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.

Some people may associate clay, pottery and ceramics with tradition, and tradition with the past. Some may associate technology, digital communication and databases with the new, and the new with the future. What if the future is a technology as old and peculiar as clay? What if, after all, clay is a material that is permanently self-renewing and gives time its unpredictable configurations? What if clay is the future and the future is clay? And if the feet of clay only reveal vulnerability because the rest of the body is made of a different material? What if the feet of clay are actually to root people to the earth, connecting them through the same material? And if the feet of clay are a way of establishing post-technological communication, which does not require networks or cables? Only our many, one, two, eight, twenty feet and some clay? These are some of the questions and riddles that curators Chus Martínez (curator, art historian, writer and director of the Art Institute of the FHNW Academy of Art and Design Basel) and Filipa Ramos (writer, curator of the Art Basel film section and one of the curators of the latest edition of Fórum do Futuro) focused on bringing together a group of artists who have been using clay, pottery and ceramics to imagine, plan and shape the world in which they live in.

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.

"If someone were to ask me what the five most beautiful days of my life have been, that day with Giacometti's sculptures would be certainly in the top three". This is how Peter Lindbergh described the day he was invited to photograph Alberto Giacometti's art collection at the artist's Foundation in Paris. From the outcome of this encounter emerged a joint exhibition, of Giacometti's sculptures and Lindbergh's photographs. It is this exhibition that now arrives at MMIPO – Museu e Igreja da Misericórdia do Porto. So far, this joint exhibition has only been exhibited at the Giacometti Institute in Paris. It is an intimate dialogue between the work of Alberto Giacometti (1901 - 1966), one of the most acclaimed sculptors of the 20th century and the photography of Peter Lindbergh, which reveals a notable similarity in the way they represent reality. This initiative is also a tribute to the legendary fashion photographer who died prematurely in September 2019 and who was fully involved in the process of bringing the exhibition to Porto. The exhibition comprises more than 110 works, including bronze sculptures and drawings by Alberto Giacometti, as well as photographs by Peter Lindbergh. In an exclusive room, some of the most iconic portraits by the fashion photographer will be on display, including those featuring Naomi Campbell, Uma Thurman and Julianne Moore.

Urban fair that aims to contribute to keep the typical and picturesque character of the old street sale, included in the city's entertainment strategy. Towels/table clothes and other products for the promotion of tourism in the city are sold here.

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.”

This exhibition, shown at the mezzanine of the Serralves Library, brings together works by Jorge Molder (Lisbon, 1947) selected from a wider set of works in the Serralves collection. The photographs presented belong to the “T. V.” (1995), “La Reine vous salue” (2001), “Tangram” (2004/08), “Call for Papers” (2013) and also “Zizi” (2013). Molder's work is known mainly for his black and white photographs, in which the artist photographs himself (only his face, full body and hands) usually wearing a dark suit and white shirt, an idea that is contradicted by his two latest series. References from literature, film, music or art history, as well as from the everyday, life and its uncertain and unpredictable nature, are crucial in his oeuvre, as they can constitute the point from which can derive and build something. In this sense, and because the exhibition takes place in the Library, the exhibition is complemented with bibliographic references important for the artist available for consultation, including some of his books and exhibition catalogues.

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.

Dara Birnbaum (New York, 1946) is an American artist who has stood out since the 1970s with her video works. At that time, television had a huge influence in people's lives, it was the main and most influential source of information in society, now amplified by the internet. Birnbaum critically analyses the television universe, frequently using TV broadcast images, by interrupting them, repeating them and editing them. From the 1990s onwards, she began to create large-scale video installations, consisting of several television screens. Specially commissioned for Documenta IX in Kassel, Transmission Tower: Sentinel (1992) analyses the influence of television on American politics, in this case regarding the First Gulf War, which began in 1991. Eight video monitors, mounted on sections of a transmission tower, form a line that follows the trajectory of a bomb dropped from a cargo plane. Images of George Bush addressing the 1988 National Republican Congress are broadcast on each monitor. At the same time, images of poet Allen Ginsberg reading his anti-war poem Hum Bom!, written during the Vietnam War and rewritten for the Golf War, at a 1988 National Student Convention, stream across the monitor pole.

