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Exhibitions
LOOPED: FILMS FROM THE SERRALVES COLLECTION DE 2019-09-12 a 2019-09-29
Looped: Films from the Serralves Collection is a set of continuously screened films, structured across three different stages. The first stage (12 to 17 September) addresses the concepts of time and memory. The second stage (18 to...
LOOPED: FILMS FROM THE SERRALVES COLLECTION
DE 2019-09-12 a 2019-09-29
![]() Looped: Films from the Serralves Collection is a set of continuously screened films, structured across three different stages. The first stage (12 to 17 September) addresses the concepts of time and memory. The second stage (18 to 23 September) includes films that make different use of the languages and techniques of television, video and advertising and that reflect on these universes. The third and final stage (24 to 29 September) is related to performance and the presence of various performance-based practices recorded in films and videos, which exist and impose themselves as autonomous objects. Films by: !Von Calhau!, John Baldessari, Pedro Barateiro, Dara Birnbaum, E. M. de Melo e Castro, Mauro Cerqueira, Filipa César, Ângela Ferreira, Walter Gutman, Tony Oursler, Fernando José Pereira, Francisco Queirós, Richard Serra, João Tabarra, Francesco Vezzoli, Marijke van Warmerdam
Há Luz no Parque 2019 DE 2019-07-18 a 2019-09-21
Há Luz no Parque - Every Thursday, Friday and Saturday, from 18 JUL to 21 SEPSchedule: 9:30 pm to 00 am (last ticket: 11pm Entrance: R. Dom João de Castro, 210The 5th edition of the installation "There’s Light in the Park" ...
Há Luz no Parque 2019
DE 2019-07-18 a 2019-09-21
![]() Há Luz no Parque - Every Thursday, Friday and Saturday, from 18 JUL to 21 SEP Schedule: 9:30 pm to 00 am (last ticket: 11pm Entrance: R. Dom João de Castro, 210 The 5th edition of the installation "There’s Light in the Park" represents a special moment in the programme of Serralves Park. During the summer months, the Park is open to the general public at night, and invites visitors to take part in different environmental and cultural experiences. Various iconic pathways, trees and elements are decoratively illuminated, projecting a play of light which creates new scenarios, centred around the Alameda dos Liquidâmbares, the Lake and the Farm. The programme of activities accompanying the installation, includes guided visits to the Park, which in a nocturnal experience, highlight and demonstrate the convergence between natural and artistic dimensions and, in symbiosis, recount stories and reinforce the remarkable natural heritage as visitors discover the nocturnal life of the park. THE CONCEPT When lighting an outdoor environment, it is possible to consider lighting as simply a way to guarantee the space’s functionality - responding to basic requirements in terms of visibility and safety. However, conciliation of such functional principles with a more expressive dimension makes it possible to explore the multiple creative, playful and pedagogical potential that artificial lighting can have for people, nature and built spaces. GUIDE One of the main characteristics of the Park's nocturnal lighting is, above all, the ability to organise it and suggest directions to visitors along the various available paths and routes. INTERACT In certain places in the Park, visitors will be invited to manipulate the light, thereby transfiguring its effects on the landscape or even on people. RELAX Determinados pontos no Parque procuram recriar um ambiente lumínico que convida à pausa e ao relaxamento do visitante, fazendo-o sentir-se "em casa” e disfrutar de um confortável momento de conversa ou de simples introspeção. PROVOKE Intervindo na Arquitetura de forma provocadora e efémera, a luz revela nesta intervenção o seu poder enquanto instrumento de transformação visual ou verdadeiro material de construção. EDUCATE Certas intervenções no Parque reforçam simbolicamente a importância de dois elementos naturais no nosso planeta: a água e o fogo. Access: 5€ Amigos de Serralves: free entrance
JOAN JONAS DE 2019-05-25 a 2019-09-01
Joan Jonas (New York, 1936) is a pioneer of performance and video art and an acclaimed multimedia artist, whose work encompasses video, performance, installation, sound, text and drawing. A central figure in performance art in the...
JOAN JONAS
DE 2019-05-25 a 2019-09-01
![]() Joan Jonas (New York, 1936) is a pioneer of performance and video art and an acclaimed multimedia artist, whose work encompasses video, performance, installation, sound, text and drawing. A central figure in performance art in the late 1960s, her artistic practice has played a fundamental role for the development of many contemporary artistic genres, ranging from performance art and video to conceptual art and theatre. She is currently considered to be one of the most influential voices in contemporary art, especially for new generations of artists. This is the most complete exhibition of Jonas' oeuvre ever held. Works from the late 1960s are in conjunction with the most recent installations by this historical artist who continues to think about some of the most urgent and important contemporary issues. The exhibition is organized by the Tate Modern in partnership with the Serralves Foundation - Museum of Contemporary Art, Porto Curators - Marta Almeida, Assistant Director and Paula Fernandes, Curator, Serralves Foundation - Museum of Contemporary Art, Porto and Andrea Lissoni, Senior Curator, International Art (Film) Tate Modern and Julienne Lorz, Chief Curator, Gropius Bau, Berlin [Image: Joan Jonas, Lines in the Sand, 2002, still from the video recording of the performance, The Kitchen, New York NYC, 2004. JOAN] ![]() Related Activities
INAUGURAÇÃO 24 MAI (SEX), 19h00
19h00 Mirror Piece I & II: Reconstrução (1969/2018-2019) 20h00 Abertura da exposição ao público
PENSAMENTO
23 JUN (DOM), 12h00 Visita orientada à exposição por Patrícia do Vale, educadora 29 JUN (SÁB), 17h00 Visita orientada "Sobre Experimentar e Objetos Museais Instáveis” à exposição Joan Jonas por Sofia Ponte, investigadora (título em inglês: "ABOUT EXPERIMENTS AND UNSTABLE MUSEUM OBJECTS”) 07 JUL (DOM), 12h00 Visita orientada à exposição Joan Jonas por Inês Soares, educadora 20 JUL (SÁB), 17h00 Visita orientada à exposição Joan Jonas por André Teodósio, ator 04 AGO (DOM), 12h00 Visita orientada à exposição Joan Jonas por Patrícia do Vale, educadora 31 AGO (SÁB), 17h00 Visita orientada à exposição Joan Jonas por Diana Policarpo, artista
THOUGHT
25 MAI (SÁB), 16H00 | Conversa com a Artista e Performance Mirror Check (1970) 25 MAI (SÁB), 18H00 | Mirror Piece I & II: Reconstrução (1969/2018-2019) 26 MAI (DOM), 18h00 | Mirror Piece I & II: Reconstrução (1969/2018-2019) 26 MAI (DOM), 19h00 | | Performance Mirror Check (1970)
OLHAR APRENDIZ: AS MÚLTIPLAS FORMAS DO OLHAR - PROJETO COM ESCOLAS 2018-2019 DE 2019-05-23 a 2019-09-15
Ensuring continuity for the Annual Schools Project, in the 2018/2019 school year we’re focusing on the theme of "ways of seeing". The Serralves Foundation’s Educational Service once again promotes practical and theoretical ref...
OLHAR APRENDIZ: AS MÚLTIPLAS FORMAS DO OLHAR - PROJETO COM ESCOLAS 2018-2019
DE 2019-05-23 a 2019-09-15
![]() Ensuring continuity for the Annual Schools Project, in the 2018/2019 school year we’re focusing on the theme of "ways of seeing". The Serralves Foundation’s Educational Service once again promotes practical and theoretical reflection on a central theme for the contemporary era: What do we see when we look? How do different ways of seeing the world affect our opinion of it and of the people with whom we live? The exhibition "Apprentice Gaze - Multiple Forms of Looking" presents works developed by pre-primary to secondary schools, after the participation of teachers and students in meetings, seminars and workshops developed by the Educational Service’s team. We invite everyone to experience the "mechanisms of seeing" proposed by the different classes, which enable us to reflect upon and review (look again? with greater attention?) the role of visuality in today's world. ![]() ![]() Related Activities
BIBLIOTECA NA BIBLIOTECA | AUTOEDIÇÃO NO PORTO, 1999–2019 DE 2019-03-21 a 2019-06-16
LIBRARY IN THE LIBRARY
Self-publishing in Porto, 1999-2019
This exhibition includes books, magazines, fanzines, multiples and graphic
materials (posters, leaflets, flyers) published independently in Porto since
1999 - the ...
BIBLIOTECA NA BIBLIOTECA | AUTOEDIÇÃO NO PORTO, 1999–2019
DE 2019-03-21 a 2019-06-16
![]() LIBRARY IN THE LIBRARY Related Activities
13 APR (SAT), 5PM | TALK
With Ricardo Nicolau e Mário Moura, curators of the exhibition.
ANTONI MUNTADAS - COLEÇÃO DE SERRALVES DE 2019-03-15 a 2019-06-30
"Interventions: About the Public and the Private” is a project specifically conceived by Antoni Muntadas for the Serralves Villa in 1992. Composed of twenty-one brass elements, each containing the designation of the correspondin...
ANTONI MUNTADAS - COLEÇÃO DE SERRALVES
DE 2019-03-15 a 2019-06-30
![]() "Interventions: About the Public and the Private” is a project specifically conceived by Antoni Muntadas for the Serralves Villa in 1992. Composed of twenty-one brass elements, each containing the designation of the corresponding space at the Villa when it was inhabited and a photograph of that time (whenever one was found), the project represents one of the artist’s research platforms of choice. In the catalogue published by the Serralves Foundation in 1992, Muntadas refers to his project as follows: "The project is centred around observing and reflecting on the ‘private’ and the ‘public’ and their respective functions as well as on how a private place becomes public and vice versa. (…) I find it easy to understand that the way the space is used and distributed in the ‘public’ sphere often recreates the hierarchical organization of the ‘private’. ‘Public’ and ‘private’ share structures of organization, power and decision-making, which are apparently similar. The memory of the ‘private’, based on the identification of places or spaces through designation (texts/images) should constitute the starting point for a reflection on the use and consumption of both the ‘private’ and the ‘public’, as seen from a cultural perspective (once the political and social perspectives have been assumed).” With his EEC Project, 1992, Muntadas sought to focus attention on the relationship between cultural symbols and the economy as well as to question the objectives and economic prowess of the European Community. The cultural future of a united Europe was presented in the form of a 6 by 4 metre carpet that represented the European flag with a depiction of the Member State currency in each of the twelve stars. In 1992, copies of the carpet were exhibited in other public spaces of European cities, such as Brussels, Dublin, London, Madrid, Montpellier, beside Porto.
