FERNANDO LEMOS AND JAPAN REVIEWED AT GULBENKIAN

Francis Alÿs (Antwerp, Belgium, 1959) began, at the end of the last century, to abandon the exclusivity of his body as the subject of the actions of his artistic proposal to begin to explore the possibility of finding and employing other subjects for this purpose. With this idea, the figure of children gained more and more importance in his production and became the sign of identity of a new stage for the new millennium.

The Kunsthalle Lissabon presents Quinze Anos de Amor na República dos Pangolins (Fifteen Years of Love at the Pangolin Republic), the third and last exhibition with which the institution celebrates its fifteenth anniversary. On this occasion, the center has invited curator Filipa Ramos, one of the Portuguese professionals with the most international projection, who has managed to put together a roster of artists with a strong Latin American presence, with Ad Minoliti, Amalia Pica, Daniel Gustav Cramer, Flora Rebollo, Gabriel Chaile, Haris Epaminonda, Irene Kopelman, Jonathas de Andrade, Luís Lázaro Matos, Mariana Caló and Francisco Queimadela, Mounira Al Solh, Nuno Sousa Vieira, Sheroanawe Hakihiiwe, Sol Calero, Teresa Solar Abboud and Wilfredo Prieto.

“I imagine the museum as an archipelago. It is not a continent, but an archipelago (...) The idea today is to put the world in contact with the world, to put some parts of the world in contact with other parts of the world... We must multiply the number of worlds inside museums”. Édouard Glissant (Sainte-Marie, Martinique, 1929-Paris, France, 2011) expressed his vision of museum functionality in this metaphorical way in his work Poetics of Relationship (1990).

Kubikulo presents in its Oporto gallery Sol Raso, an installation by Gabriel Ribeiro (Rio de Janeiro, Brazil, 1990) that is presented as a material and superficial photographic event on polyurethane foams in which the evolution of the exposure of the materials to the elements and the sun for thirty days is captured.

One of Carlos Bunga's (Porto, Portugal, 1976) most recognizable features is his way of interacting with architectural spaces. This conversation and intervention has a formal character in the use of materials and chromatic ranges, but also by the introduction of everyday objects that, from the very conception of architecture, reside in it to complement it. This led him to be interested in the most temporary and basic architecture, with flaws in its canonical perception, but equally existing in socially unfavorable environments.

Lisbon's MAAT hosts the exhibition Disco, a show with more than half a thousand works by Vivian Suter (Buenos Aires, Argentina, 1949) with which the institution pays tribute to the pictorial production of the Swiss-Argentine artist and her particular exploration of the interaction with nature and the different techniques and possibilities applicable to painting.

Inhotim is presenting three new projects at the end of 2024, in which the protagonists are Rebeca Carapiá, Pipilotti Rist and Rivane Neuenschwander. Three very different strategies by names of different visibilities and generations, which help to forge a moment in the institution that seems more connected to the fascinating and special nature of the place, without leaving aside lively questions about the strange days we are living through.

Dim Corners is an evocative exhibition in Johannesburg featuring new works by Brazilian artist Leticia Ramos and South African artist Zen Marie. The exhibition takes into account the city’s frequent energy shortages, and also the recent blackouts that São Paulo had experienced since this project started, weaving a narrative that intertwines the immediate physical impact with the broader, insidious issues of climate change and environmental racism.

Francis Alÿs (Antwerp, Belgium, 1959) began, at the end of the last century, to abandon the exclusivity of his body as the subject of the actions of his artistic proposal to begin to explore the possibility of finding and employing other subjects for this purpose. With this idea, the figure of children gained more and more importance in his production and became the sign of identity of a new stage for the new millennium.

