Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9am to 9pm | Sundays and bank holidays from 9am to 6pm.
The exhibition will be closed between 24, 25 and 26 Nov.

"Generation" is Constança Clara’s first solo exhibition, which takes place at Espaço Amoreiras’ atrium. The exhibition focuses on the images that emerge from the artist’s experiences with Nature. This art selection presents an installation that appeals to a sensorial experience and a set of study objects about the gestures of stones, plants and animals. The proposed intervention for the atrium creates a new, ephemeral, site, that works with the light as a shaping element of space. At the atrium, the natural light penetrates this installation through a series of light openings, that enables a dialogue between the two (in and out) spaces, while focusing on the sunlight and moonlight paths throughout the day and night. In addition to the installation, the exhibition is also formed by sculptural objects, photographs, drawings and paintings. These art forms are hybrid shapes that interconnect the mineral, vegetal and animal kingdoms, where the combination of natural elements and others – found or appropriated – with the human artifice, creates new and surprising images.


Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9am to 9pm | Sundays and bank holidays from 9am to 6pm.

The "Sub_Realism movement" will be presented at Espaço Amoreiras – Bussiness Center, camouflaged by what it really is: another initiative, one more start-up. Thus, the exhibition “Fun_raising” revolves around the necessity that projects, artistic or not, have to “feed” and develop themselves. It is an Artistic Movement introduced as a new brand, which creates a “smudge” of "sub_" in the intervened spaces. This movement aims to raise questions about essence and publicity, about art and the art of selling, about the gap between the world of inspiration and concretization, as well as the fact that there are too many ideas, and about this exact idea being about the lack of ideas.

This project started with the "Manifesto Sub_Realista" and the need of its own sustainability. The exhibition "Fun_raising" documents the collective’s performative moments, who went to all of the Portuguese contemporary art’s hotspots before their arrival at Espaço Amoreiras. In visits to art fairs in Lisbon, as well as to other important artistic places, the collective have always arrived with a shopping cart, ironically showing their brand, by selling their merchandising. This movement questions: “Are we art or a brand? Are we an inspiration or a business?”

In addition to the documentation about this sub_ journey, the exhibition "Fun_Raising" will continue to happen, by being“parked” at Espaço Amoreiras, intending to promoting the Manifest, which will be available in several platforms. Thus, the "fun_raising" will continue and the sub_realism will sub_sist. The cycle will be complete when it becomes clear that this campaign is made in the terms of the "sub_realistic Manifest", in order to - in a shocking way -raise awareness to the book’s contents.

26 MAY '18 - 31 APR '18 | O LAGO | MARIA CONDADO

Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9am to 9pm | Sundays and bank holidays from 9am to 6pm.
The exhibition will be closed between 4 and 6 May.

"The Lake" is the next individual exhibition of Maria Condado, composed by a single painting. Located in Espaço Amoreiras’ atrium, "The Lake" is a painting which can be seen from far away, closely and near its margins. Maria Condado’s proposal is an invitation to plunge into the illusory space and go through the gesture crystallized by the painting. Maria Condado’s work is focused in landscapes, which shows a dichotomy between nature and industrial or architectonic elements, sometimes punctuated with human presences.

In the last years, the idea of the garden as a human construction has been revisited in the work of the artist. The artificial side of the garden, located in the city space, contemplates a taste for the exotic, the idea of paradise or the daily routine’ s suspension and the human need of ordering, through the spatial delimitation of the species, margins and paths.

The painting The Lake reveals a ground of the artist’s choices, which enlarges elements of compositions, by selecting different distances of reading of plant species, flowers and trees, and offering a dynamic pathway around this imagined lake.

The exhibition includes a critic written by the curator Lourenço Egreja.


Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9am to 9pm | Sundays and bank holidays from 9am to 6pm.

01 FEB '18 - 02 MAR '18 | A TEMPO | FÁTIMA SANTOS

Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9am to 9pm | Sundays and bank holidays from 9am to 6pm.

The line is geometric.

In Fátima Santos’ work, shapes arise not only through the movement of charcoal which interrupts the white silence of surface, but also from the parallelepipedic structures which emerge from a non-conventional perspective, organized through simple numeric progressions. One of these is gestural, the other is graphic, but both share the same medium and similar relationships between musical theory and elements of visual language. The drawing is like a rehearsal. After the first drawing, others appear and several experiments are done to reach the final pictorial object. In a constant subtraction of lines, planes and shapes compared with intervals and musical compasses, the compositions are organized in the space with rhythmic variations and also conditioned by their shadow.

To the object composition created by the artist, either dimensional or tridimensional, corresponds a successions of chromatic tones, close to a low saturation in contrast with small notes of dissonant tones. To each color corresponds a note and that chromatic predominance is suggested in the title of the work, in its universal acronym of musical notes.

The exhibition “A Tempo.”, at Espaço Amoreiras, gathers a set of works originated from different moments of the artist whole pictorial process. The parts which define this process seek a dialogue about time, moment and movement, in complicity with musical theory, in the place of Geometric Abstraction.

28 SEP '17 - 02 NOV '17 | 3041,19 KM | PEDRO PIRES

Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9am to 9pm | Sundays and bank holidays from 9am to 6pm.

Openning 28th September
18h00 – talk at the LEAP auditorium
19h00 – opening of the exhibition 3.041,19 km
Expositive Period: 28th September to 2nd of November 2017

Participants of the program on 28th September:
Issa Touma, Inês Valle, Pedro Pires, ACM – Pedro Calado, Margarida Pinto Correia, representative the EDP Foundation on the Executive Committee of PAR.