Livraria Lello inaugurated an "unprecedented" project with Time magazine, which highlights authors awarded by the Swedish academy who were the cover of the North American magazine. The art installation "Livraria Lello X Time: What Makes a Nobel?", by Time's creative director, D.W. Pine, highlights authors who received the Nobel, but also others who "deserved front cover honours" of Time because of "their value ‘nobelizable’ of its literature". The installation is made up of 12 panels, which feature the covers of Time magazine, from Rudyard Kipling, one of the first Nobel laureates in Literature, to Toni Morrison, awarded by the Swedish Academy in 1993, as well as other authors who were featured on the cover, such as Virginia Woolf and William Shakespeare.

Ai Weiwei (Beijing, 1957) is a global citizen, artist, thinker and activist who uses various modes of investigation and production in his work, depending on the direction and outcome of the research he currently has in hands. From iconoclastic positions in regard to authority and history — which included the triptych Dropping a Han Dynasty Urn, 1995, and a series of photographs entitled Study of Perspective, (1995 - 2011), in which he shows the middle finger to symbols of power — his output has diversified to encompass architecture, public art and performance. In addition to concerns of form and protest, Ai Weiwei currently measures our existence according to the relation to economic, political, natural, and social forces, uniting craftsmanship with conceptual creativity. Universal symbols of humanity and community, such as bicycles, flowers or trees, as well as the perennial problems of borders and conflicts are reformulated and enhanced through installations, sculptures, films and photographs, while continuing to speak out publicly on issues he believes important. He is one of the most prominent cultural figures of his generation and an example of freedom of expression, both in China and internationally. The works on display — Iron Roots (2019) and Pequi Tree (2018 - 2020) — are part of a body of work that reflects Ai Weiwei's interest and concern with the environment and, more specifically, with the deforestation of the Brazilian Atlantic Forest. The exhibition in Serralves was conceived specifically for the park and for the Museum's central room.

Azul e Ouro – Esmaltes em Portugal da Época Medieval à Época Moderna The Museu Nacional Soares dos Reis has opened the exhibition Azul e Ouro – Esmaltes em Portugal da Época Medieval à Época Moderna, dedicated exclusively and for the first time in Portugal to artistic enamel. The exhibition is one of the «founding» pieces of the Museum's collection, a series of 26 enamel plaques painted in the 16th century, from the Monastery of Santa Cruz de Coimbra, to bring together and compare in an unprecedented way various enamel techniques applied in a sumptuous set of liturgical, devotional and ornament objects. The pieces that will be exhibited were produced between the 12th and 19th centuries, especially in the workshops in the Limoges region, renowned as the most prestigious. There are several depictions of this singular and demanding technique of ornamentation as is the enamel. The exhibition will bring to Porto several national treasures, including the triptych of the Passion of Christ from the Museu Nacional Frei Manuel do Cenáculo, one of the enamel pieces existing in our country with the greatest international recognition. The “Azul e Ouro” exhibition also includes other highly prestigious pieces such as two vaults from the Cathedral of Viseu, 12th century pieces coveted by the illicit antiques market, stolen in 1980 and found years later in Milan in a joint action by the Portuguese Detective Force (Polícia Judiciária) and Interpol, or a book binding plate from the late 12th century, early 13th century, accidentally found in an excavation between Leiria and the Monastery of Batalha. The last section of the exhibition is dedicated to the revivals, replicas and counterfeiting that were produced on a large scale throughout Europe, throughout the 19th and 20th centuries, enchanting and deceiving the eyes of museum conservators and private collectors in Europe and in the U.S.

Station 1 reveals the history of absence, rather than the history of presence. Fragments and further fragments are used to narrate moments that indicate the existence of the current and previous epochs. Materials from different periods coexist with audiovisual devices and different types of image, to show us how PortuCale - the city that gave Portugal its name - became Porto.

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).

