Time:09:30 am - 18:30 pm&nbsp;Doors Open:09:00 am&nbsp;Location:<a target="_blank" rel="noopener noreferrer" href="https://www.google.com/maps/place/Convento+São+Francisco/@40.2034418,-8.4381565,17z/data=!3m1!4b1!4m5!3m4!1s0xd22f9aa14f41745:0x3f26f440bd4b86e6!8m2!3d40.2034453!4d-8.4358783">Convento São Francisco</a><a target="_blank" rel="noopener noreferrer" href="https://www.google.com/maps/place/Convento+São+Francisco/@40.2034418,-8.4381565,17z/data=!3m1!4b1!4m5!3m4!1s0xd22f9aa14f41745:0x3f26f440bd4b86e6!8m2!3d40.2034453!4d-8.4358783">Avenida da Guarda Inglesa, nº 1 A</a><a target="_blank" rel="noopener noreferrer" href="https://www.google.com/maps/place/Convento+São+Francisco/@40.2034418,-8.4381565,17z/data=!3m1!4b1!4m5!3m4!1s0xd22f9aa14f41745:0x3f26f440bd4b86e6!8m2!3d40.2034453!4d-8.4358783">3040-293 Coimbra</a>&nbsp;&nbsp;&nbsp;Tickets and Passes:&nbsp;<a target="_blank" rel="noopener noreferrer" href="https://www.eventbrite.pt/e/bilhetes-parte-summit22-342616624547">Pass for 2 sessions Coimbra and Loulé: 40,00€.</a><a target="_blank" rel="noopener noreferrer" href="https://www.eventbrite.pt/e/bilhetes-parte-summit22-342616624547">Pass for 2 sessions Coimbra and Loulé with 50% discount: 20,00€.</a>Sales end Jul 25, 2022&nbsp;Passes for the two sessions of PARTE Summit are available for sale in limited number, however single tickets for the Loulé and Coimbra sessions may be purchased at the physical or online ticket offices of the respective venues in <a target="_blank" rel="noopener noreferrer" href="https://www.bol.pt/Comprar/Bilhetes/110819-parte_summit_22_loule-cineteatro_louletano/">Loulé</a> and <a target="_blank" rel="noopener noreferrer" href="https://www.bol.pt/Projecto/EntidadesAderentes/4079-convento_sao_francisco">Coimbra</a>.&nbsp;Discounts apply to students, residents of the municipalities of Coimbra and Loulé, associates, members of PARTE partner organizations (AICA, AAVP, Exhibitio, RPAC and others to be designated), people with special needs and senior card holders (available only by picking up the ticket at the physical ticket office).

Horário:09h30 – 18h30&nbsp;Abertura de portas:09h00&nbsp;Localização:<a target="_blank" rel="noopener noreferrer" href="https://www.google.com/maps/place/Convento+São+Francisco/@40.2034418,-8.4381565,17z/data=!3m1!4b1!4m5!3m4!1s0xd22f9aa14f41745:0x3f26f440bd4b86e6!8m2!3d40.2034453!4d-8.4358783">Convento São Francisco</a><a target="_blank" rel="noopener noreferrer" href="https://www.google.com/maps/place/Convento+São+Francisco/@40.2034418,-8.4381565,17z/data=!3m1!4b1!4m5!3m4!1s0xd22f9aa14f41745:0x3f26f440bd4b86e6!8m2!3d40.2034453!4d-8.4358783">Avenida da Guarda Inglesa, nº 1 A</a><a target="_blank" rel="noopener noreferrer" href="https://www.google.com/maps/place/Convento+São+Francisco/@40.2034418,-8.4381565,17z/data=!3m1!4b1!4m5!3m4!1s0xd22f9aa14f41745:0x3f26f440bd4b86e6!8m2!3d40.2034453!4d-8.4358783">3040-293 Coimbra</a>&nbsp;&nbsp;&nbsp;Bilhetes e Passes:&nbsp;<a target="_blank" rel="noopener noreferrer" href="https://www.eventbrite.pt/e/bilhetes-parte-summit22-342616624547">Passe 2 sessões Coimbra e Loulé: 40,00€</a><a target="_blank" rel="noopener noreferrer" href="https://www.eventbrite.pt/e/bilhetes-parte-summit22-342616624547">Passe 2 sessões Coimbra e Loulé com desconto 50%: 20,00€</a>&nbsp;As vendas terminam a 25 de julho de 2022Os passes para as duas sessões da PARTE Summit estão disponíveis para venda em número limitado, contudo podem ser adquiridos bilhetes avulsos para as sessões de Loulé e Coimbra nas bilheteiras físicas ou online das respetivas salas de <a target="_blank" rel="noopener noreferrer" href="https://www.bol.pt/Comprar/Bilhetes/110819-parte_summit_22_loule-cineteatro_louletano/">Loulé</a> e <a target="_blank" rel="noopener noreferrer" href="https://www.bol.pt/Projecto/EntidadesAderentes/4079-convento_sao_francisco">Coimbra</a>.&nbsp;Descontos aplicáveis a estudantes, munícipes dos concelhos de Coimbra e Loulé, associados, membros das organizações parceiras PARTE (AICA, AAVP, Exhibitio, RPAC e outras a designar), pessoas com necessidades específicas e portadores de cartão sénior (disponível apenas mediante levantamento de bilhete nas bilheteiras físicas).