- Introduction of the project and participants.
- Issa Touma’s film screening.
- Issa Touma talks about his experience as an artist and Syrian Citizen.
- Pedro Pires talks about his project and journey to Lesbos (Greece).
- Margarida Pinto Correia discusses the PAR’s relationship with the refugees, on a European level.
- Pedro Calado speaks about ACM’s position regarding the refugees who arrive to Portugal.
- Debate between guests and public is mediated by the curator Inês Valle.
- Official opening and visit to the Pedro Pires’ exhibition

"3,041,19 km" originates from an article in the Guardian newspaper about the involvement of a French consul in businesses involving the sale of rubber boats to Turkish smugglers. These same boats were used to transport migrants / refugees illegally from Turkey to Greece, for amounts ranging from 1000 up to 1500 euros per head. Pedro Pires realized a journey on the island of Lesbos in March 2016, to work as a volunteer and research as an artist. He helped a non-governmental institution ERCI and took part in many arrivals of refugees and migrants’ boats that daily reach the beaches of the island. Pedro Pires also collected numerous abandoned objects on these beaches and was in contact with the reality of this island. The project aims to question the reaction and involvement of the EU in this wave of people arriving to this continent, the social and political consequences of these events and the relation between the countries that make up the European Union and its ideals. Lisbon e Lesbos are situated at opposite ends of Europe, one city is located in the west and the other at the east. This project draws a symbolic approach between these two realities. 3.041,19 km aims to raise issues relating to the creation of new demographics and European identities and also to address the socio-economic ideals of Europe and its constituent countries.




Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9am to 9pm | Sundays and bank holidays from 9am to 6pm.

I have no choice… life keeps placing these materials, objects and creatures in front of me and I am not immune to such a feast. I welcome them into my practice. I felt during a long time that my painting, in its two dimensionality, placed itself in the domains of dream and thought, while my sculptural work was at the level of the real and belonged to the dimension of touch (and playfulness)! I was interested in exploring the tensions between these two worlds and, therefore I ‘profaned’ the paintings, pierced the canvases, glued objects to them, allowed reality to invade them, and impregnated them with worldliness… There has recently been a return to my previous way of painting, without those external elements. Sculpture remained as it has always been. The two worlds divided. I mostly work with ordinary materials and weird objects that are considered useless and worthless. I manipulate them so they become extraordinary and meaningful. I find and buy them at flea markets, now some are even offered to me… “Wow, Joana might like this…” From time to time I commit an extravagance and buy vulgar materials found in the arts and crafts sections.
My work is a personal mythology (a homemade one). The histories and characters come to light and I give them the shape they need to become alive. I try to create realities that are stuck between the visible and the invisible, between the unconscious and daily reality… Staging life is a big deal in my practice.
In this exhibition, those who listen to the sounds (and many cries) of the World are inside the temple. In its exterior they present themselves in a peculiar way because we all know that the exterior is the appearance of things. It is in the interior of the temple that they obtain their true shape; there they are in the presence of the sacred and their transmutation can occur.
Inside the temple they exhibit themselves through the painted image, narrating their multiple stories and journeys. They believe in idolatry, so they appear in their earthly form surrounded by their sacred objects and oracles. Although sometimes they present themselves this way I can never predict what their next move might be.

Joana BC

25 MAY '17 - 16 JUN '17 | VIRAR DA PÁGINA

06 APR '17 - 04 MAY'17 | TOBEL | SAMUEL MATZIG

Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9am to 9pm | Sundays and bank holidays from 9am to 6pm.
The exhibition will be closed between 28 April and 1 May.

The photographic work of Samuel Matzig evokes the idea of transformation, either by the natural action of the artist who interprets reality, either from elements and objects taken from a perspective of singularity and isolation. His work communicates the shape’s significance, as an intervention method in which he finds himself. A unique perspective of plans that capture the contrast between movement and stillness, between change and stagnation, between the past that closes in the ancestral and the present that holds the eye of the artist.
In the seriesTobel, which names this exhibition, the artist presents 16 artworks, the result of long walks he did during a period of 3 years in a deep ravine, that extends to the surroundings of the city of Mels, in Switzerland. A place absent of human presence, to which Matzig accessed regularly, in a way to connect himself with nature and to apprehend its strong character, imposing and primitive, appearing as a power entity, greater than man himself.
The metamorphosic essence that the artist can remove from this place’s atmosphere is a metaphor to the very human evolution, in a parallelism that combines formations, textures and organic compositions, that were photographed in a space that is inhabited by time and a particular awareness of rhythm and growth. A representation about the natural environment, and any being who dwells in it, as something constant and externally solid, however alive and in permanent consumption and fluctuation.
Tobel represents a refuge from the World, a meeting with a mysterious and calm environment. Here, the artist reflects and discovers a way to communicate the existence; what is embryonic, fundamental and incipient. The way to bring to the eyes those who observe his work the certainty that the origin comes from us, but it always ends in others and in what surrounds us.

Mara Silvério

“Tobel", 2014



Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9am to 9pm | Sundays and bank holidays from 9am to 6pm.
The exhibition will be closed between 3 and 6 February.

PÁREAS PÁRIAS is an exclusive editorial project for subscribers and aims to publish every year authorial editions. Created in 2012, it is a space for artistic creation inspired in the vision of R. Stevie Moore, who released from home hundreds of albums for subscribers’ public.

The Páreas project appears therefore, from the drive to approach creators and public, and to make economically possible to publish books, CDs, postcards and others. And so, it is a heterogeneous group that gathers, among others, fine artists, musicians, writers and designers, which is made of 30 published authors and 60 subscribers.

