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.

“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.

Modus Operandi took as its starting point a careful reading of the Serralves Collection since its inception, with the set of works acquired by the Secretary of State for Culture even before the Serralves Foundation and the Museum were created, to its most recent additions. From the outset, this Collection has had the ambition of including avant-garde artistic forms, experimentalist in nature and of an international scope, looking at the world from the Portuguese aesthetic and cultural specificity of the years that followed the 1974 Revolution. Also remarkable is the crossing and mixing of artistic disciplines such as plastic arts, music, performance and literature. This exhibition brings together a selection of works that reflect various transdisciplinary, experimental and conceptual approaches that demonstrate the attitudes, contexts and concerns of artistic output from the 1960s to the present day. The title comes from the homonymous work by the North American artist Joseph Kosuth, belonging to the Portuguese State Collection of Contemporary Art (Coleção de Arte Contemporânea do Estado-CACE) in storage in Serralves, which is presented in the exhibition. Modus Operandi points to different ways of doing, of operating, namely of making and thinking art. It is precisely in this sense that the presentation, for the first time, of a portfolio, also belonging to CACE, in which 30 international artists pay homage to Joseph Beuys show the importance of his legacy in the way of making art, of his belief that art can change the world and that everyone can be an “artist”.

“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.

The Christmas magic has arrived at Immersivus Gallery with “O Fabuloso Circo de Natal” (Fabulous Christmas Circus). An immersive audiovisual experience with several moments full of surprises and fun. The voice of national radio host Nuno Markl guides the audience inside a circus tent where the magic of Christmas happens in a fabulous show. Throughout the show, you will find references to the city of Porto, in immersive environments, allowing the audience to identify themselves with the show and join this adventure. This circus artistic acts are performed by special animated characters of humans and animals in a creative way. The magician, the clown, the orchestra are some of the performers from all over the world that you will see in the show. All these elements transform Immersivus Gallery into a virtual circus while taking the spectator into a 360º immersive experience.

The exhibition, GERMANO ARCHIVE, presents a series of items from the extensive collection that the historian, journalist, bibliophile and collector, Germano Silva, recently donated to the Municipal Historical Archive, on the occasion of his ninetieth birthday. The items mark the vast and important legacy that he has developed over the past seven decades, related to the city's history.

Ever Archive: The Publications and Publication Projects of Hans-Ulrich Obrist. “Ever Archive: The Publications and Publication Projects of Hans Ulrich Obrist” is an exhibition devoted to the Chicago-based publication archive of curator Hans Ulrich Obrist, who is the Artistic Director at Serpentine Galleries in London. The exhibition comprises a series of modules that address the intertwining of documents and their stories: the people, events and institutions that all played a role in bringing them into being. The exhibition also questions, through metaphor and other representations, the different behaviours of an archive: its fragility and instability, its relationship to other archives, as well as its various historical gaps. A central component of the show is a series of vitrine exhibitions that examine not only the historic architecture of the vitrine and its relationship to the “Wunderkammer”, but also the conceptual possibilities that vitrines impose through their physical constraints. “Ever Archive” also includes a history of the archive itself - an archive of the archive - which documents how it has changed over time in relation to the context of technological tools and human knowledge.

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.

Christina Kubisch is one of today's most celebrated sound artists. After studying painting, flute, piano, musical composition and electronic music, she began, in the 1970s, to work with sound sculptures, installations and electroacoustic compositions that would establish her as a trailblazer artist in the field of Sound Art. In the late 1970s, Christina Kubisch began using the technique of electromagnetic induction in her installations, a device that allows the transmission of sounds between electrical cables and headphones with magnetic coils specially designed by the artist. This system, which Kubisch has been constantly improving both technically and artistically, has been the starting point for numerous sound installations carried out around the world since 1980. It brings together and intersects various aspects of Kubisch's work: a revelation and awareness of the flow of energy and sound that, in an age dominated by technology that surrounds us anytime, anywhere; the proposal of an aesthetic dimension to the sounds transported by electricity and electromagnetism, in compositions that are constituted either by the artist's choices or by the movement of the public, conscious and self-determined; the underlining of our condition as beings connected by much more than what is on the surface, namely by what is invisible and silent. The installation THE GREENHOUSE, 2017 (with a new version for Serralves in 2021), is an example of Kubisch's works that use electromagnetic induction. The public, equipped with headphones, is given access to the soundscape that emerges from the approximately 1,500 meters of suspended cables in the Museum's Contemporary Gallery. When moving in the space, the public will be able to mix the series of natural and electromagnetic sounds that circulate in them. Also in BRUNNENLIEDER [FOUNTAIN SONGS], 2009, natural sounds are fused - either from the Serralves Park where it is installed or from recordings - with musical quotations from vinyl records of Schubert's song “Ein Brunnen vor dem Tore”, (based on a traditional song with the same name), gathered under the sign and sound plasticity of water. SILENCE PROJECT, 2011 – ongoing, focuses on a line of research and artistic practice by Kubisch that addresses the material, conceptual and cultural questions of silence. Based on a collection of recordings of the words that mean “silence” in about seventy languages, the project is divided into two works: one made from the images of sonograms of these words (“Analyzing Silence”, 2011 – ongoing), and another (“Silent Exercises”, 2011 - ) includes a silent video projection where these images merge and a sound installation based on the spatialization of a composition of the recordings of words, which will impose itself on the silence in the tower of the Chapel of the Serralves Villa. In 2010, Christina Kubisch presented a version for the centre of Porto of her well-known “Electrical Walks”, as part of the Trama performing arts festival. Now in 2021, Kubisch will have her first exhibition in Portuguese territory, constituting an opportunity for a closer relationship with this fundamental artist and historical figure in contemporary music and art.

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

Recital with Sofia Lourenço and Pedro Monteiro. Special guest: António Carlos Cortez. The third session focuses on the composer, pianist and playwright Isaac Albéniz (1860-1909), a renowned figure in the Spanish musical context, having been a disciple of F. Liszt. Albéniz is the first of the illustrious musical triad, together with Granados and Manuel de Falla (1876-1946), combining elements of Impressionist harmony, 18th-century pianistic salon with themes of Iberian folk music.

Emma Dante's stage creations has always been pervious to the spell of fable. In “La Scortecata”, the Sicilian stage director takes possession of “The Two Old Women”, one of the 50 tales that are told over the course of five days from Giambattista Basile's collection, “The Tale of Tales” (1646), known as “Pentamerone” (by association with Boccaccio's “Decameron”). On an empty stage, two chairs, a door and a miniature castle are all that is needed for two actors to kindle a dream. They embody Carolina and Rusinella, the lonely sisters who are almost a hundred years old who, to deceive time, disguise themselves as the old women in the fable. A king falls in love with the voice of one of them, mistaking her for a young woman, and the price of illusion literally becomes a matter of skin: to put on and remove a character's skin. Emma Dante's rewriting of the tale of this fabulist, who provided a model that was later followed by the Brothers Grimms and Charles Perrault, preserves the truculence of the Neapolitan dialect and evokes fairground theatre and “commedia dell'arte”. Hilarious and cruel, “La Scortecata” emanates in filigree a melancholy that speaks to us of the passing of time, ageing and loneliness.