Other activities

Exhibition
‘When Microbes Dream’ Exhibition by Jennifer Willet

Date: September 11th – Opening 17h
Venue: Ectopia | R. José Sobral Cid 16 – Lisbon

When Microbes Dream introduces audiences to allegorical visions of biotechnology as a technology of abundance, rooted in interspecies collaboration and bespoke ecologies. With this exhibition, the artist reimagines laboratory aesthetics as bountiful, feminine, and gaudy in direct contradiction to scientific norms. Willet presents several works including live specimens in conjunction with performative sculpture, large-scale installations, and a series of digital prints.
Each artwork presents a complex vision of organisms large and small (mammals, microbes, plants, and insects) working in collaboration to present biotech processes to human audiences. This work de-prioritizes the human scientist as the dominant organism working within a robust laboratory ecology. Rather, presents the daydreams of non-human organisms living, reproducing, performing and dying within laboratory settings. When Microbes Dream presents a feminist science-fiction where biotechnology manifests interspecies collaboration, reproduction, theatre and storytelling as a means to re-imagine our shared biotech future.
When Microbes Dream premiered at Kapelica Gallery (Ljubljana, Slovenia) in October 2021, and continues on its European tour to several venues in Portugal.
Willet is an internationally recognized artist in the emerging field of bio art. Her research resides at the intersection of art and science and explores notions of representation, the body, ecologies, and interspecies interrelations in the biotechnological field.  She engages in performance, installation, photography and sculpture based artistic practices, community arts and social practice, philosophy of science, media studies, science and technology studies, combined with protocols and life forms from the biological sciences.

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Guided tour: Paço de São Miguel
[Location https://goo.gl/maps/3on5t9FCqvMWAyFG6]

Date:
September 13th – Departure from Fundação Eugénio de Almeida 17hrs.
Registration link sent by email.

The Paço de São Miguel, or Paço de São Miguel da Freiria, Palácio do Pátio de São Miguel, Palácio dos Condes de Basto or Palace of the former Counts de Basto, as it is also known, is a historic palace located in the Pátio de São Miguel, in the parish of Sé e São Pedro, in Évora, a manor house of first importance since the Arab period, having been classified as a National Monument since 1922. The foundation of Paço de São Miguel dates back to the Muslim era, integrating the fortress of Évora, which corresponded to the Roman and medieval walls. After the conquest of the city by Christian forces, the building was handed over to the Order of Avis, later being incorporated into the crown’s assets and becoming the royal palace of D. Fernando during his stay in the city which benefited him with various works. It was almost destroyed following the dynastic crisis of 1383–1385, donated and expropriated as residential space to several personalities due to differences with the Portuguese crown and in 1958 it was acquired by Eugénio de Almeida, Count of Villalva, who rehabilitated the palace, which was very dilapidated and established the headquarters of the Eugénio de Almeida Foundation.

Throughout the whole complex, there are traces of Gothic structures, although the 16th-century stonework, the semi-detached horseshoe arch windows and brick structure, the Renaissance galleries and colonnades, the fountain and frescoed garden, the cylindrical turrets with a clear Italian influence on the whole. The interior of the buildings is of equal value and interest: three rooms on the ground floor are covered by vaults painted in fresco by master Francisco de Campos. It is a set of mythological inspiration in the Italian style of the time, with single figures and a profusion of flowers and fruits, ornate paintings, triumphal allegories and compositions inspired by the Metamorphoses of Ovid, according to Flemish Mannerist prints. These paintings constitute one of the most important decorative sets in the country, rare not only for the quality of their execution, but also for the grandeur of the set, the profane atmosphere, and for the sensuality and paganism of some of its themes.

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Guided tour: Paço de São Miguel
[Location https://goo.gl/maps/3on5t9FCqvMWAyFG6]

Date:
September 14th – Departure from Fundação Eugénio de Almeida 17hrs.
Registration link sent by email.

The Paço de São Miguel, or Paço de São Miguel da Freiria, Palácio do Pátio de São Miguel, Palácio dos Condes de Basto or Palace of the former Counts de Basto, as it is also known, is a historic palace located in the Pátio de São Miguel, in the parish of Sé e São Pedro, in Évora, a manor house of first importance since the Arab period, having been classified as a National Monument since 1922. The foundation of Paço de São Miguel dates back to the Muslim era, integrating the fortress of Évora, which corresponded to the Roman and medieval walls. After the conquest of the city by Christian forces, the building was handed over to the Order of Avis, later being incorporated into the crown’s assets and becoming the royal palace of D. Fernando during his stay in the city which benefited him with various works. It was almost destroyed following the dynastic crisis of 1383–1385, donated and expropriated as residential space to several personalities due to differences with the Portuguese crown and in 1958 it was acquired by Eugénio de Almeida, Count of Villalva, who rehabilitated the palace, which was very dilapidated and established the headquarters of the Eugénio de Almeida Foundation.

