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.

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”.

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.

Mark Bradford (Los Angeles, 1961) is currently acknowledged as one of the names that best defined painting of the last two decades, by creating his own pictorial language to talk about universal themes, such as the distribution of power within societal structures and its impact on the individual or the relationship between art and community engagement. In his work, the social element is given through his choice of materials. Using everyday materials and tools found in hardware stores, Bradford created a unique artistic language. Often referred to as “social abstraction”, his work is rooted on the understanding that all materials and techniques are embedded with a meaning that precedes their artistic utility. His signature style developed out of his experimentation with endpapers, the small, translucent papers used in hairdressers, but he has since experimented with other types of paper, including maps, billboards, film posters, comic books and ‘merchant posters’ advertising predatory services in economically distressed neighbourhoods. Through this rigorously physical approach to the material presence of painting, Bradford has been addressing crucial issues of our time, such as the AIDS epidemic; the misrepresentation and fear of queer and homosexual identity; systemic racism in the United States; and more recently, the Covid-19 crisis.

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 partnership between Manoel de Oliveira and Agustina Bessa-Luís is one of the most intricate chapters in the already tangled history of film adaptations of literary texts. As all the books are a unique case as affinities and dissimilarities between literature and cinema are concerned and having given rise to unusual accomplishments, the intersections between the works of both authors are crucial for understanding the body of work of each one. Having started in 1981, with the adaptation of the novel “Fanny Owen” (1979) into the film “Francisca”, Oliveira's collaboration with Agustina continued until 2005, with “Espelho Mágico” (Magic Mirror), an adaptation of “A Alma dos Ricos” (2002). In between, there are eight other texts by the writer that inhabit the director's oeuvre, which includes three novels, two dialogues, a play, a short story and a speech read by Agustina herself. In order to think about these relations between literature and cinema, it was useful to bring to the exhibition a wide range of scientific and para-scientific, knowledge and other even more obscure ones, because only these can illuminate a field of ​​knowledge essentially made up of intuitions and paradoxes, inversions of meaning and perplexities. The clash between words and images, between novels and films, calls for other confrontations, which we tried to explore in the exhibition, and opens up an interstitial space, a place of the aesthetic and the symbolic, where all this ancient and modern knowledge is brought into play. The terms of this dialogue are probably the most fruitful partnership of Portuguese arts and letters in the last hundred years.

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.

Artist and electro-acoustic composer Tarek Atoui works on large-scale compositions that stem from anthropological, ethnological, musicological, and technical research. His exhibitions weave installations, performances, and educations, in processes that move away from the conventional notion of performance, both for the performer and the audience, and that suggest forms of visual, aural, tactile, and somatic experience of sound. This first exhibition in Portugal is part of the project I/E, ongoing since 2015, in which Atoui captures the sounds of port cities — Athens, Abu Dhabi, Singapore, Beirut or Porto - by recording their harbours’ industrial, human, and ecological activities. Together with artist/recordist Eric La Casa, they listen to sound below the surface of the sea or within materials such as metal, stone, and wood. On Waters’ Witness, the audio recordings of the seaports of Athens, Abu Dhabi and Porto are played through materials chosen in every location — marble stones from Athens, steel beams from Abu Dhabi, and wooden structures housing compost, worms and organic material specifically produced for the Serralves presentation. The work with organic decomposing matter takes Waters’ Witness in a new direction: an acoustic ecology that receives and perpetuates residual sounds through the audible frontiers of a world in flux. This unique soundscape extends from the museum’s central room to the park in the shape of sound constellations, platforms and systems activated through the entire period of the exhibition in scheduled performances, collaborative and educational workshops.

