installations
Restitution Currents:
Abolish the Museum
In collaboration with Frame Colectivo, I developed the scenography, scenographic production, and assembly of the exhibition Correntes de Restituição: Abolir o Museu (Currents of Restitution: Abolishing the Museum), curated by Ana Salazar, at Hangar - Centro de Investigação Artística, where works by South American artists Sandra Gamarra, Pamela Cevallos, and Astrid González were exhibited. The artists, and here I borrow some words from Ana, "respond to archaeological and ethnographic collections in Europe that affirm colonial narratives, investigating the core of the ‘universal museum’ and bringing back to life the objects they have found in these spaces. Restitution cannot be negotiable. (...) The works presented contribute to ongoing conversations about the colonial collections of museums, which house millions of objects from diverse ethnic communities, particularly from the Global South. (...) To reclaim an object that belonged to them, a community or a people must negotiate its return within the same frameworks that expropriated them. What is the work of decolonization, if not to create the conditions to abolish a world
sustained by the exploitation of millions? (...) The three artists presented dare to do just that: reactivate emancipatory utopias."
collaboration: Agapi Dimitriadou, Gabriela Salhe, Ana Salazar, Museum for the Displaceded, Marcela Gonçalves, Beatriz Granado, equipe de montagem de André Tasso, Gustavo e Rodrigo.
and thanks to the Palestinian café Ni'lin.
Lisbon, Portugal, 2025
photos by Bruno Simão and Cristina Balta
Impermanent Map
Cumplicidades Festival 2025
At the invitation of performer Lucas Damiani and curators and choreographers Sofia Dias e Vitor Roriz, Mapa Impermanente (Impermanent Map) was a research and mediation project developed for the Cumplicidades Festival 2025. Each artistic proposal conceals a body of texts, drawings, songs, scores, videos, and other materials that accompany the creation, either as a way of documenting the process or as a source of inspiration and creative influence. In dialogue with each artist in the Festival, several of these living archives were collected so that a visual and sound map could be drawn up to relate them to each other: a cartography where the desires, motivations, and intentions of each process could be identified, as well as the affinities and correspondences between different artists. It was a cumulative installation, as it integrated the documentary material of the performances as they were presented at the Festival. It was also an installation in constant transformation and of a participatory nature, since in each of the venues where it was presented—MAAT (Museum of Art, Architecture, and Technology), CCB (Belém Cultural Center), and TBA (Bairro Alto Theater)—it was collaboratively reconfigured.
Lisboan, Portugal, 2025
photos from personal collection and taken by Aline Belfort
Boldo Landscape,
by Gustavo Ciriaco and João Gonçalo Lopes
At the invitation of architect João Gonçalo Lopes and choreographer Gustavo Ciríaco, I was able to collaborate in the design of the space and in the assembly of the temporary artistic installation Paisagem Boldo. The project had already been built in the city of Porto, Portugal, and this time we assembled it in the courtyard of the Centro Cultural Belém (CCB).
The installation's concept is based on the imagination of Rio de Janeiro choreographer João Saldanha, who wanted to illustrate his childhood imagination while cycling through the streets of Rio in the 1960s. As a way of permeating the space, bicycles were made available so that the presences in the space, the dances among elements of João's imagination, could be of the most diverse.
Lisbon, Portugal, 2024
photos from personal collection and taken by Aline Belfort
GIFE Pavilion
In collaboration with Goma Oficina, which was then invited by GIFE to hold the First GIFE Social Innovation Exhibition, we began the architectural and assembly process in the Mário Schenberg gallery, provided by FUNARTESP, where we were able to prototype and experiment with various possible solutions: we were thinking about the suitability of the collection on display, the location in which it would be installed and the possibility of itinerancy, in addition to the tectonics itself.
So, once we had decided on a modular aluminum system, thought of as a reusable material, and a fence made of agricultural fabric, chosen for its permeability, the project took place in such a way as to articulate the lively context that is the CCSP, with the possibility of introspection that the projects exhibited in the show could lack.
Although we didn't select the collection ourselves, it was very important to contribute to the possibility of broadening the recognition of social projects linked to GIFE.
Sao Paulo, Brazil, 2019
photos from personal collection and available on the Goma Oficina website
Pedagogical Construction Site
Critical Concrete is a project that seeks not only the horizontal exchange of learning on a construction site, but also sustainable and responsible ways of carrying out a project, respecting the material and contextual possibilities.
For a few months, between visits, I was able to collaborate with the construction of a green roof at the project's current headquarters - at the time, it was still a house that welcomed us for work and had previously been an old school and convent. Exchanges took place all over the place, from workshops on mortar, masonry and wooden structures, which each person understood better how to carry out, to recipes that we cooked together for lunch, as a way of bonding and sharing knowledge.
Every week we received a group of people who were going through social reintegration processes, where the exchanges extended to other contexts.
Porto, Portugal, 2019
photos from personal collection and available on Critical Concrete's instagram
