Essay — by Eduarda Neves
A coronavirus claims its place in the world. In the world of contemporary art, too. To SARS-CoV-2, which has brought forth Covid-19, we owe a certain program of metaphysical unveiling. Affected by our condition of hidden hosts, we are unaware of the processes through which the parasite transforms us into its equal. A game where exchanges are potentially undetermined. Arriving as a parasite, it infiltrates in the constitutive fabric of each of us.
Review — by José Marmeleira
One of the faculties and capacities poetry and philosophy shared in Ancient times was the recognition of what appeared, of what existed. Not only humans, but also organic and inorganic things, the natural world, celestial bodies, the cosmos. A strictly utilitarian view of other sentient beings, elements, and natural phenomena was yet to dominate the world. Things did not exist in keeping with the happiness of Man, and humans did not exist as the ultimate, absolute end of all things.
Review — by Cristina Sanchez-Kozyreva
If you haven’t thought about your sexual relationship with plants, Bo Zheng’s first solo exhibition at Kunsthalle Lissabon (until the end of August) provides the perfect opportunity to consider it. On display, a series of four videos titled Pteridophilia, numbered from 1 to 4; and an ensemble of pencil-on-paper drawings titled Drawing Life. The presentation of the two series is divided into two rooms in Kunsthalle’s basement space.
Review — by José Marmeleira
Quem, até 19 de Setembro, visitar na galeria Uma Lulik a exposição Through Windows encontrará um elemento arquitetónico, situado entre o seu corpo e as obras, propenso a uma certa indefinição. É um panorama e um balcão. Uma moldura e uma passagem. Um obstáculo e um ponto de vista. Com a curadoria de Miguel Mesquita, a colectiva Through Windows explora tal desdobramento de sentidos a partir de um conceito e elemento definido: a janela, na condição de ecrã, de abertura, de entrada. Entrada, detenhamo-nos nesta palavra.
Essay — by Alice dos Reis
How do we change the way we relate to each other and to all this? In 1961, Michel Foucault published Madness and Civilization. Almost a dozen years later, he would add an appendix to the 1972 edition in direct reply to the criticism of philosopher Jacques Derrida: This body, this paper, this fire. Between these two Madness and Civilization editions, May '68 took place—the catalyst of a social revolution in France instigated by student protests that would have global repercussions.
Essay — by Gisela Casimiro
“What is your great hunger? To understand your great hunger, you must understand what breaks your heart.” Thus Tererai Trend teaches us to be vulnerable. What breaks my heart? This question, in fact, is about what breaks our heart as Humanity and what we can do to mend it, to mend ourselves. We're in March, and the pandemic that has slowed the world down is here. We are not yet fully aware of the trauma that has been devastating especially Chinese and Italian citizens for months.