We invite you to watch the SERRALVES IN TALKS: LOUISE BOURGEOIS series, where Philippe Vergne, Director of the Serralves Museum, presents the artist's works in the exhibition DESLAÇAR UM TORMENTO, currently on display at the Serralves Museum and Park. This great exhibition dedicated to Louise Bourgeois’ oeuvre covers a span of seven decades, showing works made by the artist from the late 1940s to 2010. Visited and revisited in numerous exhibitions held during the last decades in different museum spaces around the world, the vast and unique work of Louise Bourgeois 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.

"Jung says that over the course of our life we come across archetypes. The Emperor walking up a steep street ahead of us. The Hermit sitting next to us by himself in a movie theatre. The High Priestess handing us a book that will deeply change us. I watched you from afar, I asked myself: The Hanged Man? The Fool?" A correspondence between two strangers, based on the importance of the symbolic in their lives: both retrieved this ancestral relation, in the hope they would better accommodate their grief or love. At a time of symbolic misery, these representations seem to be not only ways of expanding our perception of our surroundings, but also of who we are after all: also representations, ready to deeply influence those crossing our paths. "A New New Age is necessary". In an increasingly digital and fast-moving world, there is a need to slow down and develop new presentation formats and, above all, new creation formats and ways of working that will enable us to continue to consolidate artistic works, in the current reality. In a hybrid season between the in-person and the digital, Teatro Municipal do Porto invites 8 artists for a special collaboration, designed specifically for online platforms, where a director and a performing artist, in pairs and in an equal relationship, are invited to create a new digital object that crosses their universes and discourses. The moving image intersects with the areas of dance, contemporary circus, literature, theatre and animated forms, thus also enabling various audiences, even the most distant ones, to access these works.

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.

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.

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.

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).

Super Circo presents "A Dream Show"! Watch the gymnast in the globe of death, the tightrope walker in a tower of chairs, the flying princesses, the clown Pedrito and much more.

"O Vírus Corona e o Exército do Bem". A story that teaches us all that, alone, we can do very little, but together, we can change the world. In the company of Teresinha, we will learn how we can fight this virus and find out how we can help those who need it most. Teresinha comes to make known the project that the whole family started to help in the beginning of this pandemic. Associação SOUMA. Thanks to the generosity of many who believe in a greater good, this story that now arrives to you in the form of "Theatre at Home", spreads a message of love and hope in troubled times for everyone. Come with us to be part of this “Exército do Bem” (Army of Good). Part of the ticket price goes to Associação SOUMA.

Reenvisioning the Future of the Planet in the 21st Century The notion of the Anthropocene spilled out from the geophysical sciences to the humanities, social sciences, arts, and the media, triggering a vast global debate about the future of human life on the planet. In the “age of humans”, humans have become one of the most potent geophysical forces in the planet and our activities are leading us to increasing environmental uncertainties. If the world has ever had the illusion of stability, it is now facing the prospect of endless problems. But the Anthropocene is not just about a runaway world of environmental doom; it is about overcoming disaster and catastrophe and creating new visions of hope and justice. The new challenges of climate change, species extinction, and sea levels rise compel a reenvisioning of humanity's place in the world, and an urgent rethinking of the dominant forces that threaten the planet's ecological balance. Using the term Anthropocene to refer to this new age of growing anthropogenic uncertainties has opened up a whole new field of multidisciplinary and interdisciplinary conversations about the relationship of human beings with the environment in the 21st century, but it has also generated a monolithic understanding of the Anthropocene as a unified human experience. This Anthropocene framework around a universalizing species paradigm creates a homogenizing effect. And yet, not all humans are equally involved in the forces driving contemporary environmental crises, and not all humans are equally invited into the conceptual spaces where these disasters are theorised or where responses to these disasters are formulated. Pluralizing the Anthropocene will feature anthropological reflections by major figures in the humanities and contemporary sciences committed to a more plural view of the debates around the Anthropocene and the major issues of resilience, adaptation and the struggle for environmental justice. The access link will be sent after the registration period has ended.

The sharing of culture, the promotion and dissemination of science and the relationship with nature, in all its areas, represent a unique mechanism with real impact on our lives and the way we see ourselves in the world. Serralves lives to create multiple relationships with art forms, with nature and with people, be they, with musicians, artists, dancers, architects, filmmakers, landscapers, researchers, students, thinkers, teachers, partners, founders, patrons, people. With its entire audience. The current situation requires that our responsibility is expressed in a new format and that we are present. So, it is with great pleasure that the Serralves Foundation, when (re)inventing itself, offers a series of online talks, entitled #ConversasComSerralves, whose purpose is to bring us even closer, by inviting the audiences to participate in unique moments to exchange artistic, environmental, scientific and creative experiences. An exclusive programme that involves all of Serralves' areas of activity - plastic arts, architecture, cinema, performance arts, the environment, science, landscape, architecture and the most comprehensive reflection on different topics important to the society and its future. These sessions take place online, always at 6 pm, with free participation and mandatory registration.

