Guided Tours to the Exhibition

Partnership: Serralves Museum of Contemporary Art and the "Readings in the Monastery" programme, Teatro Nacional São João, Porto.   

Throughout the course of his artistic career, Marwan has woven networks of creative complicity with various poets and playwrights. He believes that poetry and drama have a fascinating potential for political expression which painting is unable to rival. Literature is so important to Marwan that if he hadn’t been a painter, he would have chosen literature as his preferred form of expression and creation. In this context, on September 25, in the space of the galleries of the Marwan exhibition and in partnership with the "Readings in the Monastery" programme, of the S. João National Theatre, we invite the general public to take part in the reading of the stage play, "The Adventure of the Slave Jabir’s Head”, by the great Syrian playwright Sa'adallah Wannous (1941-1997). The play is designed to be read outside the theatre auditorium, with audience participation. Foreseeing that the themes of his work would uphold their contemporary relevance, Wannous wrote his play leaving spaces open to the audience, to their epoch and circumstances, thus enabling them to take part in the construction of his text. What will be the impact of the shared reading of this text on the experiencing of Marwan’s paintings?

In partnership with the "Readings in the Monastery" programme, Teatro Nacional São João, Porto.   

"Serralves Collection: 1960-1980” marks the visible and permanent presence of the Serralves Collection in the Serralves Museum as part of a dynamic programme of changing displays. The inaugural display presents works by Portuguese and international artists. This narrative presentation surveys the art produced in the decades considered foundational to the history and development of contemporary art and the place of Portuguese art in that history. As well as iconic art works made between 1960 and 1980, the new displays also include a selection of more contemporary pieces that highlight the continued relevance of these earlier artistic positions and attitudes.

The works on view reflect a diversity of artistic production from the 1960s to the present day, while highlighting the unique characteristics of the Serralves Collection, distinguished for its relation of Portuguese and international art from around the globe. With a visually dynamic and rich presentation of paintings, drawings, sculptures, photographs, films and videos, the Collection display surveys various themes central to the artistic practice of the post-art period and influential on the artistic practices of the 21st century, including: materials and process, abstraction and figuration, language and concept, and the body and performativity.

The decades surveyed in the exhibition are marked by profound social and cultural changes as well as radical developments in art making. The art of this period reflects a redefinition of artistic forms, media and production, influenced by profound transformations in technology.

The Serralves Collection is a collection of reference that offers a uniquely international context in which to understand contemporary art in Portugal. The Serralves Collection is comprised of works acquired by the Serralves Foundation since its creation in 1989, together with long-term deposits from private and public collections. Deposits that have served as points of reference for the development of the collection include the Collection of the Portuguese Secretariat of State for Culture and the Collection of the Luso-American Development Foundation (FLAD). 

The focus of the Serralves Collection is contemporary art produced from the 1960s to the present day. The inaugural exhibition of the Serralves Museum of Contemporary Art in 1999, ‘Circa 1968’, served to highlight the 1960s and 70s, a historic period of political, social and cultural change that took place around the world, as seminal decades out of which emerged new paradigms in art making and the beginning of the post-modern era.

As part of a continued research and development of the Collection in the twenty-first century, the Serralves Collection aspires to further distinguish itself through its focus on contemporary art's relationship to performance, archi¬tecture and contemporaneity in relation to a post-colonial and globalized present. While resonating with the art and ideas of our recent past, the Collection aims to reflect on how the art of today also anti¬cipates its future.

"Serralves Collection: 1960-1980” is organized by Serralves Museum of Contemporary Art and curated by Suzanne Cotter, Museum Director, with João Ribas, Senior Curator and Deputy Director and Ricardo Nicolau, Deputy to the Director and Curator.

