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/Cineteatro+Louletano/@37.1380131,-8.0228142,17z/data=!3m1!4b1!4m5!3m4!1s0xd1ab1142121a4c7:0xfd872954be0b95d5!8m2!3d37.1380056!4d-8.0206168">Cineteatro Louletano</a><a target="_blank" rel="noopener noreferrer" href="https://www.google.com/maps/place/Cineteatro+Louletano/@37.1380131,-8.0228142,17z/data=!3m1!4b1!4m5!3m4!1s0xd1ab1142121a4c7:0xfd872954be0b95d5!8m2!3d37.1380056!4d-8.0206168">Avenida José da Costa Mealha</a><a target="_blank" rel="noopener noreferrer" href="https://www.google.com/maps/place/Cineteatro+Louletano/@37.1380131,-8.0228142,17z/data=!3m1!4b1!4m5!3m4!1s0xd1ab1142121a4c7:0xfd872954be0b95d5!8m2!3d37.1380056!4d-8.0206168">8100-501 Loulé</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/Cineteatro+Louletano/@37.1380131,-8.0228142,17z/data=!3m1!4b1!4m5!3m4!1s0xd1ab1142121a4c7:0xfd872954be0b95d5!8m2!3d37.1380056!4d-8.0206168">Cineteatro Louletano</a><a target="_blank" rel="noopener noreferrer" href="https://www.google.com/maps/place/Cineteatro+Louletano/@37.1380131,-8.0228142,17z/data=!3m1!4b1!4m5!3m4!1s0xd1ab1142121a4c7:0xfd872954be0b95d5!8m2!3d37.1380056!4d-8.0206168">Avenida José da Costa Mealha</a><a target="_blank" rel="noopener noreferrer" href="https://www.google.com/maps/place/Cineteatro+Louletano/@37.1380131,-8.0228142,17z/data=!3m1!4b1!4m5!3m4!1s0xd1ab1142121a4c7:0xfd872954be0b95d5!8m2!3d37.1380056!4d-8.0206168">8100-501 Loulé</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>As vendas terminam a 25 de julho de 2022&nbsp;Os 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).

Loulé 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 art help make the world a better place? Is art capable of imagining and proposing alternatives? Can art remain essential when struggling to survive? After the first months of the pandemic, how do we describe the new personal relationships? What is the new relationship established between humans and objects?&nbsp;&nbsp;&nbsp;Neringa Bumblienė is Curator at the Contemporary Art Centre (CAC) in Vilnius, Lithuania, since 2014. She has respectively graduated from the Vilnius Academy of Arts with a Master’s degree in Curatorial Studies, and from the curatorial school École du Magasin in Grenoble, France. Throughout her career, she has worked on numerous contemporary art projects from large-scale international group exhibitions, such as&nbsp;Head with Many Thoughts (2020) and&nbsp;Baltic Triennial 13. Give Up the Ghost&nbsp;(2017-2018) to solo presentations of established and emerging artists. Her recent curatorial projects include the following solo exhibitions:&nbsp;The Board by Robertas Narkus at the gallery Vartai in Vilnius (2020);&nbsp;Return by Michael Rakowitz (2020),&nbsp;Tactics &amp; Techniques by Alejandro Cesarco (2019),&nbsp;Phantom by Daniel Steegmann Mangrané (2018), and&nbsp;The Light is no Brighter at the Centre by Liam Gillick (2017), the latter four at the CAC in Vilnius. She is the Curator of the Pavilion of Lithuania at the 59th International Art Exhibition – La Biennale di Venezia with the project&nbsp;Gut Feeling by Robertas Narkus (2022) and the Artistic Director of the 1st Vilnius Biennial for Performance Art to be held in 2023.&nbsp;Pedro Barateiro (Almada, 1979) works in a variety of media, including sculpture, film, performance, writing and drawing. His work has focused on the deconstruction of western binary narratives. Barateiro organizes events and exhibitions at Spirit Shop, a space managed by him and attached to his studio in Rua da Madalena in Lisbon. In 2020, together with a group of artists, he started the AAVP - Association of Visual Artists in Portugal. He held solo exhibitions at CRAC Alsace (2022), Kohta (2022), Rialto6 (2021), REDCAT (2016), Museu Coleção Berardo (2015), Kunsthalle Basel (2010), Kunsthalle Lissabon (2010), Lumiar Cité (2010), Museu de Serralves (2009), among many others. He has participated in group exhibitions such as the 13th Sharjah Biennial (2017), 20th SESC - Videobrasil (2017), 29th São Paulo Biennial (2010), 16th Sydney Biennial (2008) and 5th Berlin Biennial (2008). Barateiro edited the books Temporary Collaborations and ACTIVITY (JRP|Ringier) with artist Ricardo Valentim. He edited the monographs How to Make a Mask, (Kunsthalle Lissabon/ Sternberg Press), The Artist as Spectator and É só uma ferida (Documenta/ Mousse Publishing).