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.

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)

Enjoy the daily pipe organ concerts of Clérigos Church. Every Wednesday at 12 noon, streamed on the official Facebook account of Torre dos Clérigos.

This exhibition marks the Centenary of the Birth of my Father, Doctor Leonel Augusto de Almeida Abrantes (1920-2020), with a special connection to Serra da Estrela, which he researched and wrote about. In this collective exhibition, “O sortilégio da Serra da Estrela”, taking place at Galeria Porto Oriental, from 4 December 2020 to 27 March 2021, it shows Drawing, Painting and Sculpture. In the exhibition, “O sortilégio da Serra da Estrela”, 26 works by 26 artists can be admired, with different paths, ages, sensitivities and languages. The Serra that fascinates us, really or symbolically, enable us here another enchantment and emotion, in the contemplation not of «the mountain in the distance in all its magnitude», by Vergílio Ferreira, but of the works of art exhibited at Galeria Porto Oriental that refer to it, whatever the perspective of each artist and the chosen language, technique and visual expression.

Steve Reich is seen as one of the most important and influential composers of the 20th and 21st centuries for his imagery and creative power. He is one of the creators and promoters of the so-called minimalist music. His music is characterised by a constant beat, motif repetition and the frequent use of canons that develop within strict structures, driving rhythms, harmonies from different musical genres (especially jazz) and an orchestration full of colours. Steve Reich's legacy has influenced composers and musicians across the globe for his indisputable authenticity. The Guardian describes him as one of the few composers who “have altered the direction of musical history” and The New Yorker refers to Reich as “the most original musical thinker of our time”.

Centenary of Teatro Nacional São João Don’t worry, it is not yet the end or the beginning. Shall we continue together for another 200 years? On March 7th we symbolically mark the end of the Centenary of Teatro São João, but the Centenary does not end here. An ephemeris is a game without borders: by the end of 2021 there will also be an exhibition, an international colloquium and some volumes of Cadernos do Centenário. Before, we make a stopover in this long March 7th, so long that we extend it for two days. Install yourself in our virtual room and tune in to RTP2, which joined us in this open public service condominium. There are talks, interviews, documentaries and shows. We debate, ask, visit, revive, premiere. But don’t worry, it is not yet the end or the beginning. The theatre starts every day and every night. Shall we continue together for another 200 years?

Spontaneous and popular fair where you can buy birds, food and cages. Even if you do not want to buy anything, you can enjoy the singing birds, their colour and the liveliness of the fair. When passing through the fair, one must take a look at the breath-taking view of the Douro River and its bridges.

A gathering place for various collectors, this fair has as purpose the sale and exchange of coins, postcards, stamps and other related collectibles. It takes place under the arcades of the buildings surrounding the square.

The paint dip tube of the spray cans used by graffiti artists is called a válvula (valve). Illustrator, cartoonist and visual performer António Jorge Gonçalves and Flávio Almada, a Cape Verdean activist and one of the most striking voices of hip hop in Creole, came together to tell us the history of graffiti. A story that starts on stage with a question: “We like to write on walls. Do we need to write on walls?” Válvula goes back to the time of the strokes that hunter-gatherers did on the rocks 30,000 years ago, in Africa, it goes through the annotations drawn by the Romans on the walls of the houses in Pompeii, stops at the political murals of 100 years ago, talks about the work of contemporary artists as influential as Diego Rivera, Basquiat or Keith Haring. Aimed at an adolescent audience, it is a show that lies somewhere between a conference and a concert, articulating words, drawings and songs. And many questions. How were graffiti born in the Bronx, New York? How does graffiti draw inspiration in the buildings of São Paulo? Art or vandalism? Communication or occupation? Can disobedience be legitimate?

In the year that Beethoven's 250th birthday was celebrated, the Educational Service of Casa da Música created Bebéthoven, a show inspired by the music of the German genius. The concert promotes a first approach to Beethoven's music with the lightness and fun tone appropriate to the age of the listeners, thus leaving an early seed of great music in the babies' ears and souls.

Friday, March 12th, at 7 pm, we will have the 5th episode of “Conversations on the balcony with winemakers”, Season 2! It will be with the amazing Filipe Cardoso from Quinta do Piloto! The prize will be a Magnum of Quinta do Piloto Reserve Red 2015! Everyone can participate, and win, by asking questions to our guest. The winemaker will decide the winner with the question that he found most interesting. To participate, just follow our Instagram account at @winequaybar, and be online Friday, March 12th, at 7 pm. We hope to see you there! Cheers!