The exhibition Páreas invites Ana M. Mourão assembles for the first time all collaborations established between creators and Páreas | Párias, showing several editions made by the project. With this context the collective also took the opportunity to promote the artistic work of M. Mourão, who presents a set of seven drawings in Espaço Amoreiras.


For this exhibition the text “The Lack of the Shape of the World” was written by António Quadros Ferro, who is an writer and PHD Student at Católica Lisbon School.


Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9am to 9pm | Sundays and bank holidays from 9am to 6pm.
The show is closed on 5 and 6 of November and from 1 to 4 of December.

João Dias develops a very personal pictorial language, pursuing simplified and organic shapes through orthogonal movements by using solid colors. His painting takes on brushstrokes as rhythm and shape to model the image in the canvas.

The exhibition Archeology of Painting is created around the exploration of painting’s language and its "archaeologyzation", from traditional oil painting on canvas to its materialization/sculpturing.

In his artwork João Dias uses fragments of paint as bas-reliefs shapes and sculptural forms that reminds us of primitive figures and civilizational traces, or contrarily it evokes organic pixels and fitting parts of complex machines’ pieces of a forthcoming future.



Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9am to 9pm | Sundays and bank holidays from 9am to 6pm

A part ofmy research about images, and their potential handling like drawing and painting, converges on vegetal and animal universe. Plants, flours and birds constitute a subject that allows meto explore the line within a complex level of configurations. Vegetal and animal universes let me establish a connection between my childhood memories that spent with mypaternal grandparents in the village, the artwork of French painters of the late 19th century and my daily fruition from my balcony, looking to the outside garden and to the plants ofmy atelier. On a fast digital and technological word, I am interested in preserving a relationship with the natural as a way of encounter a primordial harmony asan act of endurance and survival. This exhibition at the Espaço Amoreiras’ atrium isan invasion of the natural that searches the contrast between the functionalism of the building and the waving lines of plants and animals. This set of drawing and paintings organizes itself on a dynamic composition through the space, inviting the observer to make a journey through the installed artworks.

Jorge Leal


Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Open during the weekend of 26 and 27 March.

Maísa Champalimaud presents an exhibition entitled "Between the distance and the present", where a new body of work is displayed: oil pastel drawings in large scale, revealing landscape images in monochromatic colors. Her work is strongly influenced by the idea of travelling, exploring new creative processes and it shows the systemic use of oil pastel to represent landscape environments, taken with a photographic sense, figures among vegetation, mountains and markets.

“Between the distance and the present” offers a reflection about the dream, the travel’s reminiscences and the temporal distance, establishing a bridge between the author’s memories and her current context.

“Between the distance and the present”

Apart from that, I have in me all the dreams of the world. 1

I paint the color of dreams,
Windows of my dreams.
A million worlds’ dreams.

Crowds on cross roads.
Languages, scents, alleys inaccessible to thought,
Real or impossibly reals?
Dreams, Journeys!

Apart from that, I have in me all the dreams of the world.

I paint the color of dreams,
Windows of my dreams.
Dreamed days, awaken nights.

Departures and arrivals.
You and Me.
So far away, so close,
The Present, the Distant.

To laugh of senses that we take in hands,
Conversations that have so little of conversation,
Sincere smiles hidden between markets, so many.
Me, the Salt, You the Tea.

To listen to the muffled rain on the window,
Simple as a waste of time.
To listen to the crowds of horns,
And the stars that fall from the sky - falling into the sea.

We spend our days together,
Intense in the sequence of everything…
Concrete jungles, markets and buddhist
It was when summer turned into spring.

I paint the color of my dreams,
Windows of my dreams.
All the time I said,
All the time spent.

Apart from that, I have in me all dreams of the world.

1 Reference to Fernando Pessoa.

Maísa Champalimaud

For this exhibition the text “O Mundo não Chega” was written by Maria Joana Vilela who is an art writer and researcher in Philosophy of Knowledge and Epistemology.


Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9 am to 9 pm | Sundays and bank holidays from 9am to 6 pm

This project results from the research I have been doing about the concept of topophilia. Based on a reflection about this phenomenon, I came to meet people from various nationalities, who currently live in Lisbon (and surroundings) and collected images that not only relate to their concept of “home”, but also with their idea of home in this region. I intent to gather images which register the presence and the point of view of other cultures in this city, while trying to cover the greatest possible diversity.

Each person was asked to contribute with an image that would represent their idea of "home" (without any geographical restrictions) and to indicate the place in Lisbon considered as such – along with a descriptive text. The first part of the project will be presented on author’s publication and the second in the series of photographs that make up this exhibition.

With this project, I propose a reflection about how an individual that lives in a place different from where he comes from or from the context where he grew up in dwells and integrates as its own. I am also interested in the many experiences that come from this displacement: what makes someone to consider a city that is distant from the culture and the place where he grew up as their “home”; or on the contrary, the reason why someone feels stuck in the wrong space – a space that does not communicate with their identity or the context from where he came.

"If a place can be defined as relational, historical and concerned with identity, then a space which cannot be defined as relational, or historical, or concerned with identity will be a non-place. The hypothesis advanced here is that supermodernity produces non-places, meaning spaces which are not themselves anthropological places and which, unlike Baudelairean modernity, do not integrate the earlier places: instead these are listed, classified, promoted to the status of 'places of memory', and assigned to a circumscribed and specific position." 1

In the event of a significant cultural disparity, can Lisbon work as a “non-place” for some of the people who live there, with completely different cultures, even in the spaces that are considered as ”places” by Marc Augé´s definition – “Distinctive, relational and historical"?
In the sense that there is no recognition or an identification of those places - many times ephemeral, temporary; and, on the other hand, because there may not exist a real integration of that person to this place, therefore contributing to a feeling of transitory mode, where one does not circumscribes to the space where he is in.