Neringa Bumblienė

Pedro Barateiro

What can art do in times of crisis, and is it able to imagine and propose alternatives outside of the exhibition room?

The notion of art history is increasingly broader and more multi-discursive, encompassing various forms of expression and not limited to a single canonical model. Starting from the model of the expanded cinema of the 1960s and 70s, independent, anti-institutional and with strong roots in the counterculture, made with few means (financial and material), how can we rethink or imagine an "expanded art history", made also at the margins of institutions? How can we expand or broaden our perception and understanding of today's art production?&nbsp; &nbsp;&nbsp;Philippe-Alain Michaud is Curator at the Musée National d’Art Moderne – Centre Pompidou in charge of the collection of films. He is the author of&nbsp;Aby Warburg and the Image in Motion (Zone Books, 2002 and Macula 2012),&nbsp;Le peuple des images&nbsp;(Desclée de Brouwer, 2004),&nbsp;Sur le film (Macula, 2016),&nbsp;Âmes primitives. Figures de film, de peluche et de papier&nbsp;(Macula, 2019) and has written extensively on the relations between film and visual arts. He has curated a number of exhibitions among which include:&nbsp;Comme le rêve le dessin (Musée du Louvre / Centre Pompidou, 2004),&nbsp;Le mouvement des images (Centre Pompidou, 2006),&nbsp;Nuits électriques (Musée de la photographie, Moscou and Laboral, Gijón, Spain, 2007),&nbsp;Tapis volants (Villa Médici, Rome and Les Abattoirs, Toulouse, 2010),&nbsp;Images sans fin, Brancusi photographie, film (Centre Pompidou, 2012),&nbsp;Beat Generation (Centre Pompidou, 2016),&nbsp;L’œil extatique – Serguei Eisenstein à la croisée des arts (Centre Pompidou-Metz, 2019).&nbsp;Emily Wardill (1977) lives and works in Lisbon. Wardill’s work has been exhibited in solo shows including Rialto 6 (2022), Secession (2020) Kohta (2019) Bergen Kunsthall (2017), Gulbenkian Project Spaces (2017), INDEX, Stockholm (2014), The National Gallery of Denmark, Copenhagen (2012); de Appel arts centre, Amsterdam (2012); The Contemporary Art Museum St Louis (2011) List Centre MIT Boston and ICA, London (2007–08). Her work was included in group shows at Te Tuhi, New Zealand (2019), XYZ Collective, Toyko (2019) The Biennale of Moving Images, Geneva (2016), Salzburger Kunstverein (2015), the Serpentine Gallery London (2012), the Showroom Gallery London (2010), the Gallery of Modern Art Glasgow (2011), the MIT List Visual Arts Center in Cambridge/MA (2010), the ICA, London (2008), the Hayward Gallery, London; Witte de With, Rotterdam; MUMOK Vienna; and MOCA, Miami. Her work was awarded the Jarman Award in 2010 and the Leverhulme Award in 2011. She participated in the 54th Venice Biennale (2011) and the 19th Sydney Biennale (2014). Some of the international collections holding Wardill's work are Tate Britain, MUMOK Vienna, Gulbenkian Art Museum, Fonds Municipal d’Art Contemporain de la Ville de Genève and the Arts Council Collection as well as numerous private collections. She is represented by Carlier Gebauer (Berlin) and Altman Siegal (San Francisco). Wardill is currently undertaking a practice-led PHD at Malmo Art Academy, Sweden.

