Website

Email

Meii Soh

Ponytail unfolds as an inquiry into forms and signals of concentration, one where the gesture of tightening long hair turns into a declaration of focus, introspection, and coded girlhood. Drawing from hinted archetypes circulating around the internet and intimate storytelling, Ponytail shapes a space where readiness meets softness.
The act of gathering hair is approached as an embodied initiation into attention, historically and culturally entangled with expectations around femininity. Rather than stabilising this symbol, the gesture is treated as speculative. The exhibition brings together works by Mara Jenny (Wien), Luka Naujoks (Berlin), Nele Gräber (Berlin), and a text by Hava Erica Zeytin (Berlin) each navigating one’s own day-to-day materials and gestures as carriers of inwardness. Across the space, mirror-like surfaces, the display of pop icons, and non-human memories generate moments of recognition and estrangement.

Curated by Federica Nicastro and Meii Soh
Hosted by Yanne Horas at Hours Space, Berlin

Orsola Vannocci Bonsi

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="nlA0LCRpQ4" data-block-id="nlA0LCRpQ4" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">Being in Milan and visiting </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">The Island</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">, by Hito Steyerl (1966, Munich), at Fondazione Prada Osservatorio during the first week of the Milano-Cortina 2026, precisely the day after the glittering and impeccably politically correct opening ceremony, felt like a comical coincidence, or rather like stepping into a continuous loop of images and a restless search for (or escape from) reality.</span></span></span></div></div></span></div></span></div></span></div></span></div></span></div></span></div></span></div></span></div></span></div></span></div></span></div>

Hyperfloods (and the Olympic Games): Hito Steyerl at Osservatorio Prada

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="pndeSK0-SR" data-block-id="pndeSK0-SR" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">Estar em Milão e visitar a exposição </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">The Island</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">, de Hito Steyerl (1966, Munique), na Fondazione Prada Osservatorio durante a primeira semana dos Jogos Olímpicos de Inverno Milano Cortina 2026, precisamente no dia seguinte à cerimónia de abertura deslumbrante e impecavelmente politicamente correta, pareceu-me uma coincidência cómica, ou melhor, como entrar num ciclo contínuo de imagens e numa procura incessante pela realidade (ou numa fuga dela).</span></span></span></div></div></div></div></div></div></div></div></div></div></div></div></div></div>

Hiperinundações (e os Jogos Olímpicos): Hito Steyerl no Osservatorio Prada

Alexander Burenkov

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="pSpLMplJcZ" data-block-id="pSpLMplJcZ" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">Timur Si-Qin is a German-born, New York–based artist and writer whose practice operates at the intersection of ecology, spirituality, materiality, and culture. Over the past decade, he has emerged as a distinctive voice within a generation of artists often associated with post-internet aesthetics, not simply for his engagement with digital culture but for how he reconceptualizes the boundaries between the technological, the organic, and the cultural. Rather than dwelling on an antagonism between nature and technology—a common trope in ecological art—Si-Qin treats these domains as symbiotic and co-productive, exploring how human civilization is itself a part of the larger ecology of the planet. </span></span></span></div></div>

Timur Si-Qin on Exploring Morphogenesis, Sacredness of Living Systems and Post-Secular Ecologies  

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="8fuVuGf9ZY" data-block-id="8fuVuGf9ZY" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">Timur Si-Qin é um artista e escritor nascido na Alemanha e radicado em Nova Iorque, cuja prática atua na intersecção entre ecologia, espiritualidade, materialidade e cultura. Ao longo da última década, tem-se destacado como uma voz distinta no seio de uma geração de artistas frequentemente associados à estética pós-Internet, não apenas pelo seu envolvimento com a cultura digital, mas pela forma como reinterpreta as fronteiras entre o tecnológico, o orgânico e o cultural. Em vez de insistir num antagonismo entre natureza e tecnologia — um tropo comum na arte ecológica —, Si-Qin trata estes domínios como simbióticos e coprodutivos, explorando a forma como a civilização humana é, em si mesma, parte da ecologia mais ampla do planeta. </span></span></span></div></div>