The design of "Serralves Collection: 1960-1980” has been conceived by COR ARQUITECTOS (Roberto Cremascoli and Edison Okumura)

Grupo Acções Colectivas (Kollektivnye deistviya); Etel Adnan; Helena Almeida; Armando Alves; Manuel Alvess; Richard Artschwager; John Baldessari; Artur Barrio; Eduardo Batarda; Lothar Baumgarten; René Bertholo; Dara Birnbaum; Mel Bochner; Marcel Broodthaers; James Lee Byars; Fernando Calhau; Alberto Carneiro; Zulmiro de Carvalho; Manuel Casimiro; E. M. de Melo e Castro; Lourdes Castro; Guy de Cointet; Merce Cunningham; Marlene Dumas; José Escada; Hans-Peter Feldmann; António Quadros Ferreira; David Goldblatt; Dan Graham; Giorgio Griffa; Richard Hamilton; Ana Hatherly; Sanja Ivekovi?; Joan Jonas; Jannis Kounellis; Fernando Lanhas; Álvaro Lapa; João Machado; Dimitrije Basicevic Mangelos; Marwan

Cildo Meireles; Ana Mendieta; Robert Morris; Antoni Muntadas; Bruce Nauman; Eduardo Nery; Silke Otto-Knapp; Nam June Paik; António Palolo; António Costa Pinheiro; Jorge Pinheiro; Vítor Pomar; Charlotte Posenenske; Yvonne Rainer; Paula Rego; Gerhard Richter; Arlindo Rocha, Joaquim Rodrigo; Artur Rosa; Martha Rosler; Dieter Roth; Ed Ruscha; Julião Sarmento; António Sena; Nikias Skapinakis; Robert Smithson; Ângelo de Sousa; Salette Tavares; Ana Vieira; Pires Vieira; Franz Erhard Walther; Hannah Wilke; Lynette Yiadom-Boakye.

Titled Incerteza viva [Live Uncertainty], the 32nd Bienal de São Paulo reflects on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The presentation at Serralves extends the engagement with forms of ambient and collective intelligence, as well as systemic and natural ecologies. Resulting from a dialogue between the curator of the 32nd edition of the Bienal de São Paulo, Jochen Volz, and the Deputy Director and Senior Curator of the Museum, João Ribas, the presentation is conceived in relation to the unique architecture and landscape of Serralves.

For the presentation in the park, the Serralves Museum has commissioned five architecture studios from Porto - depA, Diogo Aguiar Studio, Fahr, fala atelier and Ottotto - to design and build temporary structures to host works by Gabriel Abrantes, Jonathas de Andrade, Cecilia Bengolea & Jeremy Deller, Priscila Fernandes and Bárbara Wagner & Benjamin de Burca. 

Installations, drawings, video and performance-based work by Sonia Andrade, Alicia Barney, Lourdes Castro, Öyvind Fahlström, Carla Filipe, Leon Hirszman, Lais Myrrha, Vídeo nas Aldeias, and Grada Kilomba will be on view throughout the Serralves park and Serralves Museum.

The exhibition will be accompanied by a fully illustrated catalogue with essays by Jochen Volz, Julia Rebouças, and João Ribas.

‘Live Uncertainty: An Exhibition After the 32nd Bienal de São Paulo’ is organized by the Fundação Bienal de São Paulo in collaboration with the Fundação de Serralves, Museu de Arte Contemporânea, Porto, Portugal. 

Park: 30 Jun – 1 Oct

Contemporary Gallery: 30 jun – 1 Oct

Museum Hall: 30 Jun – 10 Sep

Room 14 (Museum): 30 Jun – 3 Sep

"Serralves Collection: 1960-1980” marks the visible and permanent presence of the Serralves Collection in the Serralves Museum as part of a dynamic programme of changing displays. The inaugural display presents works by Portuguese and international artists. This narrative presentation surveys the art produced in the decades considered foundational to the history and development of contemporary art and the place of Portuguese art in that history. As well as iconic art works made between 1960 and 1980, the new displays also include a selection of more contemporary pieces that highlight the continued relevance of these earlier artistic positions and attitudes.

The works on view reflect a diversity of artistic production from the 1960s to the present day, while highlighting the unique characteristics of the Serralves Collection, distinguished for its relation of Portuguese and international art from around the globe. With a visually dynamic and rich presentation of paintings, drawings, sculptures, photographs, films and videos, the Collection display surveys various themes central to the artistic practice of the post-art period and influential on the artistic practices of the 21st century, including: materials and process, abstraction and figuration, language and concept, and the body and performativity.