SUSAN HILLER DE 2019-03-01 a 2019-07-10
In 2005 the work of Susan Hiller (Tallahassee, Florida, USA, 1940–2019, London) was the subject of a monographic exhibition in the Serralves Museum that reflected the historical importance of her oeuvre, dating back to the 1970s...
SUSAN HILLER
DE 2019-03-01 a 2019-07-10
![]() In 2005 the work of Susan Hiller (Tallahassee, Florida, USA, 1940–2019, London) was the subject of a monographic exhibition in the Serralves Museum that reflected the historical importance of her oeuvre, dating back to the 1970s, and including her recent research in the fields of video, sound and fiction. In her artistic practice, she combines the heritage of conceptual art and alternative systems of knowledge and cosmogonies (e.g. mystical rituals, paranormal phenomena and supernatural forces). The interactive installation Die Gedanken sind frei [Thoughts are free], originally presented at Documenta 13 in 2012, is one of her most impressive works and incorporated the Serralves Foundation collection in 2013. Using a jukebox and sitting on seats designed by the artist, audiences can listen – in whatever order they choose – to 100 songs with political content, collected by Susan Hiller. The songs come from many different parts of the world and cultures, ranging from the 1524–25 Peasants' War in Germany to the 2011 Arab Spring. The songs’ lyrics can be found on the walls around the jukebox and spectators also have access to a "songbook" selected by the artist that compiles the song lyrics, texts and images. Coll. Fundação de Serralves – Museu de Arte Contemporânea, Porto. Artist’s donation 2013 ![]() Related Activities
JOANA VASCONCELOS - I'M YOUR MIRROR DE 2019-02-19 a 2019-06-24
This exhibition presents more than 30 works made from 1997 until now, covering two decades of art practice and assessing her whole development as an artist. It includes many of her best known works like Cama Valium [Valium Bed] (1...
JOANA VASCONCELOS - I'M YOUR MIRROR
DE 2019-02-19 a 2019-06-24
![]() This exhibition presents more than 30 works made from 1997 until now, covering two decades of art practice and assessing her whole development as an artist. It includes many of her best known works like Cama Valium [Valium Bed] (1998), A noiva, Burka (2002), Coração independente vermelho [Red independent heart] (2005), Marilyn (2011) and Lilicoptère (2012), as well as new works made for the occasion like Finisterra, I´ll Be Your Mirror or Solitário [Solitaire] (all 2018). The exhibition continues throughout the gardens of Serralves Park with the display of several monumental outdoor sculptures. This exhibition has been organized by the Guggenheim Museum Bilbao, in partnership with the Serralves Museum of Contemporary Art and Kunsthall Rotterdam, and has been curated by the independent curator Enrique Juncosa. ![]() Joana Vasconcelos (Paris, 1971) is one of the best known artists of her generation. She studied in Lisbon, and eventually started exhibiting in the 1990s, but it was not until 2005, when she participated in that year's Venice Biennale, showing A noiva [The Bride] (2001-2005), a huge candelabra made with tampons, that she achieved a wide international recognition. A noiva was shown in the first room of the main exhibition in the Venice Biennale, surrounded by works by The Guerrilla Girls, creating an immediate buzz as one of the things not to be missed that year. Since then, and during the last 14 years, her work has been widely seen, obtaining both critical and popular acclaim. Recent projects include an exhibition at the Palace de Versailles, which was visited by 1,800,000 visitors in 2012; her project for the Portuguese Pavilion in the Venice Biennale of 2013, Trafaria Praia, a boat that was changing location in the canals of the city, and a survey show at the Palácio da Ajuda in Lisbon (also in 2013). Vasconcelos has also developed, during this time, several major public sculpture projects in different parts of the world. Vasconcelos uses different materials from daily life to produce her work, including home appliances, tiles, textiles, popular ceramics, furniture, bottles, medication or plastic cutlery. She uses them to build striking sculptures loaded with meaning, going from an exploration of identity (individual, female, national or European), to political questions dealing with postcolonial global societies. Her work also incorporates humour and emotions, while calling for the viewer’s participation and interpretation. Vasconcelos’ work mixes ideas from high and low cultures, national clichés, techniques of manipulation to induce consumerism and a very effective understanding of architectural space, to invite us to rethink much of what we take for granted in daily life. She uses traditional craft techniques but also cutting edge technology in works that constitute syncretic situations of historic and cultural density, like a three dimensional visualization of a multicultural epic. Enrique Juncosa (Palma de Mallorca, 1961) is a writer and a curator. He was the Director of the Irish Museum of Modern Art in Dublin from 2003 to 2012, job for which he was granted the Order of the Civil Merit by the Spanish Government. Before that he was Deputy Director of the Museo Reina Sofía in Madrid and also of Instituto Valenciano de Arte Moderna (IVAM) in Valencia, Spain. He has curated more than 60 exhibitions in different museums, including the Whitechapel Art Gallery and Tate Britain, both in London; The Hamburguer Banhoff, Berlin; MAXXI, Rome; Musée des Beaux Arts, Nantes; Kunsthalle Bielefeld; SMAK, Gent; Astrup Fearnley Museet vor Moderne Kunst, Oslo; Guggenheim Museum, Bilbao; The Gulbenkian Foundation, Lisbon; MACBA, Barcelona; Museu de Arte Moderna, Rio de Janeiro; or The Spanish Pavillion at the Venice Biennale. He is currently preparing a retrospective of Miquel Barceló for the National Museum in Osaka. He has published seven collections of poetry and a book of short stories. He has also written many essays on contemporary art. Some of them were collected in The Irish Years (Dublin, 2013). Related Activities
PENSAMENTO
23 FEV (SÁB), 15H30 | Visita Orientada à exposição em LGP por Laredo, Associação Cultural 10 MAR (DOM), 12H00 | Visita Orientada à exposição por José Costa 23 MAR (SÁB), 17H00 | Um Olhar Para a Arte Contemporânea com Joana Vasconcelos, artista, Petra Joos, curadora no Guggenheim Bilbao e Isabel Pires de Lima, professora catedrática 31 MAR (DOM), 12H00 | Visita Orientada à exposição por Rita Faustino 28 ABR (DOM), 12H00 | Visita Orientada à exposição por José Costa 10 MAI (SEX), 18H30 | Conversa com a Artista Conversa sobre "A Máscara na Arte" com Joana Vasconcelos, artista, e Alain Grouette, terapeuta e naturopata 11 MAI (SÁB), 15H30 | Visita Orientada à exposição em LGP por Laredo, Associação Cultural 26 MAI (DOM), 12H00 | Visita Orientada à exposição por Rita Faustino 09 JUN (DOM), 12H00 | Um Olhar Para a Arte Contemporânea com Joana Vasconcelos, artista, Miguel Amado, diretor do Cork Printmakers e Natasha Howes, curadora na Manchester Art Gallery 15 JUN (SÁB), 17H00 | Percurso para Adultos por José Costa 16 JUN (DOM), 12H00 | Visita Orientada à exposição por Rita Faustino
CONTEMPORARY PROJECT: HORÁCIO FRUTUOSO DE 2019-02-15 a 2019-05-05
‘Poetry Club’ is the first solo exhibition by Horácio Frutuoso (Póvoa de Varzim, 1991) to be held in a museum. The title is directly related to two specific aspects that distinguish his artistic practice: his careful use of ...
CONTEMPORARY PROJECT: HORÁCIO FRUTUOSO
DE 2019-02-15 a 2019-05-05
![]() ‘Poetry Club’ is the first solo exhibition by Horácio Frutuoso (Póvoa de Varzim, 1991) to be held in a museum. The title is directly related to two specific aspects that distinguish his artistic practice: his careful use of language — his exhibitions have made extensive use of written sentences on gallery walls and floors, as a form of spatial representation of what has historically been called visual poetry — and his constant creation of synapses and associations. In this exhibition the most evident association is between different media: painting and writing on the walls — and writing on the paintings themselves — blend together and destabilise all hierarchies between visuality and reading. To a certain extent, the sentences occupy the place of the labels which traditionally accompany paintings, often providing elements — in particular titles — that allow viewers to make certain interpretations. On the other hand, the iconography represented in his works also refers to the idea of an assembly, a club, or even a secret society. For example, the presence of white and black horizontal stripes — which may refer to the patterns used to identify convicted criminals (or at least deviants) — printed on t-shirts that are simply folded, placed or worn by a masked individual, or by a famous person (not always for the best reasons): Kanye West. In addition to these figures, the exhibition includes portraits of some of the artist’s closest friends, potential members of a specific, anonymous club. It should be noted that some of the paintings are premeditatedly declared to be copies of copies, for example, by reproducing certain images or the pages of the notebooks where the artist kept these images. Painting has lost its solemnity — it is a medium to which the artist attaches no greater importance than to the written texts which frequently cover it, at least in part — a fact which is reinforced by the type of language that the artist uses in his own canvases and on the walls, halfway between an eminently personal, diary-like tone (shamelessly confessional, in certain cases), while simultaneously denouncing permeability in relation to so-called popular culture (mass-market cinema and music) and making sophisticated, literary use of various figures of style (alliteration, chromesthesia, onomatopoeia and synecdoche). On other occasions, the artist simply makes use of techniques of repetition, that in music are achieved through refrains or syncopated rhythms which invite us t step onto the dance floor. Horácio Frutuoso’s writing is portable. It is a way of capturing that which, as in dance, is fleeting, evanescent, temporary: a dream, an idea, a strange relationship between two things. It responds to a sense of urgency. It is a light, easily transportable medium. As with everything else in Frutuoso’s artistic work, it seems to be peripheral, but may assume a central role. And vice versa. Exhibition curated by Ricardo Nicolau, Deputy to the Director of the Serralves Museum. Sponsor of the exhibition
![]() Related Activities
PENSAMENTO
23 FEV (SÁB), 17H | Conversa com o artista e com o comissário da exposição por Joana Mendonça
TACITA DEAN DE 2019-01-29 a 2019-05-05
"Making images like a gambler in light, I must acknowledgethat my preference for using film is bound up in theblindness it necessitates in order for me to see."Tacita Dean, 2018The renowned British European artist Tacita Dean has ...