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

“Monólogo de uma mulher chamada Maria com a sua patroa” (Monologue of a woman named Maria with her mistress) is the first creation of actress and stage director Sara Barros Leitão within the frame of Cassandra, the artistic structure she founded in 2020. The production’s title, “clandestinely stolen” from a text in “Novas Cartas Portuguesas” (1971), sets its tone. Using a number of interviews and the archives of the first Domestic Workers’ Union in Portugal and of its national congress, which assembled seven thousand members in 1979, “Monólogo” tells the (hi)story of domestic work, structurally a women’s field. Little known, unrecognised and undervalued, this is also the (hi)story of women’s ability to organise themselves, assert their rights and achieve change. On stage, Sara Barros Leitão reclaims the voice of those women who clean and take care of the world, setting it in motion. Nuno Carinhas, in his return to the TNSJ as a set and costume designer, dresses and provides scenic surroundings to this woman who monologues in the hope of beginning a dialogue or a revolution.

Classes take place every Monday and Thursday, between 5.30pm and 7.30pm, and every Saturday and Sunday, between 10 am and 12 pm, at the Skate Park in Ramalde. Each class brings together two teachers and a maximum of 20 students simultaneously, and each participant should preferably bring their own equipment (board and protective gear). The municipal company Ágora supplies the board and helmet to those who need it, and the sharing of equipment between students is forbidden. Enrolment in classes is mandatory every week, and those interested should send an email to desporto@agoraporto.pt, with their name, age (must be over six and under 60 years old) and the day they intend to take the skateboarding class. Each user can register a maximum of two lessons per week.

Mátria - An opera that talks about us It is an opera sung in Portuguese and inspired by the work of Miguel Torga. It was created in Trás-os-Montes and, after its premiere - in December 2021 - sold out three shows at Teatro de Vila Real’s Grande Auditório and the show on February 20th at Teatro Municipal de Bragança is already sold out at the box office, the opera “Mátria” arrives at Coliseu Porto Ageas, on 4 March 2022. Almost everything seems unlikely in this project: starting with the 10 years it took to get to the stage, due to the fact that it is an opera without sets where the entire scenic environment is created by the elements of the two participating choirs (one of them from the community), and because it is also an opera whose libretto, despite being original, is entirely written in the words of Miguel Torga, taken from different texts of “Contos” and “Novos Contos da Montanha”. “Mátria” has the participation of 7 professional soloists, a community choir, a choir with professional musicians, and an orchestra created for this project.

One of the most iconic fairs in the city, it is exclusively to sell used objects, namely clothes, crockery, furniture and decorative items, records, books, electrical and / or electronic appliances, household items and working tools. Location: Avenida 25 de abril

Whoever visits Praça de Carlos Alberto will find one of the first street markets to appear in the city, with a wide range of items: vinyl records, illustrations, notebooks and books, natural cosmetics, jewellery, honey and fresh pasta, teas and herbs, ceramics, wooden toys or decorative items.  The market, with free access, always has ambient music and even a small comfort space for visitors to relax.  As the event takes place outdoors, it always depends on favourable weather conditions.

The regular programme for the general public includes guided tours to the Treetop Walk, lasting 1 hour, which will aim to show, through a unique experience guided by educators from the Serralves Educational Service, the biodiversity of the Park. These will be available in Portuguese, French and English. Registration is required until 5 pm on the previous day of the event, to the email: m.tavares@serralves.pt

The role of women, which for centuries was limited to the home or to monastic seclusion, took on a new prominence in the late 19th century and early 20th century when many paradigms were called into question, namely the emancipation of women and their involvement in various fields and activities of social life. The political and social changes that followed the Second World War allowed profound transformations, namely the rejection of the stereotype of women as weak, passive and dependent beings. From the end of the 1970s, women's art - and women photographers in particular - began to be interpreted and valued, not only as an expression of uniqueness but also as a tool for deconstructing the "male gaze". In order to show this evolution, we highlight the social concerns of Doris Ulmann who portrayed African American workers in the plantations of southern USA or Edith Tudor Hart who, as a disciple of Bahaus, aimed to give art back a social mission. With World War II, Margaret Bourke-White appears as the first female war correspondent, while Sabine Weiss Weber, in the 1950s, was considered the Grand Lady of humanist photography. In 1960, Vieira da Silva was portrayed by the Russian Ida Kar, who never managed to integrate into the increasingly commercial photographic environment of the 1960s. At the end of the century the range of women's photography widened: in the 1990s, we had Cristina Garcia Rodero's photographic record of Catholic gypsies, while, at the same time, the theatricality of the pictures by the poet-photographer Flor Garduño emerged. In Portugal, Helena Almeida, one of the most prominent visual artists of the second half of the twentieth century, created a body of work that crosses disciplinary boundaries and questions the relationships between body, work and space. This exhibition thus aims to pay tribute to the female photographers represented in the National Photography Collection (Coleção Nacional de Fotografia - Portugal), whose solo works have contributed to the excellence of photographic narrative and have broken with the preconceived concepts of a male-dominated profession.