The decades surveyed in the exhibition are marked by profound social and cultural changes as well as radical developments in art making. The art of this period reflects a redefinition of artistic forms, media and production, influenced by profound transformations in technology.

The Serralves Collection is a collection of reference that offers a uniquely international context in which to understand contemporary art in Portugal. The Serralves Collection is comprised of works acquired by the Serralves Foundation since its creation in 1989, together with long-term deposits from private and public collections. Deposits that have served as points of reference for the development of the collection include the Collection of the Portuguese Secretariat of State for Culture and the Collection of the Luso-American Development Foundation (FLAD). 

The focus of the Serralves Collection is contemporary art produced from the 1960s to the present day. The inaugural exhibition of the Serralves Museum of Contemporary Art in 1999, ‘Circa 1968’, served to highlight the 1960s and 70s, a historic period of political, social and cultural change that took place around the world, as seminal decades out of which emerged new paradigms in art making and the beginning of the post-modern era.

As part of a continued research and development of the Collection in the twenty-first century, the Serralves Collection aspires to further distinguish itself through its focus on contemporary art's relationship to performance, archi¬tecture and contemporaneity in relation to a post-colonial and globalized present. While resonating with the art and ideas of our recent past, the Collection aims to reflect on how the art of today also anti¬cipates its future.

"Serralves Collection: 1960-1980” is organized by Serralves Museum of Contemporary Art and curated by Suzanne Cotter, Museum Director, with João Ribas, Senior Curator and Deputy Director and Ricardo Nicolau, Deputy to the Director and Curator.

The design of "Serralves Collection: 1960-1980” has been conceived by COR ARQUITECTOS (Roberto Cremascoli and Edison Okumura)

Grupo Acções Colectivas (Kollektivnye deistviya); Etel Adnan; Helena Almeida; Armando Alves; Manuel Alvess; Richard Artschwager; John Baldessari; Artur Barrio; Eduardo Batarda; Lothar Baumgarten; René Bertholo; Dara Birnbaum; Mel Bochner; Marcel Broodthaers; James Lee Byars; Fernando Calhau; Alberto Carneiro; Zulmiro de Carvalho; Manuel Casimiro; E. M. de Melo e Castro; Lourdes Castro; Guy de Cointet; Merce Cunningham; Marlene Dumas; José Escada; Hans-Peter Feldmann; António Quadros Ferreira; David Goldblatt; Dan Graham; Giorgio Griffa; Richard Hamilton; Ana Hatherly; Sanja Ivekovi?; Joan Jonas; Jannis Kounellis; Fernando Lanhas; Álvaro Lapa; João Machado; Dimitrije Basicevic Mangelos; Marwan

Cildo Meireles; Ana Mendieta; Robert Morris; Antoni Muntadas; Bruce Nauman; Eduardo Nery; Silke Otto-Knapp; Nam June Paik; António Palolo; António Costa Pinheiro; Jorge Pinheiro; Vítor Pomar; Charlotte Posenenske; Yvonne Rainer; Paula Rego; Gerhard Richter; Arlindo Rocha, Joaquim Rodrigo; Artur Rosa; Martha Rosler; Dieter Roth; Ed Ruscha; Julião Sarmento; António Sena; Nikias Skapinakis; Robert Smithson; Ângelo de Sousa; Salette Tavares; Ana Vieira; Pires Vieira; Franz Erhard Walther; Hannah Wilke; Lynette Yiadom-Boakye.

"Serralves Collection: 1960-1980” marks the visible and permanent presence of the Serralves Collection in the Serralves Museum as part of a dynamic programme of changing displays. The inaugural display presents works by Portuguese and international artists. This narrative presentation surveys the art produced in the decades considered foundational to the history and development of contemporary art and the place of Portuguese art in that history. As well as iconic art works made between 1960 and 1980, the new displays also include a selection of more contemporary pieces that highlight the continued relevance of these earlier artistic positions and attitudes.