TACITA DEAN
DE 2019-01-29 a 2019-05-05
![]() "Making images like a gambler in light, I must acknowledge that my preference for using film is bound up in the blindness it necessitates in order for me to see." Tacita Dean, 2018 The renowned British European artist Tacita Dean has been part of the history of Serralves’s programming since her solo exhibition in 2002. Inspired by this museum, she went on to film her work Boots (2003) in the Casa de Serralves, which was then acquired for the Collection. This exhibition is an exciting opportunity to show Boots alongside her new and ambitious film project Antigone (2018), which premiered last year in her simultaneous trilogy of exhibitions that took place in the Royal Academy of Arts, the National Gallery and the National Portrait Gallery in London. Antigone has been many years in the making and the central ideas have manifested in other works over the past three decades, most significantly in Boots. This double-screen 35mm one-hour film is an epic exploration of the artist’s sister’s name Antigone, which features poet and playwright Anne Carson and actor Stephen Dillane. The film diptych evokes the eponymous mythological figure and her blind and lame father, Oedipus and the idea of their journey into the wilderness between the two plays by Sophocles, Oedipus Rex and Oedipus at Colonus. This important presentation has also brought together other earlier works that follow the trajectory of her thinking in relation to Antigone as early as 1991 and includes two of the artist’s most recent large-scale blackboard drawings as well as a multi-part photogravure from the Serralves Collection. Concept: Tacita Dean and Marta Moreira de Almeida We inform that, on the morning of February 11, the circulation corridor at the Tacita Dean exhibition is closed to the public. Related Activities
PENSAMENTO
02 FEV (SÁB), 15H30 | VISITA ORIENTADA À EXPOSIÇÃO EM LGP por Laredo, Associação Cultural 03 FEV (DOM), 12H | VISITA ORIENTADA À EXPOSIÇÃO por Patrícia do Vale 30 MAR (SÁB), 17H | UM OLHAR PARA A ARTE CONTEMPORÂNEA por Margarida Mendes 06 ABR (SÁB), 17H | UM OLHAR PARA A ARTE CONTEMPORÂNEA por Nuno Carinhas 14 ABR (DOM), 12H | VISITA ORIENTADA À EXPOSIÇÃO por Patricia do Vale 23 ABR (TER), 19H | VISITA EXCLUSIVA PARA AMIGOS por Paula Fernandes. 04 MAI (SÁB), 17H | VISITA ORIENTADA À EXPOSIÇÃO por André Romão
JOAN MIRÓ AND THE DEATH OF PAITING DE 2018-12-12 a 2019-03-03
'Joan Miró and the Death of Painting' focuses on works of the year 1973 when the eighty-year old artist was preparing for an important retrospective at the Grand Palais in Paris. In a series of slashed and punctured can...
JOAN MIRÓ AND THE DEATH OF PAITING
DE 2018-12-12 a 2019-03-03
![]() 'Joan Miró and the Death of Painting' focuses on works of the year 1973 when the eighty-year old artist was preparing for an important retrospective at the Grand Palais in Paris. In a series of slashed and punctured canvases of 29 March 1973, woven reliefs (‘Sobreteixims’ and ‘Sobreteixims-Sacks’) made in collaboration with Josep Royo in 1972 and 1973, and in five ‘Toiles brûlées’ (Burned Canvases) executed between 4 and 31 December 1973 Miró gave full vent to his aesthetic rage. Just as critics were announcing the ‘death of painting’ as a fait accompli in the face of practices that challenged the master narratives of High Modernism — process art, performance, and land and installation art — Miró put painting under pressure in an attempt to renew its means and procedures. The exhibition brings together eleven works from the Portuguese State Collection, on loan to Fundação de Serralves, with twenty-three paintings and objects from public and private collections in Spain and France. A documentary section allows the visitor to gauge Miró’s working methods in making the ‘Sobreteixims’, while a film by the renowned Catalan photographer Francesc Català Roca records the process of creation and destruction in the ‘Toiles brulées’. In the accompanying catalogue, curator and acclaimed Miró scholar Robert Lubar Messeri examines the Catalan artist’s concept of aesthetic assassination. He traces the artist’s engagement with the practices of what he called ‘anti-painting’ in 1927–28 to unearth how the tension between painting and anti-painting in his subsequent work reached a crescendo in his production of 1973. The publication also features the first English and Portuguese versions of an interview between Joan Punyet Miró, the artist’s grandson, and Josep Royo, with whom Miró entered in 1969 into a highly productive and long-lasting working relationship. ![]() Related Activities
PENSAMENTO
16 DEZ (DOM), 11H | Visita orientada à exposição por Raquel Correia. 6 JAN (DOM), 11H | Percurso para Famílias por Raquel Correia. 20 JAN (DOM), 11H | Visita orientada à exposição por Andreia Coutinho. 26 JAN (SÁB), 15H30 | Visita orientada em LGP à exposição por Laredo. 03 FEV (DOM), 11H | Visita orientada à exposição por Raquel Correia. 05 FEV (TER), 18H30 | Conferência 17 FEV (DOM), 11H | Percurso para Famílias por Raquel Correia. 23 FEV (SÁB), 15H | Visita para Amigos de Serralves por Raquel Correia.
NOVO BANCO REVELATION 2018 DE 2018-11-30 a 2019-01-29
The finalists and grand winner of the 2018 edition of the NOVO BANCO Revelation Prize have been revealed. This year's Jury - comprised by Anna Gritz, curator at the KW (Institute for Contemporary Art, Berlin), Filipa Loureiro ...
NOVO BANCO REVELATION 2018
DE 2018-11-30 a 2019-01-29
![]() The finalists and grand winner of the 2018 edition of the NOVO BANCO Revelation Prize have been revealed. This year's Jury - comprised by Anna Gritz, curator at the KW (Institute for Contemporary Art, Berlin), Filipa Loureiro and Ricardo Nicolau, curator and deputy to the director of Serralves Museum, and Rita Vitorelli, editor-in-chief of Spyke Art magazine - unanimously chose as finalists of the 2018 NOVO BANCO Revelation Prize - the artists Carlos Arteiro, Ana Linhares, the collective Sem título 2018 and Maria Trabulo, who was declared the grand winner. A group exhibition will be inaugurated at Serralves Museum, to present the works by the four artists, for which they will receive a production grant to implement the projects they presented to the competition. A monographic publication of the work of the grand winner, Maria Trabulo, will be published on this occasion. The NOVO BANCO Revelation Prize is an initiative of NOVO BANCO, in partnership with the Serralves Foundation. To date it has already distinguished 41 artists and aims to encourage artistic production and creation by young Portuguese artists, aged up to 30, based on a logic of dissemination, launch and support for all artists who use the medium of photography. Imagem: "Da série Homens Petrificados" (Petrified Men), 2017 Digitalização de fragmento restante de estátua derrubada ou destruída por motivos políticos depósitos de museus em Portugal, Áustria, Bulgária, Alemanha. © Maria Trabulo According to the jury, all the artists expressed an approach to photography that broadens the scope and possibilities of this medium in the field of contemporary art - for example in projects related to the memory of Portuguese colonial heritage (Ana Linhares), or that jumble up concepts of authorship and identity (collective Untitled 2018), or use photography to explore the impersonal, mechanical character of photographic work in other media, in particular in painting and video (Carlos Arteiro). The jury said that the Prize was granted to Maria Trabulo due to the introspective and idiosyncratic character of her research, as demonstrated in the project that she presented to the NOVO BANCO Revelation Prize in which she questioned the relationship between photography and the limits of human memory – reminding us that photography plays a fundamental role in the constitution of archives, preservation practices and as an archaeological tool. Maria Trabulo lives and works between Porto and Vienna. She is involved in solo and group projects and has participated in several artistic exhibitions in Portugal and abroad. She has received awards from leading international institutions and developed several collaborations with professionals working in the fields of the arts, architecture and the performing arts. She completed her master's degree in Art & Science from the Academy of Applied Arts in Vienna and has a B.A. Hons. degree in Fine Arts, from the Faculty of Fine Arts of the University of Porto and the Academy of Fine Arts in Iceland. Related Activities
OPENINGS: TOM EMERSON in conversation with the Álvaro Siza Archive DE 2018-10-27 a 2019-03-10
‘Conversations with the Álvaro Siza Archive’ is a new series of exhibitions aimed at placing the work of Álvaro Siza in dialogue with some of the most relevant contemporary architectural practices. Invited to act as guest cu...
OPENINGS: TOM EMERSON in conversation with the Álvaro Siza Archive
DE 2018-10-27 a 2019-03-10
![]() ‘Conversations with the Álvaro Siza Archive’ is a new series of exhibitions aimed at placing the work of Álvaro Siza in dialogue with some of the most relevant contemporary architectural practices. Invited to act as guest curator for each individual exhibition, an architect is asked to select materials from the Álvaro Siza Archive and present them in connection to his/her own work. Tom Emerson, of London-based practice 6a architects, will be the first guest curator in the series. Openings play a very special role in the history of architecture and in the life of an architect. Openings are all the holes cut into constructed volumes for the passage of people, light and air. Mostly these are managed by doors and windows. They are in many respects the most active and useful of architectural elements, constantly opening and closing to allow the necessities of life to pass from outside to inside while excluding the perils we wish to avoid. Doors and windows have to be robust to withstand extremes of climate and use over decades, even centuries. Yet they are also the site of our most intimate encounter with architecture, the first touch of the building as you enter and the last as you leave. The opening of the window starts the daily exchange between our private selves and the world beyond, which is why openings occupy such an important part of the architect’s imaginative and technical effort. Openings reveal the most profound relationships between an individual and society. The construction detail drawings presented in the exhibition have been selected from a collection of over 6,000 drawings in the Álvaro Siza Archive held at the Serralves Foundation. They chart the evolution of Siza’s architecture from 1954 to the mid-1970s. Focusing on the first two decades of the architect’s long career, the exhibition not only provides an opportunity to examine some important, even if lesser known, early projects, but it also intersects political and architectural developments which were to fundamentally change Portugal and Siza’s work after the 1974 Revolution. The exhibition, organized by the Serralves Museum of Contemporary Art, is curated by Tom Emerson in conversation with Carles Muro, Adjunct Curator for Architecture Programmes at the Serralves Museum. Image: Archive Arqtº Álvaro Siza. Col. Fundação de Serralves – Museu de Arte Contemporânea, Porto. Donation 2015. © Fundação de Serralves, Porto. Related Activities
GUIDED TOURS
04 NOV (SUN), 12 P.M.
Guided visit to the exhibition OPENINGS: TOM EMERSON IN CONVERSATION WITH THE ÁLVARO SIZA ARCHIVE by Matilde Seabra, educator More information here. 06 JAN (SUN), 12 P.M. Guided visit to the exhibition OPENINGS: TOM EMERSON IN CONVERSATION WITH THE ÁLVARO SIZA ARCHIVE by Matilde Seabra, educator More information here.