"In the concrete reality of today's world, places and spaces, places and non-places intertwine and tangle together. The possibility of non-place is never absent from any place. Place becomes a refuge to the habitue of non-places (who may dream, for example, of owning a second home rooted in the depths of the countryside). Places and non-places are opposed (or attracted) like the words and notions that enable us to describe them." 2

1 Marc Augé, Non-Places: Introduction to an Anthropology of Supermodernity, published by Verso 1995, p. 77 and 78

2 Marc Augé, Non-Places: Introduction to an Anthropology of Supermodernity, published by Verso 1995, p.107

The EDGE ARTS invited the writer and researcher Maria Joana Vilela to wrote a critical text about the exhibition TOPOFILIA #4.


Espaço Amoreiras - Centro Empresarial
To visit and participate please contact: info@edge-arts.org

1 october | 18:30pm

A project by Constança Saraiva with the neighbourhood of Campo de Ourique.

Personally I have been quite interested in the countries we carry with us. In a literal sense – our jackets, trousers and shirts come mostly from afar. I have been quite interested in the maps created by this variety of countries. What are the maps of our closets and of our drawers? What is the map drawn by the textile industry, globalization, capitalism or precarious labour? What is our map of today?

After collecting the labels of my own clothes for some time, I became fascinated with the idea of collecting labels from other people’s clothes too. Through the process of mapping what we wear it is possible to understand the responsibility we carry as consumers.
Unlike other maps, these aim to interpret an imaginary landscape. They are not a tool which purpose is guidance, but rather, imagination. By merging their aesthetic and political values, they intent to map not only an individual or collective landscape, but also a social and political one.

When Edge Arts in partnership with Roulote – Projectos Artísticos challenged me to collaborate with a project, I decided that this would be the perfect moment and location to further develop these ideas. Espaço Amoreiras, a business centre space that hosts the project, is located in Campo de Ourique, a traditional neighbourhood in Lisbon that has a shopping mall with giant international clothes companies that contrasts to a vibrant existence of small local shops. Additionally, Roulote is an art space which characteristics allow a warmer approach to the neighbourhood.

Collection & Mapping

In practical terms, the project will challenge individuals to donate the labels of their clothes to create maps. The labels are cut out of the clothes of participants and artist will create a specific object for this action – a sort of changing room for the participants. Labels will then be inventoried with the help of proper tools, and later used for the creation of the maps.

The project unfolds in two different phases, and art residency and a publication. The eight days art residency takes place between an open studio created at Espaço Amoreiras, and Roulote – Projectos Artísticos.

Open Studio

The atrium of Espaço Amoreiras will work as the artist’s studio, underlining the performative character of the artistic research. Exhibition panels will accumulate collected and created materials during the residency – an archive about the research and process of the project: documents, drawings, photographs, objects, texts and videos. It is, besides a space for artistic production, a space for communication, participation and awareness. Therefore, it is open to anyone who is interested or curious. Everyone is welcome into the space, to read and observe the exhibited material.


Roulote – Projectos Artísticos is, in this project, a parallel exhibition and collecting space. It will travel through the neighbourhood of Campo de Ourique, occupy places such as gardens, schools and associations, inviting the community to participate.


This art residency will be the basis for the later publication, the final object of the project. It will include an edition of the archive built during the art residency: maps, texts by invited authors, testimonies by participants and images.

The alternative: Workshops & Debates

Beyond the creation of the maps, this project also wants to offer the participants the opportunity to reflect on alternatives to the current situation of the textile industry through a program related with the themes of the project, such as screening of documentaries, debates and workshops.

Entrance and participation are free.


Roulote – Projectos Artísticos is a project by Pedro and Teresa Pires who since 2013 have been using the interior of a caravan as an art gallery. As an artistic moving place, artists are invited to develop their work not only considering the reduced space of the caravan, but also the context, history and communities characteristics of where the caravan is located.


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The EDGE ARTS invited the PhD writer and researcher Luísa Salvador to wrote a critical text about the residency Inside Out or
The Countries We Carry


Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9 am to 9 pm | Sundays and bank holidays from 9am to 6 pm

Concept Percept Affect : Drawing is structured based upon the presumption of these three elements playing in tension. In this triple tension, as Deleuze mentions in the Letter to Reda Bensmaïa, on Spinoza, in Negotiations: “… And it takes all three wings, nothing less, to form a style, a bird of fire.”1 The bird of fire turns into becoming. And, with him, a pressing need of answering to the Concept (new ways of thinking), to the Percept (new ways of seeing and listening, not as perceptions, but as an agglomerate of sensations and relationships that survive from the experimentation) and to the Affect (new ways of experimenting, where there is a transformative movement which affects who it passes by).

Drawing does not fulfill only from obeying to this structure, however it tries to draw it! It is at this time that we recognize bodies as bodies in limbo, searching for new raiment, the many wings’ representations that compose phoenix, elements of three figures among others, without, however, neglecting the frustrations of this research and hence the appearing of other figures (masks, noses, bees, …) and the use of another material, charcoal, to face this adversity, opening up new paths.

The figure in the drawing’s space assumes the entire role. It manifests through fragments of its features. The whole does not matter!

From fragment new possibilities appear, whereby from the repetition of forms, moved by a need of construction of an expressive mechanism (experimentation/error), new raiment arise and with it another meaning.