Timur Si-Qin sobre a Exploração da Morfogénese, a Sacralidade dos Sistemas Vivos e as Ecologias Pós-Seculares  

Mariana Machado

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="4MN6r9lf56" data-block-id="4MN6r9lf56" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">Extending across four spaces at different points in time, the project </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">Zapping: Televisão como Cultura e Contracultura </span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">(Television as Culture and Counterculture) aims to develop an exhibition exploring reflections on television, where its use branches out in parallel within cultural and countercultural discourses. </span></span></span></div></div></div></div></div></div>

Zapping: Television as Culture and Counterculture

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-text-indent="1" data-slate-id="1R7v6EGZTd" data-block-id="1R7v6EGZTd" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">Estendendo-se por quatro espaços ao longo de diferentes momentos, o projeto </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">Zapping: Televisão como cultura e contracultura </span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">visa o desenvolvimento expositivo de reflexões em torno da televisão, onde o seu uso se ramifica paralelamente nos discursos culturais e contraculturais. </span></span></span></div></div></div></div></span></div></span></div>

Zapping: Televisão como Cultura e Contracultura

Matteo Bergamini

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="Z1XBqr9Hbl" data-block-id="Z1XBqr9Hbl" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class="" style="color:rgb(15, 17, 21)" data-slate-color="rgb(15, 17, 21)"><span data-slate-string="true">Alexandre Estrela (b. 1971, lives and works in Lisbon) </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" style="color:rgb(15, 17, 21)" data-slate-bold="true" data-slate-color="rgb(15, 17, 21)"><strong data-slate-leaf="true" class="slate-bold" style="color:rgb(15, 17, 21)" data-slate-bold="true" data-slate-color="rgb(15, 17, 21)"><span data-slate-string="true">is set to represent</span></strong></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" style="color:rgb(15, 17, 21)" data-slate-color="rgb(15, 17, 21)"><span data-slate-string="true"> Portugal at the upcoming Venice Biennale (May 9–November 25) with his large-scale installation </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" style="color:rgb(15, 17, 21)" data-slate-italic="true" data-slate-color="rgb(15, 17, 21)"><em data-slate-leaf="true" class="slate-italic" style="color:rgb(15, 17, 21)" data-slate-italic="true" data-slate-color="rgb(15, 17, 21)"><span data-slate-string="true">RedSkyFalls</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" style="color:rgb(15, 17, 21)" data-slate-color="rgb(15, 17, 21)"><span data-slate-string="true">.</span></span></span></div></div></span></div></span></div></span></div>

RedSkyFalls, Portugal at the Venice Biennale: An Interview with Alexandre Estrela

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="_s9WkKCBY2" data-block-id="_s9WkKCBY2" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class="" style="color:rgb(15, 17, 21)" data-slate-color="rgb(15, 17, 21)"><span data-slate-string="true">Alexandre Estrela (1971, vive e trabalha em Lisboa) representará</span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" style="color:rgb(15, 17, 21)" data-slate-bold="true" data-slate-color="rgb(15, 17, 21)"><strong data-slate-leaf="true" class="slate-bold" style="color:rgb(15, 17, 21)" data-slate-bold="true" data-slate-color="rgb(15, 17, 21)"><span data-slate-string="true"> </span></strong></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" style="color:rgb(15, 17, 21)" data-slate-color="rgb(15, 17, 21)"><span data-slate-string="true">Portugal na próxima Bienal de Veneza (de 9 de maio a 25 de novembro), com a instalação </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" style="color:rgb(15, 17, 21)" data-slate-italic="true" data-slate-color="rgb(15, 17, 21)"><em data-slate-leaf="true" class="slate-italic" style="color:rgb(15, 17, 21)" data-slate-italic="true" data-slate-color="rgb(15, 17, 21)"><span data-slate-string="true">RedSkyFalls</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" style="color:rgb(15, 17, 21)" data-slate-color="rgb(15, 17, 21)"><span data-slate-string="true">.</span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" style="color:rgb(26, 26, 26)" data-slate-color="rgb(26, 26, 26)"><span data-slate-string="true"> </span></span></span></div></div></div></div></div></div></div></div></span></div>

