1ª FASE DE CANDIDATURAS – 22 JUNHO > 13 JULHO 2026

A partir de 22 de junho de 2026 estão abertas as candidaturas para a 1ª fase, até 13 de julho de 2026.

1ª fase de candidatura

Candidatura >   22 de junho a 13 de julho de 2026

Publicação dos resultados > a partir de 27 de julho de 2026
Matrícula e inscrição dos candidatos colocados > no prazo de 5 dias após notificação das instruções de matrícula e inscrição.

2.ª fase de candidaturas

A 2.ª fase de candidaturas apenas será disponibilizada nos cursos que apresentem vagas sobrantes da 1ª fase de candidaturas.
A informação sobre vagas para a 2.ª fase de candidaturas será colocada nesta página.

Candidatura > 05 de agosto a 19 de agosto de 2026
Publicação dos resultados > a partir de 7 de setembro de 2026
Matrícula e inscrição dos candidatos colocados > no prazo de 5 dias após notificação das instruções de matrícula e inscrição

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CANDIDATURAS ABERTAS ATÉ 19 JUNHO 2026

O Doutoramento em Educação Artística é um doutoramento conjunto entre a Universidade do Porto e a Universidade de Lisboa, através das suas Faculdade de Belas Artes da Universidade do Porto, Faculdade de Psicologia e de Ciências da Educação da Universidade do Porto, Faculdade de Belas Artes da Universidade de Lisboa, Instituto de Educação da Universidade de Lisboa. Sendo um Doutoramento conjunto estabelecem-se diálogos e trânsitos entre as diferentes instituições ao nível da organização dos tempos letivos, seminários de trabalho, conferências e publicações.

Este curso inscreve-se no campo epistemológico e ontológico da educação artística, abrindo espaços de questionamento sobre as narrativas naturalizadas em torno das artes e dos seus relacionamentos com a educação. Assim, abre-se um espaço de pluralidade e de diferença em que os estudantes são convidados a ensaiar gestos singulares, simultaneamente informados pela sua inscrição em termos de um estado da arte internacional, em que pensem as relações dialógicas entre as práticas artísticas e as práticas educativas. O pdEA possibilita um trabalho de investigação avançada no campo das artes visuais, artes performativas, trabalho educativo em instituições artísticas e culturais, ensino artístico.

Este curso visa desenvolver conhecimentos aprofundados no domínio da Educação Artística (EA) e competências sistemáticas de pesquisa, tanto do ponto de vista teórico-epistemológico como do ponto de vista metodológico, que permitam a resolução de problemas críticos na área da investigação e/ou da inovação ou o alargamento e a redefinição dos conhecimentos ou das práticas profissionais existentes num território que assumindo um espaço autónomo, envolve a área da Arte e das Ciências da Educação.

INSCRIÇÕES + INFO

23 > 24 JUNE 2026 I MUDE – MUSEU DO DESIGN

A Designer at the End of… Glamour

Showcase of Final-Year Communication Design Students, 2025/26

23-24 JUNE 2026, 10am-7pm, space kindly made available by MUDE – Museu do Design.

The expression ‘A designer at the end of…’ can be understood as a revisit of the postmodernist rhetoric proclaiming ‘the end of everything’. Used as an acknowledgement of the profound changes currently unfolding, we can also view ‘the end of everything’ as an effective communication strategy—precisely because it is so compelling. 

Taking as their motto a set of words that function as variations on the phrase ‘A Designer at the End of…’, the graduating students of the Bachelor’s degree in Communication Design (2025/26) addressed the current challenges facing the discipline’s culture, without losing sight of the designer’s role as a citizen of a world in crisis, filled with “ends” of across various times, geographies and events, amid shifting currents of optimism and pessimism.

A Designer at the End of Glamour was the theme proposed by the students responsible for this showcase. Glamour is an impression that intensifies reality, sustained by what is never fully revealed. It is not limited to objects: it is a mechanism, a process, and a promise. In design, glamour operates through both the practice and the practitioner. In practice, it contributes to the creation of artifacts, images, narratives, and experiences capable of evoking emotions and projecting worldviews. Design processes centers in the selection, filtering, and intensification of this reality. For the practitioner, glamour creates the perception of a particular and recognizable status, which influences how designers see themselves and are recognized by others—it constructs an idealized image of the profession. We thus propose to understand how glamour operates in design through a three-phase cycle—seduction, system, and lucidity—to which the various projects of the graduating students are associated. 