Drawing alternates between line and patch, occurring occasional color notes, but never in order to create another consequence than to sublimate the figure. The absence of backgrounds obeys to the intention of removing the figure from its narrative context, where it is enough in itself. The use of small scales adds an intimate sense to the drawing, where the readiness of its making propounds/suggests fluidity in the composition.

Maria Cohen

1Gilles Deleuze, Negotiations, Colombia University Press, New York, 1995

The EDGE ARTS invited the writer and researcher António Quadros Ferro to wrote a critical text about the exhibition Conceito Percepto Afecto.


Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9 am to 9 pm | Sundays and bank holidays from 9am to 6 pm

The beginning of this body of work is the creative period of 2008. An emptiness that remained after the accomplished closure of a magnificent cycle of many years photographing the “Ukama Wangu – Família minha”, a black and white work that portrays a Mozambican family.

I found myself with a permanent weird and subjective feeling; I realized I had ended a subject and a language I had used for many years. Everything transforms (changes), nothing is lost.
Therefore, I kept aside my predetermined knowledge and I decided to continue. There was nothing to follow in particular. There was no project, there was nothing. New subjects and a different colored language happened. Seeing the surrounding without expectations, and portraying the reality with no assumptions. Through this approach, I found naturalness and I became aware of the cosmos, the wholeness’ organization, of the macro and micro. The universe’s strength. Since everything has to have and end, I stopped photographing for this group of images in 2011. It was a decision.

Over the last years, economic crisis develops all over the world. Portugal is depicted as garbage over the rating agencies. It feels and it can be seen that also Portuguese people see themselves as garbage.
They start to question themselves about the value of their bank account when compared with the example that comes from above. A non-reality shapes the reality through a movement that starts from the outside to the inside; those conceptions arrive from New York to be received in Portugal.

Beforehand Bernardo Soares came with "The Book of Disquiet" (Livro do Desassossego) and his 123 text from which I quote: “Eternal tourists of ourselves, there is no landscape but what we are. We possess nothing, for we don’t even possess ourselves. We have nothing because we are nothing. What hand will I reach out, and to what universe? The universe isn’t mine: it’s me…”

Tiago da Cunha Ferreira

The Edge Arts invited the independent curator Inês Valle to wrote a critical text about the exhibition Dias de nada – Underrated.


Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9 am to 9 pm | Sundays and bank holidays from 9am to 6 pm

Diogo Almeida Martins develops his artwork under some assumptions, such as the idea of double, self, simulacrum of realities, stage and depth. His body of work is composed by the use of many media that are today present in fine arts, for example photography, sculpture or painting. However, when crossing all his production, one can find a constant absence suggested through some marks made by the past, or some elements that once occupied the space.

The human silhouettes visible in the pieces O Gabinete and A Sala are created through the combination of two persons (the artist and someone else). Likewise it happens on his photographic process, where the artist becomes a projection screen for the image of someone else.
The simulacra proposed by the artist represent narratives, where the author is always incorporated. In his artworks the authorial presence exists through the overlap of the two realities, that of the artist and an external reality. What comes out of this symbiosis, are different and peculiar beings, defined by forms and characteristics which belonged to both realities.

Diogo Almeida Martins’ final work adds to his own image an imaginary identity as a subjective proposal to the observer. The interpretation of his art pieces is not totally direct, once the act of seeing builds and resonates new readings.


Rolling Stock London
48 Kingsland Road, London E2 8DA
Free entry

Line Stories
Within the NY Portuguese Short Film Festival promoted by the Arte Institute.

Edge Arts- Contemporary Art takes the Portuguese artist Mariana Dias Coutinho to London to make a mural painting at the 2nd edition of the NY Portuguese Short Film Festival, an event promoted by the Arte Institute de NYC.
The opening will be marked by Rita Red Shoes’ concert which will take place at Rolling Stock London, on the 4th December, at 7 pm. The exhibition continues until the 18th December and it also includes Teresa Rego and Daniela Antonelli’s artworks.

For more information on the NY Portuguese Film Festival, visit: nypsff.arteinstitute.org.


Espaço Amoreiras - Centro Empresarial (Lisbon)
Car Parking (floors -3 and -4)
Free entry


Some of the best contemporary Portuguese artists accepted the challenge of painting certain walls of the Espaço Amoreiras. Art Parking was an initiative that arose from the Edge Arts ‘desire not only to support urban art, but simultaneously to promote local artists, which is one of the aims of its activity. The proposals were selected by a group of judges composed by members of the administrations and management of Espaço Amoreiras, representatives of The Edge Group, Edge Arts and by the invited artist, Mariana Dias Coutinho.
The project has the ambition of reclassify the car parking, maintaining its essential characteristics and investing on a diverse environment. The theme was free in order to offer a complete autonomy to the artists involved. The outcome was artworks that cross very distinct universes, ranging from the graffiti interventions of Gonçalo MAR, SMILE and Edis One, passing through the singular language of Mariana Dias Coutinho, Pantónio and Pedro Zamith, to the revelation of emergent artists, such as Maria Passô e Zana Moraes.
The Underdogs gallery associated to the project through the curatorship of one wall that was given to Dwelle. The artist was revealed during the Art Parking’s opening, while performing and doing live act painting.
The dialogue established during the production weeks turned the car park into a place of meeting and creation among the artists and the organization, creating a unique and enriching environment. This “new life” is now public and available to anyone who visits the Espaço Amoreiras’ car parking.

