05 > 29 JUNHO 2026 I CISTERNA BELAS-ARTES  

Inaugura no dia 5 de junho às 18h30, na Cisterna da Faculdade de Belas-Artes, a exposição Gentrification II.

Horário: 2ª a 6ª – 11h00/19h00

Promovido pelo projeto Erasmus BIP Estratégias de Projeção Internacional em Estudantes de Arte, que reúne a Faculdade de Belas Artes da Universidade de Salamanca, a Faculdade de Belas-Artes da Universidade de Lisboa e a Academia Nacional de Belas Artes de Oslo, surge um projeto de exposição e investigação coletiva que procura integrar estudantes da área das artes num contexto propício ao desenvolvimento de relações internacionais e interculturais.

Tomando como tema central o processo de gentrificação, o projeto reflete sobre as transformações e os impactos urbanos e sociais associados a este fenómeno. O termo foi utilizado pela primeira vez por Ruth Glass, em 1964, para descrever a deslocação residencial das classes médias para antigas áreas operárias e de baixos rendimentos em Londres (Gonçalves, 2009). A partir desta problemática, os estudantes foram convidados a desenvolver propostas artísticas e reflexões críticas que explorem os impactos da gentrificação nos seus territórios, nas comunidades e nas dinâmicas culturais contemporâneas.

9 > 17 ABRIL 2026 | GALERIA BELAS-ARTES 

Inaugura no dia 9 de abril, às 18h, na Galeria da Faculdade de Belas-Artes, a exposição Folded Over Itself de Lola Sementsova.

Curadoria: Alexia Alexandropoulopu

Coordenação: Marta Castelo

Horário: 2ª a sábado – 11h00/19h00

Este evento é passível de ser fotografado e filmado e posteriormente divulgado publicamente.

Folded Over Itself

The exhibition unfolds through a sequence of works that move between the intimate and the architectural, the bodily and the structural. 

It begins with a table. On it, a white ceramic vase opens along a cut that feels too deliberate to be accidental and too exposed to be purely decorative. The wound is lined with small, glistening stones that catch the light and hold it there. Next to it, a piece of meat, red and similarly encrusted, sits beside a knife and fork. The scene appears familiar, almost domestic, but something is off. What is presented as if it could be consumed resists that possibility.

There is an attraction in this. The setting is theatrical, even seductive, but it gradually leads somewhere more uncomfortable. This tension recalls what Georges Bataille described as the closeness between desire and disturbance, where what draws us in is also what unsettles us.

Further into the space, a red cage appears. It is large, close to the scale of the human body, and you feel it in relation to your own. Its structure is strict, repetitive, almost cold, but it has been wrapped, softened, worked through by hand. The red thread changes everything. It gives the structure a density, as if it were carrying something within it, even when it appears empty. The colour is insistent. It brings associations of blood, of interior life, but also of warning, of something that should perhaps not be touched.

There is something excessive here, something that does not settle into a single meaning. It feels both protective and restrictive at the same time. As Julia Kristeva suggests, these are the moments where boundaries begin to blur, where inside and outside are no longer clearly separated.

In another room, a video shows a hand pouring sand into a cage. The gesture repeats. The sand slips through, gathers, disappears, and begins again. Nothing accumulates. Nothing resolves. Over time, the action becomes almost hypnotic, not because it changes, but because it doesn’t. It stays with the same attempt, again and again, to hold something that cannot be held.

Across the exhibition, materials carry a strong presence. Wool, ceramic, sand, glass. They feel familiar, grounded, but are used in ways that shift their meaning. The domestic meets something more visceral. Protection begins to resemble containment.

There is no clear conclusion here. The works remain in an in-between state. They hold things together, but not completely. They leave something open, not fully exposed, but not entirely contained either.

24 JANUARY > 22 MARCH 2026 I BEJA CASTLE GALLERY

The exhibition Pensar o Monumento a partir de Jorge Vieira opens on 24 January at 4pm at the Beja Castle Gallery.