Throughout the whole complex, there are traces of Gothic structures, although the 16th-century stonework, the semi-detached horseshoe arch windows and brick structure, the Renaissance galleries and colonnades, the fountain and frescoed garden, the cylindrical turrets with a clear Italian influence on the whole. The interior of the buildings is of equal value and interest: three rooms on the ground floor are covered by vaults painted in fresco by master Francisco de Campos. It is a set of mythological inspiration in the Italian style of the time, with single figures and a profusion of flowers and fruits, ornate paintings, triumphal allegories and compositions inspired by the Metamorphoses of Ovid, according to Flemish Mannerist prints. These paintings constitute one of the most important decorative sets in the country, rare not only for the quality of their execution, but also for the grandeur of the set, the profane atmosphere, and for the sensuality and paganism of some of its themes.

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Guided tour: Cromeleque dos Almendres
[Location https://goo.gl/maps/a2fuaeV7AA9WQrp5A]

Date:
September 15th – Departure from Seminário Maior de Évora 14h30.
Registration link sent by email.

This archaeological site is composed of various megalithic structures: cromlech, menhir and stones, the former belonging to the so-called “eborense megalithic universe”, with clear parallels in other cromlechs, as in the case of Portela de Mogos, in Montemor-o-Novo.
The menhir is located on the top of the hillside about 1.3 km NE of the Cromlech.
The cromlech was discovered by the researcher Henrique Leonor Pina, in 1964, when the Geological Map of Portugal was being made. Covering a wide chronological range, from the Middle Neolithic to the Iron Age – that is, from the end of the 6th to the beginning of the 3rd millennium BC – this site presents, among other elements, an irregular circular-plan cromeleque, composed of a length of 95 granite monoliths placed in small groups in an area of approximately 70×40 meters, with a NW-SE orientation.
It should also be pointed out that most of these 95 monoliths were uncovered until they were relocated by the team coordinated by the researcher Mário Varela Gomes, who took special care to identify their primitive location.

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Guided tour: Paço de São Miguel
[Locationhttps://goo.gl/maps/3on5t9FCqvMWAyFG6]

Dates:
September 16th – Departure from Fundação Eugénio de Almeida 16hrs.
Registration link sent by email.

The Paço de São Miguel, or Paço de São Miguel da Freiria, Palácio do Pátio de São Miguel, Palácio dos Condes de Basto or Palace of the former Counts de Basto, as it is also known, is a historic palace located in the Pátio de São Miguel, in the parish of Sé e São Pedro, in Évora, a manor house of first importance since the Arab period, having been classified as a National Monument since 1922. The foundation of Paço de São Miguel dates back to the Muslim era, integrating the fortress of Évora, which corresponded to the Roman and medieval walls. After the conquest of the city by Christian forces, the building was handed over to the Order of Avis, later being incorporated into the crown’s assets and becoming the royal palace of D. Fernando during his stay in the city which benefited him with various works. It was almost destroyed following the dynastic crisis of 1383–1385, donated and expropriated as residential space to several personalities due to differences with the Portuguese crown and in 1958 it was acquired by Eugénio de Almeida, Count of Villalva, who rehabilitated the palace, which was very dilapidated and established the headquarters of the Eugénio de Almeida Foundation.

Throughout the whole complex, there are traces of Gothic structures, although the 16th-century stonework, the semi-detached horseshoe arch windows and brick structure, the Renaissance galleries and colonnades, the fountain and frescoed garden, the cylindrical turrets with a clear Italian influence on the whole. The interior of the buildings is of equal value and interest: three rooms on the ground floor are covered by vaults painted in fresco by master Francisco de Campos. It is a set of mythological inspiration in the Italian style of the time, with single figures and a profusion of flowers and fruits, ornate paintings, triumphal allegories and compositions inspired by the Metamorphoses of Ovid, according to Flemish Mannerist prints. These paintings constitute one of the most important decorative sets in the country, rare not only for the quality of their execution, but also for the grandeur of the set, the profane atmosphere, and for the sensuality and paganism of some of its themes.

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Workshop
Biomaterial Art Lab – Why Biomaterials Are Important For The Artistic Practices

Date: September 16th – 16hrs
Venue: ArteriaLab – Évora
Registration link sent by email.