Ibertrio is a classical violin, cello and piano trio formed by musicians Nuno Meira, Américo Martins and Isolda Crespi. The trio was formed in 2016 with the aim of promoting classical music written for this formation, from classicism to the present day. Ibertrio has participated in several festivals and concert cycles, including Sons no Património (Gaia), Musicórdia (Esposende), Ciclo das quintas (Viana do Castelo), Sexta às sete (Vila do conde) and Auditório Municipal de Gondomar, among others. In this recital, Ibertrio will perform two masterpieces of chamber music, Mendelssohn's first piano trio as well as Shostakovich's first trio.

Singer, musician and songwriter, this is the definition of country artist Gusttavo Lima. Self-taught from the city of Presidente Olegário (Minas Gerais, Brazil) who plays French guitar, Spanish guitar, guitar, drums, bass and accordion, reached the phonographic market with notoriety. The Minas Gerais native is responsible for songs such as “Inventor dos Amores” and “Balada”, hits all over Brazil and Europe. With his danceable and contagious songs, Gusttavo Lima quickly “blew up” on the radio and became a household name at the Brazil’s main events. In 2022, the country singer is back to Portugal and his tour includes Porto, at Super Bock Arena – Pavilhão Rosa Mota, on 5 March 2022.

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.

With many years of existence, this fair is already a sociocultural tradition. It is very sought-after, both by the residents of Bairro da Pasteleira and by the general population. Various products are sold here, namely food, clothing, footwear and home textiles. Location: Rua Bartolomeu Velho

Letraria Craft Beer Garden has one of Porto’s most secret gardens. Now, in addition to tasting the malts and hops of Letra craft beer, in the company of good snacks and delicacies, you can attend free outdoor jazz concerts. Every sunny Sunday, from 5 pm to 9 pm, “Há Jazz na Letra” – the amazing Jam Sessions led by: - Pedro Molina, on double bass; - Antón Iglesias, on drums . Every Sunday is accompanied by a group of guest musicians – well-known in the Portuguese Jazz scene. All concerts are free and, because they’re outdoors, holding them depends on the weather. In case rain is forecast, the Jam Session will be postponed to the following Sunday.

Six-time-Grammy-winner Louis C.K is responsible for nine stand up specials, including his most recent “Sincerely”, available on his website. Some of these specials include Shameless, Screwed Up, Hilarious, Word – Live at Carnegie Hall (audio), Live at the Beacon Theatre, Oh my God, Live at the Comedy Store, and Louis C.K 2017. Louis is the creator, writer, director and star of the Peabody Award-winning series “Louie” and “Horace and “Pete”. C.K. became the first comedian to sell out Madison Square Garden three times on the same tour.

What do Lena D’Água, Ana Deus, Anabela Duarte, Manuela Azevedo or Xana have in common? All of them have a place in Portuguese rock history and are a part of a group of 15 women whose musical careers are going to be celebrated in the exhibition, and in a series of side events that are going to take place in the next 6 months. Symbolically inaugurated on March 8th, International Women’s Day, in Casa Comum (Rectory) of the University of Porto, and with free admission. It will be open until 30 September 2022. Organised by Casa Comum and the Institute of Sociology of the University of Porto, this unprecedented exhibition is born with the aim of paying tribute to “relevant women in Portuguese rock”, from post-25 April period until today. To do so, it proposes to tell their stories through records, cassettes, clothes, props, scribbles of lyrics, staves, drumsticks, musical instruments, among other objects that marked their respective careers.