These projects, which reflect on the end of an era—which also marks the beginning of other futures—embrace a restless critical mindset and a practice that seeks to be socially and culturally engaged. In doing so, they explore the possibility of a discipline that can contribute to the fundamental connection between the young designer and their interpretation of reality.

Organization: Department of Communication Design 

© Pedro Pereira

17 > 18 JUNE 2026 I FACULTY OF FINE ARTS, UNIVERSITY OF LISBON // 19 JUNE 2026 I FACULTY OF DESIGN, TECHNOLOGY AND COMMUNICATION IADE 

DTRS’15: Design [Re]Thinking is a symposium dedicated to exploring the evolution of Design Thinking and its potential to address the pressing challenges of the 21st century. This transformative dialogue will take place in Lisbon, Portugal, in a partnership between research centres, FBAUL/CIEba, ID+, UNIDCOM/IADE, and other non-academic partners.

This edition marks a milestone in critically reflecting on the trajectory of Design Thinking, its integration with Artificial Intelligence, and its role in creating environmental value, design education, and cross-disciplinary learning.

PROGRAMME

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17 > 19 JUNE 2026 | FBAUL AND IADE

DTRS’15
Faculty of Fine Arts of the University of Lisbon
17-19 June 2026

Keynote Speakers

PETER LLOYD

Wednesday, 17 June 2026
9:30 (AM)
Lagoa Henriques Auditorium (FBA)

“Intelligence Reframed: A Journey through Design Thinking”

Where has design thinking come from and where is it going to? In this keynote, Peter Lloyd will explore the conceptual evolution of design thinking, first through the DTRS symposiums, then expanding out into the broader uses, cultures and meanings of the term, and finally considering the possible future for design thinking in the current context of rapid developments in AI.
Over the past 35 years, design thinking has become what Donald Schön, a contributor at the first DTRS, terms ‘an idea of good currency’. Ideas of good currency are effective boundary objects; potent expressions of an idea in a word or short phrase. The term design thinking has shown extraordinary longevity and resilience in its journey from the representation of cognitive expertise to the corporate and governmental innovation process.
Schön is one of only a few major thinkers originating outside the discipline of design to see exceptional value in the approaches, methods, and processes of design. He also articulated the key role of language in capturing and giving form to design activity. This makes the recent development of language models particularly relevant and amenable to processes of design.
In this keynote Peter will talk about their own journey through design thinking – as a researcher, educator, editor, practitioner, and now as someone grappling to understand the implications of AI for designers, designing, and design thinking. Peter will explore what an AI enhanced design thinking might look like, what it might do, and how we might feel if it does that.

Peter Lloyd is Professor of Design Methodology at the Faculty of Industrial Design Engineering, TU Delft, where he is also a co-founder of the Designing Intelligence Lab and co-director of the Center for Law, Design, and AI. He is Chair of the Design Research Society, President of IASDR, and Editor-in-Chief for the journal Designing. His research focusses on how language is used during processes of design, broadly defined.

JEANNE LIEDTKA

Friday, 19 June 2026

10:30 (AM)

Faculty of Design, Technology and Communication (IADE)

“Design Thinking: Fad, Fraud, or the Future of Business?”

Is Design thinking a) dead, b) a fad, c) a fraud or d) the most powerful yet undervalued new business methodology of the last 50 years?
In this reflection on her decades of personal experience as an academic and researcher, strategist and corporate executive, Jeanne Liedtka will argue why the answer is “d” and what to do about it. She will argue that DT offers exactly the skills that organizations and their employees most need to continuously adapt to the accelerating change in the world around us. So why do we continue to struggle to demonstrate its value in practice? To address this, we will explore the aspects of today’s organizations that stand in the way of achieving Design’s potential and that require us, as its advocates, to think creatively about how to design to remove them.

Jeanne Liedtka is the UTC Emeritus Professor of Business at the University of Virginia’s Darden Graduate School of Business. With interests at the intersection of strategy and design, Jeanne has written eight books and multiple articles on the subject of strategy, innovation, and design thinking, and consulted with a diverse set of organizations including IBM, Samsung, NASA, The United Nations, and the government of Singapore. Her most recent book is The Experimentation Field Book: A Step-by-Step Project Guide, co-authored with Natalie Foley, David Kester and Elziabeth Chen.