Coimbra Session

PARTE Summit is an international event that brings together some of the most prominent thinkers in the contemporary art field. It convenes different knowledge and people interested in following artistic practices in relation to the transformation of territories and societies.&nbsp;The program includes lectures, round table discussions, and performances in response to questions previously raised by the invited curators. Based on these questions, multidisciplinary panels bring together artists, authors, and other thinkers to rehearse answers or give continuity to common questions.&nbsp;PARTE Summit'22 took place on two consecutive Saturdays and in two full-day sessions in different regions of the country, on July 30, at Convento São Francisco in Coimbra, and August 6, 2022, at Cineteatro Louletano in Loulé.

International event that brings together some of the most prominent thinkers in the contemporary art field

PARTE Summit '22

Can contemporary art and artists be catalysts for change on different scales - personal, collective, structural?&nbsp;Zoé Whitley, Director of Chisenhale Gallery, poses a question charged with symbolism,&nbsp;Can contemporary art and artists change the world we live in? Can these dialogues and reflections ignite changes at a variety of scales - personal, collective, structural?&nbsp;&nbsp;&nbsp;Dr Zoé Whitley is Director of Chisenhale Gallery in London, UK whose recent programme includes new commissions by Rindon Johnson and Rachel Jones. Exhibitions to her credit include co-curating Elijah Pierce's America (Barnes Foundation, 2020), curating the British Pavilion (Venice Biennale 2019) and co-curating the award-winning international touring exhibition&nbsp;Soul of a Nation: Art in the Age of Black Power. She writes widely on contemporary artists, most recently on Suki Seokyoung Kang, Kehinde Wiley, and Faith Ringgold. Zoé is a trustee of Creative Access and Decolonising Arts Institute. She serves on the 2020-22 Arts Council Collection Committee and the Mayor's Commission on Diversity in the Public Realm. Her prior roles include Senior Curator (Hayward Gallery); Curator, International Art (Tate Modern) and Curator of Contemporary Programmes (V&amp;A). Mónica de Miranda lives and works in Lisbon and Luanda. Mónica is an Angolan/ Portuguese visual artist, photographer, filmmaker, and researcher who works on postcolonial issues of geography and history. De Miranda's work is research-based and looks at the convergence of politics, gender, memory and space. Her works typically consist of video, photography and installation and&nbsp; in its expanded forms and on the boundaries between fiction and documentary. She holds a Visual Arts Degree from the Camberwell College of Arts (London, 1998), a Master’s Degree in Art and Education from the Institute of Education (London, 2000) and a PhD in Visual Art from the University of Middlesex (London, 2014). Mónica is also one of the founders of the artistic residencies project Triangle Network in Portugal and she founded in 2014 the project Hangar – Center for Artistic Research, in Lisbon. In 2019 she was nominated for EDP Prize in Maat Museum (Lisbon, Portugal) and in&nbsp; 2016 she was nominated for Novo Banco Photo Prize and exhibited at Museu Coleção Berardo (Lisbon, Portugal) as a finalist. Mónica was also nominated for Prix Pictet Photo Award in the same year. Mónica de Miranda has participated in various residencies in institutions such as the Tate Britain, French Institute, British Council/Iniva. Her work is present in public collections like the MAAT, Ministery of Culture of Portugal, Fundação Calouste Gulbenkian, Museu Nacional de Arte Contemporânea do Chiado and Arquivo Municipal de Lisboa.

Zoé Whitley

Mónica de Miranda

Is change possible?