The Kunsthalle Lissabon presents Quinze Anos de Amor na República dos Pangolins (Fifteen Years of Love at the Pangolin Republic), the third and last exhibition with which the institution celebrates its fifteenth anniversary. On this occasion, the center has invited curator Filipa Ramos, one of the Portuguese professionals with the most international projection, who has managed to put together a roster of artists with a strong Latin American presence, with Ad Minoliti, Amalia Pica, Daniel Gustav Cramer, Flora Rebollo, Gabriel Chaile, Haris Epaminonda, Irene Kopelman, Jonathas de Andrade, Luís Lázaro Matos, Mariana Caló and Francisco Queimadela, Mounira Al Solh, Nuno Sousa Vieira, Sheroanawe Hakihiiwe, Sol Calero, Teresa Solar Abboud and Wilfredo Prieto.

“I imagine the museum as an archipelago. It is not a continent, but an archipelago (...) The idea today is to put the world in contact with the world, to put some parts of the world in contact with other parts of the world... We must multiply the number of worlds inside museums”. Édouard Glissant (Sainte-Marie, Martinique, 1929-Paris, France, 2011) expressed his vision of museum functionality in this metaphorical way in his work Poetics of Relationship (1990).

Kubikulo presents in its Oporto gallery Sol Raso, an installation by Gabriel Ribeiro (Rio de Janeiro, Brazil, 1990) that is presented as a material and superficial photographic event on polyurethane foams in which the evolution of the exposure of the materials to the elements and the sun for thirty days is captured.

One of Carlos Bunga's (Porto, Portugal, 1976) most recognizable features is his way of interacting with architectural spaces. This conversation and intervention has a formal character in the use of materials and chromatic ranges, but also by the introduction of everyday objects that, from the very conception of architecture, reside in it to complement it. This led him to be interested in the most temporary and basic architecture, with flaws in its canonical perception, but equally existing in socially unfavorable environments.

Lisbon's MAAT hosts the exhibition Disco, a show with more than half a thousand works by Vivian Suter (Buenos Aires, Argentina, 1949) with which the institution pays tribute to the pictorial production of the Swiss-Argentine artist and her particular exploration of the interaction with nature and the different techniques and possibilities applicable to painting.

Inhotim is presenting three new projects at the end of 2024, in which the protagonists are Rebeca Carapiá, Pipilotti Rist and Rivane Neuenschwander. Three very different strategies by names of different visibilities and generations, which help to forge a moment in the institution that seems more connected to the fascinating and special nature of the place, without leaving aside lively questions about the strange days we are living through.

Dim Corners is an evocative exhibition in Johannesburg featuring new works by Brazilian artist Leticia Ramos and South African artist Zen Marie. The exhibition takes into account the city’s frequent energy shortages, and also the recent blackouts that São Paulo had experienced since this project started, weaving a narrative that intertwines the immediate physical impact with the broader, insidious issues of climate change and environmental racism.

The Kunsthalle Lissabon presents Quinze Anos de Amor na República dos Pangolins (Fifteen Years of Love at the Pangolin Republic), the third and last exhibition with which the institution celebrates its fifteenth anniversary. On this occasion, the center has invited curator Filipa Ramos, one of the Portuguese professionals with the most international projection, who has managed to put together a roster of artists with a strong Latin American presence, with Ad Minoliti, Amalia Pica, Daniel Gustav Cramer, Flora Rebollo, Gabriel Chaile, Haris Epaminonda, Irene Kopelman, Jonathas de Andrade, Luís Lázaro Matos, Mariana Caló and Francisco Queimadela, Mounira Al Solh, Nuno Sousa Vieira, Sheroanawe Hakihiiwe, Sol Calero, Teresa Solar Abboud and Wilfredo Prieto.

“I imagine the museum as an archipelago. It is not a continent, but an archipelago (...) The idea today is to put the world in contact with the world, to put some parts of the world in contact with other parts of the world... We must multiply the number of worlds inside museums”. Édouard Glissant (Sainte-Marie, Martinique, 1929-Paris, France, 2011) expressed his vision of museum functionality in this metaphorical way in his work Poetics of Relationship (1990).

Kubikulo presents in its Oporto gallery Sol Raso, an installation by Gabriel Ribeiro (Rio de Janeiro, Brazil, 1990) that is presented as a material and superficial photographic event on polyurethane foams in which the evolution of the exposure of the materials to the elements and the sun for thirty days is captured.

