Opening hours:
Every day, from 3:00 PM to 9:00 PM. Fridays, the 9th and 16th, from 3:00 PM to 11:00 PM
Stand 31
Cordoaria Nacional, Lisboa
Luís Campos
He held his first individual exhibition in 1981, in Lagos, at the invitation of the painter Joaquim Bravo. Member of the “Ether” group in 1982, where he studied the History of Photography with António Sena. Since then, he has held 23 individual exhibitions and participated in 52 collective exhibitions in Portugal and abroad. He is represented in the collections of the PLMJ Foundation, António Cachola, Museo Extremeño e IberoAmericano de Arte Contemporâneo (MEIAC) in Badajoz, Museu da Imagem in Braga, Museum of Art, Architecture and Technology (MAAT) and the Gulbenkian Foundation, among others. In 2002, he received the Medal of the Conseil Général des Hauts-de-Seine at the Salon d`Art Contemporain de Montrouge.
Epson HDR print on Hahnemühle Baryta 315gr paper 100% cotton, PVC glued, 110 x 147 cm
"Fading" is a series about memory and disappearance. It consists of a series of photographs of wild animals in their natural habitat, taken over 12 years in 14 countries such as Cuba, Brazil, Kenya, Mexico, Canada, Zimbabwe, Botswana, the USA, Argentina, Indonesia, the Maldives, Ecuador (Galápagos), Colombia, and Sri Lanka. These black-and-white photographs feature a faded black ellipse surrounding a central image, referencing a cinematic process of the image disappearing. These photographs preserve the memory of silhouettes, bodies, scents, horizons, light specters, contrasts, and emotional experiences from multiple encounters with wild animals. These creatures are so diverse, yet so close to us humans in biology, behavior, expressions, gazes, and our shared destiny. They are beings who are witnessing their habitats disappearing dramatically due to deforestation, hunting, agriculture, livestock farming, human overpopulation, and climate change. This is not about representations of animals or nature photography, but rather a reinterpretation of fleeting images, memories in evanescence, and a vanishing world—our world. These images are a ritual of separation, a cry of pain lost in a vast chorus, aiming to awaken people to the threats looming over our future and that of future generations.
Luís Campos
Epson HDR print on Hahnemühle Baryta 315gr paper 100% cotton, PVC glued, 110 x 147 cm
Epson HDR print on Hahnemühle Baryta 315gr paper 100% cotton, PVC glued, 110 x 147 cm
Epson HDR print on Hahnemühle Baryta 315gr paper 100% cotton, PVC glued, 110 x 147 cm
Roland Fischer
Since the 1980s, Roland Fischer (Saarbrücken, Germany, 1958) has been developing different series of work on a solid and consistent career using architecture and portraiture as subjects presenting them on a large scale photographs.
Roland Fischer‘s lives and works between Munich and Beijing. His work has already been shown in 120 museums and art institutions worldwide including Musée d’art Moderne in Paris, the CGAC in Santiago de Compostela, The Photographers Gallery in London, Museum of Art Architecture and Technology (MAAT) in Lisbon, Museo DA2 in Salamanca, Centre Culturel la Maison Rouge in Paris, Institute d’Art Contemporain in France, Fonds National d’Art Contemporain in Paris (FNAC), Musée d’Art Moderne de la Ville de Paris, Musée d’Art Moderne et Contemporain in Strasbourg; Museum van Hedendaagse Kunst in Antwerp, Museo de Arte Contemporáneo de Castilla y Leon (MUSAC). His work is represented in many public and private collections such as Ackland Art Museum, North Carolina, USA, Bibliotheque National, Paris, France, DRAC, Ile de France, France, DZ Bank AG, Frankfurt, Germany, European Patent Office, the Hague, Netherlands, EZB, The European Central Bank, Frankfurt, Germany, FLATZ Museum, Dornbirn, Austria, Fondation La Maison Rouge – Collection Antoine de Galbert, Paris, France, FRAC Basse-Normandie, Caen, France, FRAC Lyon, Lyon, France, Frac Bretagne, Rennes, France, FDAC Seine-Saint-Denis, France, La Maison Rouge, Fondation Antoine de Galbert, Paris, France, Musée d’art Moderne de la ville de Paris, France, Mudam, Musée d’Art Moderne Grand-Duc Jean, Luxembourg, Musée d’Art Moderne, Straßbourg, France, Musée des Arts Contemporains du Grand Hornu au Musée d’Art Moderne, Lille, France, Pinakothek der Moderne Munich, Germany, and many others.
