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maat workshops exhibition
maat workshops exhibition
03/09/2022 - 03/09/2022

Interferences Agenda


Interferences: Emerging Urban Cultures introduces other sides to this city we live in, delving into the corners that we rarely see. It looks at the city’s diversity and the strength it represents, shining a light on the people and their stories in a segmented and antagonistic metropolis.

The exhibition sections (PreambleAgainst the Muteness of WallsCoercion, Resistance and IdentitiesCity Design: Common, Us by Us, Network City, The Right to ImagineMonument) and themes define the programme of events that are also incorporated into the Interferences narrative. It is intended that some of them will contribute with material to the exhibition as part of a dynamic project that develops over the six months in which the exhibition is open to the public.
The exhibition itinerary intersects with the agenda's different moments, with themed sections that are symbolically equivalent. These also function independently and generate dialogues with the exhibition’s core theme: the design of the city and its actors.

The elements on exhibition and the programmed intangible events are there to decode absences. Nothing is definitive here. The exhibition is also organised like a cadavre exquis, setting space aside so that this dialogue can be augmented, through five months of workshops.


Informal tour of the exhibition

Programmed with Tristany, the tours take place inside the exhibition in a relaxed, almost neighbourhood atmosphere. Performers are invited to interact with the various sections of the exhibition.
Performers: Mava and Valdo
Co-curated by Tristany and the exhibition curators

Talk “Inhabited Designs”, with Ana Rita Alves, Anita Lopes and Julia Nogueira

Moderated by Ana Naomi de Sousa
The talk "Inhabited Design" questions who really designs the city we inhabit, through the life and work experiences of four women living in Lisbon.

Talk “Street and Gallery”, with Maria Imaginário, Obey SKTR and Ricardo Campos

Moderated by Teresa Fradique
“The once considered vandal, the non-artist, is finally allowed in the museum, in the gallery... Hesitant, he feels the weight on his shoulders (...).” (Obey SKTR)
The street as gallery, the gallery in the street or the street in the gallery? The processes of artification and aestheticization of alternative creative practices, namely those that emerge in an urban context, have been widely discussed. In this conversation, we intend to think about the artistic gesture and its institutionalisation as interference. What happens when these two places meet in the face-to-face of their own movements in action? We invite everyone, artists, specialists, and publics to reflect with us about the possible effects, consequences, and impacts that may emerge from this.

Screening of "Outros Bairros", Kiluanje Liberdade, Inês Gonçalves and Vasco Pimentel, 1999

Outros Bairros [Other Neighbourhoods] is a documentary about teenagers of African origin born in Portugal. In the peripheral neighbourhoods of Lisbon, Pedreira dos Húngaros, Fontaínhas, Cova da Moura, Monte da Caparica, Arrentela, among others, there is a new cultural phenomenon led by teenagers of African origin born in Portugal. It is a real explosion of behaviour, largely inspired by black-American cultural models, but which largely resorts to African forms of expression that are still close to us. It is this recent phenomenon of proud affirmation of ethnic identity and the richness of its forms of expression that this film is interested in documenting and questioning. A documentary by Vasco Pimentel, Inês Gonçalves, and Kiluanje Liberdade.

Screening of "Batida apresenta: O Princípio, O Meio, O Fim e o Infinito", Pedro Coquenão

Throughout the month of February 2020, just before the pandemic, Batida took over the Casa Independente, filling its walls with pieces such as Neon Colonialism or Aluzejo [Tile], crossing them with others handpicked from the Museu de Lisboa's collection, such as the original model of the Monument to the Discoveries by Leopoldo de Almeida, watercolours by António Costa Pinheiro or the sculpture of Pretos de São Jorge [São Jorge's Black Men]. Authorship, Curatorship, Remix, Museum Sampling? The air was filled with a Radio installation and the stage with the musical IKOQWE, whose protagonists and authors of the soundtrack emerged for this short film.
In O Princípio, O Meio, O Fim e o Infinito [The Beginning, The Middle, The End and Infinity], themes such as the Monument itself, Racism, Anti-Racism, Colonialism and Neon Colonialism and, inevitably, Mental Health are addressed. The first cut premiered at Indie Lisboa and a new version was later presented at the Monument to the Discoveries, prompting a petition not to show it.
It was also part of the film selection for Womex 2021, in the city of Porto.

Performance by Filipa Bossuet

Filipa Bossuet (b. 1998) is a northern woman who uses painting, photography, and experimental video to portray processes connected with identity, blackness, memory, and healing. She holds a degree in Communication Studies, is currently pursuing a master's degree in Migrations, Inter-ethnicities, and Transnationalism, and is a member of UNA – União Negra das Artes (Black Union of the Arts).

