an entire wall in his room - a reproduction of Caravaggio's The Sacrifice of Isaac - inspires him do devise a plan of revenge, but it is in that moment that the encounter with Joseph will change both his life and that of his mother. Eugène Green's sixth feature film combines all the virtues of Green’s cinema - rigorous and "self-conscious" staging, classic erudition declined with "mystery", a hidden sense of humour that runs through and transfigures - in a story that begins in Paris, in the midst of "intellectuals" and "literary critics" (usual target of Green's harsh criticism), and ends by the coastline, in a bizarre (but as delicate as fun) evocation of the Nativity.