One of Carlos Bunga's (Porto, Portugal, 1976) most recognizable features is his way of interacting with architectural spaces. This conversation and intervention has a formal character in the use of materials and chromatic ranges, but also by the introduction of everyday objects that, from the very conception of architecture, reside in it to complement it. This led him to be interested in the most temporary and basic architecture, with flaws in its canonical perception, but equally existing in socially unfavorable environments.

Lisbon's MAAT hosts the exhibition Disco, a show with more than half a thousand works by Vivian Suter (Buenos Aires, Argentina, 1949) with which the institution pays tribute to the pictorial production of the Swiss-Argentine artist and her particular exploration of the interaction with nature and the different techniques and possibilities applicable to painting.

Inhotim is presenting three new projects at the end of 2024, in which the protagonists are Rebeca Carapiá, Pipilotti Rist and Rivane Neuenschwander. Three very different strategies by names of different visibilities and generations, which help to forge a moment in the institution that seems more connected to the fascinating and special nature of the place, without leaving aside lively questions about the strange days we are living through.

Dim Corners is an evocative exhibition in Johannesburg featuring new works by Brazilian artist Leticia Ramos and South African artist Zen Marie. The exhibition takes into account the city’s frequent energy shortages, and also the recent blackouts that São Paulo had experienced since this project started, weaving a narrative that intertwines the immediate physical impact with the broader, insidious issues of climate change and environmental racism.

Francis Alÿs (Antwerp, Belgium, 1959) began, at the end of the last century, to abandon the exclusivity of his body as the subject of the actions of his artistic proposal to begin to explore the possibility of finding and employing other subjects for this purpose. With this idea, the figure of children gained more and more importance in his production and became the sign of identity of a new stage for the new millennium.

The Kunsthalle Lissabon presents Quinze Anos de Amor na República dos Pangolins (Fifteen Years of Love at the Pangolin Republic), the third and last exhibition with which the institution celebrates its fifteenth anniversary. On this occasion, the center has invited curator Filipa Ramos, one of the Portuguese professionals with the most international projection, who has managed to put together a roster of artists with a strong Latin American presence, with Ad Minoliti, Amalia Pica, Daniel Gustav Cramer, Flora Rebollo, Gabriel Chaile, Haris Epaminonda, Irene Kopelman, Jonathas de Andrade, Luís Lázaro Matos, Mariana Caló and Francisco Queimadela, Mounira Al Solh, Nuno Sousa Vieira, Sheroanawe Hakihiiwe, Sol Calero, Teresa Solar Abboud and Wilfredo Prieto.

“I imagine the museum as an archipelago. It is not a continent, but an archipelago (...) The idea today is to put the world in contact with the world, to put some parts of the world in contact with other parts of the world... We must multiply the number of worlds inside museums”. Édouard Glissant (Sainte-Marie, Martinique, 1929-Paris, France, 2011) expressed his vision of museum functionality in this metaphorical way in his work Poetics of Relationship (1990).

Kubikulo presents in its Oporto gallery Sol Raso, an installation by Gabriel Ribeiro (Rio de Janeiro, Brazil, 1990) that is presented as a material and superficial photographic event on polyurethane foams in which the evolution of the exposure of the materials to the elements and the sun for thirty days is captured.

One of Carlos Bunga's (Porto, Portugal, 1976) most recognizable features is his way of interacting with architectural spaces. This conversation and intervention has a formal character in the use of materials and chromatic ranges, but also by the introduction of everyday objects that, from the very conception of architecture, reside in it to complement it. This led him to be interested in the most temporary and basic architecture, with flaws in its canonical perception, but equally existing in socially unfavorable environments.

Lisbon's MAAT hosts the exhibition Disco, a show with more than half a thousand works by Vivian Suter (Buenos Aires, Argentina, 1949) with which the institution pays tribute to the pictorial production of the Swiss-Argentine artist and her particular exploration of the interaction with nature and the different techniques and possibilities applicable to painting.