24 JUL - 12 SEP’14  |  XXL  |  PETER GILBERT

Espaço Amoreiras - Centro Empresarial
Weekdays from 7am to 11pm | Saturdays from 9 am to 9 pm | Sundays and Bank holidays from 9am to 6 pm

Perna de Pau, 2013
Wooden pallet, styrofoam and steel

From where did this unusual object come? Apparently fallen from the sky, as if it was an enormous meteorite – Would it be due to the “giant” children’s carelessness while playing in the skies? The iconic Perna de Pau ice-cream recalls of our childhood, pirates and adventures, those warm afternoons and sunny summer while we were crossing the kiosk or seaside and sighting the colorful ice-cream poster or the Ice-cream Man shouting: “There is fruit or chocolate!”
With its mythical red stripes and vanilla and chocolate flavor, the ice-cream helped to indulge the heat, leaving a big grin on kids’ faces… unless there was a distraction at the euphoria of the moment, making the ice-cream hit the floor!
This mass product object finds itself presently at Espaço Amoreiras. This singular art piece, so familiar in collective memory, shows however curious materials and dimensions. While “vanilla” is made of styrofoam, similar to freezing winner boxes, “chocolate” is made out of rusty steel plate alluding to the hull of a ship. The "Perna de Pau XXL" can simple be seen as a funny Pop Art work. Nevertheless, contrarily to those icons which are anatomically “perfect”, this recycled art piece is made of waste found by chance and it reveals, without any embarrassment, all its “scars and wrinkles”.
After all, they tell the stories of our lives, from setbacks to happiness.

Peter Gilbert
July 2014

8 MAI - 27 JUN’14  |  A VÓS, AVÓS, A VOZ.  |  FILIPE CRAVO

“A vós, avós, a voz”

This work is related with the voice ‘s universe and the ancestry’s world, associated with genesis and black music. In this exhibition there is a crucial message that is constantly ignored and forgotten, a muffled voice that cannot be heard due to the cultural boundaries. Through “A vós, avós, a voz”, Filipe Cravo evokes the debate around the genesis of music, reflecting also about the current silence between western continents and Africa. The title is not naive, it reveals the difficulty in distinguishing meanings when orally pronounced.

The exhibition “A vós, avós, a voz” questions the role of painting as a way to carry messages, but ironically, the artist uses it to think about the genesis of music, specially black music, once he has a lasting relationship with. The opening, on the 8th May, will not escape from this irony: the (in)capacity of the “dead technique” to carry messages will be tested with the presence of a set of DJs who will represent black music.

The work of Filipe Cravo establishes a bridge between music and fine arts. In 2005 he produced a radio program called “Black Magic”, at the radio of Coimbra’s University, that was dedicated to black music and that is still running today. In the artist’s career the international exhibitions stand out, such as the one at the Cultural Centre of Recoleta, in Buenos Aires, at EUA and in London. Filipe was also invited to participate at Biennale Méditerranéenne d'Art Contemporain d'Oran, that took place at Angelia, from 16 to 18 of May. In the context of this show and also in order to promote Edge Arts’ new strategy, the galley will host associated events on the LEAP auditorium, at Amoreiras Space, where it will be released the new disc "Meu Kamba" from Rocky Marsiano, a project from D-Mars (Marko Roca). This event will stimulate a conversation between Rui Miguel Abreu and Filipe Cravo about music and art. Edge Arts presents itself as a cultural space, in order to divulge national authors, not only through exhibitions, but also through events that can instigate relevant cultural interchange.


The challenges brought up by an empty canvas or by the exclusive employment of one only color, are embraced naturally by Miguelangelo Veiga. Cuts, fragmentations, or even material’s dissections, are some of the artist’s exercises while dealing with canvas and painting. “’Over The Void’ represents the exploration of tabula rasa’s potentialities, transformed into a kind of palimpsest, where images erase and repeat themselves.” explains Miguelangelo Veiga. The artist develops environments of wreckage, cleaning and rebuilding new shapes through these spaces: by using painting (acrylics on canvas) and Indian ink Miguelangelo Veiga unveils a rough language.

Miguelangelo Veiga’s choice is lined up with Edge Arts’ outlay on Portuguese artists who are placed outside of the usual commercial circuit and whose work must be valued and divulged. The artist was awarded in the competition “Jovens Pintores Fidelidade Mundial” (2004) and incorporated in, among others programs, the Lisbon Architecture Triennial’s Associated Project, exhibited at Gulbenkian (CAMJAP), at BES Art & Finance and in Washington. Besides Miguelangelo Veiga’s canvas and drawings, the show will also include the videos Intercontinental and Featuring Julio, that essentially rise up the same questions observed on his painting. Representation always hides fundamental features and reasons that are necessary to the main understanding of an artwork.


José Moura-George is a Portuguese artist, internationally well-known, who is responsible for this exhibition at Edge Arts. “Passagens com cor” integrates some of his works which were presented at MuBE – Brazilian Museum of Sculpture, in 2013.

Edge Arts starts the year embracing an important name in the field of painting.“If any classification would be need for Moura-George's painting, it would be called “matisseana’.
In his paintings color and attitude, love and happiness for values of satisfaction are implicit” writes José Augusto-França, a notorious art critic and the former director of the Cultural Center of Calouste Gulbenkian, in Paris, in the publication “Em sua família” of Moura-George. “Passagens com cor” reveals some of his acrylic paintings on canvas or handmade paper, previously shown at the exhibition “Rumos e Destinos: tenho em mim todos os sonhos do Mundo”.
This last show in Sao Paulo reflects his typical abstract art, defined by the constructive accuracy of his geometries and the luminosity of colors, appealing to a synergy of all five senses, collapsing in one: sight. In his painting is possible to find skies, seas and mountains. However the doubt remains: if that were the artist's intentions or it is the result seeing experience that researches for a logical deconstruction of color paths.