Performance by Herlander

Herlander is a Lisbon-based artist (Performer, Producer, Vocalist...) who is rewriting the rules of the popular music standard with his sound that borders on anti-pop, diving into a genre-less lake, voices that harmonize with each other and particular sounds that sit distinctly in one room. Raised in the neighbourhood of Arrentela, Seixal, Herlander got his opening for music after moving to London to produce his first experimental EP, “199”, where he deals with personal issues of a young man falling in love and having that passion shattered at a crucial stage in the life of any teenager. Following the release of his EP in 2018, Herlander returns, after a 2 year platform hiatus, with a more mature, magnanimous sound and a timbre that is unique to him, spreading across compilations some of his more recent themes, such as “quem diriaiaia”, “if you give it to me what's luv got to do with it?” ... or “don’t get their names out your mouth”, creating a prototype to his second project that is coming up, whose introduction arch was opened in the summer of 2021 with the theme “Gisela”, lead single from the project followed by “Woohooo!!!” as he prepares his debut LP.


Ana Rita Alves is the author of the book Quando ninguém podia ficar: racismo, habitação e território [When nobody could stay: racism, housing and territory] (Tigre de Papel, 2021), and anthropologist, PhD student in the Program “Human Rights in Contemporary Societies” (CES-UC), with the thesis “Periphery as a Symptom in Contemporary Portugal”.

Anita Lopes is a Sociocultural Coordinator at the João de Deus Mobile Playroom, a community intervention project in Casal da Boba, Casal da Mira, and Horta Nova, which provides free time activities for children and young people in situations of absenteeism or school dropout, or in non-school periods.

Ana Naomi de Sousa is a journalist and documentary filmmaker on spatial politics, architecture, and history.

Julia Nogueira is a film director, climbing teacher, and is part of the atomic collective that made the documentary O Ínterim [The Interim], an affective collage that presents a subjective city.

Portuguese visual artist and illustrator Maria Imaginário (b. 1985) gained prominence when she began painting colourful ice-creams and other treats on dilapidated buildings around Lisbon in 2005. She has since been developing a deeply personal, exquisite visual universe of a narrative nature based on an original language with a bittersweet twist, pouring forth a wealth of emotive characters and stories glazed with a deceitful layer of apparent naiveté, laced with humour and irony. Working in a variety of media, she has been showcasing her work in solo and group exhibitions since 2008.

Obey SKTR (b. 1974) is one of the pioneers of graffiti in Portugal, and one of the most respected and venerated writers of the Lisbon scene. Celebrated for the originality and vitality of the shapes and letters he conquered the city with, he is one of the figures who contributed the most to the expansion of the more hard-core form of graffiti, held as a pivotal reference by successive generations of writers. Being an avid skateboarder, he started tagging in the early 1990s and founded the legendary PRM crew with Wize in 1992, whose members were the first to spread graffiti around Portugal. In 1996, after using many other names, he started writing Obey, inspired by the slogan in John Carpenter's film They Live. He devoted years of hard work to drawing, creating original forms, blazing a new trail, spending nights and days in the streets on missions to imprint the city with his name and style. His letters reflect the size, the shape and structure, and the presence of him as a person. They also reflect his multicultural background and Lisbon’s own dimension.

Over the years, Ricardo Campos has conducted research in various research centres, focusing on the themes of urban youth cultures, urban art, digital media, visual anthropology, and visual culture. He authored several works such as the recent Arte(s) Urbana(s) [Urban Art(s)] (with Sílvia Câmara, Húmus publishing house, 2020) or the already classic Porque pintamos a cidade? Uma abordagem etnográfica ao graffiti urbano [Why do we paint the city? An ethnographic approach to urban graffiti] (Fim de Século, 2010). He also co-organised books such as Exploring Ibero-American Youth Cultures in the 21st Century. Creativity, Resistance and Transgression in the City (with Jordi Nofre, Palgrave Macmilan, 2021) and Political Graffiti in Critical Times: The Aesthetics of Street Politics (with A. Pavoni and Y. Zaimakis, Berghahn Books, 2021). He is senior researcher and board member of the Interdisciplinary Centre for Social Sciences of the School of Social Sciences and Humanities (CICS.Nova) and founding member and co-coordinator of the Luso-Brazilian Research Network on Arts and Urban Interventions (RAIU).

Teresa Fradique is an anthropologist, lecturer, and researcher in anthropology of art and performance. Her work crosses ethnographic research tools with critical reflection and the production of artistic projects in visual arts, design, theatre, and urban cultures. She is currently a researcher at CRIA - Centre for Research in Anthropology and an associate professor at ESAD.CR – Polytechnic Institute of Leiria. She has published Fixar o Movimento: Representações da Música Rap em Portugal [Setting the Movement: Representations of Rap Music in Portugal] (Portugal de Perto/Publicações D. Quixote, 2003), co-edited with Paulo Raposo, Vânia Cardoso, and John Dawsey A Terra do Não-Lugar: Diálogos entre Antropologia e Performance [The Land of No-where: Dialogues between Anthropology and Performance] (Florianópolis, UFSC, 2013) or, more recently, with Rodrigo Lacerda (org.) Modos de Fazer, Modos de Ser: Conexões Parciais entre Antropologia e Arte [Ways of Doing, Ways of Being: Partial Connections between Anthropology and Art] (Lisboa, Etnográfica Press, 2022). Fradique also participates as a researcher in the monitoring of artistic projects in the field of performing and visual arts.