17 JUNE > 15 JULY 2026 I CHIADO AND BAIXA LISBON

The Tolerance Project is an international design initiative dedicated to promoting tolerance, inclusion and dialogue through the poster medium. Founded in 2017, by designer Mirko Ilić, the project brings together designers and artists from various countries, inviting them to interpret the word “tolerance” graphically in their native languages, exploring visual communication as a tool for reflection and intervention in the public sphere.

In Lisbon, the Tolerance Poster Show presents a selection of international posters displayed along an urban route that begins at the Faculty of Fine Arts of the University of Lisbon, passes through Largo do Teatro Nacional de São Carlos and Praça do Município, and concludes at MUDE – Museu do Design.

A ODE Winery, a Faculdade de Belas-Artes da Universidade de Lisboa e a Faculdade de Belas Artes da Universidade do Porto lançam um concurso aberto a toda a comunidade académica, para a realização da ilustração para o rótulo do vinho Única 2026.

O concurso prevê o desenvolvimento da ilustração para o rótulo da edição do vinho Única 2026, a ser lançado em novembro do mesmo ano, individualmente ou em equipa. O trabalho vencedor recebe um prémio de 500€ e o(s) autor(es) pode(m) participar em todas as etapas da produção, desde a vindima ao engarrafamento e rotulagem do vinho.

Os trabalhos devem ser entregues até 03 de julho de 2026 através deste formulário, onde se encontra o regulamento completo e todas as informações relativas ao concurso: https://forms.gle/wmYNEJytRU2sXxDA9

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Primeira chamada de trabalhos – Desenho Aplicado

Segunda Chamada de trabalhos – Teoria e Prática do Desenho

Datas de realização do Colóquio – 23 – 24 novembro de 2026

Este congresso visa proporcionar uma visão abrangente sobre a investigação na área do Desenho. Divide-se em duas chamadas de trabalho com vista a duas publicações anuais e a um colóquio/congresso.

A primeira chamada é dirigida ao Desenho Aplicado. Por Desenho aplicado entendem-se todas as vertentes em que o desenho é um elemento central, sendo, no entanto, concretizado com outros fins que não ele próprio. Assim áreas do desenho como as da concept art, ilustração, animação, desenho digital, realidade virtual, banda-desenhada, desenho de produção, entre outras, serão os maiores alvos nesta iniciativa. É por isso dirigida aos estudiosos que pretendam seguir, ou que já estejam a desenvolver trabalho nestas áreas, de maneira a permitir uma disseminação de experiência e de resultados.

A segunda chamada é dirigida à Teoria e Prática do Desenho num âmbito mais geral onde as suas relações com a arte e com os processos artísticos são investigadas.

O colóquio é dirigido sobretudo aos estudiosos que procuram desenvolver dissertações e teses na área do Desenho ou noutras que possam de alguma forma ampliar as discussões relativas a estas áreas de conhecimento. Pretende-se a disseminação das diversas experiências, metodologias e resultados. Assim, aos interessados em participar convida-se à submissão dos artigos relativos a comunicações orais a serem apresentadas no colóquio atendendo à especificidade das chamadas de trabalhos.

Todos os artigos serão submetidos a uma revisão peer review. Cada artigo recebido pelo secretariado é reenviado, sem referência ao autor, a dois ou mais membros da Comissão Científica, garantindo-se no processo o anonimato de ambas as partes (double-blind). No procedimento privilegia-se a distância geográfica entre a origem de autores e a dos revisores científicos.

O colóquio, a ter lugar entre 23 e 24 de novembro de 2026 no Grande Auditório da FBAUL, será composto por comunicações de 20 minutos e por um posterior momento para resposta a questões do público. Está prevista a abertura do colóquio/congresso com a presença de um ou dois keynotes.

A realização do colóquio deverá ser presencial. Em caso de impossibilidade de comparência física dos autores, os mesmos poderão apresentar uma gravação com a sua comunicação. A não participação no colóquio poderá levar à exclusão do livro de atas.

Os artigos revistos e aprovados serão publicados online no Repositório da Faculdade de Belas-Artes da Universidade de Lisboa.

