Monday, March 31, 2014


tomaz hipólito 

Sala Do Veado 31 de Março - 22h
Carpe Diem Arte e Pesquisa 10 Maio - 19h
Appleton Square 19 Junho - 22h

Friday, March 21, 2014


beatriz albuquerque

- Pessoa in New York organized by the Arte Institute
The NYC based Portuguese visual and performance artist Beatriz Albuquerque is presenting her new performance “Heterónimos“, based on Fernando Pessoa's written work. This piece deconstructs and rethinks Fernando Pessoa/Alberto Caeiro/Alvaro de Campos/Ricardo Reis’s poems and texts both vocally and physically and at the same time asking the audience to actively participate.
 +info about the event:

- Performatus #1: Performance Art Exhibition & Festival
Beatriz Albuquerque is presenting documentation of Past Performances such as her Project Work For Free and her new performance piece "Roleta", based in the Brazilian movie "Roleta Russa" (1972). +info about the event:

Wednesday, March 19, 2014


AHRC-funded Collaborative Partnership Award 
with the University of Exeter and Tate: A History of Performance and Performative Art at Tate Ref: 1472

About the award
A History of Performance and Performative Art at Tate
Applications are invited for an AHRC-funded Collaborative Partnership Award with the University of Exeter and Tate to research and study the history of Tate’s involvement with performance and performative art. Historical in nature, the proposed dissertation will map and analyse Tate’s engagement with performance and performative art through researching its collection and programme of events, going back to the 1960s.

Tate has long acquired works which have performative elements, although these have often not been recognised as such in the museum’s documentation systems or in displays. Live performances have also been staged at Tate from the 1960s when a number of early performance works and talks were hosted by the education department. All four Tate galleries have staged performative works in the intervening years, and after 2003, and with the introduction of Tate Live and then the Tanks, Tate’s programming of performance became more systematic. Such events have generated a wide range of different types of documents, including films, photographs, texts from programmes, artist statements and correspondence, and press clippings. The student will need to consider the methodological issues surrounding the use of such records to create a history of performance and the performative at Tate.

Based at Tate in London, the student will join a small research team on the AHRC-funded two-year project ‘Collecting, Archiving and Sharing Performance and the Performative’ that starts in autumn 2014. This will see the publication of a project website with scholarly essays and 100 case studies about individual artworks and events, a book and articles. The project will also involve a workshop to test user engagement and will culminate in an international conference. The student will contribute in a range of ways to the success and longer-term legacies of the project. He or she will have opportunities to participate in and help organise the planned events and will contribute scholarly texts to the project’s website (twenty case studies and timeline), as well as, potentially, longer pieces for the planned book and Tate Papers. Analysis of the legacies of the project (work that is not funded by the AHRC project grant) would be particularly valuable, setting a useful precedent for future research projects at Tate. He or she will also have opportunities to engage with Tate's programme of performances during the studentship and to become part of the Centre for Intermedia at the University of Exeter.

The dissertation supervisors are Professor Gabriella Giannachi (University of Exeter) and Dr Jennifer Mundy (Head of Collection Research, Tate). The proposed second supervisor at University of Exeter is Professor Fabrizio Nevola. Other members of the project team at Tate include Catherine Wood (Curator, Performance and International Art) and a full-time post-doctoral Research Associate.


Tuesday, March 18, 2014


pedro tudela e miguel carvalhais
livraria de serralves

Na próxima sexta-feira, dia 21 de Março, pelas 19h, a Livraria de Serralves convida-o/a para estar presente na apresentação da Mono#2 - Cochlear Poetics: Writings on Music and Sound Arts, uma publicação i2ADS/FBAUP com edição de Pedro Tudela e Miguel Carvalhais.

Às 19h20 começará uma performance sonora de Pedro Tudela e Miguel Carvalhais, a partir das partituras gráficas de Pedro Tudela criadas para a revista Mono#2.

