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MU.SA – Museu das Artes de Sintra hosts the group painting exhibition “Metamorfoses” by Claus Von Oertzen, Brigitte Von Humboldt, Kerstin Wagner, Vera Christians, Jutta Mertens-Kammler, from March 4 to April 17. Entrance to this municipal museum is free. “Creating a work of art is a transformation (= metamorphosis) of the artist’s ideas and emotions, of his own style through the wide variety of materials and techniques he uses. But the main source of every creation is Inspiration. The work of many artists, in the most varied styles, has always been inspired by one of Ovidio’s most famous works, the poem Metamorphoses, considered the poet’s masterpiece, which tells us about a world in constant mutation”, Vera Christians . With free admission, this exhibition brings together five artists of Germanic nationality for a tribute to these ancient myths. Source: https://cm-sintra.pt/atualidade/agenda/923-metamorfoses-em-exibicao-no-museu-das-artes-de-sintra

The Municipality of Sintra promotes, at MU.SA – Museu das Artes de Sintra, the Exhibition “Continuous Movement”, open from March 4th to April 17th. Filipe Romão’s exhibition entitled “Continuous Movement”, brings together a set of drawings that result from a process of aesthetic investigation sustained by a personal intensity simultaneously with the intensity of the world. The artist, Filipe Romão, is based on the creation of an imagery that enhances the poetics of Nature through silence, melancholy, stillness, light and shadow. The MU.SA- Sintra Arts Museum essentially promotes the enjoyment and understanding of contemporary art and culture and, at the same time, the strengthening of ties with the local community. Free entrance. Source: https://cm-sintra.pt/atualidade/agenda/941-movimento-continuo-de-filipe-romao-para-know-no-mu-sa

The Municipality of Sintra presents, at MU.SA – Museu das Artes de Sintra, the sculpture exhibition “ta.ber.ná.cu.lo” by Tito Chambino, which will be on display from March 4th to April 17th. Born in Castelo Branco and after visiting Lisbon, where Tito Chambino graduated in Painting at the Faculty of Fine Arts, there have been several solo and group exhibitions over the last four years. Source: https://cm-sintra.pt/atualidade/agenda/942-exposicao-de-escultura-ta-ber-na-cu-lo-em-sintra

Radio Antechamber The space we inhabit is not just built of walls. One of those spatial matters, which we don’t see but feel with the body and the head, is sound. Sound, which is also the place for words, is a fundamental dimension of architecture. By presenting this perceptive dimension of space, this exhibition explores the ways in which architecture constructs our everyday experience of space and the environment. The exhibition’s central component is a recording studio that, from February to September 2022, will host Rádio Antecâmara, a radio that broadcasts architecture and uses radio waves and digital circuits to question and expand notions of the city, fighting for making the city a heterogeneous place of encounter and discovery. In orbit around the performative and inhabited space of the studio, the contents of the exhibition will demonstrate how sound shapes our perception of space and that the matter of buildings is not always visible. Curators Alessia Allegri and Pedro Campos Costa Source: https://www.ccb.pt/evento/radio-antecamara-espacos-sonoros/2022-03-08/

Tony Conrad (Concord, New Hampshire, USA, 1940 – Cheektowaga, New York, 2016) was one of the biggest names in experimentalism in Western art in the last fifty years. His work covers areas as diverse as music, installation, painting or cinema, and his works are critical and humorous responses to the most varied normative aspects of culture. For this exhibition, included in a tour whose last appearance took place at MAMCO, in Geneva, several of his most important works were brought together, including the Yellow Movies (1972-73) or the installations Panopticon (1988) and WiP (2013). , but also a set of the “acoustic tools” he invented and some of the works in which he wanted to dissect the functioning of contemporary media and institutions. The historic The Flicker (1966) will also be present in this anthology, with two presentations of this landmark of structuralist cinema being planned in the auditoriums of Culturgest. Throughout his public career, Conrad’s works have been shown in exhibitions at the Museum of Modern Art, Tate Modern, L.A. Museum of Contemporary Art, Whitney Museum of American Art, Documenta or the Venice Biennale. This is the first exhibition of this unavoidable figure of contemporaneity in our country. Source: […]

Daniel Dewar (Forest of Dean, UK, 1976) and Grégory Gicquel (Saint-Brieuc, France, 1975) began their artistic collaboration in the late 1990s, while they were still university students. Their journey began with the presentation in public space, and without prior announcement, of long-term performances (the eight hours of work) in which they reproduced, over and over again, the same gestures or the same apparently simple and mundane actions, as bounce a ball on the floor or eat ice cream. This idea of ​​commitment and task was combined, shortly afterwards, with an obsession with productive autonomy and independence from all types of third-party services, a circumstance that launched them on an epic journey to recover traditional crafts such as terracotta work, wood , stone or textile, and even for the design of the very instruments with which they transform these materials. The result of this work offers us glimpses of a world in everything similar to ours, only slightly distorted: enlarged, fragmented, duplicated, merged, failed, mixed, metamorphosed, as if these objects were instances of a parallel universe where the absurd is not sign of an existential anguish but precisely the opposite. Source: https://www.culturgest.pt/pt/programacao/daniel-dewar-gregory-gicquel/

