re_memorar — encontros entre arte e psicologia

14 > 28 JUNHO 2025 I CISTERNA BELAS-ARTES

Inaugura no dia 14 de junho, às 19h00, na Cisterna da Faculdade de Belas-Artes, a exposição Re_Memorar — Encontros entre Arte e Psicologia, que ficará patente até 28 de junho.

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

Artistas: Ângela Fonseca; Arminda Leite; Carolina Mendonça; Conchita Calvo; Inês Quitério; Tomás Serrão

Alunos de Psicologia: Gabriel Galante; Raquel Santos; Maria Eduarda Dourado; Leonor Marques; Catarina Martins

O projeto insere-se no contexto de uma investigação doutoral na Faculdade de Belas Artes da Universidade de Málaga, cujo foco principal é a exploração da neuropsicologia da memória como fonte de inspiração na arte contemporânea.

No âmbito desta investigação, realizou-se uma estadia na Faculdade de Belas Artes de Lisboa, onde se desenvolveu um projeto de curadoria que promove a colaboração entre estudantes de Belas Artes e Psicologia. O projeto iniciou-se com uma apresentação dirigida aos estudantes de Belas Artes, na qual se partilhou a obra artística e se explicou como esta se inspira em conceitos neuropsicológicos relacionados com a memória.

Posteriormente, realizou-se uma palestra semelhante para os estudantes do mestrado em Psicologia. Estas sessões iniciais serviram para introduzir as bases teóricas e artísticas do projeto, bem como para recrutar voluntários interessados em participar. Após a formação de equipas compostas por estudantes de ambas as faculdades, realizaram-se reuniões colaborativas onde se partilharam ideias, perspetivas e conhecimentos.

Este intercâmbio interdisciplinar resultou na criação conjunta de obras que refletem aspetos tanto artísticos como psicológicos relacionados com a memória. As peças produzidas estão programadas para serem expostas em junho do presente ano. Este projeto segue a linha de um trabalho anterior realizado na Universidade de Málaga (UMA), onde também se promoveu uma colaboração interdisciplinar entre estudantes. A experiência prévia permitiu aperfeiçoar a abordagem metodológica e fomentar uma interação enriquecedora entre disciplinas aparentemente distantes, mas profundamente conectadas.

모름 / Morum

02ND > 6TH JUNE 2025 I BELAS-ARTES CISTERN

A group of Korean artists living in Portugal set out to bring their works together in an exhibition. From this shared diasporic condition — a common origin, a shared destination — the exhibition 모름 / Morum arises as an opportunity to experiment with plays of proximity and distance, to seek echoes and divergences. What persists from their origin? And how does the place they now inhabit shape their artistic expression? Bringing together distinct methodologies, materialities, and concerns, this exhibition presents works that, in some cases, renew the Korean craft tradition, and in others, explore contemporary visual languages. In common, these works question fixed notions of identity and affirm geographic and cultural displacement as a generative movement — one that produces meaning. Rather than proposing definitive answers, the exhibition offers a visual dialogue in which identity asserts itself as a constant becoming: a fluid, hybrid movement. 

Although we live in increasingly globalized — and thus homogenized — societies, it is still possible to find certain cultural specificities that act as points of resistance. The thread that guides this exhibition is the concept of Morum (모름). Unlike contemporary European languages, where terms such as “ignorance” (from Latin ignorantia) or “unknowing” are formed through negation — in- and gnarus, un- and knowing — Korean language offers positive, self-contained terms like Morum (모름) and the conjugations of the verb 모르다 (“to not know”). Here, not-knowing is affirmed as a dynamic state: an opening toward the unknown, a fertile ground for possibilities yet to be imagined. In the mythology of European rationalism, not-knowing came to be seen as a provisional deficiency — a temporary failure to be overcome by the advance of reason. This philosophical, scientific, and cultural revolution sought to banish the darkness of ignorance, believing that sooner or later the lights of Enlightenment would dispel the unknown. If the Enlightenment inaugurated a universalizing logic in which all things must be known, in the Korean language the dignity of not-knowing endures — a natural, honorable, and even elevated state of being. 

Lu.Co — the Group of Korean Artists in Portugal — aims to create a platform for support, exchange, and dialogue among Korean artists living in Portugal, promoting new perspectives on Korean culture with a particular focus on contemporary art and traditional crafts. This first exhibition presents works by Cho Sejin, Choi Kyeong Hwa, Chung Sun Kyung, Hyun Sujin, Jiôn Kiim, Kim Hana, Bae Gongju, and Summer Cho. This initiative is supported by the Embassy of the Republic of Korea in Portugal, the Overseas Koreans Agency, and the Faculty of Fine Arts of the University of Lisbon.

Reportagem nos canais nacionais da Coreia

“gentrificación”, una exposión con obras de estudiantes de arte de salamanca, lisboa y oslo

08 MAIO > 08 JUNHO 2025 I DA2 DOMUS ARTIUM 2002, SALAMANCA

Gentrificación

El depredador en el laboratorio de Arte

Esta exposición muestra los resultados de la investigación artística promovida por el proyecto Erasmus BIP, “Estrategias de proyección internacional en estudiantes de arte”, en el que participan la Facultad de Bellas Artes de la Universidad de Salamanca, la Facultad de Bellas Artes de la Universidad de Lisboa y la Academia Nacional de Bellas Artes de Oslo. El proyecto busca insertar al alumnado del campo de las artes en el desarrollo y la difusión profesional de su propia obra artística, ampliando así su formación. Y lo hace desde un contexto que potencia las relaciones internacionales.

Como tema generador se aborda el concepto de gentrificación. El término es utilizado por primera vez por Ruth Glass en 1964 para referirse el cambio residencial de la población de clase media a las antiguas áreas de clase baja de Londres (Gonçalves, 2009). Su surgimiento se remonta a la reconstrucción urbana que necesitaron las ciudades de posguerra del mundo capitalista avanzado e incluso podemos encontrar precursores modernos como Charles Baudelaire en su famoso poema, “Los ojos de los pobres”, que envuelve una narrativa proto-gentrificación dentro de un poema de amor y distanciamiento (Smith, 2015). La historia de la gentrificación es breve y esta cargada de contradicciones, desde finales de la década de 1950 y comienzos de la de 1960, de Sydney a Hamburgo, de Toronto a Tokio, activistas, inquilinos y personas corrientes ya sabían exactamente qué era la gentrificación y cómo afectaba a su vida cotidiana; sin embargo, medios de comunicación como el New York Times a mediados de los años 80 estaban ocupados por solicitudes a favor de la gentrificación. Muchos se vieron atraídos por el aparente optimismo de la gentrificación en el sentido de modernización, renovación y limpieza. El lenguaje de la gentrificación resultaba (quizás, resulta) irresistible para determinados sectores de la población. Para los críticos pronto se descubrió como parte fundamental del proceso que conlleva el fenómeno de desarrollo desigual que promueve la globalización financiera. La gentrificación se ha construido como un concepto polémico en el ámbito de los estudios urbanos, pero a pesar de sus consecuencias negativas para la población desplazada, es difícil negar que la gentrificación, también genera recursos y crea demandas por nuevos servicios en una ciudad consolidada. Podemos encontrar casos en los que las ventajas económicas de la gentrificación se han utilizado en beneficio del resto de la ciudad, pero lo cierto es que, a día de hoy, la mayoría de las veces, se detecta la gentrificación como una forma de segregación y exclusión social que destruye la identidad, la diversidad y la memoria de los barrios, viola el derecho a la vivienda y a la ciudad y genera conflictos.

Úrsula Martín Asensio

+INFO

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.