Beja Castle Gallery
Castelo – Casa do Governador
Largo Dr Lima Faleiro, 7800-266 Beja
turismo@cm-beja.pt | 284 311913

Opening hours – Monday to Sunday: 9.30am-12pm / 2pm-6pm

Pensar o Monumento a partir de Jorge Vieira is an exhibition that emerges in the context of a crisis of collective representation in the public space and against the dilution of values, we recover the Monument to the Unknown Political Prisoner as a symbol of political and artistic resistance. (…)

The exhibition features 1:25 scale models made by seven students from the Sculpture Master’s programme at the Faculty of Fine Arts in Lisbon, where Jorge Vieira also taught, and with them studies, drawings and images that contribute to an understanding of a sculptor’s working process. These are potential monuments designed for today, with no specific location, but with the latency to transform and integrate into any city, town or region on the globe, in places where society allows itself to reflect and embrace the vulnerability that constitutes us and make a more humane society flourish once and for all.

Sérgio Vicente and Marta Castelo

FEBRUARY 9, 2026 > 1 PM I ROOM 1.06

Sculpting the Voice: Body – Science – Art
Lecture & Hands-on Workshop with Evangelos Angelakis (CAPHE Project)

Master in Sculpture – practices of research in sculpture

Lecture
How is the human voice shaped by the body — and how can artists, researchers, and educators hear, see, and touch this process? In this special 2-hour lecture, Evangelos Angelakis introduces students to the voice as a multidimensional phenomenon, bridging anatomy and physiology, acoustics, cognition, pedagogy, and artistic practice.

Drawing from contemporary voice research and artistic experience, the lecture explores how sound emerges from physical structures, how perception shapes vocal control, and how technology allows us to better understand the living instrument we carry within us.

Workshop 
Following the lecture, students are invited to participate in an intensive 3-hour experimental workshop, where theory becomes material. Working with clay and/or 3D-printed vocal tract models, participants will build physical resonators and explore how shape, material, and space transform sound. Using various sound sources, and the human body itself — the workshop avoids abstraction and focuses on direct sonic experimentation. 

The workshop also introduces students to real vocal fold excitation, including prerecorded electroglottographic (EGG) signals extracted from actual voices. Participants will hear the original voice sound, its corresponding EGG waveform, and then feed these signals into their handmade vocal tract models, observing how resonance emerges from structure. This process offers a rare opportunity to experience voice as sculpture, instrument, and scientific object at the same time, encouraging cross-disciplinary thinking between visual arts, music, performance, and research.

About the Lecturer
Evangelos Angelakis is an opera singer, voice teacher, and Postdoc voice researcher at the Laboratory of Music Acoustics and Technology of NKUA, Greece. Currently participating in the Communities and Artistic Participation in Hybrid Environment (CAPHE) project, which supports interdisciplinary artistic and pedagogical mobility across multiple countries. He holds a PhD from the National and Kapodistrian University of Athens and is an honors graduate of the Master’s Program Musicology – Music Technology. His work combines professional operatic performance, vocal pedagogy, and scientific research on voice anatomy, acoustics, cognition, and sensor-based analysis. He is the creator of the NKUA educational program “The Voice in Singing”, a founding member of the Hellenic Voice Teachers Association, and an active researcher whose work has been presented internationally.

27 JANUARY > 03 FEBRUARY 2026 I QUINTA ALEGRE, LISBON

The ALEGRETE exhibition by the final-year sculpture students of the Faculty of Fine Arts of the University of Lisbon opens on 26 January at 5.30pm at Quinta Alegre, Palácio do Alegrete. The exhibition will run until 3 February.

Quinta Alegre/ Palácio do Alegrete
Campo Amoreiras 94
1750-025 Lisboa
informacoeseservicos.lisboa.pt | 210521760

Opening hours – Monday to Friday: 10am to 5.30pm / Saturday and Sunday: 2.30pm to 5.30pm

This event can be photographed and filmed, and then made public.