PEDRO COSTA: COMPANY DE 2018-10-19 a 2019-01-29
Each film is a letter written by a thousand hands.Companhia brings together works by Pedro Costa produced in collaboration with sculptor Rui Chafes, photographer Paulo Nozolino and film directors Danièle Huillet, Jean-Marie Strau...
PEDRO COSTA: COMPANY
DE 2018-10-19 a 2019-01-29
![]() Each film is a letter written by a thousand hands. Companhia brings together works by Pedro Costa produced in collaboration with sculptor Rui Chafes, photographer Paulo Nozolino and film directors Danièle Huillet, Jean-Marie Straub and Chantal Akerman. The exhibition also features works by artists who Pedro Costa repeatedly summons to his films, including poet Robert Desnos and photographer Jacob Riis, as well as paintings, drawings and films that have accompanied Costa’s life and work as a filmmaker. These include works by Pablo Picasso, Robert Bresson, António Reis, Walker Evans, João Queiroz, John Ford, Jeff Wall, Jacques Tourneur, Maria Capelo, Andy Rector, Jean-Luc Godard and Max Beckmann, among others. Exhibition architecture conceived by the architect José Neves. An exhibition organized by the Serralves Museum of Contemporary Art, coordinated by Filipa Loureiro and Marta Almeida, with the collaboration of Nuno Crespo and Marta Mateus. Image: Courtesy of Pedro Costa Related Activities
BOOK LAUNCH
21 OUT (SUN), 4 PM | Launch of the book "Pedro Costa" of Carlos Melo Ferreira In partnership with the publisher Afrontamento.
CINEMA
20 OCT (SAT), 9:30 PM Our Man (2010) and Horse Money (2014) Screening presented by Pedro Costa and João Fernandes, Sub-director do Museo Nacional Centro de Arte Reina Sofia 21 OCT (SUN), 5:00 PM Casa de lava (1994) Screening presented by Nuno Crespo, critic and university professor, and Carlos Melo Ferreira, researcher and university professor 21 OCT (SUN), 9:30 PM Colossal Youth (2006) Screening presented by José Neves, architect. 28 OCT (SAT), 5:00 PM In Vanda's room (2000) Screening presented by António Guerreiro, critic and essayist. 26 JAN (SAT), 5:00PM In Vanda's room (2000) Screening presented by António Costa. 26 JAN (SAT), 9:30PM Colossal Youth (2006) Screening presented by Óscar Faria. 27 JAN (SUN), 5:00PM Our Man (2010) and Horse Money (2014) Screening presented by António Preto. 27 JAN (SUN), 9:30PM Casa de Lava (1994) Screening presented by Paulo Branco. ACCESS Ticket per session: 3€ Joint ticket 4 sessions (october): 10€ 50% discount for Student/Young, Over 65 and Amigos
THOUGHT
27 OCT (SAT), 5 PM | Guided tour by João Dias, film director 28 OCT (SUN), 12 PM | Guided tour by Melissa Rodrigues, educator 17 NOV (SAT),5 PM | Guided tour by Joaquim Manuel Caetano, Art historian 24 NOV (SAT), 3:30 PM | Guided tour in Portuguese Sign Language by Laredo, Cultural Association 25 NOV (SUN), 12 PM | Guided tour by Melissa Rodrigues, educator 01 DEC (SAT), 5 PM | Guided tour by Rui Chafes, artist
MARCEL BROODTHAERS AND LUC TUYMANS IN THE SERRALVES COLLECTION DE 2018-10-13 a 2018-11-11
This exhibition combines works by two of Belgium’s most important artists: Marcel Broodthaers (1924, Brussels - 1976, Cologne, Germany) and Luc Tuymans (1958, Mortsel, Belgium). Although belonging to different generations, and p...
MARCEL BROODTHAERS AND LUC TUYMANS IN THE SERRALVES COLLECTION
DE 2018-10-13 a 2018-11-11
![]() This exhibition combines works by two of Belgium’s most important artists: Marcel Broodthaers (1924, Brussels - 1976, Cologne, Germany) and Luc Tuymans (1958, Mortsel, Belgium). Although belonging to different generations, and primarily working with different artistic media, they have been two of the main influences on the new generations of artists, responsible for the new directions assumed by contemporary art between the 1960s and the present day. Broodthaers was above all a poet until the age of 40 when he decided to devote himself to the visual arts. Over the next 12 years he developed an artistic practice that allied conceptualism, poetry and a sense of humour in an irreducibly singular manner. His career, albeit short-lived, had a major influence on new artists such as Luc Tuymans, recognised as one of the main driving forces behind the renewal of painting in the 1990s. His figurative paintings – inspired by pictures taken from movies, television, the press and history and art history books -, challenge us to think about the status of painting in a world that is saturated with images, thereby making a vital contribution to reanalysis of official histories. Image: Petrus & Paulus [detail],1998, Luc Tuymans, Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto
THROUGH THE... Ana Vieira in the Serralves Collection DE 2018-09-21 a 2018-11-04
Ana Vieira (Coimbra, 1940—2016, Lisbon) is one of the most relevant Portuguese artists from the period spanning the 1960s to today. The Serralves Collection includes works from the artist in various media — objects, installati...
THROUGH THE... Ana Vieira in the Serralves Collection
DE 2018-09-21 a 2018-11-04
![]() Ana Vieira (Coimbra, 1940—2016, Lisbon) is one of the most relevant Portuguese artists from the period spanning the 1960s to today. The Serralves Collection includes works from the artist in various media — objects, installation, photography, print —, reflecting the diversity of her practice and the pioneering character of her critique of the central place accorded to traditional genres — painting and sculpture — in art. This exhibition, organized almost twenty years after Ana Vieira’s retrospective at the Serralves Villa, allows for a revaluation of the artist’s historic role and for an understanding of the surprising relevance of her work. It also marks the artist’s return to an architectural and museological context which underlines the permeability between domestic and public space, between interiority and exteriority, which has always characterized Vieira’s artistic language. As in 1999, the year they were first shown here, the objects and installations in Through the… still question all the notions and stereotypes around the role of the home, and the relationship between women and home. Through the... is organized by the Serralves Museum of Contemporary Art and curated by Marta Almeida, deputy director of the Museum, and Ricardo Nicolau, deputy to the director. Related Activities
ROBERT MAPPLETHORPE: PICTURES DE 2018-09-20 a 2019-01-09
Robert Mapplethorpe (New York, 1946–1989, Boston) created some of the most arresting, polemical, and iconic images in contemporary photography. Robert Mapplethorpe: Pictures, organized in close collaboration with the Robert Mapp...
ROBERT MAPPLETHORPE: PICTURES
DE 2018-09-20 a 2019-01-09
![]() Robert Mapplethorpe (New York, 1946–1989, Boston) created some of the most arresting, polemical, and iconic images in contemporary photography. Robert Mapplethorpe: Pictures, organized in close collaboration with the Robert Mapplethorpe Foundation, brings together 159 works from throughout the artist’s career, from early collages and Polaroids, to the images of flowers, nudes, sexuality and portraits that made him one of the most notable photographers of the last century. Having studied painting and sculpture in New York before turning to the medium of photography, Mapplethorpe was influenced by the art of Joseph Cornell and Marcel Duchamp, as well as the nineteenth-century photography of Julia Margaret Cameron and others, of which he was to become an avid collector. The artist’s early collages, assemblages and photographs, initially taken with a Polaroid camera, develop the interest in sexuality and composition — right angles, geometric shapes of light — that would come to define his mature work. Using a fully-manual Hasselblad camera beginning in 1975 — the viewfinder framing the world in its square format — Mapplethorpe began to employ long exposures and ordered arrangements in the studio to craft portraits, still lives, and nudes whose order, balance, and content redefined photography as an art form. Mapplethorpe treated these subjects with equal attention and precision, from cut flowers and male sex organs, to the cast of friends, lovers, celebrities, and collaborators he depicted, turning a photograph into the controlled performance between artist and subject. Both controversial and classicist, the artist’s pioneering engagement with gender, sexuality, and race is reflected in depictions of queer and non-heteronormative bodies, pleasure, and desire, in photographs suspended in the tension, as with all of Mapplethorpe’s work, between the emotive and political intensity of their content and the clarity of their composition. Robert Mapplethorpe: Pictures is organized by the Serralves Museum of Contemporary Art, Porto, and curated by João Ribas with coordination by Paula Fernandes. All artworks in the exhibition are on loan from the Robert Mapplethorpe Foundation, New York. ADVISORY: The exhibition "Robert Mapplethorpe: Pictures" has images that can hurt the sensibility of some people. Image: Robert Mapplethorpe, Self Portrait,1983 © Robert Mapplethorpe Foundation. Used by permission. Exclusive Sponsor of the Museum and the Exhibition
![]() ![]() Pictures brings together for the first time in Portuguese art historian Jonathan K. Nelson’s most comprehensive overview of Robert Mapplethorpe’s work and a short yet insightful foreword his close friend Susan Sontag wrote upon the artist’s express request. The exquisite binding of this extensively illustrated coffee-table book translates Mapplethorpe’s pleasure in the tactile that led him to the pioneering use of non-photographic materials. The catalogue section follows the chronological order, with occasional exceptions to highlight kinships and/or for aesthetical reasons. 25 x 32 cm (width x height) 400 pp Hard cover Bilingual POR/ENG Design: Pedro Nora Related Activities
THOUGHT
22 SEP (SAT), 11:30 AM | Guided visit to the exhibition by Michael Ward Stout, Chairman of the board of the Mapplethorpe Foundation 29 SEP (SAT), 5 PM | Conference "MAPPLETHORPE AND MICHELANGELO: RENAISSANCE ART MEETS THE MODERN WORLD” in the framework of the exhibition and the EUROPEAN HERITAGE DAYS, with Jonathan Nelson, Associate Professor of the History of Art at the University of Syracuse, Florence (European Heritage Days) 07 OCT (SUN), 12 PM | Guided visit to the exhibition by Sónia Borges, educator More information here. 20 OCT (SAT), 5 PM | Talk in the exhibition with Jack Walls and André Príncipe, artist 27 OCT (SAT), 3:30 PM | Guided visit in Portuguese Sign Language to the exhibition by Laredo, Cultural Association 20 NOV (TUE), 7:00 PM | Guided visit to the Exhibition Exclusive meeting for Friends of Serralves with Paula Fernandes, curator of the Serralves Museum More info here. 08 DEC (SAT), 5 PM | Guided visit to the exhibition by Eduarda Neves, researcher 09 DEC (SUN), 12 PM | Guided visit to the exhibition by Raquel Correia, educator
CINEMA
29 NOV (THU), 9:30 PM | Serralves Auditorium Mapplethorpe, Director: Ondi Timoner This film screening is the result of a partnership between the Serralves Museum of Contemporary Art and Queer Porto — Festival International de Cinema Queer.