“Ajax et plures” presents a set of works by João Paulo Feliciano from the 1990s and 2000s belonging to the Serralves collection and a never-seen-before work conceived for the campus of Universidade Católica Portuguesa in Porto. The works presented are representative of different moments in the artist’s career, revealing the continuities and ruptures that have marked his artistic practice over the last thirty years. If the works of the 1990s revolve around the world of rock music and urban reality, the works of 2004 and 2021 show an interest in exploring perceptual phenomena and allow us to distinguish a turning point in the relationship (of fascination/rejection) with technology. There is a constant questioning of the material and linguistic mediums that the artist uses as a way of rethinking our relationship with the world, questioning assumptions of traditional artistic genres in the light of different aspects of folk culture. His ironic and provocative attitude, his desire to involve the spectator in the work’s meaning and, above all, his insatiable appetite for experimentation reveals to be transversal to João Paulo Feliciano’s diverse body of work. The works are presented in different spaces of the UCP – Porto campus, at the Edifício das Artes and the Edifício de Restauro.

Mythology is present in all art forms, and this cycle gathers the result of that inspiration in the musical works of composers from various eras. Greek myths are the natural starting point, as founding elements of our civilization. This is how the Prometheus narrative imposes itself, that noble spirit who wanted to give knowledge and art to humanity and served as inspiration for Beethoven and Liszt for the composition of memorable works, being presented by Orquestra Sinfónica. Or Cassandra’s narrative, cursed to see the future without anyone believing in her, an intense musical piece by Michael Jarrell presented by Remix Emsemble with actress Leonor Silveira. The spells that mark Spanish folk traditions are present in a concert by Orquestra Sinfónica around the famous works “El Amor Brujo” by Manuel de Falla and “Carmen” by Bizet, the latter in a version by Shchedrin. The Norse mythology that inspired Wagner's “Ring” cycle makes itself heard with excerpts from the opera “Twilight of the Gods”. And, as we know, the love and death stories have the great potential to give rise to legends that last for a long time. It is around these feelings that both operas in one act will be led by the conductor and composer Peter Eötvös: his “Senza Sangue” and also “Bluebeard’s Castle” by Béla Bartók.

FC Porto will face Lyon in the round of 16 of the Europa League, according to the draw made at the UEFA headquarters, in Nyon (Switzerland). The first leg of the knockout phase is scheduled for 9 March (Wednesday, 5:45 pm), at Dragão Stadium.

Frida Kahlo, The Life of an Icon is an immersive biography that takes you on a journey through the life of one of the most influential artists of all time. In this multimedia creation, among historical photographs and original movies, you are guided throughout different sound and artistic environments that reproduce relevant life moments of Kahlo, showing the story behind the icon. This experience is divided into two distinct stages. In the first one, you are invited to walk by several artistic installations, where you can experience virtual reality and create your own customized Frida model. In the second one, you will be immersed in a 360º audiovisual show displaying some of the most unique moments from the artist’s personal life. Frida Kahlo remains an iconic figure of our modern society. Her life, rebellious spirit and talent still inspire women of all ages due to her strong, one of a kind and way ahead of her time personality. The immersive biography of Frida Kahlo is presented without any reproductions of her artistic work with the aim of highlighting her personal life story.

Art and landscape define Serralves Park and its paths are the vehicle we use to explore it attentively. Diversity is joined by remarkable trees, themed gardens, a unique spatial organisation and biological diversity in the midst of Porto's urban web. The relationship with the surrounding architectural spaces makes this Park one of the biggest landscape landmarks in Portugal, where the routes, designed in the form of guided tours, seek to promote, sensitise and raise awareness for the significance of the biodiversity present in it. Registration is mandatory, until 5pm on the previous Friday.

Don’t cry, there’ll be another spring I know our hearts will dance again And sing again, so wait for me till then... — Peggy Lee, in the piece Young People, Old Voices (2002) Aiming at leaving the balcony open, like Raimund Hoghe invited us to with the title of the piece “Si je meurs, laissez le balcon ouvert” (2010) [If I Die, Leave the Balcony Open], his dancers got together to pay him a first tribute. In an ephemeral performance, danced fragments chosen from his repertoire will revive the wave of humanity and poetry that Raimund Hoghe was able to delicately place on each of us, dancers and spectators.