With the proposal to promote a critical reflection on the potential of the use of biomaterials in artistic practices, the group of artists composed by Diana Aires, Felipe Shibuya and Juliana Lee intends, during their artistic residencies at Cultivamos Cultura and ARTERIA_Lab, not only to explore the materiality of these “bio artistic supports,” but also their ability to deepen the social and ecological impact of art in our society. This can happen through the use of products of great relevance to the local economies–such as the kombucha in Alentejo, Portugal–or through an approximation between art, science, and spirituality.
This approximation is given by the balance created between artistic object, research and expression, resulting from critical thinking in relation to the processes of creation of the materials that serve as support for the artistic object, the solutions they bring to the environmental problems, and the freedom that they provide to find ways of expression of the soul that brings us even closer to our ancestral nature.
As a way to facilitate these discussions among the international artistic community during the FEMeeting 2022, Diana, Felipe and Juliana will promote a workshop on biomaterials that can be applied in different artistic contexts, bringing out the reflections of this experience.

Facilitators

Diana Aires
Cultivamos Cultura (PT)

Diana Mordido Aires (Vila Nova de Milfontes, 1997) is specialized in Jewellery, by Escola Secundária Artística António Arroio, studied Painting at Faculdade de Belas-Artes da Universidade de Lisboa (FBAUL) and has a degree in Artistic and Cultural Mediation by Escola Superior da Educação de Lisboas (ESELx).
She has worked as a intern and collaborated with different cultural organisations – Atelier Concorde, Casa das Histórias Paula Rego, Cultivamos Cultura, Fundação Eugénio de Almeida – Centro de Arte e Cultura, RHI. It is in these contexts, and in her artistic practice, that she explores interdisciplinarity and the concept of “territory”, by producing discourses, dynamics and activities that aim to bring together different daily lives and languages.
She is co-founder and President of the Portuguese Association of Artistic and Cultural Mediation. Since 2019 she has been working with Cultivamos Cultura, where she develops educational projects and is responsible for the collection.

Felipe Shibuya
Edna Lawrence Nature Lab | Rhode Island School of Design (BR/US)

Felipe Shibuya is a Brazilian ecologist and artist who decided to adventure around the world. His journey began when he completed his Ph.D. in Ecology and Nature Conservation at the Federal University of Paraná. He then decided to explore the visual aspects he had included in his research, beyond the purely scientific perspective. He also holds an M.F.A. in Studio Art from the State University of New York at Buffalo, where he worked with pigmented bacteria, with the intention of understanding how the colors they synthesize could be communication signals for us humans. Being a scientist-artist enables Felipe to explore different forms of life, from bacteria to trees, using different methods, from microbiological culture to videos. However, all of his work involves aspects of his own identity, and he always highlights the visuality of nature. Currently, Felipe is the Hyundai Biological Programs Fellow at Edna W. Lawrence Nature Lab, at Rhode Island School of Design.

Juliana Lee
Independent (BR)

Born in Curitiba, Brazil, and living and working between her hometown and Lisbon, Juliana Lee graduated in Multimedia Art at the Faculty of Fine Arts of the University of Lisbon in order to materialize, through authorial artistic projects, her perceptions about the existence, the unconscious, spirituality, nature, the feminine and its intersectionalities, creating a link between science, spirituality and art.
After several years of working with photography, Juliana has expanded her portfolio giving more freedom to her creative expression by using other artistic supports, always through experimentation, to create visual explorations in pieces that give life to these themes that are so ethereal and intrinsic in the artist’s life.

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Guided tour: MEIAC – Badajoz
[Location https://goo.gl/maps/UKc9izeer8nQJe2i7]

Date:
September 17th – Departure from Seminário Maior de Évora 14hrs.
Registration link sent by email.

The Museo Extremeño e Iberoamericano de Arte Contemporáneo is located on the site of the old prison of Badajoz, itself built in the mid-1950s on the site of an old military bastion, the so-called Fuerte de Pardaleras, built in the 17th century. Although it had already been completely demolished when the prison was built, the bastion occupied a position of great strategic value and constituted one of the most important defensive emplacements of the Vauban system that walled the city.
The “Prisión Preventiva y Correccional” of Badajoz had been designed by technicians from the Directorate General of Prisons during the early post-war years, in 1941, although it was not completed until 1958. Conceived as an establishment whose construction was initially to be contributed to by the inmates themselves on a sentence-remission basis, the architecture of the prison followed the penitentiary model of the rotunda (or central tower) and radial naves inspired by Bentham’s panopticon.
The penitentiary complex had been built with materials whose shortcomings were reminiscent of those typical of the period in which it was built: reinforced concrete only in the structure of the central module, load-bearing walls in the rest of the rooms, Arab tile roofs… More than one hundred and fifty years after the characteristic principles of Bentham’s panopticon had been formulated, the abandoned prison evoked the ruin of that model and the remains of its architectural machine the bitter memory of its authoritarian function.

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