"THERE IS LIGHT IN THE PARK" 2018 | WITH JOÃO PAULO FELICIANO DE 2018-07-13 a 2018-09-09
Since 2015, the Serralves Foundation has illuminated the Serralves Park during summer nights. This year’s edition of There’s Light on the Park features a special participation by the artist, João Paulo Feliciano.João Paulo F...
"THERE IS LIGHT IN THE PARK" 2018 | WITH JOÃO PAULO FELICIANO
DE 2018-07-13 a 2018-09-09
![]() Since 2015, the Serralves Foundation has illuminated the Serralves Park during summer nights. This year’s edition of There’s Light on the Park features a special participation by the artist, João Paulo Feliciano. João Paulo Feliciano (Caldas da Rainha, 1963) began exhibiting his work in the mid-1980s and is considered one of Portugal’s most multifaceted artists. While his work includes installations, objects, paintings, drawings, photography, video, sound, graphic design, architecture and performance, he is best known to the general public for his use of light and illuminated art works. Throughout his career, Feliciano has frequently explored the phenomena and technologies associated with light and lighting: types of light, lamps, gel filters, lighting control systems, optical systems, perception mechanisms and the phenomenological dimensions of light in terms of its relationship with space. His solo exhibition at the Serralves Museum in 2004 focused particularly on this part of his oeuvre: light and colour in terms of its relationship to time, space and architecture. Feliciano’s collaboration in this edition of There’s Light on the Park will involve two distinct dimensions: he will participate directly in the event’s lighting design, and he will also oversee an intervention in the Serralves Villa. Several of his "luminous works” will be installed inside the Villa, with an intervention in the Villa’s exterior lighting. João Paulo Feliciano has selected a set of works for this event, ranging from the late 1990s (White Cube/Color Cube, 1999) to the present day (Nostalgia and Temporary Lamp Sculptures, 2018). An updated version of his light projection, Color Building, will be installed on the Museum’s lateral wall. This work was included within his 2004 exhibition in Serralves, and is now presented with a different combination of colours. The diversity of Color Building’s potential colour combinations has given rise to another work that will be on display: Color Studies for Color Building, a sophisticated lightbox that displays dozens of possible combinations of three colours. In the remotest part of the Park, in the middle of the Meadow and in almost complete darkness, Feliciano will install White Cube/Color Cube, a cube of intense animated light, with a random programme that permits infinite and surprising chromatic evolutions. The works installed in the Serralves Villa will be visible from the outside. However, in addition to installing works inside the Villa, the artist will intervene in the Villa’s normal lighting, thus altering the building’s distinct appearance at night. The works on display at the Villa include Shadeless Tree, a tree entirely built from fluorescent lamps, that belongs to the Berardo Collection Museum, and until now has only been exhibited in the Portuguese Parliament in 2006, within the framework of the exhibition 3D — the Berardo Collection in the AR. In total contrast to the luminous exuberance of Shadeless Tree the 2018 work, Nostalgia, a small table sculpture, will also be on display. In the Villa’s main hall, Feliciano will exhibit what he calls Temporary Lamp Sculptures: a series of sculptures that use different types of lamps and supports, specifically developed for the presentation in Serralves. Ticket: €5 (50% discount for Students, >65) Free entrance for Friends of Serralves ![]() Related Activities
OPENING: 13 JUL (FRI), 9 PM
DJs: João Paulo Feliciano, André Cepeda and Rui Toscano. Cocktail with drinks kindly offered by Super Bock.
ANISH KAPOOR: WORKS, THOUGHTS, EXPERIMENTS DE 2018-07-06 a 2019-02-17
There are few living artists of our time who have achieved the recognition and the renown of Anish Kapoor (b. Mumbai, 1954). His vast and profound sculptural work has been conceived for and on the scale of bodies, cities and the l...
ANISH KAPOOR: WORKS, THOUGHTS, EXPERIMENTS
DE 2018-07-06 a 2019-02-17
![]() There are few living artists of our time who have achieved the recognition and the renown of Anish Kapoor (b. Mumbai, 1954). His vast and profound sculptural work has been conceived for and on the scale of bodies, cities and the landscape, and the myriad contexts in which they are located, from the urban scale of metropolitan centres such as London, Naples, New York and Chicago, and the rolling hillsides of England and New Zealand. In recent years, Kapoor also has been invited to present his work in some of the world’s most beautiful formal gardens, including London’s Kensington Gardens and the Palace of Versailles. The gardens and museum of the Serralves Foundation offer a platform of a different history and spatial order in which to encounter the work of the artist. The ensemble of art deco villa designed by architects Charles Siclis with José Marques da Silva, formal gardens designed by the renowned French landscape architect Jacques Gréber, romantic gardens, fields and farm, and a contemporary museum building, library and auditorium designed by Álvaro Siza Vieira, is considered one of the most harmonious ensembles of architecture and landscape in Europe. Within this privileged context, the exhibition presents a selection of outdoor works that are representative of Kapoor’s sculptural language for which materiality, scale and the relationships to architecture, the landscape, and the viewer are constitutive. The choice and relative siting of sculptures in the Park of Serralves have been carefully considered by the artist so as to create an itinerary through time, space, perception and meaning. The presentation of 56 models of realised and unrealised projects conceived over the past 40 years in the central exhibition space of the Serralves Museum returns us to the intimate scale of the artist’s studio as a space of thinking and experimentation. Anish Kapoor: Works, Thoughts, Experiments is curated by Suzanne Cotter and coordinate and organised by Marta Moreira de Almeida, Deputy Director, Serralves Museum of Contemporary Art. ![]() Anish Kapoor é considerado um dos escultores mais influentes a trabalhar nos nossos dias. Nasceu em Mumbai em 1954 e reside e trabalha em Londres. Estudou no Hornsey College of Art (1973–77) seguindo-se estudos pós-graduados na Chelsea School of Art, Londres (1977–78). Entre as mais recentes exposições individuais contam-se: Parque de la Memoria, Buenos Aires (2017); Museo d'Arte Contemporanea di Roma (MACR), Roma (2016); Museo Universitario Arte Contemporáneo (MUAC), Cidade do México (2016); Château de Versailles, França (2015); The Jewish Museum and Tolerance Center, Moscovo (2015); Sak?p Sabanc? Museum, Istanbul (2013); Martin-Gropius-Bau, Berlim (2013); Museum of Contemporary Art, Sydney (2012); Leviathan, Grand Palais, Paris (2011); e Royal Academy of Arts, Londres (2009). Entras encomendas de peças para exposição permanente contam-se Cloud Gate (2004) para o Millennium Park em Chicago; Orbit (2012) para o Olympic Park, Londres; Temenos (2010) em Middlesbrough; e Ark Nova (2013), a primeira sala de concerto móvel e insuflável, Japão. Anish Kapoor representou o Reino Unido na 44ª Bienal de Veneza (1990), com um projeto que lhe valeu o Premio Duemila, e ganhou o Prémio Turner em 1991. Foi eleito para a Royal Academy em 1999, recebeu o Premium Imperiale em 2011 e o Padma Bhushan em 2012. Em 2013 foi nomeado cavaleiro pelos seus serviços em prol das artes e foi laureado em 2017 com o Genesis Prize. Anish Kapoor: Works, Thoughts, Experiments. Serralves, Porto, 2018 Essays by Christopher Bollas, and Suzanne Cotter Published on the occasion of the exhibition Anish Kapoor: Works, Thoughts, Experiments at the Serralves Museum of Contemporary Art and the Serralves Park (on show from 7 July 2018 to 27 January 2019), this book brings together the largest collection of images from the artist’s studio ever published and installation views of the works exhibited in the Gardens of Serralves, including a new monumental outdoor work created for the show. Working backward from the present day to the very beginning of Kapoor's artistic practise in 1976, the book uncovers through its many returns the unique aesthetic form of Kapoor's work. These repetitions and relationships between past and present works locate the history of Kapoor's practise and highlight the intensity and breadth of his thinking of his work. This book allows us the privilege to witness these forms emerge in the private realm of the artist’s studio. Exhibition curator Suzanne Cotter considers Anish Kapoor's sculptural language and its elaboration over time through some of his most emblematic works created for outdoor spaces, and in relation to the exhibition in the Park of the Serralves Foundation, and the importance of the studio as a place for conceptualisation and experimentation that has underpinned the artist’s oeuvre over more than four decades. Lines from Portuguese poet Fernando Pessoa and writer José Saramago concur with Freud’s theory of the unconscious in British psychoanalyst and writer Christopher Bollas’ view of Anish Kapoor’s working process as a delivery wherein the artist helps bring into being the found objects of his unconscious, presented in the materiality of of sculptural form. Size: 210 x 297 mm 288 pages soft cover 348 images from the Studio + installation views of the works at Serralves ISBN 978-972-739-361-9 Related Activities
OPENING: 6 JUL (FRI), 10 PM
Cocktail with DJ set. Drinks kindly offered by Sogrape.
GUIDED VISITS
15 JUL (SUN), 12 PM | by Andreia Coutinho, educator (Portuguese) 21 JUL (SAT), 3:30 PM | PORTUGUESE SIGN LANGUAGE by Laredo, Cultural Association 15 SEP (SAT), 3:30 PM | PORTUGUESE SIGN LANGUAGE by Laredo, Cultural Association 30 SEP (SUN), 12 PM | by Raquel Sambade, educator (Portuguese) 14 OCT (SUN), 11 AM | WALK "Planeta Kapoor: Bilhete de Ida" by Andreia Coutinho, educator
Besides, History - GO HASEGAWA, KERSTEN GEERS, DAVID VAN SEVEREN DE 2018-06-28 a 2018-10-15
This exhibition proposes a three-party conversation: It involves Go Hasegawa & Associates, based in Tokyo; OFFICE Kersten Geers and David Van Severen based in Brussels; and the history of architecture.This conversation is at the c...