The last two years have changed us: as people and as communities. They have taught us to redefine habits and review priorities in personal and institutional terms. How should we reassess the spaces, structures, and modus operandi of cultural institutions to find new ways of working and bring together a plurality of voices?&nbsp; &nbsp;Together we must rethink the notions of hospitality and conviviality in cultural institutions through curation, mediation, and communication. How can institutions prioritize inclusion, representativity, and collaboration in contemporary art? &nbsp;Vincenzo de Bellis is Curator and Associate Director of Programs, Visual Arts, at the Walker Art Center, Minneapolis. He is currently working on the major Jannis Kounellis' retrospective titled&nbsp;Jannis Kounellis in Six Acts&nbsp;(2022) organized by the Walker Art Center and Museo Jumex, Mexico City. During his tenure at the Walker he has organized several exhibitions such as the group show&nbsp;The Paradox of Stillness: Art, Object, and Performance (2021); the first US museum survey of the Mexican artist&nbsp;Mario García Torres, Illusion Brought Me Here (2018); the first museum survey of&nbsp;Nairy Baghramian, Déformation Professionnelle (2017); and the group show I Am You, You Are Too (2017). He also oversaw the Walker’s presentation of&nbsp;Jimmie Durham: At the Center of the World (2017). In 2015 he curated&nbsp;Ennesima: An Exhibition of Seven Exhibitions on Italian Art at the Triennale di Milano and Betty Woodman’s survey at Museo Marino Marini, Florence, and Institute of Contemporary Arts, London. From 2009 to 2016 de Bellis was Founding Director and Curator at Peep-Hole Art Center in Milan and from 2012 to 2016 he was also Artistic Director of Miart, Milan International Fair of Modern and Contemporary Art.&nbsp;Kasia Redzisz is Artistic Director at Kanal - Centre Pompidou in Brussels. Prior to joining Kanal she served as Senior Curator at Tate Liverpool, where she was responsible for the programme and international collaborations. Between 2008 and 2015 she worked as curator at Tate Modern. At the same time, between 2008 and 2015 she was Director of Open Art Projects, an organisation dedicated to innovative art commissions. Her independent work includes many interdisciplinary projects, most recently the inaugural exhibition of Muzeum Susch (2019) and the fourth edition of the Art Encounters Biennial (2021). She is an author of books, editor of exhibition catalogues and contributor to magazines such as Frieze, Mousse and Tate Etc. Redzisz’s curatorial practice reflects her commitment to equality, experimentation and to establishing transnational dialogues between artistic practices stemming from diverse geographies.&nbsp;Filipa Oliveira is, since 2018, the Visual Arts Programmer and Curator of the City of Almada, running the Casa da Cerca Art Center and the Municipal Art Gallery. From 2015 to 2017 she was the artistic director of the Fórum Eugénio de Almeida in Évora, Portugal. Prior she worked as an independent curator for 12 years working with institutions such as Centro Cultural de Belém (Lisbon), Kettle’s Yard (UK), John Hansards Gallery (UK), Tate Modern (UK), Fundação Calouste Gulbenkian Centro de Arte Moderna (Lisbon), Fundação Carmona e Costa (Lisbon), Fondation Calouste Gulbenkian (France), Berardo Museum (Lisbon), Crac Alsace (France), Kunstverein Springhornhof (Germany), Ffotogallery (UK), Mead Gallery (UK), Frieze Projects (UK), Stills Gallery (UK), among others. She was curatorial assistant of the 28th São Paulo Biennial and in 2012 was guest curator of the Satellite at Jeu de Paume where she curated solo exhibitions of Jimmy Robert, Tamar Guimarães, Rosa Barba and Filipa César. In 2022, she co-curated with Elfi Turpin “Mid-night”, Anozero’21-22 Coimbra Biennial of Contemporary Art. She has written an extensive list of essays in catalogues and in publications. Has written essays and exhibition reviews for Arte Contexto, Contemporary and Flash Art&nbsp; L+Arte and Artforum. Luís Silva is director of the Kunsthalle Lissabon, an institution he founded with João Mourão in 2009. He is co-curator of the Portuguese Official Representation at the 59th Venice Biennale with the project “Vampires in Space” by Pedro Neves Marques. A selection of recent exhibitions he has presented at the Kunsthalle Lissabon includes solo shows by Gabriel Chaile, Manuel Solano, Sheroanawe Hakihiiwe, Ad Minoliti, Zheng Bo, Laure Prouvost, Caroline Mesquita, and Engel Leonardo. Silva has curated numerous projects independently, highlighting exhibitions in institutions such as Pivô, in São Paulo, Extra City, in Antwerp, David Roberts Art Foundation, in London, Fundação Arpad Szenes - Vieira da Silva and MAAT, in Lisbon, or MACE, in Elvas. In addition to his curatorial practice Luís Silva was also contributing editor of the CURA. magazine and co-editor of the&nbsp;Performing the Institution(al) publication series, as well as of several monographic volumes. He was co-curator of ZONA MACO SUR (2015 - 2017), the solo projects section of the contemporary art fair in Mexico City and of the Disegni section (2017 -2019) of Artissima in Turin.