Philippe-Alain Michaud

Emily Wardill

On the model of the expanded cinema of the 1960s and 70s, can we imagine an "expanded theory of cinema"  susceptible to enlarge our perception and understanding of artists' films production of today?

Given the nature of modern and contemporary art museum collections in the context of antiracist and decolonial discourses, we question: how do museums adopt new models and methodologies? How can institutions respond to the urgency of socio-political agendas and appeal to the action of society at large? How can museums shift from models rooted in ownership, permanence and perpetuity to models that privilege interaction, collaboration and sharing? How can the de-modernization of contemporary art institutions happen? What models can be replicated in the art ecosystem? Should art institutions and presentation spaces look at processes in sectors beyond culture, where these processes are under discussion and underway? What skills should be used to start this process?&nbsp;&nbsp; Clara Kim is The Daskalopoulos Senior Curator, International Art at Tate Modern where she is responsible for the research, acquisition and interpretation of art from Africa, Asia &amp; Middle East. Her work at Tate aims to build new narratives, historiographies and curatorial methodologies on postwar art histories that chart transnational/transcultural connections and explore socio-political conditions shaped by postcolonialism and geopolitical order to challenge canonical readings. She also sits on the Steering Committee of the Hyundai Tate Research Center: Transnational. Outside of Tate, Kim curated&nbsp;Imagined Nations/Modern Utopias for the 2018 Gwangju Biennale and&nbsp;Condemned to be Modern&nbsp;for the Getty Foundation’s city-wide initiative Pacific Standard Time in Los Angeles in 2017. Kim has held multiple curatorial positions over the last two decades including as Senior Curator of Visual Arts at the Walker Art Center (Minneapolis); Gallery Director &amp; Curator at REDCAT/CalArts (Los Angeles), and Senior Researcher at the Asian Cultural Complex (Gwangju, South Korea). She studied art history at the University of California, Berkeley and at the University of Chicago.&nbsp;Sofía Hernández Chong Cuy is the Director at the Kunstituut Melly in Rotterdam, The Netherlands. Prior to that, she was the Curator of Contemporary Art at Colección Patricia Phelps de Cisneros in Caracas and New York from 2011 to 2017. In 2016-2017, she was also Guest Curator at the Bronx Museum of the Arts in New York. In 2013, Sofía Hernández Chong Cuy was Artistic Director and Chief Curator of the 9a Bienal do Mercosul | Porto Alegre in Brazil. Before, she was an agent of dOCUMENTA(13) in Kassel. In the past, Sofía Hernández Chong Cuy has been Director of Museo Tamayo in Mexico City and held curatorial positions in New York at Art in General and Americas Society. She is also a counselor for Fundación Alumnos47 in Mexico City, and is a board member of Creative Time in New York. Rodrigo Saturnino. Digital sociologist, visual artist and graphic activist. Holds a PhD in Sociology from the Institute of Social Sciences of the University of Lisbon and a Post-Doctorate at the Center for Communication and Society Studies of the Institute of Social Sciences of the University of Minho where he is currently developing research on digital Internet platforms and algorithmic racism. Rodrigo Saturnino published in several academic and scientific journals nationally and internationally. As a visual artist, develops a work with a focus on decolonial criticism. He has participated in several group and solo exhibitions in Portugal, such as at Feira Gráfica de Lisboa (2020), at Casa do Capitão (2021) with Gisela Casimiro, at Espaço Damas with the support of Dgartes (2021), at Festival Bairro em Festa from Largo Residências (2021), at Galeria Not a Museum (2021) and MAAT - Museum of Art, Architecture and Technology (2022). In addition, he participated in festivals and projects, such as the Walk&amp;Talk Azores 2020 Festival and the Community as Immunity Project, curated by Ana Cachola and supported by Dgartes and the Project “Primeiro Rascunho”&nbsp; by Teatro do Bairro Alto, and Campo de Treino (2021), curated by SOS Racismo, Jota Mombaça and Filipa César. Saturnino is a Founding Member of the Black Union of Arts. He is currently developing a scenario for the project “Pê – Prefixo de Desumanização”, together with Cláudia Semedo, Gisela Casimiro, Kalaf Epalang, among other artists. The artist is also preparing a work together with Gisela Casimiro to be presented in September at the Municipal Galleries of Lisbon. Mariana Pestana (1982) lives and works in Lisbon. She is an architect, curator and researcher. PhD in Architecture from Bartlett School of Architecture (2019), she creates cultural programs such as exhibitions, events and installations and among them The Future Starts Here (V&amp;A, 2018) and Eco Visionaries (Maat, Royal Academy and Matadero, 2018-19) or the 5th Istanbul Design Biennial (2020-21). &nbsp;She is co-founder and director of the interdisciplinary studio The Decorators and Guest Assistant Professor at Instituto Superior Técnico in Lisbon.