Besides, History - GO HASEGAWA, KERSTEN GEERS, DAVID VAN SEVEREN
DE 2018-06-28 a 2018-10-15
![]() This exhibition proposes a three-party conversation: It involves Go Hasegawa & Associates, based in Tokyo; OFFICE Kersten Geers and David Van Severen based in Brussels; and the history of architecture. This conversation is at the core of one of the most interesting debates in contemporary architectural practice and examines the role of the history of architecture - from recent to more distant pasts – in the work of a new generation of architects. By adopting the format of a conversation typical historical categories such as authorship are challenged as one architect appropriates the work of the other and represents it with his own tools, comparing it with his own work to reveal similarities and differences. Kersten Geers, David Van Severen and Go Hasegawa belong to a generation of architects born in the second half of the 1970s who has been developing not only a consistent series of projects and works, but also maintains a clear theoretical stance. Their voices are very present and are becoming strongly influential in the broader conversation that takes place within the discipline of architecture in this second decade of the twenty-first century. This exhibition is organized by the Canadian Centre for Architecture (CCA) and curated by Giovanna Borasi, Chief Curator at the CCA. Curatorial adaptation by Carles Muro, Adjunct Curator for Architecture Programmes at the Serralves Museum. Photos of Kyodo House and Villa Schor by Stefano Graziani Related Activities
OPENING: 28 JUN (THU), 7 PM
19H00 | Guided Visit with Giovanna Borasi and Carles Muro 20H00 | Cocktail
29 JUN (FRI), 6:30 | SERRALVES AUDITORIUM
PRESENTATIONS AND TALK: "BESIDES, HISTORY: GO HASEGAWA, KERSTEN GEERS, DAVID VAN SEVEREN" More info here.
CONTEMPORARY PROJECTS: MARTINE SYMS - LESSONS I- CLXXX DE 2018-06-14 a 2018-09-30
Contemporary Projects: Martine Sysms presents Lessons I-CLXXX is an ongoing, incomplete video work composed of thirty-second clip – a cumulative poem whose structure evolves at random. Snapshots of disconnected experiences and s...
CONTEMPORARY PROJECTS: MARTINE SYMS - LESSONS I- CLXXX
DE 2018-06-14 a 2018-09-30
![]() Contemporary Projects: Martine Sysms presents Lessons I-CLXXX is an ongoing, incomplete video work composed of thirty-second clip – a cumulative poem whose structure evolves at random. Snapshots of disconnected experiences and subjects accumulate into a mass of fragmentary narratives, relating (directly and incidentally) to the lives of black Americans. Drawn from myriad sources – including You Tube videos, 1980s TV shows, Vines and personal footage – the Lessons form a growing corpus that Syms has been making since 2014. In Serralves Museum of Contemporary Art, the Contemporary Projects: Martine Syms Lessons I- CLXXX is curated by João Ribas Director of the Museum. Sponsor of the exhibition
![]() Martine Syms (b. 1988, Los Angeles) uses video and performance to examine representations of blackness. Syms’ recently presented exhibitions in-clude Projects 106: Martine Syms, Museum of Modern Art; Borrowed Lady, Simon Fraser University Galleries, Vancouver; Fact and Trouble, ICA Lon-don; COM PORT MENT, Karma International, Los Angeles; Vertical Elevated Oblique, Bridget Donahue Gallery, New York. She currently runs Dominica Publishing, an imprint dedicated to exploring blackness in visual culture. She is a faculty member in the School of Art at the California Institute of the Arts.
Related Activities
GUIDED VISITS
29 JUL (SUN), 12 PM | GUIDED VISIT by Joana Nascimento, educator 23 SEP (SUN), 12 PM | GUIDED VISIT by Joana Nascimento, educator
ZÉRO DE CONDUITE: WORKS FROM THE SERRALVES COLLECTION DE 2018-06-01 a 2018-09-09
A. R. Penck; Adrian Piper; Albuquerque Mendes; Alexandre Estrela; Ana Jotta; André Sousa; Antoni Muntadas; Antoni Tàpies; António Barros; António Sena; Artur Barrio; Blinky Palermo; Bruce Nauman; Chris Burden; Christer Stromho...
ZÉRO DE CONDUITE: WORKS FROM THE SERRALVES COLLECTION
DE 2018-06-01 a 2018-09-09
![]() A. R. Penck; Adrian Piper; Albuquerque Mendes; Alexandre Estrela; Ana Jotta; André Sousa; Antoni Muntadas; Antoni Tàpies; António Barros; António Sena; Artur Barrio; Blinky Palermo; Bruce Nauman; Chris Burden; Christer Stromholm; Christian Boltanski; Cildo Meireles; Dan Graham; Danh Võ; David Askevold; David Goldblatt; Dieter Roth; Eduardo Batarda; Eleanor Antin; Emily Jacir; Enzo Mari; Gerardo Burmester; Gilbert & George; Guerrilla Girls; Hannah Wilke; Ignasi Aballí; Isabel Carvalho; João Louro; João Onofre; João Pedro Vale; João Tabarra; John Baldessari; Jörg Immendorff; José Escada; Joseph Kosuth; Josh Smith;Juan Muñoz; Lynda Benglis; Manoel de Oliveira; Manuel Alvess; Marcel Broodthaers; Maria José Aguiar; Mario García Torres; Marlene Dumas; Martha Rosler; Matt Mullican; Mauro Cerqueira; Michelangelo Pistoletto; Patrícia Garrido; Paul McCarthy; Paula Rego; Paulo Mendes; Paulo Nozolino; Pedro Barateiro; Piero Manzoni; Pierre Huyghe; Raymond Hains;Richard Hamilton; Robert Filliou; Rui Chafes; Sigmar Polke; Stanley Brouwn; Thomas Hirschhorn; Thomas Schütte; Tino Sehgal; Urs Fischer; Valie Export; Wilhelm Sasnal; Xana Incorrigible, undesirable, unruly — what conduct does the museum repress? Zéro de Conduite presents gestures of irreverence or disobedience in the Serralves Collection, either directed at institutions such as the school or the museum, or forms of suppression or control. From irony and subterfuge, to the disrespect for the rules of proper taste or good behaviour, the exhibition looks to the potential of acting against the norm. As intractable subjects, disagreeable images, and ungovernable objects, the works on view reflect a complex variety of strategies employed — from theft as appropriation, to the refusal of the conventions of art — as artistic and spatial forms of resistance. In the 1933 film Zéro de Conduite by Jean Vigo, the students of a repressive school rebel against the strict rules of behaviour imposed by their tyrannical teachers. In the museum too are we rarely ever invited to run, touch, or even sit; public space is increasingly subject to forms of iconoclasm and restriction. Featuring an intergenerational group of artists utilizing a wide variety of media, including painting, sculpture, photography, prints, drawings, sound, and installation, the exhibition surveys a range of behaviours and subjects from the 1960s until today, from those which are supposedly to be corrected or censured, to the normalization of violence, and claims to accident, amateurism, and anti-virtuosity. In doing so, the works in the exhibition resonate with many of the conditions of our present political reality, while also asking who gets to misbehave or transgress, and how and why. Zéro de Conduite is organized by the Serralves Museum of Contemporary Art, Porto, and curated by João Ribas, Director of the Serralves Museum and Ricardo Nicolau, deputy to the director, with curator Paula Fernandes. Related Activities
OPENING: 6 JUN (WED), 7:30 PM
19h30 - Performance: João Onofre, Box sized DIE featuring Holocausto Canibal, 2007 - 2018 20h00 - Cocktail de inauguração, com presença de DJ Bebidas generosamente oferecidas pela Super Bock.
9 JUN (SAT), 6 PM | CINEMA
ZÉRO DE CONDUITE: JEUNES DIABLES AU COLLÉGE, 1933 Director: Jean Vigo B/W, 44' Original version in French
TALKS
Ana Jotta, Isabel Carvalho and Pedro Barateiro, artists, moderated by Ricardo Nicolau, curator of the exhibition and Deputy to the Director of the Serralves Museum 7 JUL (SAT), 5 PM | IN THE GALLERIES WITH... Mauro Cerqueira, João Louro and Paulo Mendes, artists and moderated by João Ribas, Director of the Serralves Museum. More information here. 1 SEP (SAT), 5 PM | IN THE GALLERIES WITH... Albuquerque Mendes, Gerardo Burmester and João Pedro Vale, artists, moderated by Ricardo Nicolau, curator of the exhibition and Deputy to the Director of the Serralves Museum
The Sonnabend Collection. Half a Century of American and European Art. Part II DE 2018-05-11 a 2018-09-23
Following the presentation of ‘The Sonnabend Collection. Half a Century of American and European Art. Part I’ in 2016, the Serralves Museum of Contemporary Art presents a major exhibition devoted to the Sonnabend Collection, ...
The Sonnabend Collection. Half a Century of American and European Art. Part II
DE 2018-05-11 a 2018-09-23
![]() Following the presentation of ‘The Sonnabend Collection. Half a Century of American and European Art. Part I’ in 2016, the Serralves Museum of Contemporary Art presents a major exhibition devoted to the Sonnabend Collection, ‘The Sonnabend Collection. Part II’. Created by the influential art dealer Ileana Sonnabend, the Sonnabend Collection is considered one of the most important collections of American and European art of the second half of the twentieth century, representing some of the most influential western art movements of our time. While known for her support of the prime artistic protagonists of pop art, minimalism, arte povera, post-minimalism and conceptual art, Sonnabend’s engagement continued up to her death in 2007. Part II surveys two prevalent themes present in the Sonnabend Collection: the use of photography starting with conceptual art in the 1960s until the present; and the work of artists from the 1980s which relate to pop art, minimalism, and conceptual art. The exhibition includes works by Gilbert & George, Bernd and Hilla Becher, John Baldessari, Hiroshi Sugimoto, Candida Hofer, Haim Steinbach and Ashley Bickerton, among others. A presentation of sculptures by Jeff Koons, produced between 1985 and 2012, will constitute a small retrospective exhibition of works by this iconic American artist. Curated by Antonio Homem, the exhibition in Serralves is organized in collaboration with the Fondazione Musei Civici Venezia (MUVE), Ca’ Pesaro in Venice, and the Sonnabend Collection Foundation. At a time when the Serralves Museum is devoting increasing attention to its Collection of Portuguese and international art, the Sonnabend Collection has a particular relevance. Works from this Collection formed part of the Museum’s inaugural exhibition, ‘Circa 1968’ in 1999, several of which have remained on long-term deposit at Serralves. Jeff Koons, Hulk (Friends), 2004–12. Polychromed bronze. 181 x 123,2 x 66 cm. Coll. The Sonnabend Collection and António Homem. © Jeff Koons. Produced for the Serralves Museum of Contemporary Art. Incredible Hulk, ™ & © Marvel All Rights Reserved. Digital photo: Courtesy Sonnabend Gallery, NY. ![]() Related Activities
GUIDED VISITS
26 MAI (SAT), 3:30 PM | GUIDED VISIT IN PORTUGUESE SIGN LANGUAGE by Laredo, Associação Cultural 26 MAI (SAT), 5 PM | GUIDED VISIT by António Homem, curator of the exhibition by Paulo Jesus, educator 2 SEP (SUN), 12 PM | GUIDED VISIT by José Costa, educator
TALKS
15 SEP (SAT), 5 PM | A LOOK AT CONTEMPORARY ART Jeff Koons' Neo-Pop in the exhibition THE SONNABEND COLLECTION: PART II by Mário Moura, researcher and design critic
CONTEMPORARY PROJECTS: DAYANA LUCAS - MANUAL SPIRIT DE 2018-03-22 a 2018-06-03
The artistic practice of Dayana Lucas (Caracas, Venezuela, 1987) is based on daily drawing. She views drawing as something which is experienced through the body, and her work highlights the importance of the associated process, ge...