Vincenzo de Bellis, Kasia Redzisz, Filipa Oliveira & Luís Silva

Vincenzo de Bellis

Kasia Redzisz

Filipa Oliveira

Luís Silva

How can cultural institutions operate differently and build diverse experiences in light of recent changes and events? & How can institutions host, live and work together?

Walking into a gallery, a museum, an independent space, a biennial, an exhibition place is always an experience. We visit art exhibitions, but do we actually look at the artworks on display? What are our reasons for going out to encounter works of art? What pushes us to get out of our comfort zone and rediscover the world?&nbsp;&nbsp; Daniel Baumann is a Swiss art historian (lic. ès lettres, Université de Genève), curator, and critic. He served as curator from 1996 to 2014 of the Adolf Wölfli Foundation, Museum of Fine Arts Bern, Switzerland. In 1997, he curated Martin Kippenberger. Respektive at Mamco in Geneva. He was the curator of&nbsp;Kunsttangente, a public art project in Basel, Switzerland (2003-2010), and curated, in 2003,&nbsp;Junge Szene at Secession in Vienna. In 2004, he started an exhibition series in Tbilisi, Georgia (until 2009/2016). In 2009, he curated&nbsp;Fantastic Tavern: The Tbilisi Avant-Garde at Casey Kaplan Gallery in New York (in collaboration with Nana Kipiani). From 2008 to 2013, Baumann ran the Basel exhibition space New Jerseyy together with Tobias Madison, Emanuel Rossetti, and Dan Solbach. He was the curator of the&nbsp;2013 Carnegie International at Carnegie Museum of Art, Pittsburgh, along with Dan Byers and Tina Kukielski. He is a contributor to magazines such as&nbsp;artforum,&nbsp;Frieze,&nbsp;Piktogram, Spike, et al. Daniel Baumann is the Director of Kunsthalle Zürich, Switzerland, since 2015. Gabriel Abrantes, born in North Carolina, United States, in 1984. His films have premiered at the Quinzaine des Réalisateurs and Semaine de la Critique - Cannes, Berlinale, Locarno Film Festival, the Venice Biennial, and the Toronto International Film Festival. They have been distinguished with a number of awards, including the Grand Prix at the Semaine de la Critique, the EFA prize at Berlinale, the Golden Leopard at Locarno Film Festival, and the EDP Young Artist Award. His work has been exhibited at the Whitechapel Gallery and Tate Britain (London), the Palais de Tokyo (Paris), the MIT List Visual Arts Center (Boston), the Kunst Werke (Berlin) and Serralves Museum (Porto). He participated in the 32nd São Paulo Biennial, the 2016 Bienal Tropical, and the 2014 Bienal d’Image Mouvement. His work has been shown in retrospective screening series at the Lincoln Center (New York) and BAFICI (Buenos Aires). He currently lives and works in Lisbon.

Daniel Baumann

Gabriel Abrantes

Why do we look at exhibitions?