The works on view reflect a diversity of artistic production from the 1960s to the present day, while highlighting the unique characteristics of the Serralves Collection, distinguished for its relation of Portuguese and international art from around the globe. With a visually dynamic and rich presentation of paintings, drawings, sculptures, photographs, films and videos, the Collection display surveys various themes central to the artistic practice of the post-art period and influential on the artistic practices of the 21st century, including: materials and process, abstraction and figuration, language and concept, and the body and performativity.

The decades surveyed in the exhibition are marked by profound social and cultural changes as well as radical developments in art making. The art of this period reflects a redefinition of artistic forms, media and production, influenced by profound transformations in technology.

The Serralves Collection is a collection of reference that offers a uniquely international context in which to understand contemporary art in Portugal. The Serralves Collection is comprised of works acquired by the Serralves Foundation since its creation in 1989, together with long-term deposits from private and public collections. Deposits that have served as points of reference for the development of the collection include the Collection of the Portuguese Secretariat of State for Culture and the Collection of the Luso-American Development Foundation (FLAD). 

The focus of the Serralves Collection is contemporary art produced from the 1960s to the present day. The inaugural exhibition of the Serralves Museum of Contemporary Art in 1999, ‘Circa 1968’, served to highlight the 1960s and 70s, a historic period of political, social and cultural change that took place around the world, as seminal decades out of which emerged new paradigms in art making and the beginning of the post-modern era.

As part of a continued research and development of the Collection in the twenty-first century, the Serralves Collection aspires to further distinguish itself through its focus on contemporary art's relationship to performance, archi¬tecture and contemporaneity in relation to a post-colonial and globalized present. While resonating with the art and ideas of our recent past, the Collection aims to reflect on how the art of today also anti¬cipates its future.

"Serralves Collection: 1960-1980” is organized by Serralves Museum of Contemporary Art and curated by Suzanne Cotter, Museum Director, with João Ribas, Senior Curator and Deputy Director and Ricardo Nicolau, Deputy to the Director and Curator.

The design of "Serralves Collection: 1960-1980” has been conceived by COR ARQUITECTOS (Roberto Cremascoli and Edison Okumura)

Grupo Acções Colectivas (Kollektivnye deistviya); Etel Adnan; Helena Almeida; Armando Alves; Manuel Alvess; Richard Artschwager; John Baldessari; Artur Barrio; Eduardo Batarda; Lothar Baumgarten; René Bertholo; Dara Birnbaum; Mel Bochner; Marcel Broodthaers; James Lee Byars; Fernando Calhau; Alberto Carneiro; Zulmiro de Carvalho; Manuel Casimiro; E. M. de Melo e Castro; Lourdes Castro; Guy de Cointet; Merce Cunningham; Marlene Dumas; José Escada; Hans-Peter Feldmann; António Quadros Ferreira; David Goldblatt; Dan Graham; Giorgio Griffa; Richard Hamilton; Ana Hatherly; Sanja Ivekovi?; Joan Jonas; Jannis Kounellis; Fernando Lanhas; Álvaro Lapa; João Machado; Dimitrije Basicevic Mangelos; Marwan

Cildo Meireles; Ana Mendieta; Robert Morris; Antoni Muntadas; Bruce Nauman; Eduardo Nery; Silke Otto-Knapp; Nam June Paik; António Palolo; António Costa Pinheiro; Jorge Pinheiro; Vítor Pomar; Charlotte Posenenske; Yvonne Rainer; Paula Rego; Gerhard Richter; Arlindo Rocha, Joaquim Rodrigo; Artur Rosa; Martha Rosler; Dieter Roth; Ed Ruscha; Julião Sarmento; António Sena; Nikias Skapinakis; Robert Smithson; Ângelo de Sousa; Salette Tavares; Ana Vieira; Pires Vieira; Franz Erhard Walther; Hannah Wilke; Lynette Yiadom-Boakye.