CALENDÁRIO:
VIII Colóquio Expressão Múltipla: Desenho Aplicado
Até 21 de junho, data-limite para o envio do resumo.
Até 28 de junho, notificação de aceitação. 

VIII Colóquio Expressão Múltipla: Teoria e Prática do Desenho
Até 18 outubro, data-limite para o envio doresumo.
Até 25 outubro, notificação de aceitação.

 VIII Colóquio Expressão Múltipla
Colóquio – comunicações orais
23 – 24 de novembro de 2026, Grande Auditório da FBAUL. (Esta data está sujeita a alterações).

VIII Colóquio Expressão Múltipla
Até 31 janeiro de 2027, entrega dos artigos.
Até 15 de fevereiro de 2027 notificação dos pareceres da revisão.

VIII Colóquio Expressão Múltipla
Até 31 de março entrega dos artigos finais.
Até 31 de maio de 2027, publicação online do livro de atas.

*Os artigos deverão ser enviados para expressaomultipla@gmail.com segundo a seguinte formatação:

 Formato do Resumo

Cada resumo não deverá ultrapassar os 1600 caracteres incluindo espaços, sem contar com o título, autoria, afiliação, palavras-chave e legendas.

• Título: Fonte Times New Roman, tamanho 14, maiúsculas, negrito, centralizado.
• Autor principal e afiliação: Nome do autor ou autores principais e respetivos centros de estudos. Times New Roman, tamanho 12.
• Autores secundários e afiliações (caso existam): Nome dos autores secundários e respetivos centro de estudos. Times New Roman, tamanho 12.
• Corpo de texto: Times New Roman, tamanho 12, espaçamento 1,5. Parágrafo justificado.
• palavras-chave: 3 a 5 palavras-chave.
• Até 2 imagens: legendadas e referidas.
• Legendas: Numeradas, Times New Roman, tamanho 10.

Formato do Artigo

Cada artigo deverá ter entre 10000 e 15000 caracteres sem espaços referentes ao corpo do texto, isto é, sem contar com o título, resumo, palavras-chave, legendas e bibliografia.

• Título: Fonte Times New Roman, tamanho 14, maiúsculas, negrito, centralizado.
• Autor principal e afiliação: Nome do autor ou autores principais e respetivos centros de estudos. Times New Roman, tamanho 12.
• Autores secundários e afiliações (caso existam): Nome dos autores secundários e respetivos centro de estudos. Times New Roman, tamanho 12.
• Resumo e palavras-chave: Times New Roman, até 1600 caracteres incluindo espaços, tamanho 12, espaçamento simples, parágrafo justificado. 3 a 5 palavras-chave.
• Abstract e keywords: Em inglês, Times New Roman, até 1600 caracteres incluindo espaços, tamanho 12, espaçamento simples, parágrafo justificado.
• Subtítulos: Fonte Times New Roman, negrito, tamanho 12.
• Corpo de texto: Times New Roman, tamanho 12, espaçamento 1,5. Parágrafo justificado.
• Legendas: Numeradas, Times New Roman, tamanho 10.
• Referências Bibliográficas: Devem seguir o Modelo APA ou NP 405. Fonte Times New Roman, tamanho 12 (APA), 10 (NP 405) espaçamento simples.
• Até 10 imagens: Inseridas no correr do texto, legendadas e referidas (atenção aos direitos de autor).

O documento deve ser enviado em formato word, e em formato pdf. No formato pdf, o documento deverá omitir os autores e a filiação.

OPEN CALL > UNTIL 26th JUNE 2026

Submission Deadlines

June 26, 2026 – Submission of the initial proposal (title, abstract, and keywords; max. 1000 characters without spaces) and link to curriculum vitae/portfolio.

October 9, 2026 – Submission of the complete text.

Send to: convocarte.belasartes@gmail.com

Manifesto for a Call for Papers: Art and Indigenous Peoples

Art. The relationship between art and indigenous peoples is not a simple one. In a programme text for the anthropology of art, Els Lagrou (2012) measured the impact of Alfred Gell’s (2018) work in the field, speaking of a love-hate relationship between art and anthropology. The conjunction ‘and’, which is employed to link the concepts of art and indigenous peoples in this particular context, functions in an adversative manner rather than an additive one. 