The Vagina Monologues is made up of several short texts / monologues. Each of the monologues deals with an aspect of the feminine experience, touching on matters such as sex, menstruation, female genital mutilation, masturbation, birth, orgasm, the various common names for the vagina or simply as a physical aspect of the female body. A recurring theme throughout the play is the vagina as a tool of female empowerment and the ultimate embodiment of individuality. Fun, raw and real stories that reveal a little more of the disconcerting female universe.

In the treetops. Serralves invites you on a unique stroll at the treetop level where you can observe the various natural and cultural spaces that exist in Serralves Park and explore its biodiversity. The Treetop Walk, a 260-meter-long walkway, located in the Park's woods, challenges us to awaken our senses of the best Nature has to offer. Observing the leaves, the highest branches and the treetops, listening to the birds singing and noticing the shelters and nests that inhabit here are some of the challenges that make this trip unforgettable and inspiring to the Park's landscapes and biodiversity. Registration required to a.silva@serralves.pt, until 5 pm on the previous Friday. Maximum Capacity: 20 people

On 13 March, Café Concerto brings to the stage of the CCOP a benefit concert featuring only Ukrainian artists, let us together raise our voices for Peace! Tickets have a symbolic cost of 5€ and all the proceeds will go to help the families of these artists who, from one day to the next, found themselves in the middle of a war. More than a way of helping and bringing the artists closer to their families (despite the more than 4,000km that separate them), this is a tribute to Ukraine and to the resilience of a nation that in the face of adversity has shown what true heroes are made of. Ticket reservation and more information by email (cafeconcertoaovivo@gmail.com) or telephone (916 400 169).

Considering the humanitarian crisis caused by Ukraine’s invasion, commotion and indignation make solidarity grow in the world. Hundreds of thousands of refugees with many children exposed to war and exile, would already be an unavoidable reason for an urgent mobilization, but it is also necessary to give support to the heroic resistance of the Ukrainian people on the ground, taking care of those who remained. For that, the voices and talent of countless Portuguese musicians come together, in unison, wanting to appeal to peace and raise funds for the Ukrainian Red Cross, for the NGO Voices of Children and for the UBTS - Emergency Center, through a benefit concert to take place on March 15th at the Super Bock Arena in Porto. “Uma voz pela paz” is a concert in the form of a hug of solidarity and a clamour for the return to normality in Ukraine. It is our music at the service of solidarity and the celebration of fraternity between peoples. All proceeds from the box office go to the above-mentioned humanitarian organisations. All good-hearted people are invited.

A concert that pays tribute to the composer Joe Hisaishi, not to be missed! Embark on a true candlelit sensorial trip through the music of the films of your childhood and other works of the great Japanese musician. At Ateneu Comercial do Porto, you will be able to listen to great classics in a truly intimate setting, performed by a String Quartet. You will feel like you’re living a magical moment!

Writer, actor and stage director Pedro Gil has a very personal way of looking at the great theatre of the world. “I think I can only do comedy; I think that everything is comedy. Comedy in the sense that life is a failure at which I can only laugh.” “O Inesquecível Professor” [The Unforgettable Teacher] is the play that follows “Don Juan Esfaqueado na Avenida da Liberdade”, where his libertine escapes the flames of biblical Hell to fall into 2018 Portugal, a different sort of Hell, possibly cooler but decidedly funnier. “O Inesquecível Professor”, we warn you in advance, begins on a sad note. A theatre teacher on the brink of retirement no longer feels the joy of the first day of class. He sees this unprecedented event as the confirmation of his defeat: the theatre he has upheld and taught to his students has failed to materialise. But the worst is yet to come: he convinces himself that the only way to keep his final-year students from ending up like himself is to do everything within his power to save them from a life in the theatre… “O Inesquecível Professor”, as we all have realised by now, is a comedy, that place for deriding and celebrating humanity. Some teachers can never be forgotten.