ALEGRETE is an exhibition that brings together the work of the final-year sculpture students at the Faculty of Fine Arts of the University of Lisbon in the first semester of 2025/2026. Quinta Alegre is a cultural space with excellent conditions for developing an integrated sculpture project – art in dialogue with architecture and its history. It’s a place with unique qualities for this exhibition, a place where you can still recognise the gardens, orchard, vegetable garden and woodland, features of the 18th century pleasure farm organisation on the outskirts of Lisbon, but also because today this farm is a refuge for the affirmation of full citizenship in a complex urban area disqualified by the process of informal urbanisation in the second half of the 20th century.

The investigative work through artistic practice developed by the students critically positioned themselves in this field of contrasts between the historical, urban and social situation that mirrors the diversity of approaches present in this exhibition. Sculpture, in its material condition, merges in this exhibition with time and the experience of place.

Participants in the exhibition: Ana Almeida, Ana Carvalho, Ana Marta Santos, Anna Uklejewska, ⁠António Arrobas, Beatriz Carvalho, Beatriz Lopes, ⁠⁠Becky Harrison, ⁠Brito Atrofio, Bruna Gouveia, Catarina Araújo, Catarina Pestana, Catarina Valério, Clara Pedroso, Cláudia Varela, Coimbra, Fransje Langedijk, Guilherme Custódio, ⁠Jiaqi Qiu, Joana Cunha, Joana Motta, ⁠⁠joão pires, Leal Pereira, Leonor André, Lore, Madalena Martinez, Mariana Pombo, Matilde Marques, Miguel Basto, Miguel Jerónimo, Minês, Naia Branco, Rafael Dos Santos, Sofia O’Neill, Sonia Singh e Teresa Faria

05 > 07 FEVEREIRO 2026 I ART BASEL QATAR, DOHA

A artista Ângela Ferreira, professora da Faculdade de Belas-Artes da Universidade de Lisboa, participa da primeira edição da Art Basel no Médio Oriente que se realiza em fevereiro de 2026. Depois de Basel, Miami Beach, Hong Kong e Paris, a edição inaugural da Art Basel Qatar será realizada no M7, um centro criativo no coração de Doha, bem como no Doha Design District, no centro de Msheireb.

Na Art Basel Qatar 2026 participam 87 galerias de 31 países, incluindo a Cristina Guerra Contemporary Art, que estará representada com obras da artista Ângela Ferreira.

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Ângela Ferreira nasceu em Maputo, Moçambique, estudou Escultura durante o regime do apartheid, na Michaelis School of Fine Arts da Universidade da Cidade do Cabo, na África do Sul. Doutorada pela Faculdade de Belas-Artes da Universidade de Lisboa, onde é professora, o seu trabalho de escultura, vídeo e fotografia foca-se no pós-colonialismo, identidade e questões interculturais. Representou Portugal na Bienal de Veneza em 2007, com o projeto Maison Tropicale. Participou em várias exposições individuais e coletivas, e está representada em diversas coleções públicas e privadas.

 PÚBLICO (09/1072025)

OBSERVADOR (09/10/2025)

13 SETEMBRO > 31 DEZEMBRO 2025 I CENTRO DE ARQUEOLOGIA E ARTES DE BEJA

A exposição Terra Sol Liberdade é uma homenagem ao escultor Jorge Vieira, no ano em que se celebram os 30 anos do Museu com o seu nome, em Beja.

A Câmara Municipal de Beja contou com a colaboração dada pela Faculdade de Belas-Artes da Universidade de Lisboa, nomeadamente com um concurso destinado aos alunos das Unidades Curriculares de Cerâmica de Escultura.

Das propostas apresentadas foram selecionadas, Bárbara Rodrigues e Rita Silva Carreira que participaram na residência artística em Beringel, para a criação de obras em cerâmica, realizada nas oficinas de olaria de António Mestre e no telheiro de José Parreira, e onde participaram os artistas convidados Cláudia Guerreiro, Heitor Figueiredo, Marta Castelo, Noémia Cruz, Suzana Henriqueta, Tiago Mestre e Virgínia Fróis. A exposição conta também com obras do escultor Jorge Vieira escolhidas pelos artistas e pelo Museu.