Inhotim is presenting three new projects at the end of 2024, in which the protagonists are Rebeca Carapiá, Pipilotti Rist and Rivane Neuenschwander. Three very different strategies by names of different visibilities and generations, which help to forge a moment in the institution that seems more connected to the fascinating and special nature of the place, without leaving aside lively questions about the strange days we are living through.

Dim Corners is an evocative exhibition in Johannesburg featuring new works by Brazilian artist Leticia Ramos and South African artist Zen Marie. The exhibition takes into account the city’s frequent energy shortages, and also the recent blackouts that São Paulo had experienced since this project started, weaving a narrative that intertwines the immediate physical impact with the broader, insidious issues of climate change and environmental racism.

Francis Alÿs (Antwerp, Belgium, 1959) began, at the end of the last century, to abandon the exclusivity of his body as the subject of the actions of his artistic proposal to begin to explore the possibility of finding and employing other subjects for this purpose. With this idea, the figure of children gained more and more importance in his production and became the sign of identity of a new stage for the new millennium.

The Kunsthalle Lissabon presents Quinze Anos de Amor na República dos Pangolins (Fifteen Years of Love at the Pangolin Republic), the third and last exhibition with which the institution celebrates its fifteenth anniversary. On this occasion, the center has invited curator Filipa Ramos, one of the Portuguese professionals with the most international projection, who has managed to put together a roster of artists with a strong Latin American presence, with Ad Minoliti, Amalia Pica, Daniel Gustav Cramer, Flora Rebollo, Gabriel Chaile, Haris Epaminonda, Irene Kopelman, Jonathas de Andrade, Luís Lázaro Matos, Mariana Caló and Francisco Queimadela, Mounira Al Solh, Nuno Sousa Vieira, Sheroanawe Hakihiiwe, Sol Calero, Teresa Solar Abboud and Wilfredo Prieto.

“I imagine the museum as an archipelago. It is not a continent, but an archipelago (...) The idea today is to put the world in contact with the world, to put some parts of the world in contact with other parts of the world... We must multiply the number of worlds inside museums”. Édouard Glissant (Sainte-Marie, Martinique, 1929-Paris, France, 2011) expressed his vision of museum functionality in this metaphorical way in his work Poetics of Relationship (1990).

Kubikulo presents in its Oporto gallery Sol Raso, an installation by Gabriel Ribeiro (Rio de Janeiro, Brazil, 1990) that is presented as a material and superficial photographic event on polyurethane foams in which the evolution of the exposure of the materials to the elements and the sun for thirty days is captured.

One of Carlos Bunga's (Porto, Portugal, 1976) most recognizable features is his way of interacting with architectural spaces. This conversation and intervention has a formal character in the use of materials and chromatic ranges, but also by the introduction of everyday objects that, from the very conception of architecture, reside in it to complement it. This led him to be interested in the most temporary and basic architecture, with flaws in its canonical perception, but equally existing in socially unfavorable environments.

Lisbon's MAAT hosts the exhibition Disco, a show with more than half a thousand works by Vivian Suter (Buenos Aires, Argentina, 1949) with which the institution pays tribute to the pictorial production of the Swiss-Argentine artist and her particular exploration of the interaction with nature and the different techniques and possibilities applicable to painting.

Inhotim is presenting three new projects at the end of 2024, in which the protagonists are Rebeca Carapiá, Pipilotti Rist and Rivane Neuenschwander. Three very different strategies by names of different visibilities and generations, which help to forge a moment in the institution that seems more connected to the fascinating and special nature of the place, without leaving aside lively questions about the strange days we are living through.

Dim Corners is an evocative exhibition in Johannesburg featuring new works by Brazilian artist Leticia Ramos and South African artist Zen Marie. The exhibition takes into account the city’s frequent energy shortages, and also the recent blackouts that São Paulo had experienced since this project started, weaving a narrative that intertwines the immediate physical impact with the broader, insidious issues of climate change and environmental racism.