RedSkyFalls, o Pavilhão de Portugal na Bienal de Veneza: entrevista com Alexandre Estrela

site

Cristina Ataíde

Espaço Intermédio, exposição com texto de Sergio Fazenda Rodrigres na Appleton Sequare, Março de 2026

Débora Valeixo Rana

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">“Filipa César’s latest exhibition, presented at Serralves and curated by Inês Grosso and Paula Nascimento, brings together more than fifteen years of research and stems from an ongoing body of work centered on Guinea-Bissau and its audiovisual archives, particularly what is known as “militant cinema.” This is not, however, a historical survey. Rather, it activates the image as a political praxis. This choice strips the museum of a meaning close to </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">arkhé</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">—simultaneously beginning and command—and reconfigures it as an archive in motion.”</span></span></span></div></div></span></div>

Meteorizações, by Filipa César

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">“A mais recente exposição de Filipa César, apresentada em Serralves com curadoria de Inês Grosso e Paula Nascimento, reúne mais de quinze anos de investigação e parte de um trabalho continuado em torno da Guiné-Bissau e dos seus arquivos audiovisuais, em particular o chamado cinema militante. Não se trata, porém, de um levantamento histórico. O que aqui se ativa é a imagem enquanto prática política. Esta opção desarma o museu de um sentido próximo de </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">arkhé,</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true"> simultaneamente começo e comando, e reconfigura-o como arquivo em movimento.”</span></span></span></div></div></span></div>

Meteorizações, de Filipa César

Laila Algaves Nuñez

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">“I write about the attempt to hold on, weakly and inadequately, even if with both hands, to a meaning; I write about the urge of a desire far from the symbolic, far from verse; I write about the rush and about the chapters I have yet to define and write, and then to redefine and rewrite. And I also write about the two exhibitions whose enigmatic and multifaceted imprints persist: </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">The Fold</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">, by Hoda Afshar, and </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">Pedagogías de guerra </span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">[Pedagogies of war], by Roman Khimei and Yarema Malashchuk, part of the typically strong curatorial programs of La Casa Encendida and TBA21 Thyssen-Bornemisza Art Contemporary / Museo Nacional Thyssen-Bornemisza, respectively. This article is a reflection on all of this.”</span></span></span></div></div></span></div>

To understand or not to understand—that is the danger

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">“Escrevo sobre a tentativa de segurar, fraca e insuficientemente, mesmo que com as duas mãos, um significado; escrevo sobre a vontade de um desejo longe do simbólico, longe do verso; escrevo sobre a pressa e sobre os capítulos que tenho por definir e escrever e, depois, por redefinir e reescrever. E escrevo, ainda, sobre duas exposições cujas marcas, enigmáticas e multifacetadas, persistem: </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">The Fold</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">, de Hoda Afshar, e </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">Pedagogías de guerra</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">, de Roman Khimei e Yarema Malashchuk, parte das curadorias habitualmente fortes de La Casa Encendida e do TBA21 Thyssen-Bornemisza Art Contemporary / Museo Nacional Thyssen-Bornemisza, respetivamente. Este texto é um pouco sobre tudo isto.”</span></span></span></div></div></div></div>

Compreender ou não compreender — eis o perigo

Carla Carbone

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="v4cGgVguGN" data-block-id="v4cGgVguGN" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">Most of the photographs presented by Luísa Ferreira in the exhibition </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">Uma nova história</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">, at Galeria Sá da Costa, were produced between the late eighties and early nineties of the 20th century. Gesturality, abstraction, and a return to painting, with great intensity, in the art of the 1980s, were also felt in photography. The artist's work, present in the exhibition, all previously unseen and curated by David Willis, does not appear to be very far from this previous influence.</span></span></span></div></div></div></div></span></div></span></div></span></div>