Clara Kim, Sofía Hernández Chong Cuy, Rodrigo Saturnino & Mariana Pestana

Clara Kim

Sofía Hernández Chong Cuy

Rodrigo Saturnino

Mariana Pestana

How can museums shift from collecting models rooted in ownership, permanence and perpetuity to ones that privilege interaction, collaboration and exchange? & What if we de-modernized contemporary art institutions?

Inês Neto dos Santos is a multidisciplinary artist, currently based in Brussels. She holds a Master of Arts in Visual Communication at the Royal College of Art (2016) and a degree in Graphic and Media Design and Illustration at the London College of Communication (2013). Her artistic practice moves between performance and installation, investigating the relationships between what we eat and how we eat. Her work makes use of food, people and spaces as metaphors to rethink the socio-political contexts in which we find ourselves; creating environments and structures through which to explore themes such as sustainability, narrative, collaboration and symbiosis.Inês exhibits and teaches frequently. Recent exhibitions include: Digerir el mundo donde está - CaixaForum, Barcelona (2022); The London Open 2022, The Whitechapel Gallery; The Dinner Table - San Mei Gallery (2021/2022); Biennale of the Western Balkans 2020 - Art Pluriverse: A Community Science Series (online); Block Universe, London (2020); Design Museum London - Wastelands (2020); Galeria Municipal de Almada - A Sonic Youth (2019); Walk&amp;Talk Azores 2019; Victoria and Albert Museum+Arcade East - A Toolkit for the Future, London (2018). In 2021, together with the artist Nora Silva, he founded the course Food Cosmogonies, an online platform that proposes a re-conceptualization of the world through food, in its historical, socio-political, anthropological and metaphorical dimensions.&nbsp;&nbsp;Photo Credits: Open Space 2019 © Ben Peter Catchpole

Inês Neto dos Santos

Artist Project

Today we live divided into several social worlds. However, we can choose to participate in or organize activities that welcome, learn together, and discuss common themes. These activities can thrive in cultural institutions or partner organizations, which promote access to culture through the interaction and exchange of experiences of a local community in continuous evolution. &nbsp; Abaseh Mirvali&nbsp;is a Curator and Cultural Project Producer with a career-long commitment to civic engagement and public service through innovative collaborations between contemporary art initiatives and the community at large. Between 2018 and 2020, Mirvali served as Executive Director, Chief Curator, and CEO at Museum of Contemporary Art Santa Barbara (MCASB), in California, USA, where she established a world-class level exhibition program, accompanied by substantive and innovative education and engagement initiatives. Mirvali is the author of the concept and program development of the 2013 edition of The Biennial of the Americas, where she served as CEO, Executive Director, and Comisaria from 2011 to 2013. She was the Chief Curator of&nbsp;Draft Urbanism, an innovative and groundbreaking exhibition of urban architectural interventions. Between 2005 and 2009, Mirvali was the Executive Director of the Colección/Fundación Jumex Arte Contemporáneo, where she consolidated and developed one of the most distinguished collections of contemporary art for a private institution in Latin America.