Ten years ago we were presenting our first album. Ever since Gazella was out, we’ve had the biggest adventure of our lives and we owe it to these first songs. We have travelled, played and met people all over the country, while entering a reality we dreamt of when we were kids. Now we are back to celebrate our first episode and look back at this decade where we had the privilege of doing what we love most, as we always wanted. At Coliseu Porto AGEAS, we are back to play Gazella from beginning to end, in a nostalgic embrace involving some of the remaining songs we have come to make, thus setting a reunion for those who have followed us so closely.

Dive into an unprecedented tribute to one of the greatest American artists of all time, Frank Sinatra! Don’t miss out on some of his most famous songs, on a candlelit, unique, exclusive and never seen before concert, that combines the elegance of classical music with romance and mystery. Led by a String Quartet, in the magnificent setting of the Pestana Palácio do Freixo, you will be able to enjoy a moving tribute to the eternal singer and actor in a truly intimate atmosphere. You will feel like you’re living a magical moment!

I see everything in the piece very dark, and in shadows, you and your shadow dancing. A lot of this work’s inspiration comes from the text “OCD” by Neil Hilborn. I feel this text reflects me so much. For me it was already a choreography, or a mould you can put your inspiration in, yourself in. It is the first time that the core of the piece is shaped in my head, and so figurative, before we have even begun working. I know the way it feels and smells. A smell of flowers, but very dark. A lot of noise, but desperation for quiet. It's not coming from a place that I want to make something sad, but something that I need to take out of myself, like a dark stone I have in my chest. — Sharon Eyal The event, on 18 and 19 March, will take place at the Rivoli. On the 23rd, it will be streamed online and will be available until the 24th.

After celebrating 25 years in the business in 2019, with the release of the 25LIVE@25 album and having spent most of the year on a tour that received the best reviews of their career, the British rock icons announce their return to European venues. In 2019, the band released their first new song in three years. The brilliant “What You Do For Love” was an instant hit with fans. “This Means War” recently followed, accompanied by a video of a performance by electrifying Shunk Anansie for 800,000 people in Poland. The last 25 years have seen the band being acclaimed worldwide as one of the greatest British rock bands of all time. Skin (lead singer) herself became one of the most iconic performers, a model and muse for many designers, and recognised as a revolutionary of the role of women in the music industry. Shunk Anasie’s image remains untouched. In 2019, the band was also presented with the Hall of Fame award at the Kerrang awards. An award already granted to Rage Against the Machine, Iron Maiden, Green Day, Metallica and Marilyn Manson. They are going to be two big concerts in celebration of the 25 years of the London-based band.

On 19 and 20 March, Espaço t will once again open the doors of its head office, with new products and partners, in another edition of the "Mercado do Vilar: Oportunidades de Sonhar", thus transforming it into a true market of excellent products. This market, which already has a regular clientele, makes available for sale once again a wide range of products that some of the most important Portuguese companies offer to Espaço t. With this exhibition, Espaço t invites the community to visit the city's institution that has been working for over 25 years with art as an inclusive process. Mercado do Vilar, which began in 2014, seeks to offer unique shopping opportunities, while also ensuring great prices and the possibility of contributing to the financial rebalancing of this institution that believes in the happiness of everyone without exception!

