Oscar Murillo’s Together in Our Spirits at Fundação de Serralves—Serralves Museum of Contemporary Art brings the artist’s aesthetic investigations to Portugal for the first time. The show marks a decade of the long-term public work Frequencies (2013–2023), which serves as both entry and conceptualisation of the exhibition journey. Bordering community art, the work has the strongest connection to the early investigations that first got the artist famous, with big groups of people entering his practice as makers, creatives, and participants through what he calls the “working-to-work” process.

Transpondo o hermetismo do espaço expositivo e a sacralidade da obra de arte, um jardim crioulo, que abriga um arquivo vivo, uma escola e assembleias, reestrutura a participação portuguesa na Bienal de Veneza em sua sexagésima edição, que decorre entre abril e novembro deste ano. Uma concepção transdisciplinar, GREENHOUSE é um projeto idealizado a partir do alinhamento de diferentes áreas do conhecimento artístico, por Mónica de Miranda, Sónia Vaz Borges e Vânia Gala. Dos princípios da transversalidade e da solidariedade radical, a representação nacional elaborada coletivamente entre uma artista visual, uma investigadora e uma coreógrafa oblitera certas hierarquias — entre curador e artista, natureza e cultura, pensamento e prática —, e aponta para aquilo que se pode imaginar como uma proposta artística para o futuro.

Dozie Kanu’s Preenchendo Vazios—Filling Voids in English—is refreshing in its contemporaneity and emotional subtlety. Exhibited at Espaço Lumiar Cité in northern Lisbon, it is a social statement of new materialism infused with an acute understanding of its context both locally and beyond. With sculptural works informed as much by art as by installation and interior design, the pieces are stacked to the brim with multi-directional references neatly compiled into a minimalism of the artist’s earlier practice. Above all, Preenchendo Vazios speaks a visual language that feels very now—a leap beyond postmodern sculpture in the expanded field.

I can always grow up again. This thought solidified in my mind after visiting the group exhibition Lettera d'amore, curated by Alberta Romano at the Kunsthalle Lissabon, which featured works by the artists Alice dos Reis, Tamara MacArthur, La Chola Poblete, Laure Prouvost, Giulio Scalisi, and Inês Zenha, all of whom had previously been invited to the institution for a solo show. It's the first of a series of three group shows this year curated by three different curators—Alberta Romano, Yina Jiménez Suriel, and Filipa Ramos—as the Kunsthalle Lissabon pauses its regular programme of solo exhibitions to celebrate the fifteenth anniversary of the institution. I can always grow up again.