Indigenous peoples. This gives rise to the primary issue of this call. The question thus arises of whether the artistic expression in question is to be considered as antagonistic towards indigenous peoples, or whether the indigenous perspective is in opposition to that of the artistic expression. In the context of the Manchester debate on the ‘universality of the concept of aesthetics/art’ (Ingold, 1996), Lagrou (2012) poses the question of whether there exists an art of societies that functions in opposition to the state. This perspective aligns with the seminal work of Pierre Clastres (2003), who proposed a novel characterisation of the political (or cosmopolitical) organisation of the indigenous peoples of America as ‘societies against the state’. This alternative expression diverges from the conventional evolutionary term ‘stateless societies’. 

Land. This shift in perspective enables Clastres (Idem) to redefine the question of how to define ‘what is’ an indigenous people or ‘who are’ indigenous people, bringing it closer to contemporary reality. Rather than being museum pieces echoing the past of a single ‘humanity’ definitively separated from the cosmos, these peoples point to the future of planetary politics. 

Cosmophobia. Deleuze & Guattari (1976), based on what Clastres (2003) and Lévi-Strauss (1976) had learnt from the Amerindians, redefine these societies against the State as a territorial social formation, highlighting these peoples’ intrinsic relationship with the land, in contrast to the modern State and its cosmophobic origin/foundation, as defined by Nego Bispo (Santos, 2018).

Cosmopolitical. The proposal is to engage in discourse with indigenous peoples, transcending the conventional discourse surrounding them, and to recognise these interlocutors as being defined by their intrinsic relationship with the land, with this relationship acting as the guiding principle for their knowledge practices. It is acknowledged that these interlocutors represent the various modes of existence that articulate and establish territory through these human communities and individuals.

Anthropocene. In a manner analogous to the manner in which modern thought was transfigured by the problem-concept of the Anthropocene, thereby resulting in the definitive burial of the 20th century with the realisation that, ultimately, ‘we had never been modern’ and fulfilling Lévi-Strauss’ (1976) persistent prophecy that mythological thought would ‘meet again’ with scientific thought, contemporary art has also been decisively affected by the problem-works posed by contemporary indigenous art. 

(Amilton Mattos) 

Call for Papers

The contemporary global concept of ‘Art’ is a recent Western paradigm. Following the conceptualisation of Fine Arts during the Renaissance, the notion of art and the autonomy of the artistic sphere gained prominence in the 18th century. The following discussion will explore the question of whether it is possible to discuss art in relation to indigenous cultures. In the event of the existence of artistic dimensions, it is imperative to elucidate the manner in which they are mobilised and comprehended. In this sense, the cultural milieu of an indigenous people or nation can be perceived as a confrontation with the very concept of ‘Art’ and its concomitant comforts.

What is the basis of artistic productions inscribed in the body and the landscape, merging with them, creating disturbances in the arts of the separation between work and subject, production and reception, etc.? Talking about indigenous culture and its artefacts with an artistic dimension can serve to problematise the guaranteed notions of ‘art’, “work”, ‘author’, etc. 

The separations between arts are also problematised, since there is a foundational mode of relations and fusions between arts that have traditionally been separated in the West. It’s not a question of hybridity, which is already the result of a principle of separation and its disturbance, but something that is based on non-separation. Thus, in the face of indigenous culture, it is Western ontologies, works and relational processes, as well as values and symbolic exchanges, among others, that are unsettled. One of the premises of this call is to find these zones of disquiet, as vacillating states that are interesting not only to understand but also to confront.

Any recent tradition of Anthropology recognises that these cultures are not watertight in a repetition of the same, but rather have transformation at their core, in which ritual practices of cultural continuity and survival have their own internal dynamic. The repetition of ritual, as a cultural pursuit, is the foundation of processes of transformation and it is through this repetition that the same and the ‘new’ are offered as cultural pursuit and continuity.