Gordon Matta-Clark (1943-1978) is one of the most influential artists of the 1970s, whose work has continued to be a noted influence of both architects and visual artists since. SPLITTING, CUTTING, WRITING, DRAWING, EATING…GORDON MATTA-CLARK  surveys the constructive and destructive verbs that defined his relation to art and architecture, featuring correspondence, drawings, photographs, notebooks, and films related to the artist's key projects, drawn from the archive of the Canadian Centre for Architecture, Montréal.  Along with his major building cuts from 1973 to 1978, in which laboriously cut holes into floors of abandoned or disused buildings, including A W-Hole House, Conical Intersect, Day’s End, and Splitting (1974), the exhibition also explores his interest in metabolic and cooking processes, including his restaurant Food (1971); his play with language and the syntax of voids, gaps, and abandoned spaces;  and the use of drawing as a mode of thinking through space.The exhibition will focus on these social and creative aspects of Matta-Clark´s conception of architecture, or as he put it, "making space without building it,". 

In addition to archive materials and important works by the artist, the exhibition will also present a selection of works by other artists, including Ed Rusha, Dan Graham, Alvin Baltrop, and Emily Roysdon, that set the context for Matta Clark’s literal and metaphorical gestures, produced in sites of urban reconstruction, abandonment, or renewal, or in economically deprived or marginal contexts.

Álvaro Siza Vieira is perhaps the most poetic and rigorous master of contemporary architecture. His imagination was first captivated by the Alhambra in the 1940s, during family travels, that engendered his seminal introductions to architecture. His visits to Granada later multiplied, and in 1984, when it was classified as a UNESCO World Heritage site, Siza also rose to international recognition and started winning numerous awards.

In 2011, Álvaro Siza and Juan Domingo Santos won the "Alhambra Atrium" International Ideas Contest, with their project that proposed a "New Gate" for the 21st century, which symbolises, in continuity, all the entrances to this acropolis, of timeless modernity.

Inspired by Siza’s hallmark distillation of memory and topography, the project proposes an embryonic structure that combines nature, and the past and present, offering equal zones of shade, water and vegetation. Merging with the surrounding landscape, the project emphasises, via its public square and panoramic platform, the contemplative aspect of Islamic culture. It can cater to distribution of the Alhambra’s 8,500 visitors per day.

The harmonious management of multiple interventions is undoubtedly the most perennial synthesis of the Alhambra complex, a linguistic codex that this exhibition highlights from the viewpoint of the genius of Álvaro Siza - unifying spaces, geometries, cultures and times.

 

Organized by the Serralves Museum of Contemporary Art , the exhibition "Álvaro Siza Vieira: Visions of the Alhambra" is curated by the architect António Choupina

Álvaro Siza Vieira is perhaps the most poetic and rigorous master of contemporary architecture. His imagination was first captivated by the Alhambra in the 1940s, during family travels, that engendered his seminal introductions to architecture. His visits to Granada later multiplied, and in 1984, when it was classified as a UNESCO World Heritage site, Siza also rose to international recognition and started winning numerous awards.

In 2011, Álvaro Siza and Juan Domingo Santos won the "Alhambra Atrium" International Ideas Contest, with their project that proposed a "New Gate" for the 21st century, which symbolises, in continuity, all the entrances to this acropolis, of timeless modernity.

Inspired by Siza’s hallmark distillation of memory and topography, the project proposes an embryonic structure that combines nature, and the past and present, offering equal zones of shade, water and vegetation. Merging with the surrounding landscape, the project emphasises, via its public square and panoramic platform, the contemplative aspect of Islamic culture. It can cater to distribution of the Alhambra’s 8,500 visitors per day.

The harmonious management of multiple interventions is undoubtedly the most perennial synthesis of the Alhambra complex, a linguistic codex that this exhibition highlights from the viewpoint of the genius of Álvaro Siza - unifying spaces, geometries, cultures and times.

 

Organized by the Serralves Museum of Contemporary Art , the exhibition "Álvaro Siza Vieira: Visions of the Alhambra" is curated by the architect António Choupina