CONTEMPORARY PROJECTS: DAYANA LUCAS - MANUAL SPIRIT
DE 2018-03-22 a 2018-06-03
![]() The artistic practice of Dayana Lucas (Caracas, Venezuela, 1987) is based on daily drawing. She views drawing as something which is experienced through the body, and her work highlights the importance of the associated process, gesture, and action. This doesn’t lead to the depiction of specific scenes or explanations, but rather suggestions. Empty space dominates her compositions. In her own words, her works result from a ‘conversation with the blank space’ of the sheet of paper. Consisting of unbroken lines, drawn in a single stroke, her drawings require major concentration and truly physical discipline. They explore the tension between urgency and suspension, vigour and elegance, lightness. The dialogue with the sheet of paper’s blank space lends a special dynamism and energy to her compositions, making each drawing an austere, abstract but visually rich exercise, in terms of the relationship between the void and fullness, figure and background, weight and lightness, and impressions of movement. Interested in emphasizing the relationship between drawing and her own body and the bodies of the works’ spectators, Dayana Lucas has been exploring how to transfer the lines used in her drawings to three-dimensional space. In the Contemporary Gallery of the Serralves Museum, she decided to work with the space, expanding and materializing several lines from her drawings in order to stage a conversation with the blank space of the room. The composition of this drawing, which visitors can enter, is dramatically altered by their movements within the space. The lines are suspended from the ceiling, and as we move about they seem to come to life, meet and diverge, in an authentic choreography. This premeditated relationship between the spectators’ bodies and the ‘drawing in space’ is underlined by the invitation to experience her works while listening to a piece of music, in which a substantial part of the sound is obtained via the (circular, repetitive) movement of a finger around the rim of a glass. Lucas, who describes this music as the perfect ‘suggestion of a line which is simultaneously infinite and circular’ uses it as a kind of activator of the works. In the silence, it’s as if they were ‘asleep’. The music makes a decisive contribution to altering the experiences of the spectators’ bodies in space and their relationship with the suspended lines. Exhibition organized by Serralves Contemporary Art Museum and curated by Ricardo Nicolau, deputy to the director of the museum. Image: Espírito Manual, 2017, Dayana Lucas Sponsor of the exhibition
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MANUEL MARQUES DE AGUIAR, 1927—2015: BUILDING PLACES DE 2018-03-09 a 2018-06-17
Manuel Marques de Aguiar (1927–2015), an architect, urban planner, urban manager and landscape designer belongs to a generation of architects from Porto for whom drawing is a privileged tool of thought. Born in Trás-os-Montes, ...
MANUEL MARQUES DE AGUIAR, 1927—2015: BUILDING PLACES
DE 2018-03-09 a 2018-06-17
![]() Manuel Marques de Aguiar (1927–2015), an architect, urban planner, urban manager and landscape designer belongs to a generation of architects from Porto for whom drawing is a privileged tool of thought. Born in Trás-os-Montes, Marques de Aguiar developed his academic training and career in many other locations, including France, the North of Portugal and the archipelago of the Azores. On the basis of his drawings, blueprints and architectural projects, this exhibition highlights his desire to transform the city and the landscape, ‘building places’ that will enable livelihoods. In his plans, projects, works and technical opinions, Marques de Aguiar sought to move from the ‘intention to make things happen’ through the use of different instruments, broadening opportunities, and ‘planning for the long term’ as he liked to say. Across six units, or ‘places’, the exhibition presents different testimonies by leading figures from his generation (such as Luiz Cunha, Carlos Carvalho Dias and Álvaro Siza, among others), memories of those who accompanied the persistence of Marques de Aguiar in the articulation between work and life. These works were marked by his training in Paris under Robert Auzelle, the urban planner responsible for transforming Porto in the late 1950s and early 60s — the author of Porto’s 1962 Municipal Master Plan (PDM) — and a key figure in the construction of the axis of Rua Gonçalo Cristóvão, and the French School of Porto, which are works that Marques de Aguiar left to the city of Porto. The exhibition also includes his plans for the cities of Espinho and Angra do Heroísmo (after the 1981 earthquake), as well as studies carried out in interior zones of Northern Portugal and for the maritime areas between Porto and Leça da Palmeira. Organization: Fundação de Serralves in partnership with the Family Marques de Aguiar. ![]() Related Activities
ÁLVARO LAPA: ALL OF TIME DE 2018-02-08 a 2018-05-20
The exhibition ‘Álvaro Lapa: No tempo todo’ will be the most comprehensive retrospective to date of the influential Portuguese artist Álvaro Lapa (Évora, 1939 — Porto, 2006). A writer and self-taught artist, Lapa studied ...
ÁLVARO LAPA: ALL OF TIME
DE 2018-02-08 a 2018-05-20
![]() The exhibition ‘Álvaro Lapa: No tempo todo’ will be the most comprehensive retrospective to date of the influential Portuguese artist Álvaro Lapa (Évora, 1939 — Porto, 2006). A writer and self-taught artist, Lapa studied philosophy and was an influential professor at the Faculty of Fine Arts of Porto from 1976 until 2000, where he left an indelible mark on consecutive generations of artists. The exhibition at the Serralves Museum brings together works from important museum and institutional collections and from private collections in Portugal, including the collections of artists, architects and writers who similarly defined the artistic and intellectual landscape in Portugal in the second half of the 20th century. Featuring over 290 works in painting, drawing and some objects from throughout the artist’s career brought together for the first time, the exhibition surveys Lapa’s remarkable contribution to contemporary art. Álvaro Lapa remains among the most enigmatic artists in 20th century Portuguese art, with a body of work as relevant and alluring as it is defiantly elusive. Lapa bridged the disparate traditions of Portuguese painting through a sustained exploration of the territory of painting as text over four decades. The artist’s oeuvre revolves largely around the genres of landscape and portraiture, and often in the spaces between them. Lapa’s visual lexicon consists of narrative series of motifs encompassing the written word, fragments of language or snippets of conversation, as well as pictorial elements and abstracted self-portraits. The artist’s ‘Campésticos’ — a neologism invented by the artist that combines the Portuguese words for ‘countryside’ and ‘domestic’ — combines domestic space with the horizontality of landscape. Lapa’s work is also marked by an intense and sustained relation with literature, reflected in his series of paintings called ‘Notebooks’, dedicated to literary figures such as Homer and Rimbaud. ‘Álvaro Lapa: No tempo todo’ is organized by the Serralves Museum of Contemporary Art and curated by guest curator Miguel von Hafe Pérez. Exhibition Sponsor
![]() Support - Opening
![]() Álvaro Lapa: No tempo todo / All of Time Essays by Miguel von Hafe Pérez, Estrella de Diego, Óscar Faria, João Ribas and Sousa Dias. Statements by numerous fellow artists, curators, art historians, art critics, collectors, writers and people from different disciplines and generations who have been invited to write about Álvaro Lapa’s oeuvre and/or one of his works. 328 pp. c. 350 ilustrações ISBN: 978-972-739-358-9 PVP 39€ (POR), 49€ (ENG)
SERRALVES COLLECTION: NEW LINES, IMAGES, OBJECTS DE 2018-02-02 a 2018-06-24
John Divola, Trisha Donnelly, António Júlio Duarte, Ângela Ferreira, Christine Sun Kim, Ana Manso, Nick Mauss, Miguel Palma, Victor Pires Vieira, Ana Santos, Sarkis, Monir Sharoudy Farmanfaimaian, Wolfgang Tillmans, YonamineTh...
SERRALVES COLLECTION: NEW LINES, IMAGES, OBJECTS
DE 2018-02-02 a 2018-06-24
![]() John Divola, Trisha Donnelly, António Júlio Duarte, Ângela Ferreira, Christine Sun Kim, Ana Manso, Nick Mauss, Miguel Palma, Victor Pires Vieira, Ana Santos, Sarkis, Monir Sharoudy Farmanfaimaian, Wolfgang Tillmans, Yonamine The Serralves Collection currently includes over 4,500 works — more than 1,700 owned by the Serralves Foundation and the remaining works from various private and public collections — including the Collection of the Secretariat of State for Culture (SEC). The focus of the collection is contemporary art produced since the 1960s — a historical period of major political, social and cultural changes wherein new paradigms of artistic production emerged — up to the present-day of the post-colonial and globalized era. Works from the collection are regularly presented inside and outside the Museum in various exhibitions and presentations such as ‘Serralves Collection: 1960-1980’ (2017), ‘Conversations: Recent Portuguese Art in the Serralves Collection’ (2016) and ‘Can the Museum be a Garden? Works from the Serralves Collection’ (2015). A strong programme of touring exhibitions has also been presented throughout Portugal with 25 exhibitions in 2017, as well as several presentations of the collection internationally. ‘SERRALVES COLLECTION: NEW LINES, IMAGES, OBJECTS’ chronicles the confirming evolution of the museum collection into a reference for contemporary art in Portugal. The acquisitions presented in this exhibition broaden the collection’s core of historical works by ensuring that the fundamental history of art in the 1960s and 70s is constantly enriched, rethought and updated, as evident in the works by Sarkis and Victor Pires Vieira. Recent acquisitions have also aimed to ensure a greater presence of photography within the collection, including works by Wolfgang Tillmans, John Divola, and António Júlio Duarte, incorporated into the collection for the first time. Some of the most diverse art currently being produced is here represented by Trisha Donnelly, Ana Manso, Christine Sun Kim and Yonamine. Some of these works were specifically produced for presentations in Serralves (Ana Manso and Monir Sharoudy Farmanfarmaian) and, for exhibitions designed in dialogue with the historical, social and architectural context of the Serralves Foundation (Nick Mauss). The variety of recent acquisitions also aims to expand the collection to include other parts of the world, beyond the Europe-USA axis, such as Turkey, Iran and Angola, and emphasize artists who deal with post-colonialism and, specifically, the relationship between Portugal and its former colonies, as in the work of Ângela Ferreira. Recently integrated into the collection are also a series of large-scale works, not presented here, by artists such as Angela Bullock (currently on display in the Serralves Park), Tacita Dean, Pedro Cabrita Reis, Liam Gillick, Mona Hatoum, Lais Myrrha, Philippe Parreno and Julião Sarmento. Related Activities
OPENING: 19 FEB (MON), 6:30 PM
Talk in the exhibition Serralves Collection: New Lines, Shapes, Objects with the artists Ângela Ferreira, Ana Santos, Pires Vieira and Ricardo Nicolau (Deputy to the Director) and João Ribas (Director of the Museum).