Abaseh Mirvali

Jesse James

Are cultural institutions integral to the creation of identity in a community?

In an increasingly liquid society, where new forms of communion and dialogue between living forms and their ecosystems transpire, can museums foster these more fluid models? Can water as a living organism serve as backdrop to more sustainability-conscious and inclusive institutions, thus evoking new social and ecological and bodily reflections?&nbsp;&nbsp; Andrea Lissoni, PhD, is since 2020 the Artistic Director of Haus der Kunst, Munich. Formerly Senior Curator, International Art (Film) at Tate Modern, London, and curator at HangarBicocca, Milan. At Tate he launched and co-curated new exhibition formats, as the 2017 and 2018 Live Exhibition, the collection display and the live programme at the opening of the new building in 2016, and curated Philippe Parreno’s Turbine Hall Commission 2016, and survey exhibitions of artists Joan Jonas and Bruce Nauman. His research concerns liveness, cinematic aspects in time-based artworks, the perception of time and forms of transmitting, sharing and engaging in contemporary arts. He explores these through trans-disciplinary approaches to exhibition-making, focusing on artistic contexts across non-dominant cultures and subcultures, among which, music and sound in particular.&nbsp;Jorge Jácome (b. 1988) is a filmmaker and artist based in Lisbon. He was born in Viana do Castelo and grew up in Macau. He graduated in Direction and Edition at Escola Superior de Teatro e Cinema - Lisbon, and holds a post-graduation at Le Fresnoy – Studio National des Arts Contemporains in France. In his works, which blurs the lines between documentary and fiction, he investigates relations between utopias, nature, disappearance and desire. His films have been shown in festivals and exhibition contexts — Berlinale, Toronto International Film Festival, San Sebastian, New York Film Festival, 25 FPS, Winterthur, IndieLisboa, Curtas – Vila do Conde, Palais de Tokyo, MoMa, Tabakalera, among others. His projects won several awards, such as: Critics FIPRESCI Prize (Forum) at the Berlinale with&nbsp;Super Natural (2022); Best Film Award in Hamburg Short Film Festival, Grand Prize at Indielisboa — with&nbsp;Past Perfect (2019); Grand Prix at 25 FPS, Best Film Award in Hamburg Short Film Festival, Punto de Vista, BIEFF, New Talent at IndieLisboa — with&nbsp;Flores (2017), among others.Parallel to his work as a filmmaker he works as an editor of projects by other filmmakers and regularly collaborates in performing arts projects.

Loulé Session

What can art do in times of crisis, and is it able to imagine and propose alternatives outside of the exhibition room?

Neringa Bumblienė

Pedro Barateiro

On the model of the expanded cinema of the 1960s and 70s, can we imagine an "expanded theory of cinema" susceptible to enlarge our perception and understanding of artists' films production of today?

Philippe-Alain Michaud

Emily Wardill

How can museums shift from collecting models rooted in ownership, permanence and perpetuity to ones that privilege interaction, collaboration and exchange? & What if we de-modernized contemporary art institutions?

Clara Kim

Sofía Hernández Chong Cuy

Rodrigo Ribeiro Saturnino

Mariana Pestana

Artist Project

Inês Neto dos Santos

Artist Project

Are cultural institutions integral to the creation of identity in a community?

Abaseh Mirvali

Jesse James

What about the water, is it the museum too?

Andrea Lissoni

Jorge Jácome