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.

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.

This big exhibition dedicated to the oeuvre by Louise Bourgeois (Paris, 1911, New York, 2010) spans seven decades, showing works made by the artist between the late 1940s and 2010. Visited and revisited in countless exhibitions held over the past decades in various museum spaces around the world, Louise Bourgeois’ vast and unique body of work deals with themes indelibly associated with experiences and traumatic events of her childhood - family, sexuality, body, death and the unconscious - which the artist treated and exorcised through her art. This exhibition is organised by the Serralves Foundation - Museum of Contemporary Art and the Glenstone Museum, Potomac, Maryland, USA, in collaboration with The Easton Foundation, New York, and co-produced with the Voorlinden Museum & Gardens, Wassenaar, Netherlands. To Unravel a Torment is curated by Emily Wei Rales, Director and co-founder of the Glenstone Museum. At Serralves, the exhibition was organised by Philippe Vergne, Director of the Museum, with Paula Fernandes, Curator. This exhibition was generously supported by Hauser & Wirth Gallery.

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

This is the first exhibition in Portugal by Korakrit Arunanondchai (Thailand, 1986), an artist who works in the fields of video, performance, sculpture and installation and who interacts between two cultures: born and raised in Asia he moved to the US in 2009 to study art and currently lives between New York and Bangkok. Arunanondchai's work explores and brings together themes such as Eastern religion and mythology, environment, ecology, music, geopolitics and technological development, contrasting Asian spirituality with Western pragmatism. Arunanondchai reflects on contemporary life and the human condition in the era of technology, speculating on the consequences of the Anthropocene, a recently definition that sees the effect of human activity as the main environmental force on the planet, capable of altering its geological composition. In his practice, the artist uses autobiographical events and experiences. Friends and family participate and are somehow involved in several of his works. No history in a room filled with people with funny names 5 (2019) is an installation made in partnership with the artist Alex Gvojic (U.S., 1984), a friend with whom he has been working for several years. Boychild, an artist linked to performance and dance who has regularly collaborated with Korakrit Arunanondchai, is also featured in this piece. No history in a room filled with people with funny names 5 envelops visitors in a mysterious and nocturnal environment in which a triple video projection is combined with laser rays emitted by a sculpture reminiscent of a lying human figure. The earth that covers the floor and the presence of natural materials (seashells, twigs) suggest a pre or post, historical environment. No history in a room filled with people with funny names 5 comprises a wide range of images and sounds, o generate an excessive, enveloping and disturbing atmosphere. The videos mix original footage - such as that captured by a drone of the Ramasum Camp radio station, a symbol of Thailand's recent history as an ally of the USA during the Vietnam War and now transformed into a tourist destination - and other pre-existing ones, such as television broadcast of of the rescue of 12 boys and their football coach who were trapped in a cave in Thailand in 2018. This work was initially commissioned by the Center d’Art Contemporain Genève for the 2018 Biennale of Moving Image and presented at the Venice Biennale in 2019.

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.

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.

This will be the first exhibition in Portugal of celebrated Indian artist Nalini Malani (Karachi, Undivided India, 1946). Widely known for her paintings and drawings, the exhibition in Serralves shows an equally significant side of her work, but with which audiences are perhaps less familiar, featuring exclusively her animations produced between the late 1960s and the present day. It was at the end of the 1960s, in an Indian art scene dominated by men, that Nalini Malani emerged as a provocative and feminist voice, equally pioneer in working with artistic media such as experimental cinema, video and installation. In addition to giving women a voice, the artist has always stood out as an artist concerned with social issues, giving prominence to marginalized people through visual stories (animations, in particular) that explore themes such as feminism, violence, racial tension and post-colonialist legacies. The animations brought together at the exhibition in Serralves, made between 1969 and 2020, were grouped under the sign of Utopia (this is, in fact, the title of the oldest work featured here), relating, on the one hand, to the utopian feeling that followed India’s independence and, on the other hand, the disillusionment with the path country had taken, governed by rules dictated by religious orthodoxy. In any case, Malani's work transcends national traumas to deal with globally social injustice. This is the case of the large immersive installation that closes the exhibition, which consists of nine video projections of animations and phrases. Can You Hear Me? although it was based on a violent story that took place in India involving the violent death of a child is an ode to all of those who have no voice. Produced between 2017 and 2020, the installation consists of animations in which images by the artist overlap and fragments of quotes of influential writers such as Hannah Arendt, James Baldwin, Bertolt Brecht, Veena Das, Faiz Ahmad Faiz, Milan Kundera, George Orwell and Wislawa Szymborska. According to the artist, Can You Hear Me? corresponds to the type of animation that she has been focusing on recently, to what she calls notebooks, and which are digitally created on an iPad. Malani has already stated: “When I see or read something that captures my imagination, I have a need to react with a drawing or drawings in motion. Not exactly in its mimetic form but more like a 'Memory Emotion'. I feel like a woman with thoughts and fantasies shooting from the head. Each of them may contain different ideas and may not feel like it is from the same person. Each of these voices in my head needs therefore a different penmanship.”

Roni Horn (New York, 1955) is an American artist who lives between New York and Reykjavik, Iceland. From a very young age she developed a passion for literature and philosophy, before her interest in the visual arts, and led her to see her library as a core engine for herself and her work. The practice of drawing is key and crucial in her oeuvre, and she has also been using other media, such as sculpture, photography and artist’s books. Travelling and immersing in the landscape - especially that of Iceland - are essential in her work, which explores themes such as weather and ecology, along with memory, identity and change. The representation of the outside world is used as an artifice or metaphor to reach an inner and mental space. These eight photographs of the River Thames belong to a series of 80 pictures that Serralves exhibited in her solo exhibition in 2001 and which were acquired at the time for the Collection. In Some Thames (2000-2001), Horn captures moments of the Thames’ flowing surface, getting a set of images that are seemingly abstract and very similar to each other. In fact, they are realistic images and there are infinite differences between them, although imperceptible at first glance. On the one hand, this approach points directly to the experience and perception that each one of us has of the passage of time. On the other hand, water, often represented or evoked in the artist's work, is an allusion to life, the body, sexuality, but also death. As the literature tells us - namely Charles Dickens and Joseph Conrad - in the dark waters of the Thames, the bodies of many of those who had violent deaths were thrown, as were many who committed suicide in these waters.

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).

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)

A student at Conservatório de Música do Porto, the young David Craveiro has been winning several awards in national and international piano competitions, having won the first award in the last edition of the Oeiras Piano Competition in 2020. Keeping the tradition of presenting a young hope in pianism in Portugal, Casa da Música opens its Piano Cycle with a recital by this young man from Coimbra and whose academic career includes prestigious teachers. On the programme are master works from the romantic repertoire, with particular emphasis on the variations by Beethoven and Schumann, in a journey that takes us to the most jazzy currents of the 20th century with the variations packed with swing by Nikolai Kapustin.

The emotion that Soraia Cardoso imprints in each word leaves no one indifferent. With a warm tone and a soul filled with fado, she is one of the big hopes of the new generation of fado singers. In 2018 she was a competitor of The Voice Portugal, having reached an honourable 3rd place. She was part of the cast of the Rádio Festival's Fado Gala at Coliseu do Porto and has sung all over the country. She received the Best New Artist Award of A Voz do Operário, in her 3rd fado gala.