WORK IN PROGRESS DE 2018-01-25 a 2018-07-29
In the context of the Architecture 3.0 project - Promotion of New InternationaliSation Models, the Serralves Foundation identified the need to encourage the development of architectural solutions that will help overcome the lack o...
WORK IN PROGRESS
DE 2018-01-25 a 2018-07-29
![]() In the context of the Architecture 3.0 project - Promotion of New InternationaliSation Models, the Serralves Foundation identified the need to encourage the development of architectural solutions that will help overcome the lack of exhibition spaces in various parts of Portugal, or that serve as an appropriate complement, albeit of a temporary nature, to existing exhibition spaces. The Foundation therefore organised a call for ideas for an exhibition pavilion, in order to contribute to dissemination of culture and art, making them accessible to a wider public, in particular through the promotion of exhibitions of the Serralves Collection. Simultaneously, the goal was to collaborate in processes of territorial valorisation and enhancement through implementation of leading artistic projects. The ten best classified projects will be presented in an exhibition to be held in the Serralves Foundation, that aims to foster debate about innovative solutions. ![]() Related Activities
WORKSHOP
29 JAN | TRAINING FOR INTERNATIONALIZATION 10h00-11h30 - Marketing and Digital Communication | Filipe Carrera 12h00-13h30 - Why internationalize? 15h30-17h30 - Paths and internationalization models Workshops, subject to available capacity Register via email arq3serralves@gmail.com
MARISA MERZ: THE SKY IS A GREAT SPACE DE 2018-01-19 a 2018-04-22
In January 2018 the Serralves Museum of Contemporary Art presents ‘The Sky is a Great Space’, a retrospective of Italian painter, sculptor and installation artist Marisa Merz (b. 1926, Turin, Italy). Organized by the Hammer Mu...
MARISA MERZ: THE SKY IS A GREAT SPACE
DE 2018-01-19 a 2018-04-22
![]() In January 2018 the Serralves Museum of Contemporary Art presents ‘The Sky is a Great Space’, a retrospective of Italian painter, sculptor and installation artist Marisa Merz (b. 1926, Turin, Italy). Organized by the Hammer Museum, Los Angeles, and The Metropolitan Museum of Art, New York, it will now be presented in Europe as a collaboration between the Serralves Museum, Porto, Portugal, and the Museum der Moderne Salzburg, Austria. The exhibition, developed in close collaboration with Fondazione Merz, in Italy, brings together five decades of the artist’s work and includes Merz’s early Arte Povera experiments with non-traditional materials and processes; the enigmatic heads and faces she created in the 1980s and 1990s; and her installations that balance intimacy with impressive scale. ‘The work of Marisa Merz exists in the intersection of art and life that has become so central to contemporary practice’, said the exhibition curator, Connie Butler. ‘Her challenging and evocative body of work is deeply personal, as much a response to her own experience as to art history and the milieu of contemporary Turin and postwar Italy.’ Marisa Merz gained international prominence as part of the circle of artists associated with Arte Povera in the late 1960s. An avant-garde movement that rejected Italy’s material wealth in favor of ‘poor’ materials, Arte Povera was identified with the radicalism of the student movement but proclaimed no stylistic or ideological credo except the negation of existing codes and art world limitations. Merz’s earliest work, begun around 1966 in the house she shared with her husband, artist Mario Merz, is Living Sculpture, a tangle of molded aluminum hung from the ceiling that combined sharp, rough metal edges with soft, biomorphic contours, expanding the existing conception of a ‘mobile’ into a colossus. In the late 1960s, Merz went on to create a series of powerful works from non-traditional materials that referenced both her family life and the broader Italian tradition of polymaterialism: sculptures of rolled up blankets bound with nylon thread that were occasionally used as props in performances by her husband; a plywood swing for her daughter that joins sculptural rigor with youthful play; and a series of knitted nylon wire sculptures, including the iconic booties that the artist sometimes wore herself. In the 1970s Merz’s trademark installations of humble materials — delicate copper wire, bowls of salt water, knitting needles — grew more and more complex. After 1975, the artist began sculpting a series of small heads, often roughly modelled in clay and unfired. These were debuted in the 1980s and would become emblematic of the artist and her late work. In the last two decades, Merz’s work has grown even larger and more complex. Individual pieces continue to be integrated into multimedia installations of varying size and intricacy. Her painting and graphic work has also grown more elaborate, combining collage elements and diverse materials including tape, mirrors, binder clips, bottle caps, and metallic pigments, such as a recent group of large paintings of winged angels, which contrast a striking beauty with a surprising absence of sentimentality. Marisa Merz was awarded the Golden Lion for Lifetime Achievement at the 2013 Venice Biennale. Marisa Merz is the only female protagonist of the important Art Povera group. The work of Marisa's husband, Mário Merz (one of the greatest italian artists of the second half of the XX century), was the object of an exhibition in Serralves Villa, curated by the Director of Serralves at the time, Vicente Todoli, in the beginning of 1999, "THE FIBONACCI HOUSE" - MARIO MERZ". This exhibition is part of an important international itinerancy. ‘Marisa Merz: The Sky Is a Great Space’ is originally organized by the Hammer Museum, Los Angeles, and The Metropolitan Museum of Art, New York. The exhibition in Europe is co-organized by Fundação de Serralves — Museu de Arte Contemporânea, Porto, and the Museum der Moderne Salzburg, Salzburg. The exhibition was developed with the collaboration of Fondazione Merz, in Italy. The exhibition is curated by Connie Butler, Chief Curator, Hammer Museum, and Ian Alteveer, Curator, Department of Modern and Contemporary Art, The Metropolitan Museum of Art. Support
![]() ‘Marisa Merz: The Sky Is a Great Space’ is accompanied by Merz’s first monograph to be published in English, a generously illustrated catalogue co-published by the Hammer Museum and DelMonico – Prestel that offers readers the chance to appreciate the range of works by Marisa Merz. The book brings together fifty years of painting, sculpture and installations and offers the first precise chronology of her life and work to appear in print. The most authoritative analysis of her work to date, the catalogue includes previously unpublished texts and poetry by the artist, an illustrated exhibition history, as well as insightful new essays by leading scholars and curators. Contributors include Ian Alteveer, Connie Butler, Carolyn Christov-Bakargiev, Leslie Cozzi, Teresa Kittler, Marisa Merz, Cloé Perrone, Lucia Re and Tommaso Trini. A Portuguese version of the catalogue will be prepared for the presentation in the Serralves Museum, including selected installation views of the works in the Portuguese museum.
Related Activities
GUIDED VISITS
28 JAN (SUN), 12 PM | GUIDED VISIT by Laredo, Associação Cultural. 25 FEV (SUN), 11 AM | WORKS IN CONVERSATION WITH FAMILIES with Inês Caetano and Rita Faustino. 11 MAR (SUN), 12 PM | GUIDED VISIT 14 MAR (WED), 7 PM | ENCONTRO EXCLUSIVO PARA AMIGOS DE SERRALVES 7 APR (SAT), 5 PM | GUIDED VISIT by Leonor Antunes, artist 14 APR (SAT), 5 PM | GUIDED VISIT by Fernando Marques Penteado, artist
CONVERSATIONS AND DEBATES
FILM SCREENING OF THE FILM "MARIO MERZ 2002"
15 APR (SUN) | SERRALVES AUDITORIUM From 11 AM to 12:30 PM and from 3 PM to 5 PM Screening of the film: MARIO MERZ 2002 de Tacita Dean 16 mm film, colour optical sound 8 mins 30 secs ![]() courtesy the artist, Frith Street Gallery, London and Marian Goodman Gallery, New York / Paris
FROM THE SERRALVES COLLECTION - RECENT ACQUISITIONS: TRIS VONNA-MICHELL DE 2017-11-18 a 2018-03-11
Over the next few weeks the Serralves Museum will display two works recently acquired for the Serralves Contemporary Art Collection: Angela Bulloch's Heavy Metal Stack of Six and Tris Vonna-Michell's A Watermark: Capitol C...
FROM THE SERRALVES COLLECTION - RECENT ACQUISITIONS: TRIS VONNA-MICHELL
DE 2017-11-18 a 2018-03-11
![]() Over the next few weeks the Serralves Museum will display two works recently acquired for the Serralves Contemporary Art Collection: Angela Bulloch's Heavy Metal Stack of Six and Tris Vonna-Michell's A Watermark: Capitol Complex. Tris Vonna-Michell's A Watermark: Capitol Complex, 2015, will be on display in the Museum's Contemporary Gallery from November 18. In this work, the artist explores themes of history and culture, identity and representation, truth and fiction, focusing on the reinterpretation of histories linked to modernism. She develops a highly personal narrative associated to historical solutions whose relevance is currently being questioned, for example from the perspective of post-colonialist and feminist theories. A Watermark: Capitol Complex is an installation consisting of a dual slide projection synchronized with a musical composition and a spoken track. The work is based on the story of two architectural projects by renowned Swiss-French architect Le Corbusier (1887–1965) built in a recently independent India: the city of Chandigarh (1950–65) and its Capitol Complex. While both complexes intended to express the dream of modern India and the values of democracy, they came to symbolize bureaucracy and the failure of modernist utopias. Tris Vonna-Michell (UK, 1982) is a young artist who lives and works in Stockholm, Sweden. He has already achieved remarkable international projection, and was nominated for the Turner Prize and Hugo Boss Prize. His work has been primarily linked to two artistic media that he has used repeatedly: slide projection and the spoken word, in performance art works in which his presence and voice assume a fundamental role. He has now moved away from performance art, constituting a very significant turning point in her career.
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