Luísa Ferreira at Galeria Sá da Costa

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="g1Qv0qxcXm" data-block-id="g1Qv0qxcXm" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">A maior parte das fotografias apresentadas por Luísa Ferreira na exposição </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">Uma nova história</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">, presentes na galeria Sá da Costa, compreende o trabalho realizado pela artista entre o final da década de oitenta e o início da década de 90, do séc. XX. A gestualidade, a abstracção, e o retorno à pintura, com grande intensidade, na arte dos anos 80, fez-se sentir, também, na fotografia. A obra da artista presente na exposição, toda ela inédita e com curadoria de David Willis, não aparenta estar muito longe dessa influência prévia.</span></span></span></div></div></div></div></div></div></div>

Luísa Ferreira, na Galeria Sá da Costa

Diogo E S Dietl

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">"Mingyu Wu's sculptures were born unbound by time; they exist beyond the moment of their creation. Angular or organic, repetitive and symmetrical, we identify the elements and gestures that shaped them, yet the results seem almost adjacent to the world of Platonic ideals. As primordial proposals of the cosmic core, of dazzling monumentality, the solidity of their elemental and massive certainty is reflected in the plinths that support them."</span></span></span></div></div></div></div></div></div></div></div></span></div></span></div></span></div>

Steady breath: Mingyu Wu at Galeria da Boavista

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">“As esculturas de Mingyu Wu nasceram desatadas do tempo, existem para lá do momento da sua edificação. Angulares ou orgânicos, repetidos e simétricos, identificamos os elementos e gestos que as moldaram, porém os resultados parecem quase adjacentes ao mundo dos ideais platónicos. Como propostas primordiais da medula cósmica, de monumentalidade fulgurante, a solidez da sua certeza elementar e maciça reflecte-se nos plintos que as fundeiam.”</span></span></span></div></div></div></div></div></div></div></div></div></div></div></div></span></div>

Firme sopro: Mingyu Wu na Galeria da Boavista

João Pedro Soares

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="4lNJFJC84z" data-block-id="4lNJFJC84z" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">MACAM – Museu de Arte Contemporânea Armando Martins – celebrated its first anniversary on 21 and 22 March 2026 with a series of public events and several news in the galleries housing the collection.</span></span></span></div></div></div></div></div></div></div></div></div></div></div></div></span></div>

Notes on the 1st anniversary of MACAM

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p slate-align-justify m-0 px-0 py-1" style="position:relative;text-align:justify" data-slate-type="p" data-slate-align="justify" data-slate-id="u51qzeV8GV" data-block-id="u51qzeV8GV"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">O MACAM - Museu de Arte Contemporânea Armando Martins celebrou o seu primeiro aniversário nos dias 21 e 22 de março de 2026, com uma série de atividades abertas ao público e várias novidades nas galerias da coleção.</span></span></span></div></div></div></div></span></div></span></div></span></div></span></div></span></div></span></div></span></div>

Notas sobre o 1º aniversário do MACAM

Instagram

sajidwajidshaikh

𝑼𝑵𝑰𝑪𝑶𝑹𝑵
There can be no keener revelation of a society's soul than the way in which it treats it's children.
- Nelson Mandela
Hand Carved Teakwood
Dimensions: 3 ft 2 in (H) × 2 ft 7 in (W) × 1 ft (D)

Angélica Salvi 

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="ArfJWmUC_w" data-block-id="ArfJWmUC_w" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">The work </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">TRANS</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true"> is conceived for harp and electronics. The starting point is the instrument’s acoustic sound: plucked strings, natural resonances, and harmonics that form the piece’s basic material. From this material, various electronic processes capture and transform the harp’s sound through delays, reverberations, granulations, and spectral modulations. </span></span></span></div><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="E6jMt28EXF" data-block-id="E6jMt28EXF" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">﻿</span></span></span></div></div>

Soundscape | Angélica Salvi

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">A obra </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">TRANS</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true"> foi concebida para harpa e eletrónica. O ponto de partida é o som acústico do instrumento: cordas dedilhadas, ressonâncias naturais e harmónicos que estabelecem o material básico da peça. A partir deste material, diferentes processos eletrónicos capturam e transformam o som da harpa através de </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">delays</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">, reverberações, granulações e modulações espectrais. </span></span></span></div><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="D04di-1KWe" data-block-id="D04di-1KWe" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">﻿</span></span></span></div></div>

