how’s the surf?

MAY 28 > JUNE 03, 2025 I AUDITORIUM ATRIUM

Exhibition opening is on 28 th of May, 18:00 o’clock. The artist will be present. Markéta Zdeňková (Czech Republic) will give a short concert.

The exhibition how’s the surf in the auditorium atrium of Faculdade de Belas-Artes of Universidade de Lisboa starts within the artist’s body. Angelika Wienerroither paints how she feels while surfing the waves of Costa da Caparica, the waves of the Atlantic Ocean. Like the memories of her body — which are revisited, changing and layered like sediments —sheets of transparent paper are placed on top of each other, showing lines of ink. The blue ink is also used to colour sheets of raw paper, torn at the edges. The ink was diluted, the sheets painted over and over again.

The artists practice relates to autotheory, a term coined by Lauren Fournier in 2022. Autotheory means theorising through her own body, through her existence in this world in relation to existing theory. Her experience, her thoughts, her feelings are relevant – and where she is situated. As what she thinks depends on her position, her art changes when she is close to the sea. Angelika Wienerroither has chosen to paint on the pier, hearing the waves, breathing the salty air. She has to check the weather forecast — as she does for the surf — but she still gets caught in the rain, the wind blowing the paper over, the tide pushing in and flooding the pier. Her work is made by nature, not separated by it.

Angelika Wienerroither uses a gesture of calligraphy to paint her works. Her brushes are mounted on wooden sticks, the paper lies on the floor. She paints standing, developing a language for the feeling on the top of the wave, in perfect balance.

Angelika Wienerroither is a visual artist and writer from Austria. Her art and research oscillate around fluidity: she is drawn in by the not-yet-become, the metamorphosing, the not fixed. Her exhibitions and lectures create an open space for thinking; she gives impulses but doesn’t have the answers. Central in her practice is autotheory and the I: the knowledge of her body, her experience, her thinking and her memories are relevant. She theorises through her being in this world. 

Currently, she is researching for her PhD at Kunstuniversität Linz what happens when she regards the world from a ship. She has studied painting and photography at Mozarteum University Salzburg, sociology at Karl-Franzens-University Graz, International Business at FH Joanneum Graz. She has exhibited internationally in galleries, museums and in abandoned buildings, e.g. the Austrian Cultural Forum Zagreb, the Museum of Modern Art Salzburg, Leopold Museum Vienna and an old worker’s house of a mill. Her exhibitions are walk-in utopias, a lived daydream; everything could still change.

equação pessoal – exposição de maria máximo

08 MAIO > O1 JUNHO 2025 I MUSEU NACIONAL HISTÓRIA NATURAL E CIÊNCIA

Inaugura no dia 8 de maio, às 18h00, no Laboratório de Química Analítica do Museu Nacional de História Natural e ciência e exposição Equação Pessoal de Maria Máximo, com curadoria de Sofia Marçal. 

Ao trazer a Ciência para o centro da narrativa artística, esta exposição procura desafiar as fronteiras convencionais, convidando o espectador a observar de perto a experimentação e interligação entre o corpo e a matéria.

+INFO

echoes in motion: traces through performance – vítor cavalheiro exhibition

06TH > 27TH MAY 2025 I BELAS-ARTES GALLERY

Echoes in Motion stems from a visual investigation into gesture, trace, and the memory of performance.

In this series, titled Oscillation, the artist explores the lenticular technique — a near-forgotten process that overlays multiple images onto a single surface, manipulating perception through small lenses that respond to the viewer’s movement. Lenticularity, with its micro-lenses that fragment and recompose light, is employed here not only as an aesthetic tool but as a concept: to multiply the image, suspend time, fragment the instant, and render it tangible — an object.

The photographs, captured in an intentionally spontaneous and almost anti-technical manner, result in blurs, overlaps, and visual abstractions that resist immediate interpretation. This formal “imperfection” draws closer to the raw truth of live experience, where chaos and the body speak louder than clarity. Rather than documenting, these images seek to dissolve the figurative almost to the point of disappearance, only to rediscover, in the patches of light, the sensory memory of sound, vibration, and crowd.

The series explores ways of translating the ephemeral energy of the stage into a visual object — unique and dynamic — an image that does not settle but, like sound, oscillates and transforms depending on the viewer’s movement. As the viewer moves before the images, they activate the transformation: the scenes gain depth, they vibrate. This metamorphosis is not merely technical — it is emotional. The performance is summoned once more, like an echo in loop, becoming tangible even offstage, establishing a parallel between the viewer observing the work and the one witnessing the live act.