Has the conceptual charge of performance brought us closer to or further away from this artistic practice? What is the weight of the centennial concept that moves performers, actors, and artists in moments crystallized in time? How does one differentiate a live performance and the representation in the form of documentation? How does one incorporate the archive and the construction of memory into the impact of this practice? Has the "free" spirit of performance died or changed? &nbsp;&nbsp;Hendrik Folkerts is Curator of International Contemporary Art at the Moderna Museet, Stockholm. Folkerts previously was Dittmer Curator of Modern and Contemporary Art at the Art Institute of Chicago (2017-2022); Curator at documenta 14, Kassel/Athens (2014-2017); Curator of Performance, Film, and Discursive Programs at the Stedelijk Museum, Amsterdam (2010-2015); and Coordinator of the Curatorial Program at De Appel arts centre, Amsterdam (2009-2011). Folkerts specializes in commissioning and an artist-centered curatorial approach that highlights notions of care, hospitality, and process-based exhibition-making. He has curated numerous solo and international group exhibitions as well as collection presentations, new commissions, and program series, anchored in the expanded field of performance and building on feminist, queer, and anti-colonial histories of art. David Cabecinha (1987) is a graduate of the Lisbon Film and Theatre School (Lisbon), where he studied theatre/acting. He has worked regularly in the performing arts field and cinema since 2008, as dramaturgist, co-script writer, actor, producer and director’s assistant. He has worked with Portuguese theatre companies such as mala voadora, choreographers such as Dinis Machado, Rita Natálio and João dos Santos Martins and film directors such as Jorge Jácome and Carlos Conceição. From 2016 to 2017 he assumed the artistic direction of Temps d’Images Festiva, promoting experimentation by emerging artists and consolidated artists such Vera Mantero and Apichatpong Weerasethakul. In 2018, with Carla Nobre Sousa, he assumed the artistic direction of Alkantara, defending the diversification of cultural programmes and promoting public discussions through performing arts works that contribute to more inclusive and accessible futures.

Hendrik Folkerts

David Cabecinha

Twenty years into the institutionalization of performance, is performance still alive?

Rita Natálio is an artist and researcher. Non-binary lesbian. Natálio’s practice spaces relate poetry, essayistic writing and performance. PhD student in Art Studies at FCSH-UNL and Anthropology at USP, with FCT scholarship, researches since 2014, the recent debate on the concept of Anthropocene and its impact on the disciplinary and aesthetic redefinition of the relations between art, politics and ecology. The artist studied Choreographic Performing Arts at the University of Paris VIII and holds a Master's degree in Psychology from PUC-SP where Natálio studied the relations between imitation and invention in the work of Gabriel Tarde. From the doctoral research, Natálio held a series of conference-performances, including "Antropocenas" (2017) with João dos Santos Martins, "Geofagia" (2018) and "Fossil" (2020). Rita Natálio has also published two books of poetry ("Handicrafts", 2015 and "Human Plants", 2017). In 2019, Rita participated in a curatorial group fostered by Ailton Krenak that organized "Ameríndia: percursos do cinema indígena no Brasil" at the Calouste Gulbenkian Foundation, a show that brought 5 indigenous filmmakers to Portugal and presented more than 30 films of indigenous production. In 2020, Rita Natálio co-organized the seminar "Re-politicizing the Anthropocene" within the international project Anthropocene Campus Lisbon together with Davide Scarso and Elisabeth Johnson, a project originated at HKW in Berlin and currently disseminated in several cultural institutions. Co-organizes, with André e.Teodósio, a publishing imprint Ed.______ that results from the partnership Sistema Solar/Teatro Praga and focuses on performing arts and systems of power and protest today. Rita Natálio regularly collaborates with the performing arts journal Corea.

Rita Natálio

Performance

Fernanda Fragateiro (Montijo, 1962) lives and works in Lisbon. By operating in the three-dimensional field and challenging the tension between sculpture and architecture, her work enhances relationships with place, placing the viewer in a performative situation. Some of her projects result from collaborations with architects, landscape architects, artists and performers. Fragateiro's projects are characterized by a strong interest in rethinking and investigating modernist practices. Her practice involves an archaeological approach to the social, political, and aesthetic history of modernism through ongoing research with archival material, documents, and objects. Her sculptural and architectural interventions in unexpected spaces (a monastery, an orphanage, a ruined house) and her subtle alterations of existing landscapes reveal buried histories of construction and transformation. The artist’ work is held in several public and private collections. Fernanda Fragateiro is represented by Galeria Elba Benitez (Madrid), Josée Bienvenu Gallery (New York), Galeria Filomena Soares (Lisbon), and Irène Laub Gallery (Brussels).