Umbigo

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="o1YV-hXlsG" data-block-id="o1YV-hXlsG" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">On 27 March, the country’s first Palestinian cultural centre will open its doors in Lisbon. Founded by Palestinian women in collaboration with Portuguese women, Casa Palestina aims to serve as a meeting point between Palestine and Portugal, fostering dialogue between communities and promoting artistic creation and critical reflection.</span></span></span></div></div></div></span></div></span></div></span></div></span></div></span></div>

Opening of Casa Palestina in Lisbon

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="PFuLhlR_DO" data-block-id="PFuLhlR_DO" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">No próximo dia 27 de março, a primeira casa cultural palestiniana do país abre as portas em Lisboa. Fundada por mulheres palestinianas em colaboração com mulheres portuguesas, a Casa Palestina afirma-se como ponto de encontro entre a Palestina e Portugal, promovendo o diálogo entre comunidades e práticas de criação artística e reflexão crítica.</span></span></span></div></div></div></div></div></div></div></div></div>

Abertura da Casa Palestina em Lisboa

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="V2kGRsq2He" data-block-id="V2kGRsq2He" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">The practice of Estonian artist Kristina Õllek unfolds at the unstable intersections of ecology, materiality, and post-digital culture. Working across photography, sculpture, and installation, Õllek investigates environments shaped by both natural processes and technological intervention, dissolving distinctions between fact and fiction, the synthetic and the organic, the copy and the original. Her works do not merely represent ecosystems; they enact them, allowing matter itself to participate in the production of meaning.</span></span></span></div></div>

Salt, Data, and Deep Time of Kristina Õllek 

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="m3IFbl9Fyo" data-block-id="m3IFbl9Fyo" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">A prática da artista estónia Kristina Õllek desenvolve-se nas interseções instáveis entre a ecologia, a materialidade e a cultura pós-digital. Trabalhando com fotografia, escultura e instalação, Õllek investiga ambientes moldados tanto por processos naturais como por intervenções tecnológicas, dissolvendo as distinções entre facto e ficção, sintético e orgânico, cópia e original. As suas obras não se limitam a representar ecossistemas; encenam-nos, permitindo que a própria matéria participe na produção de sentido.</span></span></span></div></div>

Sal, Dados e Tempo Profundo de Kristina Õllek

<div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-p m-0 px-0 py-1" style="position:relative"><span data-slate-node="text" data-slate-leaf="true"><div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="ox7gvh6UhD" data-block-id="ox7gvh6UhD" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">At the end of February, the MAC/CCB opened a new permanent exhibition, curated by Nuria Enguita (artistic director), Marta Mestre (curator) and Raphael Fonseca (curatorial advisor). </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">May I Help You?</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true"> is the title chosen for this extensive exhibition, reviving a commonplace phrase commonly used at public or private service counters, such as shops, hospitals, airports or… museums.</span></span></span></div></div></div></div></span></div></span></div>

May I Help You? Posso Ajudar?, at MAC/CCB

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-id="IGYUc_4z-A" data-block-id="IGYUc_4z-A" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">O MAC/CCB inaugurou, no final de fevereiro, uma nova exposição permanente, com uma equipa curatorial composta por Nuria Enguita (direção artística), Marta Mestre (curadoria) e Raphael Fonseca (assessor curatorial). May I Help You? Posso Ajudar? é o título escolhido para esta extensa exposição, recuperando uma frase banal comumente utilizada em balcões de serviços públicos ou privados, como lojas, hospitais, aeroportos ou… museus.</span></span></span></div></div></div></div></div></div></div></div>

May I Help You? Posso Ajudar?, no MAC/CCB

JaNamaaz (Prayer mat)
This work emerged as a response to the escalating precarity faced by Muslim communities in India.

Conceived as an experimental woven surface, the work is constructed using roll caps (tiny gunpowder-laced strips commonly used in children’s gunfight games) embedding latent violence directly into its fabric.