Strangeness first and curiosity later: these were the ingredients that allowed the intercultural dialogue that gave rise to the introduction of original iconographic themes and repertoires that are reflected in the works of art present in the Portuguese Presence Exhibition in Asia. Thus, objects from India, produced from European models, but with local techniques and raw materials – to initially satisfy an ecclesiastical clientele and, later, orders from European noble and bourgeois elites – are manifested here in the liturgical implements, textiles, jewellery, furniture, ivory objects, safes, counters, revealing the symbolism and symbiosis of the two cultures. The same happened in Japan, where the contacts established between the Japanese and the first Portuguese, gave rise to a unique artistic manifestation known as “namban art” of which the screens, counters, oratories, helmet and stirrups are eloquent examples. The great fascination exercised by Chinese and Japanese cultures, since the 16th century, remained until the 19th century and the beginning of the 20th century, with Portuguese intellectuals Camilo Pessanha and Manuel Teixeira Gomes, who became reference figures in the art of collecting. By collecting iconic objects from these cultures – such as scroll paintings, Chinese painting albums, costumes, objects for scholars, Chinese snuff […]

Drawings by Catarina Quintas | Winner of the Fundação Oriente Artistic Creation Support Contest, 2021 “The quality that we call beauty… must always grow from the realities of life.” — Jun’ichirō Tanizaki, in Praise of the Shadow This exhibition is a journey through time in which each drawing is a window into the world of traditional Japan. Japanese culture has an endless beauty resulting from centuries of tradition and customs. Some of these customs were lost in time while others changed or gave way to new traditions. Through Chinese ink and watercolor, Catarina Quintas sought to recreate everyday episodes and the spiritual dimension of the traditional Japanese world. Having been impossible to take from nature, these images are the result of research combined with the imagination of those who admire them from a distance of thousands of kilometers. This collection of drawings pays homage to a land of poets, Japan. Source: https://www.foriente.pt/detalhe.php?id=E252E39E-5472-41D8-9A31-FE84CC7EBF24&area=exposicoes

District Attorney D. Luís I Foundation Hours of Operation From Tuesday to Sunday From 10:00 to 18:00 (last entry at 17:40) Additional Information Stanley Kubrick Exhibition – Through A Different Lens until May 22, 2022 https://www.fundacaodomluis.pt/expositions/stanley-kubrick This ticket includes all temporary and permanent exhibitions at the Cascais Cultural Center. https://www.fundacaodomluis.pt/ prices  

Principezinho is back and will be on stage at Teatro Maria Matos from March 12th. After the success it had in 2018, Universal Music Portugal brings back to Portugal the musical O Principezinho (winner of the prize for Best Play for Children at the Pumpkin Awards 2018), a stage version of the famous work by French author Antoine de Saint-Exupéry which tells the story of a boy with golden hair and a pilot lost in the desert. O Principezinho has a Portuguese version and direction by João Duarte Costa. · Mariana Pacheco, Paulo Vintém, Joana Brito Silva, José Lobo and Diogo Bach This is a timeless story about love and friendship and about the importance of honesty and never failing to be amazed by the world around us, having touched several generations. The music, songs, actors, 3D virtual characters and video mapping visual effects create a spectacular and magical visual scenography that transports the audience to the fantastic world of O Principezinho. Source: https://teatromariamatos.pt/event/o-principezinho/

Visual Natures The Politics and Culture of Environmentalism in the 20th and 21st Centuries The result of more than two years of critical research in climate science, creative practices and ecopolitics, Naturezas Visuais is the continuation of the journey started in 2021 with the scientifically based installation Earth Bits – Sentir o Planeta and the public program Climate: Emergency. > Emergente, curated by maat’s first Climatic Collective. This research project studies the practices of collective action at the political, social and cultural level that, in the last hundred years, have been demonstrating how the transforming human understanding of “nature” – philosophical, biological and economic – is in the foundation of our communities’ ways of organizing, subsistence and governance as an expanding planetary model, both conceptually and practically. The resulting mapping makes a cross reading of four themes of study – artistic production and cultural events, technological innovations and scientific discoveries, social movements and reflections on global governance – which follows an approximate chronological order, from the 1950s to the 1950s. our days. To the challenge of the encyclopedic nature of the project, the presentation responds with the organization in three major linked themes – Deep Ecology (1950–1980), Planetary Complex (1990–2010) […]

Visit through the gardens of the EDP Foundation campus, a landscape project by Lebanese architect Vladimir Djurovic, which involves the pedestrian walkway between the Central and Maat buildings.