LATIN AMERICA AT THE XV ANNIVERSARY OF KUNSTHALLE LISSABON

“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.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

Álbum de Casi Todos (Album of Almost Everyone) is the solo exhibition of Chilean artist Pablo Linsambarth at the Instituto Cultural Peruano Norteamericano (ICPNA). It is curated by Daniel H. Rey.

Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.

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 approach and review of the work that the multidisciplinary Portuguese-Brazilian artist Fernando Lemos (Lisbon, Portugal, 1926 - São Paulo, Brazil, 2019) made in the framework of his relationship with Japan is the reason for the exhibitions that two centers of the Calouste Gulbenkian Foundation dedicate to his figure. It is worth remembering here that both of them transit in the Japanese concept that stands as the central axis of the new headquarters of the Centro de Arte Moderno, recently inaugurated, and on which the dialogue between both curatorial proposals pivots.

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.

“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.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

Álbum de Casi Todos (Album of Almost Everyone) is the solo exhibition of Chilean artist Pablo Linsambarth at the Instituto Cultural Peruano Norteamericano (ICPNA). It is curated by Daniel H. Rey.

Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.

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 approach and review of the work that the multidisciplinary Portuguese-Brazilian artist Fernando Lemos (Lisbon, Portugal, 1926 - São Paulo, Brazil, 2019) made in the framework of his relationship with Japan is the reason for the exhibitions that two centers of the Calouste Gulbenkian Foundation dedicate to his figure. It is worth remembering here that both of them transit in the Japanese concept that stands as the central axis of the new headquarters of the Centro de Arte Moderno, recently inaugurated, and on which the dialogue between both curatorial proposals pivots.

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.

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.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

Álbum de Casi Todos (Album of Almost Everyone) is the solo exhibition of Chilean artist Pablo Linsambarth at the Instituto Cultural Peruano Norteamericano (ICPNA). It is curated by Daniel H. Rey.

Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.

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 approach and review of the work that the multidisciplinary Portuguese-Brazilian artist Fernando Lemos (Lisbon, Portugal, 1926 - São Paulo, Brazil, 2019) made in the framework of his relationship with Japan is the reason for the exhibitions that two centers of the Calouste Gulbenkian Foundation dedicate to his figure. It is worth remembering here that both of them transit in the Japanese concept that stands as the central axis of the new headquarters of the Centro de Arte Moderno, recently inaugurated, and on which the dialogue between both curatorial proposals pivots.

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.

“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.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

Álbum de Casi Todos (Album of Almost Everyone) is the solo exhibition of Chilean artist Pablo Linsambarth at the Instituto Cultural Peruano Norteamericano (ICPNA). It is curated by Daniel H. Rey.

Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.

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 approach and review of the work that the multidisciplinary Portuguese-Brazilian artist Fernando Lemos (Lisbon, Portugal, 1926 - São Paulo, Brazil, 2019) made in the framework of his relationship with Japan is the reason for the exhibitions that two centers of the Calouste Gulbenkian Foundation dedicate to his figure. It is worth remembering here that both of them transit in the Japanese concept that stands as the central axis of the new headquarters of the Centro de Arte Moderno, recently inaugurated, and on which the dialogue between both curatorial proposals pivots.

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.

“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.

Zielinsky opened a new space in São Paulo, Brazil and presented a solo exhibition by Brazilian artist Claudio Goulart (1954-2000), whose work was developed in Amsterdam, the Netherlands, where he lived for over 30 years until he passed away due to complications from AIDS.

Álbum de Casi Todos (Album of Almost Everyone) is the solo exhibition of Chilean artist Pablo Linsambarth at the Instituto Cultural Peruano Norteamericano (ICPNA). It is curated by Daniel H. Rey.

Maria Madeira is the artist representing Timor-Leste at the 60th International Venice Biennale. Timor-Leste’s inaugural pavilion coincides with the country’s 25th anniversary of independence. Commissioned by the Ministry of Youth, Sports, Arts and Culture, Democratic Republic of Timor-Leste and curated by Professor Natalie King OAM.

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 approach and review of the work that the multidisciplinary Portuguese-Brazilian artist Fernando Lemos (Lisbon, Portugal, 1926 - São Paulo, Brazil, 2019) made in the framework of his relationship with Japan is the reason for the exhibitions that two centers of the Calouste Gulbenkian Foundation dedicate to his figure. It is worth remembering here that both of them transit in the Japanese concept that stands as the central axis of the new headquarters of the Centro de Arte Moderno, recently inaugurated, and on which the dialogue between both curatorial proposals pivots.

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.