It reflects a system of governance and control that operates through selective permission and regulation, producing hierarchies of belonging in which certain acts of faith are rendered second class. Rooted in the Persian origins of the word janamaz - ja meaning “place” and namāz meaning “prayer” the work repositions the place of prayer as an unstable and potentially dangerous site, mirroring how worship has become entangled with surveillance, control, and the threat of intervention in contemporary India.

Pipes & Leaks. 

The site-specific mixed-media installation by Sajid Wajid Shaikh is constructed from the very materials that shape cities water infrastructure: concrete and pipes. The work examines the contradictions embedded within this system, revealing how water infrastructure can operate as a tool of socio political control. While pipes are designed to deliver what is fundamentally a basic human right: water, to those who can afford access, the leaks in these very systems often become lifelines for those who cannot.
Expanding through participation, the installation foregrounds the uneven realities of access, asking who is directly affected by such structures and who remains merely an observer from the sidelines. Functioning as a fountain, the work exposes the underbelly of Mumbai’s water politics.
It was developed in close collaboration with Pani Haq Samiti, a grassroots campaign and organization based in Mumbai, India, that fights for universal, free, and equitable access to water, particularly for residents of informal settlements.

Evertthing in its right place?
Site specific installation

The installaiton explores the fragile boundary between construction and collapse. Using bricks, the most basic unit of architecture: I assemble a structure that appears both built and ruined at the same time. The chaotic stack suggests a house, a city, or the remains of one, where stability exists only as a temporary negotiation with gravity.

For me, the brick carries the memory of shelter, belonging, and the promise of permanence. Yet it is also the material through which homes are demolished and cities are erased. By pushing the material to the edge of balance, the work reflects on how structures of safety can quickly transform into sites of vulnerability.

The sculpture asks a simple but urgent question: When does a home stop being a home?

Frederico Vicente

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" data-slate-text-indent="1" data-slate-id="Mf6Ft357ga" data-block-id="Mf6Ft357ga" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">"In </span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true">A Place to Be: The Burle Marx Legacy</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">, the garden is transformed into a representation of the garden, and the sensory experience is reconfigured through archival research. Aware of this “limitation,” Nuria Enguita, artistic director of MAC/CCB, and curator Marta Mestre offer a cross-disciplinary approach by linking the landscape painter’s archive with the work of five contemporary Portuguese artists."</span></span></span></div></div></div>

Burle Marx: in a garden of painted plants

<div class="slate-editor group/editor relative w-full cursor-text select-text overflow-x-hidden whitespace-pre-wrap break-words rounded-5px ring-offset-background focus-visible:outline-none placeholder:text-muted-foreground/80 [&_[data-slate-placeholder]]:top-[auto_!important] [&_[data-slate-placeholder]]:text-muted-foreground/80 [&_[data-slate-placeholder]]:!opacity-100 [&_strong]:font-bold" data-slate-editor="true" data-slate-node="value"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><div data-slate-node="element" class="slate-p m-0 px-0 py-1" data-slate-type="p" style="position:relative"><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">"Em</span></span></span><span data-slate-node="text"><span data-slate-leaf="true" class="" data-slate-italic="true"><em data-slate-leaf="true" class="slate-italic" data-slate-italic="true"><span data-slate-string="true"> Lugar de Estar: o Legado de Burle Marx</span></em></span></span><span data-slate-node="text"><span data-slate-leaf="true" class=""><span data-slate-string="true">, o jardim converte-se na representação do jardim, e a experiência sensível é reconfigurada através de um trabalho sobre o arquivo. Conscientes dessa “limitação”, Nuria Enguita, diretora artística do MAC/CCB, e a curadora Marta Mestre, propõem um cruzamento disciplinar, ao articular o arquivo do pintor-paisagista com a prática de cinco artistas portugueses contemporâneos.”</span></span></span></div></div></div>

Burle Marx: num jardim de plantas pintadas

Umbigo.space cover

Tiago Rocha Costa, Tropical Vanitas, 2025

Capa da Umbigo.space

UMBIGO.SPACE