Drumming (1998) is one of the most iconic choreographies by Anne Teresa De Keersmaeker, written for an eponymous, minimalist percussion score by Steve Reich. The music starts with a single rhythmic motif, which then multiplies and unfolds in into a cornucopia of textures, including drums, woodwinds, brass and vocals. Reich ramps up the technique already used in a previous composition, Piano Phase: through minor tempo accelerations, the musicians undo the synchrony almost imperceptibly, resulting in an endless exchange of canons. In dance, the choreographic complexity was devised in a similar fashion: a single sequence of movements serves as the foundation for an infinite number of variations across time and space. When the music stops and the bodies come to a halt, the audience realises what they have witnessed: a wave of pure dance and pure sound, a vortex of vital energy.

Mário João Alves, with his collective Ópera Isto, has been a regular collaborator of the Education Service in the production of original shows that usually open each new season. O Olho Esquerdo de Júlio Verne opened the Year France and brings us music from the time of the French writer (author of works like Twenty Thousand Leagues Under the Sea or Journey to the Centre of the Earth), including operettas in which he was the librettist. It puts us in a better mood, using humour as the basis of this whole story.

Five years later, an important voice of Portuguese poetry - Jorge Sousa Braga returns to this poetry series. The poet explains the universe of this evening: “Poets write or fly without any control. By nose diving, gliding, flapping the wings they do not have. Sometimes, they cannot withstand the weight of everyday life and come crashing down. Poets are the first ones to endorse the air traffic controllers' strike. Or their inexistence. Wingless poetry is not poetry.” In a brief introduction, Carlos Mendes de Sousa fires “My most accurate pollen bullet to Jorge Sousa Braga”. In the voices of Cristiana Sabino, Odete Môsso, Paula Cortes and José Anjos, we will cover the work of Jorge Sousa Braga, highlighting some poems from his most recent book “A Matéria Escura”. Between readings, an opportunity to surprise us by the project “O Xú”, spontaneous music by Rui Oliveira and Bitocas Fernandes. Featuring a body music, predominantly voice. Harmonies, rhythms and melodies in search of a meaning that unite audience and musicians in a single body. Avelino Sá is the author of the session’s image. The quiet and incendiary search for words within painting and drawing. The sound of astonishment. Special participation by the magician Gonçalo Gil, or were poetry not an act of prestidigitation. Closing the session is Tatanka. With a distinctive charisma and voice, the musician became known as the lead singer of one of the most successful Portuguese bands today, The Black Mamba. Tatanka performs on the Campo Alegre’s stage solo (vocals and guitar). "Then just let the breeze run" from Palavra.

Tapete Vermelho (Red Carpet) consists of a single garment worn by two people at the same time, imposing the sculptural status upon those who share three hours in the same exhibition space, where the communion of bodies hints at the interaction between different existences, ascribing singularities the same importance by emphasising their differences. Bodily compositions change in extremely slow (at times almost static) movements and, thus, the work acquires a dance quality. - Tales Frey

Since January 5th, I have been experimenting for a project that intercepts drawing, sculpture and sound, Laivos | Ante improvisos e ressonâncias, in which I propose to surround, although not only, small objects that I found on hikes. In these rescued objects I have been looking for their sounds and heartbeat, in an attempt, perhaps, for salvation. Between us, object and performer, silent dialogs emerge, where listening is a learning process in mutual and continuous conflict. Throughout the process I have had the attentive and detailed eye of Gustavo Dos Santos, who is making a documentary record about the project. From the project not yet finalized, what we share here is a rough overview of that root that is still growing. - Flávio Rodrigues

In Affordable solution for better living, visual artist Théo Mercier and choreographer Steven Michel break the taboos of a society saddled with healthy living, placing a Kallax - a very peculiar totem - in the middle of a spotless space. The flagship shelf unit by the giant company Ikea - less famous than Billy but bigger and more refined - epitomizes "beauty for all". By transposing a commercial system to a choreographic piece, Affordable solution for better living aims to question the commodified body, the prescribed lifestyle and the illusion of freedom touted by the major industrial powers. How does the corporate world stage the consumer’s body? Is the household the only unyielding space or, in fact, the umpteenth incarnation staged by a major brand? In three acts, Affordable Solution for Better Living debunks the model and unfurls the convictions and doubts of a polished and nearly perfect man. A centaur, half man and half furniture, absurdly builds his own customised interior, unique and yet like all the others. Gradually, man and space merge beautifully; the peaceful, harmonious and chilling world cracks and bends, exposing its dark side as well as its humanity. Aren't people likely to self-destruct from within as they strive excessively to tend to their interior?

