Pandemic takes us to a zero-degree state to confront the fragility and finitude of the body, disease and sanity, and the human struggles rooted in the world and in nature. This exhibition is the result of an invitation made by Galeria Municipal do Porto to the artist Filipe Marques to question viral concepts. In his work, the artist starts from apocalyptic poetry to lead us, as spectators, to learn about the powerlessness of the human condition and to an attempt to control invisible contaminations or a balance of forces and resistances. Filipe Marques studied in Portugal and Germany, and his work develops from the theories of modern philosophers and writers of Classical Antiquity, in an attempt to understand Humanity and the construction of a God. He uses anachronistic devices with images of people and places, re-enacting ruined urban landscapes and plundered museographies, and revisiting metaphors about failures and self-destructions that, as an artist, he does not want to escape.

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.

Museu da Cidade opens the exhibition “Errata – Uma Revisão Feminista à História do Design Gráfico Português”. Curated by Isabel Duarte and Olinda Martins, the show can be visited in the Foyer of the Auditorium of the Almeida Garrett Municipal Library. This exhibition seeks to review the role of women in the history of design. A research project in development that aims to respond to this “forgetfulness” through publications, podcasts and public presentations. The exhibition will present the work of 20th century female designers who were left out of the history of Portuguese design and, in doing so, will cast a critical eye on the mechanisms still present that allow and propagate these omissions. From the collection, documentation and presentation of the work of female graphic designers, the exhibition will show women who were overlooked in the history of design. An “errata” (erratum) to correct an omission present in the history of Design.

“Quando a Terra Voltar a Brilhar Verde para Ti” (When the Green of the Earth Will Glisten for You Anew), an exhibition that “steals” the title of a verse by the German poet Hölderlin, also used by the filmmakers, Jean Marie Straub and Danièle Huillet for their film about the death of the Greek philosopher Empedocles. Here one can admire the famous Júlio Dinis’ Herbarium in dialogue with drawings and sculptures by artists such as Rui Chafes, Ilda David, Teixeira de Pascoaes, Manuel Rosa and Lourdes Castro. There are also mural paintings by José Almeida Pereira, based on works by artists linked to the romantic imaginary, and an original sound composition by Jonathan Uliel Saldanha and Pedro Monteiro.

Caixa para guardar o vazio (Box to keep the void) is a performing sculpture with a pedagogical angle, created in 2005 after an invitation by Teatro Viriato. This box is matter, form and also an event. It is a place to explore with one’s body, in a process of individual or collective discovery. It presents itself as a “closed wooden box” that is activated by the bodies of two dancers, who unveil it in dialogue with groups of children through movement and voice. The space opens, folds, unfolds and expands itself, creating an atmosphere of communication and discovery that ends with the revelation of the sculpture's inside, that’s when we realise that our body is also a place.

“Desdesenho” by Tomás Cunha Ferreira. Curated by Museu da Cidade’s Programming Hub. Tomás Cunha Ferreira (Lisbon, 1973) combines several different formats, in a cross-border and open circuit artistic practice. He views each work as a prototype, that can take different forms, such as a score, notation, visual poem, emblem, pattern, painting, among other possibilities. To this extent, each work leads to a condensed hybrid figure, whose interpretation is in constant transition between the visual elements and the rhythmic or sound elements. Saturday, November 13th, at 4:30PM, Casa Guerra Junqueiro presents “Desdesenhos Animados” performance-concert with Tomás Cunha Ferreira.

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.

This exhibition features works by Pedro Tudela (Viseu, 1962) belonging to the Serralves Collection, spanning nearly 30 years of work, from 1990 to 2019. Pedro Tudela studied Painting at the Faculty of Fine Arts of the University of Porto and started his career in the 1980s. Since then, he has proved to be an eclectic artist, working in different artistic disciplines and fields, such as painting, sculpture, performance, sound, multimedia, as well as set design and experimental electronic music. His earliest works from 1980 were paintings, but already in the early 1990s he introduced sound in his work, which happens for the first time in the exhibition “Mute… life” (Galeria Atlântica, Porto, 1992), from which a work is featured here. In that exhibition, sound was still autonomous from the visual works that made up the exhibition, acting as an enveloping soundtrack and aggregating the various elements on display. From then on, sound became more and more relevant, fully integrating the work, visually and conceptually, in the same way as drawing, painting or sculpture. Tudela works and incorporates the various disciplines without hierarchies or boundaries between them, precisely reflecting the permeability between languages ​​that becomes one of the main characteristics of his work. Sound gains prominence, is treated visually, often materialized in sculptures through the incorporation of the devices that generate it — loudspeakers, magnetic tapes, cables, speakers are plastic material in a dual aspect, visual and acoustic. Tudela's artistic practice is inseparable from human existence and the world, which has manifested itself in different ways throughout its trajectory, represented in this exhibition in a selection of nine works.