"Emospheric Landscapes" is a neologism taken from the show Emotions and Spaces. The architect will bring the visitor to the Parkland Walk, in London, which is a inactive railway line full of mysteriously beautiful trees and bushes. The exhibition works as a generator of landscapes, opening up a dialogue between nature and culture present in the city. Furthermore, Inês Dantas explores the relationship between constructed and natural elements through a new technology to scan tridimensional land. "Emospheric Landscapes", is a concept used to name the presence of an individual, who emotionally interprets the special spheres he crosses.

The meticulous process of the image composition rebuilds the place through subjectively chosen perspectives, that demonstrate the integration of the “natural” and the “urban”. The architect co-founded with Florian Wurfbaum, the architecture practice WUDA*, in Munich and London and already achieved many international prizes (Tejo and Austrian Pavilion at Expo 2010 in Shanghai). Inês Dantas exhibits for the first time in Portugal.


Reflecting about intellectual propriety and copyrights the two installations are placed separately, one is at the Atrium of Espaço Amoreiras and the other is at The Medeiros e Almeida Foundation. “NO©” offers a nostalgic perspective of a certain type of technology, defined by digitals. The show is an investigation about the 20th century analogical origins of Science and it invites visitors enter on a journey to find out about archaic inventions from our ancestors’ time. Those inventions, which had a brief text description and a diagram/print, had never been copyrighted and its own rights, given by their patents, had already expired. For that reason, the artist appropriates these inventions and adds them mixed and painting techniques, light, canvas and digital work in order to represent our analogical ancestry. “This investigation leads me to conclude that our digital existence (all we post on the internet) is a permanent tattoo that hunts us. Everything that has been done on that world made of modern Gods and Heroes transcends that permanence, it almost touches the eternity. Nowadays likely before, everything we do becomes definitely part of what we are and it will only vanish when the last memories of ourselves disappear.” Says Manuel Furtado dos Santos.

The exhibition is composed by several pieces, such as printed images that are overlapped by layers of ink and varnish or installations of abstract elements that reflect the supreme power of technology. The artist’s work demonstrates a contrast between the timeless dimension of previous creators, and the frenetic records that follow the vertiginous evolution of today’s technology.


DarkStar, currently in its third form, is the new installation for public space created by artists Martin Bricelj Baraga and André Gonçalves. DarkStar is a semi-utopian monument for the urban dweller.

An ode to black matter, to the void, to the space in between, to speed, to time and its passing. DarkStar has chosen the site of The Edge Group’s building and its common areas to develop a physical relationship between itself and its host space. While absorbing the electromagnetic waves, light spectrums and physical activity from the space, it processes all information gathered and, like a mirror, reflects it upon its surface.


Combining the artwork of Maria Sassetti and Xana Sousa, who share a mutual interest in cataloguing, retaining and reinterpreting objects and historical records, we propose to create an exhibition entitled "Memória Cartografada", to be held between 2nd April and 17th May in 2013.

The aim of the exhibition is to create a journey through the archives of the childhood memories of the two authors, with a strong focus on elements of natural history and interpretive landscapes, both terrestrial and celestial. All the works, of both joint and individual authorship, shall be accompanied by documentary evidence and artists’ books and, of course, there will be a play between figuration, abstraction and elements that multiply: from drawings on scientific illustration boards to images of urban cartography and of gardens that subtly appear in a light viewing box.


“Um, Nenhum e Cem Mil” exhibition at Edge Arts.
This show marks Joana Ricou’s debut in Portugal

“Um, Nenhum e Cem Mil” ("One, None and a Hundred Thousand") is the name of the new Edge Arts exhibition, a cultural project by The Edge Group, the holding company of José Luís Pinto Basto and Miguel Pais do Amaral. The exhibition, which showcases the work of Joana Ricou in her first solo exhibition in Portugal, will be inaugurated on 15th January at18:30 and will be open from January 16 to March 23, 2013 in the Edge Arts gallery, Espaço Amoreiras in Lisbon.

Joana Ricou is an artist from the United States, now living in the neighborhood of Bushwick (Brooklyn, New York City). In "One, None and a Hundred Thousand" she explores the tension between the need for continuity and multiplicity of the natural state of body and mind, between change and constancy, identity and transience, using biology as a starting point for the study of borders and the fragmentation of the human body.

Taking these themes as a starting point, Joana Ricou presents this show as a series of figurative paintings entitled “Multitudes”, abstract works from the Henrietta Lacks series called “immortal HeLa cells” and the installations “62 Kilos” and “Magic Mirror” which were developed as site specific pieces for Edge Arts. The exhibition also features a video performance by Beatriz de Albuquerque, a Portuguese artist living in NYC; the video documentary “The Orpheus Variations” was created by The Theatre Project Desconstructive NYC, under the direction of Adam J. Thompson, Upside Duck and Glenn Wonsettler. On the subject of memory, the film of João Chaves, “In-perfect Memory” (giving birth to the world), 2010 still stands out.

Joana Ricou studied art and biology at Carnegie Mellon University in Pittsburgh (2004) and completed her Masters in Multimedia Arts at Duquesne University (2009). She has exhibited regularly in the United States in both artistic and scientific environments, especially the Andy Warhol Museum (2007), the Carnegie Science Center (2010) and the Children's Museum of Pittsburgh (2010). In 2011 she took part in a show in Portugal, in the Live Science Hall. In 2012 the Leonard Journal of Art and Science (MIT Press) published an article about her work in museums and science. Some of her pieces have inspired newspaper covers, such as the cover of the journal Nature (June 2012) or Rat hippocampus, on the cover of the Journal of Neuroscience (2005). She is represented by Gallery Guichard (Chicago).