A Mono é uma publicação não periódica do Núcleo de Arte e Intermedia (NAI) do Instituto de Investigação em Arte, Design e Sociedade (i2ADS), recentemente criado no âmbito da Faculdade de Belas Artes da Universidade do Porto (FBAUP).
O primeiro número da Mono foi publicado há mais de 6 anos, em Junho de 2007. Por várias razões o projecto esteve parado desde então, fazendo ironicamente justiça ao seu nome: um único número para uma publicação que queria que cada número fosse único.
Foi agora dada continuidade ao projecto, com uma nova equipa mas mantendo a ideia inicial de fazer uma publicação capaz de cruzar a teoria e a prática da arte e do design.
Este segundo número recupera a ideia inicial de um volume dedicado à Música e às artes do som e foi editado por dois dos actuais membros do NAi, Pedro Tudela e Miguel Carvalhais.

Monday, March 17, 2014


julião sarmento
the index
em | in
"per/form: how to do things [with]out words"
22 de março | 22nd of March

Thursday, March 13, 2014


The MA in Aural and Visual Cultures Presents:
Listening Seminar 4 – Sound Works by Women Artists
Tuesday, 25th March 2014 8-10PM

This seminar will present new audio pieces by a selection of women artists. It features the work of Adrianna Palazzolo, Cara Tolmie, Diana Policarpo, Hannah Catherine Jones, Jenna Bliss, Jenna Collins, Marina Elderton and Nicola Woodham.

Each of these artists investigate different aspects of sound, in relation to space, atmosphere and the presence or absence of the image. Through a variety of approaches, these works explore notions of multi-vocality, using rhythm, time, formal and informal speech, narrative and noise, both as material and inspiration.

The works have been compiled back-to-back on a playlist, to prioritise collective listening, over discussion. I hope this event, which is married to space and corporeality, will allow us to question the various ways we experience the sonic world.

Adrianna Palazzolo (b. Toronto, Canada) lives and works in London. She graduated with an MFA in Fine Art from Goldsmiths in 2012. Recent group exhibitions include: Emergency6, Aspex, Portsmouth, UK; Adrianna Palazzolo and Ella McCartney, Peter Von Kant, London; .gif, online exhibition, MMOCA (Main Museum of Canadian Contemporary Art); Perspectivism, Slakthusateljéernas, Stockholm, Sweden and Pavilion, Open File, Grand Union Gallery, Birmingham, UK.
Adrianna's practice is largely based on experimentation, focusing in video and installation works. The soundtrack of each of her works are sculptural, where the sound takes precedence over the image in the editing process. This mode of working can be seen as a way to question the patriarchal relationship of sound and image in film making ideologies in direct comparison to feminist politics.

Cara Tolmie is an artist, born in Glasgow currently based in London, who works with moving image, performance, sound and installation. She made two new projects in 2013; Pley, commissioned and produced by Picture This and exhibited at Spike Island, Bristol and Artissima, Turin; and Otiumfold commissioned by Chisenhale Gallery, London and Tower Hamlets. Both used the format of the ‘exercise’ to scrutinise interpersonal relations between groups of performers each navigating their own investigations into play, improvisation and language. She is currently working on new collaborative performances with Patrick Staff for Open File at Outpost, Norwich and Paul Abbott for the Counterflows festival in Glasgow this April.

Diana Policarpo (b. Lisbon, Portugal), is an artist based in London and recently completed an MFA in Fine Art from Goldsmiths College. Her work can mainly be described as a spatial practice: various media such as drawing, performance, sound, writing and spoken word open up different ways for her to delineate and activate objects and space.
She composes and improvises time-based components for polyrhythmic sound sculptures and performative installations, which deal with the performative role that language and power play, both reflecting on reality and on the trandisciplinary field of cultural production. She is currently working on projects with the female collective Cabiria and for her first solo show in Germany at the Staatliche Kunsthalle Baden-Baden (July 2014).