Through this project emerges a convergence of analogue and digital processes, driven by a fascination with almost obsolete visual technologies intertwined with the artist’s affective memory — he revives the visual language of the 1990s — nostalgic like the Tazos of our childhoods — which reappears here as a visual and tactile echo, merged with an old passion: live music. This nostalgic element is not decorative, but operative: it speaks of a visual language that was once popular, physical, playful — and is now recontextualised to capture the intense, physical tremor of live concerts, in this case, of the band MAQUINA. It is not merely about portraying the band, but about giving form to movement, prolonging it through a technique that, like performance itself, thrives on transformation and presence.

This exhibition aims to make the visceral energy of the band’s concerts resonate as though each piece were a visual encore. These images capture the raw intensity of three of the band’s live shows during 2024. It is the personal and artistic connection with the band — and above all, the frenzied, hypnotic nature of their performances — that makes this collaboration inevitable.

Echoes in Motion transforms photography into a performative extension: each piece is not just a representation, but an active trace, an artefact in continual mutation. An echo in the form of a blur that insists on continuing to oscillate. Each image is an object. Rather than documenting, these photographs embody. They are presence that reverberates. Movement that endures.

Sofia Tudela

Cemitério Indígena: Movimentos ao Autoexílio Kaiowá e Guarani

08 > 27 MAIO 2025 I CISTERNA BELAS-ARTES

Inaugura no dia 8 de maio, na Cisterna da Faculdade de Belas-Artes a exposição Cemitério Indígena: Movimentos ao Autoexílio Kaiowá e Guarani de Letícia Larín e obras em colaboração com Kunhã Ysapy, Elle Souza, Cajetano Vera e Nelson Ávila.

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

Exposição com peças desenvolvidas junto a um aprofundamento nas cosmovisões originárias Kaiowá e Guarani, durante a investigação de doutoramento em escultura da artista. Esses povos vivem num território ancestral, atualmente dominado pelo agronegócio, no estado de Mato Grosso do Sul, Brasil. Na condição de estrangeiras em sua própria terra, essas culturas lutam com as próprias vidas para se “autoexilarem” com vistas a existirem segundo o seu próprio modo, o teko porã (Bem Viver).

O conjunto de trabalhos apresentado, por vezes buscou relacionar-se criticamente com elementos dessas culturas materiais, como o kurusu tumular, o pau de chiru e o tipo de altar yvyra marãngatu. Por outras, expressa a vivência de Letícia Larín em seu trabalho de campo, na Reserva Indígena de Dourados, havendo algumas obras produzidas junto a Kunhã Ysapy, Elle Souza, Cajetano Vera e Nelson Ávila.

Estão ainda experimentos em vidro com milho, o alimento mais sagrado a esses e essas indígenas, e com terra, o principal motivo das difíceis condições de vida impostas a esses corpos-territórios. Com isso, embora a atmosfera da mostra seja tingida por um tom árido, ela insiste em transparecer a leveza, o brilho e encanto que permeia essas visões de mundo, integradas espiritualmente à natureza.

buraco da minhoca – exposição coletiva

10 MAIO > 14 JUNHO 2025 I GALERIA DO SOL, PORTO

Inaugura no dia 10 de maio, às 16h00, na Galeria do Sol, no Porto, a exposição Buraco da Minhoca.

Buraco de Minhoca é uma proposta coletiva de João Marçal e Francisco Queirós para a Galeria do Sol, que reúne um conjunto de artistas da Faculdade de Belas-Artes da Universidade de Lisboa: Francisco Corrêa, Francisco Novais, João Fonseca, João Marçal, João Salvador, Henrique Porta-Nova, Mariana Rocha, Paulo Malafaya, Raquel Garcês, Rita Silva Carreira, Rita Bárrios Ferreira, Rosa Eck e Sara Chitas Gouveia. 

Buraco de Minhoca é o nome dado por John Wheeler à teoria que evoca a existência de uma série de ligações espácio-temporais entre regiões longínquas no universo. Poderíamos dizer que a presente exposição é o lugar onde alguns objetos se recalibram, numa contínua contração e expansão. A impermanência é a sua condição natural, o olho é um buraco de minhoca.