The invocation of indigenous culture, coupled with the assumption of its distinctiveness, engenders a relational expanse that renders the prevailing Western paradigm both relative and susceptible to scrutiny. The objective is not merely to challenge this prevailing paradigm, but rather to reject its exclusivity and the authority of its voice, thereby facilitating a more inclusive listening process. This endeavour entails the liberation of artefacts from the paradigm of the cabinet of curiosities that persists in Western ethnographic and anthropological museums. The resolution of this issue necessitates the establishment of a relationship of alterity that fosters the reciprocal exchange of difference, thereby facilitating a mutual extension. This approach entails the rejection of a unidirectional gaze of curiosity or the scientific object, in favour of an egalitarian and dialoguing relationship, wherein the experience and voice of the other is inscribed and shared. 

In general, indigenous cultures are about Memory rather than History, orality rather than writing. It is the bodies that support and carry cultural mediations, that aggregate memories and transfer them. Culture as a safeguard of the self is often made from these bodies, with responsibilities of transference and continuity, which is always fatal change, but inherent and genuine.

When it comes to indigenous peoples, there is a natural tendency for studies to focus on the global South, tending to include Central and South America, Africa, Australia and much of the Pacific, or even parts of Indonesia or India. But it can also be seen elsewhere, even if in an almost archaeological way, around echoes of massacred indigenous memories, such is the degree of cultural disappearance or extinction in many cases, such as in Canada and, above all, the United States. 

Thinking about the role of art and culture in indigenous peoples often involves their resistance to Western and global colonial violence, which can be done both from the strength of their own survival, from what are often resilient remains, and from their regeneration, their recovery from a situation of near cultural extinction, taking up possible authenticities that are not reduced to modes of business and exotic neo-tourism. 

Another issue is the problem of the periphery in cultural issues or cultural policy. Not the periphery between the big dominant centres, which decide the historical, economic and symbolic values of art and culture, such as that of Portuguese art in relation to that of France, London or the United States, or of Brazil in relation to European and North American art, or between Eastern and Western arts or those of the South and those of the North, or even of the big centres in relation to small towns, but a more radical periphery: the periphery that touches the place of obliterated difference and its survival. A periphery that is often already on the outside, in a kind of total otherness. But that’s the richness of its voice.

We can therefore put forward a number of topics, with the proviso that these are far from limiting the possibilities of approaching the subject:

• Conceptual understanding: The dimensions of the notion of ‘indigenous’ and its cultural and artistic specificities.
• Places of Art: Studying the modes and spaces of artistic production among indigenous peoples.
• Identity and Transmission: Processes of subjectivation and cultural dialogues 
• Alterity and Relativisation: The confrontation of differences as a way of broadening the possibilities of human culture.
• Survival and Regeneration: Artistic production as a cultural and political act of resistance and recovery in the face of the threat of extinction.
• Geographies of Indigenous Art: Analysing different contexts and scales (from Brazil to Australia, from Canada to Southeast Asia).
• Methodological Decolonisation: Revision of concepts from anthropology and ethnography in favour of a deontology that privileges the voice of the ‘other’ as a cultural and artistic subject and not just an object of study.

Convocarte Team
General Coordination: Fernando Rosa Dias
Co-coordination (French section): Pascal Krajewski
Executive Coordination: Bruna Lobo and Jamila Pontes

Coordination of the thematic dossier Art and Indigenous Peoples: 

Amilton Pelegrino de Mattos is a researcher and lecturer in the Indigenous Degree programme at the Federal University of Acre, UFAC – Floresta Campus. PhD in Anthropology from the PPGSA at UFRJ – Federal University of Rio de Janeiro, with a thesis dedicated to the research processes of indigenous academics in their communities. http://lattes.cnpq.br/4467650905915696

References used in ‘Manifesto for a call for papers: Art and Indigenous Peoples’:

• Chakrabarty, Dipesh (2009). The Climate of History: Four Theses. In: Critical inquiry 35.2: 197-222.
• Clastres, Pierre (2003). A sociedade contra o Estado. São Paulo: Cosac & Naify. 
• Deleuze, Gilles & Guattari, Felix (1976) O Anti-édipo. Capitalismo e esquizofrenia, Rio de Janeiro: Imago Editora Ltda. 
• Ingold, Kim (Ed.) (1996). Key debates in Anthropology. London and New York: Routledge.
• Gell, Alfred. (2018). Arte e agência: uma teoria antropológica. Trad. Jamille Pinheiro Dias. São Paulo: Unu Editora.
• Kopenawa, Davi & Albert, Bruce (2015). A queda do céu: palavras de um xamã yanomami. São Paulo: Companhia das Letras.
• Lagrou, E. (2012). Existiria uma arte das sociedades contra o Estado?. Revista De Antropologia, 54(2). https://doi.org/10.11606/2179-0892.ra.2011.39645
• Lévi-Strauss, Claude (1976). O pensamento selvagem. São Paulo: CEN. 
• Santos, Antônio Bispo dos. (2018). Somos da terra. Piseagrama, Belo Horizonte, n.12, p.44-51. https://piseagrama.org/artigos/somos-da-terra/