Jenna Bliss recently completed an MA at Slade School of Fine Art in London and is now based in New York, NY. Her current project revolves around the radical political action and drug-free detox at Lincoln Hospital Detoxification Clinic in the South Bronx during the 1970s.
The audio piece for this listening seminar explores the historical moment and location whilst attempting to utilize the detoxifying capabilities of deep breathing and body heat. The culmination of this project will be a video and series of performances.

Jenna Collins works across sound, video and text to make visible the ways and means by which the body is continuous with the environment, seeking to reveal the pressures, feedback and aspirations that clutter moments of enunciation. Deaf Captain Accident is semi–autobiographic and is shaped by the presumptions and preferences of the online writers forum in which it was written. Based in London and a graduate of Goldsmiths, her work has been presented at venues including Castflefield Gallery Manchester, Piet Zwart Institute Rotterdam; Café Oto London, Cinema REX Serbia, The Sheffield International Documentary Festival, and V22 Summer Club Radio. Residencies include the North West Film Archive and the Barbican Pit Theatre. Her work is held in The British Library and the AHRB British Artist Film and Video Collection.

Hannah Catherine Jones (b. Doncaster 1987) investigates the documentation modes of performance art. Using her (live) operatic voice, she often gives (recorded) vocal presence to documenting devices in the moment of performance. Jones’ investigations into language, specifically her punning titles, have recently enriched her practice. Jones has a BFA and MA from Oxford University, an MFA from Goldsmiths and begins a practice-based PhD at Goldsmiths in September 2014.

Marina Elderton is a self-taught musician based in London. She plays guitar and sings in the two-piece KULL (, and improvises live experimental soundscapes alongside Diana Policarpo and Hannah Jones as part of the female collective Cabiria.
Drawn to the immersive nature of sound as a mind altering tool, she experiments with raw musical elements, embracing atmospheric minimalism and ritualised cycles to access purer conscious states. She will be playing a song from a new independent piano project C'est Celestial. She is currently studying an MA in Composing for Film at the National Film and Television School.

Nicola Woodham is a sound, performance and video artist. She creates fictions with the voice as a means to explore forms of surveillance and the notion of the female voice as ‘monstrous’. She recently took part in the Totemic Festival, Freud Museum and FLOWS, Vibe Gallery, London. She is part of a collaborative project Zeros + Ones with artists from Stockholm and London. She also contributes regularly to Electric Sheep film magazine.

Free - All welcome, no booking required.
Goldsmiths, University of London, SE14 6NW, London, United Kingdom

Map :

Wednesday, March 5, 2014


um projecto performativo de Paulo Mendes
com Carmo Osul, Horácio Frutuoso, Hugo Soares, Jérémy Pajeanc e Maria Trabulo e a participação especial de José Valente e Marta Bernardes

EXPEDIÇÃO _ amanhã dia 6 de Março > Apresentação e inauguração nos Maus Hábitos-Espaço de Intervenção Cultural
A performance decorre entre as 22:00h e as 23:00h em múltiplos espaços da Garagem Passos Manuel, no âmbito do projecto EXPEDIÇÃO
a partir das 23:00h _ n'A Ilha
Jérémy Pajeanc & João Pedro Trindade

Monday, March 3, 2014


"#3 [finissage]"
uma performance de susana mendes silva e miguel pereira

7 de Março, sexta-feira, 22h
"#3 [finissage]"
a performance by susana mendes silva and miguel pereira

7th of March, friday, 10pm

A partir da instalação "Rectangle Disorder", Susana Mendes Silva e Miguel Pereira criaram em co-autoria uma série de três performances que permitem experienciar a obra de modo sequencial. "#3" será o momento de encerramento da exposição: uma finissage que abarcará toda a obra, o espaço e os espectadores.

Com a participação de Jari Marjamäki.

Departing from the installation "Rectangle Disorder", Susana Mendes Silva and Miguel Pereira created in co-authorship a series of three performances that allow the public to experience the work in a sequential mode. "#3" will be the closing moment of the exhibition: a finissage that encompasses the work, the space and the audience.

With the collaboration of Jari Marjamäki.

Fundação Leal Rios | Leal Rios Foundation