“Il Divino Michelangelo & Il Genio Da Vinci” is an abstract journey inspired by the artistic creation of two great Renaissance artists: Da Vinci (Leonardo di Ser Piero da Vinci, 1452-1519) and Michelangelo (Michelangelo di Lodovico Buonarroti Simoni, 1475-1564). The journey begins with the legacy of the artist Michelangelo, known as the Divine One. We approach his work from its genesis to its influences in the various artistic aspects - painting, sculpture and architecture. As if he were anointed by God to materialise it, Michelangelo shapes several iconic works. In the show, we revisited the hand in the fresco of The Creation of Adam (fresco, 1511), the sculptures of David (1501) the warrior who faced Goliath, and of Bacchus (1596). There are also references to Roman mythology and biblical references like the work of the Pietà (sculpture, 1498) and several paintings on the Sistine Chapel’s Ceiling (1508-1512) where it is possible to observe “The Flood” and “The Last Judgment”. The journey ends at the starting point: The Creation of Adam. The next stage of the trip follows, where we contemplate the mind of the restless genius Leonardo Da Vinci, in a visual show through his writings, research, inventions and studies, up to his main works, such as Vitruvian Man (1490), the paintings of Last Supper (1495-98) and the Mona Lisa (1503-06).

Impressive Monet is a reinterpretation of the works of art from the fouding father of impressionism showing the journey beyond the frame through the artist's endless search for capturing light. The audience will be immersed in the artist's impressionist movement and surrounded by the lines and colours that are part of Monet's world. Brilliant Klimt traces the path along the biographical aspects and the artistic legacy of the Austrian artist through his iconic painting - The Kiss. This will be the artistic path while exploring influences of Klimt's world. The audience will be immersed in Klimt's intimacy and will be anthralled by the artist's romantic art.

"Porto Legends: The Underground Experience" is an audiovisual event that will introduce ten legends related to the history of Porto. The show will be screened at Furnas (underground) of Alfândega do Porto. The latest creation by the Portuguese studio OCUBO, specialist in video mapping projects, debuts at Furnas of Alfândega do Porto. Through an immersive experience, the show will reveal ten legends related to the history of Porto, inspired by the book of historian Joel Cleto, "As Lendas do Porto". The Porto Legends - The Underground Experience project had 70 actors, 120 costumes and 30 video artists, using 50 high definition video projectors, strategically installed on the walls, floors, ceilings, columns and arches of Furnas of Alfândega do Porto. The ten legends that make up the show are narrated by Pedro Abrunhosa, in the Portuguese version, and the award-winning British actor Jeremy Irons, in the English version. Over 45 minutes, legends will be told such as Pedro Cem, Zé do Telhado, Baron Forrester, the famous Porto-style tripes, the mystery of Serra do Pilar’s Treasure; the violent siege of Porto, the 1755 earthquake and the ghost of São Bento Train Station. The public is invited to move about freely during the show, in an unprecedented 360º worldwide experience. Porto.CARD - NOT TO BE MISSED! Enjoy Porto.CARD and have discounts on tickets: Full ticket: 2€ discount / Pack of Two exhibitions: 3€ discount Reduced ticket: 1€ discount /Pack of Two exhibitions: 1.50€ discount

Carr has envisaged a curatorial concept which places particular emphasis on the involvement of people in Gander’s work and this will be first, exclusive illumination of this aspect in the artist’s extensive solo career. This focus gathers additional context in the present, at a time where human relations worldwide are being addressed, revaluated and questioned, and potentially renewed. Gander has become internationally renowned for his prolific output that moves ceaselessly between a multitude of artforms including sculpture, painting, drawing, installation, performance and graphic design. The unrestricted approach of Gander’s practice is mirrored by the open, layered and often fractured thematic nature of his work, which posits questions of language and knowledge, as well as the act of artmaking itself. Many of the artist’s works are infused with narratives that are seemingly belied by his works’ visual appearance. He places down clues that invite viewers to unravel, decipher and ultimately form their own connections to what can be seen and what is eluded to, enticing how our cognition, perception and understanding takes place. Mapping out the collaborative and communicative nature of work made by Gander over the years, Other People Place draws out humanistic relations and places fundamental questions into the foreground regarding our lived experience. The exhibition includes works that have people as their subject, moving between forms of representation that are clear and abstract. Artists and artisans are featured within the exhibition, as well as the artist’s family and when the artist himself is represented it is through the lens of somebody else. In a number of previously unseen works, forms of communication and language are present, suggesting newly found ways of interacting, yet grounded in current societal forms of protest. The net of relations that exist among people both in and in-between the works presented in the exhibition – including you, the viewer – also strike up another conversation when they turn to the gallery itself, pointing to its location and history. Many works are the result of conversations with and the use of artisans and fabricators. Occupying an historic building in Porto, the gallery was a former workplace for stonemasons who were once active in the building and continue to operate elsewhere in the city.