ALENTEJO ILUSTRADO

TRIBUNA ALENTEJO

RÁDIO CASTRENSE

07 > 14 OUTUBRO 2025 I GALERIA BELAS-ARTES

Inaugura no dia 7 de outubro, às 18h00, na Galeria da Faculdade de Belas-artes, a exposição Entre Tecer de Sara Boia

Este evento é passível de ser fotografado e filmado e posteriormente divulgado publicamente.

Entre Tecer, entretecer, que se entrelaça ao tecer.

A tecelagem manual, um dos ofícios mais antigos, consiste essencialmente em criar um plano maleável de fios, entrelaçando-os horizontalmente.
A tapeçaria surge através da utilização desta técnica para a criação de obras de arte que podem ser bidimensionais, ou tridimensionais nos dias de hoje. Esta arte foi, desde cedo, ligada à pintura pela sua representação pictórica, sendo a vertente bidimensional uma das características mais consideráveis. Este valor é quebrado com o contemporâneo, por diversos artistas que, de certo modo, desafiaram as fronteiras entre a tapeçaria e a escultura, bem como tantas outras áreas da arte.

“Much of the potency of textile art has been lost during centuries of efforts to produce woven versions of paintings, often based on cartoons of the great painters of the past” (Albers, 1995)

Entre Tecer é o resultado da investigação artística que teve início no final da Licenciatura em Escultura, e que se estendeu até ao Mestrado na mesma área.
Esta exposição emerge da vontade de compreender a tapeçaria enquanto construção tridimensional. Tem-se como objetivo encontrar princípios inerentes à disciplina da escultura, numa técnica tradicionalmente ligada à bidimensionalidade e à pintura. Por outro lado, existe a necessidade de utilizar este projeto como meio de destaque e valorização de artistas femininas, num mundo onde “Women have been excluded from innovative roles (…), except as ‘imitators’ and interpreters of male styles”. (Wood Conroy D., 1994)

09 OUTUBRO 2025 > 17H00 I AUDITÓRIO LAGOA HENRIQUES

Realiza-se no dia 9 de outubro, pelas 17h00, no Auditório Lagoa Henriques, a sessão de abertura do Curso de Doutoramento em Belas-Artes 2025/2026, com a presença dos Coordenadores do 3º ciclo das respetivas especialidades, Professora Patrícia Gouveia de Arte Multimédia, Professor Fernando Rosa Dias de Ciências da Arte e do Património, Professor José Teixeira de Escultura, Professora Diana Costa de Pintura, Professor António Trindade de Desenho, Professor Pedro Almeida de Design de Comunicação e Professor Pedro Silva Dias de Design de Equipamento. 

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10 > 22 SEPTEMBER 2025 I FBAUL CISTERN

The exhibition ERINIES: grudge, punishment and revenge by Rafael Vascon opens on 10 September at 3pm in the Cisterna da Faculdade de Belas-Artes.

This event may be photographed and filmed and subsequently made public.

Hours: Monday to Saturday – 12:00 p.m. to 7:00 p.m.

Between chaos and cosmos, all certainty is abdicated, all sacredness is profaned. Between Hades and Athens, in this land of ruins and omens where all that is solid melts into air, the Erinyes awaken—shadow guardians of a rejected, wounded, corrupted memory. Their songs echo against the silence imposed by centuries of colonialism, against the museification of bodies that could never rest in peace. They finally return, not as an exotic spectacle for the gazes that consumed them, but as a specter that refuses to be tamed by official history. Their flesh is no longer a showcase: it is a fissure, a tear, and a summons. Each exposed fragment is not an object, but a testimony—a living reminder that the body is not destiny, but a political invention built on the violence of classification, of the gaze, and of desire. Here, archives burn, monuments crumble, and the boundaries between myth and history fade. Neutrality is impossible: every step is a pact with the ghosts that rise up here, every glance is crossed by those who were forced to bear the burden of a tarnished modernity. Therefore, before entering, be careful: this space offers no comfort—it is a profane ritual and mockery, a future that can only be born from the refusal to forget.