Outros Bairros [Other Neighbourhoods]

Production: Filmes do Tejo
Produced by Maria João Mayer and François d’Artemare
Direction: Kiluanje Liberdade, Inês Gonçalves, Vasco Pimentel
Duration: 52 minutes

Image: João Ribeiro, Kiluanje Liberdade
Sound: Vasco Pimentel
Edition: Pedro Ribeiro

Production Coordination: Fátima Correia
Production Assistant: Lurdes Tavares
Photography: Inês Gonçalves
Sound mixing: Vasco Pimentel and Tiago Matos
Avid Edition and Sound mixing Studio: P&B
Online Edition: VideoCine
Sound Material: Filme Base
Cameras: DV Cam / Mini DVOpening/closing Credits and Graphic Material: Atelier Ricardo Mealha
Sponsored by Film, Audiovisual, and Multimedia Institute (ICAM), Seixal City Council, Amadora City Council, Portuguese Cooperation Institute
With the Support of Portuguese Photography Centre, Calouste Gulbenkian Foundation

Featuring: Kalu, Saba, Ná, Jancinto, Trick, Italiano, Pixas, Tassoti, Carlão, Jorginho, Carla, Nhenha, Chiquinho, Branco, Paulo Preto, Nelson, Louguison, Pinchas, Rui RR, Paulo Boca, Seagall, Betoviskfs, Praguinha, Marisa, Bunotte, Maria, Robocop, Odete, Carlon, Sampas, Chula, Kondepo, Neusa, Chinesa, Jorginho, Fobado, Lord G, Pixote, Donzala, Ribeiro, Tania, Navio, Jeremy, Azor, Adilson, Espada, Nativo, Asas, Pitata, Liberdade, Tagarela, Dida, Russo, Barroso, Six Bucks, Adelino, Joia, Kimbocas, Bela, Pudocas, Mãezinha, Tchikovsky, Patrícia, Vânia, Shaka, TWA, Manoazor, Nike, Secada, Rui, Isabel, Livramento, Canha, Andreia, and Edi.


Batida presents: The Beginning, The Middle, The End and Infinity

Written and Directed by Pedro Coquenão
Music by IKOQWE
Featuring: André Cabral, André Santos, Cabuenha, Luaty Beirão, Luena Beirão, Pedro Coquenão, Piny Sani, and Sílvia Costa
Photography Direction: André Costa
Sound design: Pedro Coquenão
Voiceover: Marrador
Filmed and Edited by André Costa
Production: Suzy Lorena, Inês Valdez
Communication: Cristina Carvalho
Lighting: Paulo Sabino 

Pele [Skin]
Direction: André Costa
Production Assistants: Bernardo Infante and Diogo Carvalho 

Music and Lyrics: Batida/Ikonoklasta
Art Direction: Pedro Coquenão  

Garage Kids
Executive Production: Miguel Varela
Direction: Ernesto Bacalhau
Production Company: Cláudia Costa
Head of Production: Luísa Sousa
Assistant Camera: João Bettencourt
Post-production Coordinator: Patrícia Tavares
Editor: André Adam

Garage Friends
Photography Direction: Tomás Brice
Production: Teresa Salomé
Production: Nuno Gonçalves
Mock Up: Lorenzo Degl'Innocenti
Gaffer: João Aguiar (Musga)
Best Boy Electric: Joaquim Pereira (Jacques)
Lighting Equipment and Gear: Contra Campo
Image Post-Production: Íngreme 

Vaivai by IKOQWE
Music and Lyrics: Batida/Ikonoklasta
Art Direction: Pedro Coquenão  

Los Manolos
Direction: Manuel Lino/Pedro Coquenão
Production: João Silva
Camera: Luís Silva
Edition: Manuel Lino

Graphic Computing: Filipa Lopes
Colouring: Mário Guilherme 

Faltam Soluções Que Garantam Igualdade [A Lack of Solutions that Guarantee Equality]
Dedicated to João Ribas
Archive of the Sines World Music Festival
Recorded in 2019
Sound: Sérgio Milhano
Partners: Casa Independente, EGEAC (Company for Equipment Management and Cultural Activities), Museu de Lisboa, Arroios Parish Council, World Music Festival, O Gambuzino

Acknowledgements: Inês Valdez, Joana Cardoso, Joana Faria, Joana Sousa Monteiro, Margarida Martins, Carlos Seixas, and Marta Campos.

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