Fernanda Fragateiro

Artist's Project

What is art's role in addressing gender discrimination? Despite the many initiatives taken to generate structural changes, gender discrimination is still thriving, and much still needs to be done to enhance women's equality in the arts and society. If art aims to have a real impact in the commitment to gender equality, what's its role in addressing this issue as a distinct practice? How can we enhance women's fundamental contribution to contemporary culture? In what ways can we explore the notion of femininity in the arts?&nbsp;&nbsp;&nbsp; Bruna Roccasalva is Artistic Director of Fondazione Furla. At Fondazione Furla, she&nbsp; curated a series of exhibitions organized in collaboration with Italy’s foremost art institutions:&nbsp;Nairy Baghramian. Misfit,&nbsp;(2021) with GAM-Galleria d’Arte Moderna, Milan (2021);&nbsp;Haegue Yang: Tightrope Walking and Its Wordless Shadow with La Triennale, Milan (2018); and the performance-based program&nbsp;Time after Time, Space after Space&nbsp;(2017-2018) with the Museo del Novecento, Milan. She was Editor in Chief of L'Officiel Art magazine (2016-2019) and Editor of Peep-Hole Sheet (2009-2016). Prior to joining Fondazione Furla in 2016, she was Founding Director and Curator of Peep-Hole Art Center, an independent contemporary art center in Milan, which she co-founded in 2009. At Peep-Hole she co-curated solo exhibitions of artists and she developed projects in partnership with several institutions, such as Kunsthalle Zürich, the Contemporary Art Center, Vilnius, CAC Centre d’Art Contemporain, Brétigny, Portikus, Frankfurt, Kunst Halle Sankt Gallen, FRAC Champagne Ardenne, Reims and CAG, Vancouver. She was Head of Publications at Mousse Publishing (2010-2011) and Associate Curator at GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo (2003-2009), where she collaborated on solo and group exhibitions and worked on several publications, such as monographs by Alighiero Boetti and Giulio Paolini. She taught History of Contemporary Art at the IED-Istituto Europeo di Design in Milan (2006).&nbsp;&nbsp;Ana Cristina Cachola (1983, Elvas, PT) is an independent curator, university professor and writes regularly for artistic and academic publications. She has a degree in Communication Sciences from Universidade Nova de Lisboa and a Master in Cultural Management from Universidade Católica Portuguesa (UCP). She holds a PhD in Cultural Studies from UCP, research funded by the Foundation for Science and Technology. In 2016, she obtained an individual post-doctoral fellowship, from the same Foundation. She is part of the team leading the European project 4Cs: from Conflict to Conviviality through Creativity and Culture, supported by Creative Europe. She has curated solo and group exhibitions in institutions such as MAAT, Calouste Gulbenkian Foundation, Galeria da Boavista (Lisbon), 50 Golborne (London), La Nave (Madrid), among others. She is artistic director of the project Community while Immunity and founded and directs the feminist curatorial program Quéréla, in Lisbon, since 2020.&nbsp;Using painting, photography and experimental video to portray identity processes, blackness, memory and healing, Filipa Bossuet is the culmination of an interest in the arts, journalism and everything that makes her feel alive. She graduated in Communication Sciences, is a student in the Migrations, Inter-ethnicities and Transnationalism master's program, and is a member of the Black Arts Union. Since the professionalization of her artistic work, in 2020, she has directed and edited the video about the performance "Coronas in the Sky, Not a Manifesto! an essay on Afrofuturism" by Melissa Rodrigues; participated in the group exhibitions: "Linguagens e Identidades" at Rama em Flor Festival, "Kilombo" at Espaço Alkantara curated by Aurora Negra and "Linha Imaginária" at MU.SA (Sintra Arts Museum), in 2021. In the same year, she illustrated the book "Sempre que Acordo" by Lara Mesquita, cover of the 1st edition of the New Female Authorship Dramaturgy Award, by the Cepa Torta Theater Company. She also developed the concept MANKAKA KADI KONDA KO which branches out, in a first moment, into her first independent solo installation, in a 360º virtual context, of immersion into the artist's physical and mental creative space. In 2022, the concept develops into a second ramification, in a physical installation, present in the exhibition "Interferences" at MAAT.

Bruna Roccasalva, Ana Cristina Cachola & Filipa Bossuet

Coimbra Session

Is change possible?

Zoé Whitley

Mónica de Miranda

How can cultural institutions operate differently and build diverse experiences in light of recent changes and events? & How can institutions host, live and work together?

Vincenzo de Bellis

Kasia Redzisz

Filipa Oliveira

Luís Silva

Why do we look at exhibitions?

Daniel Baumann

Gabriel Abrantes

Twenty years into the institutionalization of performance, is performance still alive?

Hendrik Folkerts

David Cabecinha

Performance

Rita Natálio

Performance

Artist's Project

Fernanda Fragateiro

Artist's Project

How can institutions and artists raise awareness of feminist thought, challenge notions of gender identity, and champion women's voices?

Bruna Roccasalva

Filipa Bossuet

Ana Cristina Cachola