This Edge Arts exhibition reveals that the walls have ears
Manuela Pimentel's “revolt of the tiles” in Lisbon

“Sabias que as paredes têm ouvidos?” (“Did you know that the walls have ears?”) sets the tone for the new Edge Arts exhbition, a cultural project by The Edge Group, José Luís Pinto Basto and Miguel Pais do Amaral. The exhibition, from December 6 to January 7 at the Edge Arts gallery, Espaço Amoreiras in Lisbon, shows the work of Manuela Pimentel, an artist who collects the facades of buildings, which are then processed and recycled as tiles, giving voice to the so-called 'revolt of the tiles'.

This show reveals a set of works that make known messages spread by anonymous citizens and cities that led the artist to conclude that confidences are and which are the starting point for his work. These are messages that justify the chosen title of Manuela Pimentel's solo exhibition.

Felisa Perez, cultural coordinator of Edge Arts, states that "besides being an emerging artist who has produced some fascinating work, Manuela has some attributes in common with the values of The Edge Group, such as sustainability and creativity, using posters and messages to tell their own stories. We can say that there is a 'recycling' or retrieving of messages. Her work also ends up assuming a very poetic dimension, by giving attention to these anonymous outpourings."

Manuela Pimentel was born in Oporto in 1979. She lives and works between Oporto and Rome. She has a degree in Fine Arts, specializing in lithography, screen printing and Multimedia Art, from the ESAP (02/03) and has a Bachelor of Design, from the School of the Arts Oporto (99/02). In 2007 he was awarded the 1st Prize for Painting Serv'artes - "Body Expression" and in 2004 the ESAP Prize. Her work is represented in various private and public collections.

In 2012 she contributed to the European Capital of Culture celebrations in Guimarães with the sculpture "PS I love you" - a plane in acrylic and resin on billboards – a technique that the artist explores in various formats. In March 2013, Manuela Pimentel will present a solo exhibition at the St. Anthony Gallery in Rome. In her unique way, the artist has also done work in set design for theater and film.


The Edge Arts brings together for the first time in the same exhibition space a set of works produced by Nuno Vasa between 2003 and 2012. Rather than provide a retrospective approach to the work done during the last decade, this selection offers the visitor an approximation to a path that has been characterized by the recurrence of thematic issues that run through the work of the artist, but also by the fact that it is somewhat difficult to find one unifying definition for Vasa’s work.

Sculpture, performance, painting, video and design are diluted in an artistic journey that show us how the artist sees and thinks about himself and others. The distinct nuclei of the exhibition which have been curated by Felisa Perez and Nuno Vasa for the Edge Arts inauguration, converge in one space / time - the observer's. This is the frontier where the work of Vasa seems to dwell - no man's land, indefinable, which separates what is life from what is art. The work of Nuno Vasa has this ability to unfold a reality, perceptible immediately, into a multitude of alternatives to this very reality, a game in which the visitor is essential not only to the realisation of potential significance, but also as the “mechanical” activation of some pieces.

A clear example of this commitment that seems to exist between the projects of Nuno Vasa and those who participate in them, something that we can interpret as a clear call to action is "Cinema" (2004 / collection António Gomes de Pinho), in which the interaction of the visitor with the work reveals the mechanism that gives rise to the “trompe d’oeil” that animates our illusion. The interaction of the observer is also used in "Autorretrato" (2005), a piece which plays with the idea of a possibility of infinitely plural meaning. This allows the realization of one’s senses to be experienced only in the observer’s physical presence , himself the sine qua non of his own individual perception of the artistic material.

This game which the artist develops with the body of the viewer can be seen in a less obvious way in other works such as "O Peso Afeta a Linha Reta" (2005), "If I Knew You Were Coming I'd Have Painted Myself" (2005 / Collection Comunidad de Madrid) or "Loading images "(2006). Vasa’s aesthetic approach can be characterized as “coldness” or “minimalism”. His work requires from the viewer a relationship of involvement, a sense of commitment which works only after diving into empty space, which then immediately reveals the superficiality of expression. This interaction that awakens an awareness of gameplay between spectator, art and artist, a relationship which can be observed in plays such as "Kiss Me With Red Lips And I'll Never Be The Same" (2006) or the series "Game Over" (in development).

"Jantar Possível II" (2003), "Casa de Contar Segredos" (2004) and "Solitária" (2004) are sculptures that seek to portray the balance established between man, the other and their common experience. They are pieces that gain a new reality daily. They are devices which have been developed by Nuno Vasa as another dimension that should be added to the «dominant direction» (João Lima Pinharanda) that characterizes his work and which recently earned him an POPs award - Original Portuguese Design, sponsored by the Serralves Foundation (with pieces "Clip Books" and "Estendal").

"Oficina" (2012), developed as site specific for the Edge Arts space is the piece that takes the visitor out of this time / space itself, to put him or her in direct relation to the time / space of another. The facility serves as a staging of intimacy. It is a recreation of the private space of Nuno Vasa, which, through several indicators, a set of clues and biographical fragments, present, past and future merge. He materializes the tension between what is public space and what is the private space of each person, reinforcing the idea that art lives on pedestals.

Nuno Vasa’s work is moving away from the “isms”, surviving and integrating into a dimension that is very much his own. This set of his works seeks essentially to produce a dialogue between the reality of human experience and its meaning, which, in formal and collective terms, is lived as artistic product. This is the great challenge for the artist who finds in the game of chance a path for his expression which is nothing more than walking in the direction of a constant encounter with the other.

Text | Mário Verino Rosado
Curators | Felisa Perez and Nuno Vasa
Design and organization | Edge Arts - The Edge Group