Sophia de Mello Breyner's life and work inspire this invitation to discover the music that we all carry within us. As a blank sheet directs words to the poem, we throw the sound of things to learn to swim in the sea of silence. Musa is Sophia, she is each one of us and it is all the things that invade our bodies: the green fields, the sea, the city, the weather.

Marionetas do Porto propose, for World Puppetry Day and World Theatre Day, a workshop based on the creative processes commonly used in the planning of the company's shows. CHÁ DOS MALUCOS, is one of the scenes of the show Wonderland, a play created in 2009 by João Paulo Seara Cardoso, based on the fantastic universe of Lewis Carroll. Over 1h30, the actress Shirley Resende will dive into the universe of Wonderland, referring to the creative processes and manipulation techniques explored by the company, leaving clues for experiments and new approaches with objects and puppets. In a second moment of the workshop, the participants will do a practice, through which they will have the opportunity to get closer to the entire mentioned universe, with a strong recreational component. This workshop thought out and designed for audiences over 16 years old who, from home, want to immerse themselves in the poetic and creative universe of Marionetas do Porto. The workshop will take place on the zoom platform and requires prior registration. Participants will receive a DVD of the Wonderland show at home, so they can get to know this creation and the environment proposed in this workshop better. Capacity: 10 registrations More information, orders and reservations by phone 932 915 456 or by email marionetasdoporto@gmail.pt

A major figure of 20th century music, Olivier Messiaen composed several innovative works exploring birdsong. Les Oiseaux Exotiques is one of the most famous and brings together American and Asian bird calls. At the piano, in this concert that garnered critical acclaim, we listen to Pierre-Laurent Aimard, an expert on the work of Messiaen who thus inaugurated his artist-in-residence at Casa da Música, in the 2020 season.

Herberto Hélder's texts are a pretext for the perception of an “I” that has a body, feels, looks for God and love, tries to transcend itself. And take a peek at itself. This is a special case of biography that challenges the moral perspective from which we look at ourselves, with which we naturally and repeatedly cover our scars, as if the living habits, of language, of gestures could protect us from ourselves. Words work here as steps around, as looks that make us tremble, as incisive rays that scare and attract. There are so many phrases, so many words, that facing them is an old journey, a dance of chairs and tables with broken legs. The trains going to Antwerp speak of a strange tree, of love and of its ability to open our hearts to men and that feeling of diffuse despair of someone who struggles in a closed body to set himself free towards the light. It speaks about looking outward and of his reflexion walking inward once again. Or maybe it's the other way around, looking in while desperately walking outward, searching for a branch to perch such a restless and weird bird too. Those train-shaped bodies that are fighting the god within them, within their body in parallel lines and within the life that lives in the brightness of metal that lures the eye and causes it to suffocate and to write.

Paula Diogo imagined the series SOBRE LEMBRAR E ESQUECER (On remembering and forgetting) to discuss the way memory operates in our lives. PAISAGEM (Landscape), co-created with Tónan Quito and the Foguetes Maravilha collective, is the second instalment of a trilogy started in 2018 the show with the same name presented at Teatro Maria Matos. A conversation about two short plays by Harold Pinter serves as a starting point for this show. They both feature a middle-aged couple in a dialogue (or monologue) about events that only one of them seems to remember or that both remember in completely different ways. These plays serve as a motto to talk about what keeps people together over the years and how intimacy and interdependence relationships are established.

Jonathan Ayerst was a lead organist at St. Benet Fink Church in London and studied historical improvisation techniques in Stuttgart. This programme begins with music by Johann Sebastian Bach and, with a fugue that the master of the German Baroque left incomplete, Ayerst proposes to resume the historical practice by improvising its realisation. After a key work by César Franck, a pivotal name of the Franco-Belgian romantic school, the recital ends with the Czech Leoš Janáček, also an organist and a magnificent improviser. His Glagolitic Mass includes a famous organ solo, which Ayerst completes with a transcript of the breathtaking Intrada that closes the piece.

When he joined Miles Davis, Canadian arranger Gil Evans brought a bold proposal: the recording of an album in the form of a suite with a jazz orchestra with extended instrumentation. The album was called Miles Ahead, and it was followed by two others crowning this fruitful partnership. Jazz history would no longer be written without these chapters, which, according to Miles, sought to bring the melody back to the centre of improvisation. The soloist invited to reconstitute, alongside Orquestra Jazz de Matosinhos, the unique sounds of Miles Ahead is Gileno Santana, Portuguese-Brazilian trumpeter with an intense career and international recognition.