The Miró Collection, owned by the Portuguese State, on loan to the Municipality of Porto and deposited at the Serralves Foundation, comprises 85 artworks and includes paintings, sculptures, collages, drawings and tapestries by the renowned Catalan artist. The Collection spans six decades of Joan Miró's work, from 1924 to 1981, thus being an excellent introduction to his work and his main artistic concerns. The exhibition follows on from the conclusion of the works of the Serralves Villa’s restoration and adaptation project, by the architect Álvaro Siza, who had the support of the Porto City Council, under the terms of the protocol that defines the conditions for depositing the Miró Collection in Serralves. Joan Miró (1893-1983), one of the great “form-givers” of the 20th century, was simultaneously an aesthetic “assassin” who challenged the traditional limits of the medium in which he worked. In his art, the different practices dialogue with each other, crossing the mediums: painting communicates with drawing; sculpture seduces woven objects; and collages, always conjugations of disparate entities, function as a major principle or matrix for exploring the depths of reality. This exhibition does not follow a chronological or linear format: the works are thematically aggregated, trying to give a holistic view of the artist's career. The various rooms address different aspects of his art: the development of a sign language; the artist's encounter with abstract painting that was done in Europe and America; his interest in the process and the expressive gesture; its complex responses to the social drama of the 1930s; the innovative approach to collage; the impact of Southwest Asian aesthetics on his drawing practice; and, above all, his incessant curiosity about the nature of materials.

“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.

From Tuesday to Friday, at 12:30PM, the monitors of the Museu da Cidade guide tours lasting 30 minutes, upon purchase of a ticket.

"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

In 1888, Alfred Jarry premiered his “Ubu Roi”, performed by the Puppets of the Theatre of Phynances. More than a hundred years later, British playwright Simon Stephens imagined a sequel, “O Julgamento de Ubu” [The Trial of Ubu] (2010), a play now performed by “Teatro de Marionetas do Porto” and directed by Nuno M Cardoso. In the first part, it is through the art of puppetry that the eschatological nonsense of Jarry's Ubuesque saga is returned to us, and then, through human figuration, to seat Ubu in the dock of an International Criminal Court and instigate a collective soul-searching on power and its procedures. “This trial. This language. It's important to you, isn't it?”, Ubu confrount us. In the game of manipulation and scale of puppets and human figures, a savage satire is drawn on the duel between legal justice and moral justice, which brings us face to face with the intransigence of Ubu, a symbol of contemporary dictators. "Do you know what's going on in my head as I listen to you talk about justice?"

The Great Exhibition Serralves em Luz is a unique opportunity to obtain beautiful and unique photographs of Serralves Park. Light, or the absence of it, are powerful creative tools that enable to show a version of reality in an enchanting and mysterious way. Taking a landscape photograph at night can be a challenge, but by learning the proper techniques, an interesting and surprising result is possible. Participants must be equipped with a digital camera - which allows manual control of exposure, focus, sensitivity, and colour temperature - and a tripod. It is not mandatory, but it is recommended to use a cable release or remote shutter and the batteries charged. Wearing a face mask is compulsory. Tutor: Filipe Braga Meeting point: Museum reception desk Maximum Capacity: 15 adults Minimum number of participants to hold the event: 8

The Great Exhibition Serralves em Luz beckons to contemplate the natural, landscape and architectural heritage existing in Serralves Park by experiencing a creative concept based on an ambitious play of light. Participate in a specific programming of guided tours on the dynamics of light and colour that result in an impactful narrative through various atmospheres and light sources that enhance new perspectives on the Park, in a unique symbiosis experienced in loco. Using various light sources, such as LED, halogen, hmi, laser or video, new visual and sensory experiences are created that transport the visitor in different perceptions between reality and imagination, building static or in motion dialogues, with 24 installations along a 3km route that crosses the entire Park. The introduction of colour, sound and visual effects allow the public to experience the Park in a different way than usual. The luminous installations transform the space into immersive environments that transport us to the different seasons of the year, which enable to connect with various natural elements of the Park - such as water and vegetation - and experience in a different way the luminous manifestations of nature such as the sun, moon, reflections, rainbow and other atmospheric effects. Wearing a mask is mandatory.