Leonilson was one of the major exponents of a generation of Brazilian artists known as “Geração 80” (80s Generation). After the end of Brazil’s military dictatorship in the mid-1980s, this group of artists celebrated their newly acquired freedom with a gestural, colourful, and expressive style of painting. While American Pop Art appropriated the symbols of a highly industrialized society in the 1980s, the Geração 80s’ art was firmly critical of society. Born in 1957, Leonilson studied art in São Paulo from 1978 to 1981. Apart from Eva Hesse and Blinky Palermo, both of whom he met during his travels in Europe, his first major influence was the Italian transavanguardia movement. Formed in the late 1970s, transavanguardia turned to figuration, ancient mythology, and expressive use of colour. Similarly, Leonilson’s paintings and drawings from this period show an eclectic subjectivism and an emblematic visual language. An exhibition of textiles produced by the Shakers, a Christian American sect, marked a key moment in the artist’s early career. The Shakers’ embroidered maps influenced him greatly and inspired him to embrace textiles as an artistic medium. When Leonilson was diagnosed with AIDS in 1991, his visual language changed significantly: between 1991 and 1993, his work, which resembled a diary, revealed his deteriorating health and showed his concern with death. Towards the end of his life, he was only able to work with needle, thread, and fabric. In this period, language and abstraction, as well as religious, visual and formal language played an important role in Leonilson’s work. The Serralves Museum of Contemporary Art is pleased to present the first major retrospective of the work of the Brazilian artist Leonilson in Portugal. The exhibition presents a selection of over 250 works that encompass a broad range of mediums and styles, from the artist’s early paintings to the introspective embroidery of Leonilson’s last years, providing an overview of his entire oeuvre.

“Look at me and look at you.” Gil Vicente remains, now and always, inhabitable by all of us, who live five hundred years later. Master Gil, we are told, is a “living text” that allows us to look at ourselves and dream. Filled with Gil Vicente visions other visions, stage director João Pedro Vaz invites us to wander through the “Floresta de Enganos” [Forest of Deceits], originally performed in the “year of Our Lord 1536”. In Vicente’s final comedy, we are immediately confronted by a philosopher who has a Fool tied to his foot, the most enigmatic pair in all of Vicente’s work. The philosopher announces all the figures who will be deceived by love: a merchant, a man in widow’s weeds, a young girl, Cupid, Apollo, king Telebano, princess Grata Célia, judge Justiça Maior, and even a shepherd, linked by chains of love to something he cannot guess. Finally, a pilgrim named Ventura comes to solve this love-en-abîme. “All this takes place in the forest, which has always been the locus par excellence of idyll and deceit, of transformation through love; in other words, of the theatre. Like in a (Gil Vicente) midsummer night’s dream”, the stage director warns us. “Look at me and look at you”: such is the last line in the self-penned epitaph of the one who was called “the most Angelic and Demonic of all Portuguese poets”.

Some of the most famous Vivaldi’s works like you have never seen before! Experience this unique and exclusive candlelit concert that combines the elegance of classical music with romance and mystery. Led by a String Quartet, in the magnificent setting of the Pestana Palácio do Freixo, you will be able to listen to some of the best-known works of all time in a truly intimate setting. You will feel like you’re living a magical moment!

Masters of percussion and humour, for Stomp, everything has its own movement and sound. From boots to buckets, from dustbin lids to lighters and brooms, from kitchen sinks to water bottles, its originality is overwhelming and the humour contagious. For 29 years touring the five continents, STOMP continue to surprise fans with the new objects they include in their show. This return to Portugal will be no different! No entry allowed after the start of the show.

In the city of Porto, there are several places where you can find vinyl records, a musical medium that is gaining a second life as a cult object in the 21st century. At a time when music runs freely in digital media, vinyl records are increasingly sought after in stores and fairs, like this one, which is being held in Bombarda Shopping Centre for the seventh edition. Besides vinyl records, you can also find cassettes, CDs and other sound artefacts at the Fair. From novelties to rarities, here you will certainly find good company to take home.

Welcome to Mount Average. During this performing journey, Julian Hetzel takes us on a factory visit that confronts us with our own ideologies. This time, the theatre maker grinds statues of rulers, dictators and tyrants to dust to give them meaningful new meaning. “Mount Average” questions acquired rights, traditions, privileges and wealth, ideologies and totalitarian ideas, aspects that every (post-colonial) society carries with it. In this industrial environment, the clash between the static past and the fluid present creates a productive friction that stirs up a lot of controversy. Julian Hetzel's performances are attempts to unravel the world, while trying to provide strategies to transform it. In his work, he provides speculative methods that offer possibilities to deal with both the trauma (of the past) as well as with the challenges of the present. This time, hands on. — Julian Hetzel

One of the biggest names of Brazilian Pagode, tours Europe. Portugal couldn’t be left out and in March, Thiaguinho, comes to Porto on his “Infinito” tour.