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FRENCH VERSION

OPEN CALL > UNTIL 28 JUNE 2026

The Escola Superior de Teatro e Cinema do Instituto Politécnico de Lisboa and the Faculdade de Belas-Artes da Universidade de Lisboa, through CIEBA (Centro de Investigação e de Estudos em Belas-Artes), invite the academic community, artists and researchers to submit proposals for the II International Conference on Set & Costume Design.

Following on from its first edition, the conference aims to serve as a forum for the exchange of ideas and discussion in the field of stage design. Stage design – or scenography and costume design – is a specific field which, nevertheless, exists in close relation to the fine arts, the performing arts and architecture, amongst many other disciplines, some of which are technical. Frequently, its establishment has been through practice, and it is these creative and technical processes – heirs to a tradition of artists and masters – that we seek to contextualise in the present day, at a time when the visuality of the stage has expanded into performance design and the practice of installation.

It is important to broaden discussions on the practice, history and theory of stage design, enabling exchange across different geographical areas; but it is equally important to reflect on Portuguese practice, which is poorly documented and in need of study and archiving.

In this edition, in addition to the sections dedicated to artists and researchers, students and emerging artists are invited to participate in a section specifically dedicated to exploring and testing ideas.

Proposals addressing, amongst others, the following topics are welcome:

History and theory of set and costume design
Creative processes
Case studies
Teaching set and costume design

In the section “students and emerging artists: 1 IDEA + 1 IMAGE”, we invite collaborations of around 5 minutes, based on the presentation of an idea and an image.

1. Submission Guidelines

Proposals must be submitted in PDF format to jornadascenografiaefigurinos@gmail.com and must include:

- Title of the presentation;
- Abstract of 300 to 500 words;
- Keywords (3 to 5);
- Author’s biographical note (max. 150 words);
- Institutional affiliation and contact details.
Submissions are accepted in Portuguese, English, Spanish, French and Italian.
Oral presentations must be delivered in Portuguese or English.

2. Timetable

Submission deadline: 28 June
Notification of acceptance: 31 July

3. Publication

Please note that a selection of papers presented at the conference will be published in a conference proceedings volume.
Deadline for submission of papers: 15 December
Papers are accepted in Portuguese, English, Spanish, French and Italian, and must always include an abstract in English.

Participation in the conference implies the potential publication of the research in the proceedings. Both participation in the conference and publication are subject to peer review processes.

Organização

Centro de Investigação e de Estudos em Belas-Artes (CIEBA)
Faculdade de Belas-Artes, Universidade de Lisboa (FBA-UL)
Escola Superior de Teatro e Cinema, Politécnico de Lisboa (ESTC-IPL)

Parceiros (em actualização)

Associação Portuguesa de Cenógrafos (APCEN) / Festival Alkantara

Coordenação Geral

Fernando Rosa Dias / João Calixto / Marta Cordeiro / Paulo Morais-Alexandre / Sara Franqueira / Susana Vidal

Comissão Científica (em actualização)

Ana Mira (ESTC/ IFILNOVA)
Armando Nascimento Rosa (ESTC-CIAC)
Fernando Rosa Dias (FBAUL / CIEBA)
Helder Maia (I2ADS / ESMAE)
Isis Saz Tejero (UCLM)
João Calixto (ESTC / CIEBA)
Jorge Palinhos (CECS)
José Capela (EAAD / Lab2PT)
Marta Cordeiro (ESTC / CIEBA)
Paulo Morais-Alexandre (ESTC / CIEBA)
Sara Franqueira (ESTC / CIEBA)
Susana Vidal (ESTC / CIEBA)
Teresa Projecto (IPLuso – UL / CIEBA)
Teresa Varela (ESTC / CIEBA)

Contactos

jornadascenografiaefigurinos@gmail.com