On 26 and 27 March, VINHOS a Descobrir returns with its Spring edition! The Wine Market entirely dedicated to Portuguese wine lovers and those who enjoy the excellent small Portuguese wine producers, at special prices! At Super Bock Arena – Pavilhão Rosa Mota, in Porto’s historic city centre, we bring together wine lovers and producers, in a sharing of novelties to let yourself be dazzled and love the experience! Get to know the wine producers and their stories. A unique experience, in a large venue, in a relaxed atmosphere, with endless entertainment powered by DJ Tatá Pimentel. This edition features over 440 wines, from 62 producers, from all regions - from Trás-os-Montes to Alentejo, including wines from the Azores and Porto Santo! Start at Trás-os-Montes, go down to the Douro, finding sparkling wines as well as still wines and Port Wine. We are waiting for you!

The best Andrew Lloyd Webber songs like you have never seen before! Experience this unique and exclusive candlelit concert that combines the elegance of classical music with romance and mystery. Led by an Orchestra and in the imposing Porto Palácio Hotel & Spa, you can delight yourself in a collection of some of the most beautiful songs of musical theatre, from three of Andrew Lloyd Webber’s best-loved musicals. You will feel like you’re living a magical moment!

The novelist and playwright Peter Weiss is the author of one of the most seminal works of German literature, “The Aesthetics of Resistance” (1975-81). Rui Pina Coelho draws freely from that book to create a play of the same title, performed by Teatro Experimental do Porto and directed by Gonçalo Amorim. Weiss describes the journey of three young German Communist working-class men, from 1937 to the beginning of World War 2, through their meetings in museums and art galleries. Their musings on painting, sculpture and literature are a form of opposition to the Nazi regime and a search for affinities between political resistance and art. Everything begins with an absence: while looking at the frieze in the Pergamon Museum in Berlin, the young men notice that the god Heracles is missing and start imagining a human replacement for him, a herald of the oppressed and exploited, to whom Rui Pina Coelho lends a voice: “I have become used to thinking that artistic creation devoid of truth has little reason to exist.” This show brings that search for meaning to the present day, in the form of a litany about art and politics, truth and camaraderie.

Considering the terrible war in Ukraine, which the world is witnessing as the greatest European and humanitarian crisis of the 21st century, the Ordem dos Médicos and Porto City Hall, in partnership with Orquestra Sinfónica APROARTE and Casa da Música, will hold a Charity and Fundraising Concert for the Ukrainian people. The show also has the support of Laboratórios Germano de Sousa (Germano de Sousa Laboratories) and the University of Porto. This concert will have the musical direction of Conductor Ernst Schelle and will feature Ukrainian soprano Nataliya Stepanska. The total proceeds from ticket sales and donations will go to the following humanitarian organisations currently operating in the country: - Comité Internacional da Cruz Vermelha - Programa Alimentar Mundial da ONU

Travel back to your childhood’s biggest classics with Candlelight! Experience this unique and exclusive candlelit concert that combines the elegance of classical music with romance and mystery. Led by a String Quartet and in the magnificent setting of Pestana Palácio do Freixo, you will be able to listen to some of the most popular animated film soundtracks of all time in a truly intimate setting. You will feel like you’re living a magical moment!

A young couple has converted a country house into a guesthouse, starting a business in the hotel industry, but they are living with financial difficulties. One night, due to a heavy snowstorm, everyone, including the four guests there, find themselves trapped, unable to leave the hotel. Until Detective Trotter arrives, who has managed to overcome the difficulties of the storm, walking to the guesthouse on his skis. Trotter comes to warn that a murderer is on the loose and heading there after having committed a murder in London. But that very night, when one of the guests turns up dead at the hotel, it becomes clear that the killer is already among them. Suspicion immediately falls on Christopher Wren, a young man who looks similar to the detective's description of the criminal. After a thorough questionnaire carried out by the detective, it becomes clear that the killer could be any of them, including the hotel owners. The revelation as to who the criminal is will be shocking, not least because EVERYONE was a suspect…!