"Roland Fischer’s new series “Transhistorical Places" begun in 2018 and is comprised by "photographic works, geometrical figures, such as colored circles, spheres, rectangular elements and other formations, stand on equal footing with photographic details of Brutalist buildings. The latter overlap in part the striking, colorful surfaces, resulting in completely new spatial constructs.
All the series by Roland Fischer that are concerned with Modernist and contemporary architecture have one thing in common: they do not seek to depict the buildings, but strive for “autonomous image creation”. These exciting inventions emerge from assembling real and fictitious parts into a hybrid between “painting” and photography.”
Ute Bopp-Schumacher
Pires Vieira
Among the approximately 45 solo exhibitions he has held, the highlights are 'Trash - Artist's Trash', at Museu Coleção-Berardo, 2019, 'Pires Vieira Antológica', from painting to painting, at MNAC - Chiado and Fundação Carmona e Costa, 'Faites vos jeux, Rien va Plus' at Sala do Veado at MNHN, 'Like a Painting - Up Close... It is a Big Mess', at Appleton Square, in Lisbon; 'Pires Vieira', at the White Pavilion of the City Museum; 'Talk to Me', at CAM-Fundação Calouste Gulbenkian, 'Geometries' at Fundação Museu das Comunicações. Refering to his group shows we have to distinguish 'Stories: Works from the Serralves Collection', Serralves Museum; 'Permanent Exhibition (1969/2010)', Berardo Museum, CCB; 'One Path, Two Directions', at MNAC/CHiado; 'Language and Experience', at the Palácio do Egipto Cultural Centre, at the Grão Vasco Museum and at the Aveiro Museum; 'Alternativa Zero', at the National Gallery of Modern Art, organized by Ernesto de Sousa. He is represented in numerous collections such as: CAM-Fundação Calouste Gulbenkian, MNAC/Chiado, Culturgest/CGD, Colecção/Museu Berardo, Fundação/Museu de Serralves.
In Geometrias, Pires Vieira employs the superimposition of planes and layers, frequently referencing classical works from the history of painting, with a markedly expressionist interest. The choice to create a sensory tension with the viewer translates into compact surfaces, with solid texture and material density, which conceal parts of the work. This gesture of concealment creates a visual barrier that challenges the viewer to engage with the piece, forcing them to investigate what lies hidden beneath the layers of color and material.
This tension between concealment and revelation is a constant in Pires Vieira’s work: the material surfaces become a way to question visual perception, creating a space of mystery and discovery for the viewer. The layers of color and material density not only obscure the work, but also generate a continuous play between the visible and the hidden, challenging the audience’s expectations and urging a deeper reflection on the process of seeing and interpreting art.
Catarina Leitão
Catarina Leitão is an artist. Her favored mediums are drawing, sculpture, installation and the book. Key to her work, the idea that human and nature exist in continuity, the notions and processes of assembly, adaptability and hybridity play a fundamental role in negotiating a discourse between the two and the three-dimensional, the artificial and the natural, the actions of assembling and disassembling, which is materialized by a sculptural language that makes use of installation, drawing and illustration. Leitão has been exhibiting her artwork since 1992. Among the awards and residences bestowed to her, stand out the New York Foundation for the Arts Fellowship, 2009, Center for Book Arts, 2007, Triangle Arts, 2006, Sharpe Foundation, 2004, Lower Manhattan Cultural Council, 2003, Pollock-Krasner Foundation Grant, 2001, Calouste Gulbenkian Foundation and Luso-American Foundation. Leitão has a PhD from Colégio das Artes da Universidade de Coimbra, 2022, an MFA from the Hunter College City University of New York (2000), and graduated in Painting at the FBAUL, Lisbon (1993). She has been teaching at Escola Superior de Arte e Design das Caldas da Rainha since 2011 and at Colégio das Artes da Universidade de Coimbra since 2024.
"This series of drawings arises from a practice through which I have been proposing the idea that human and nature, artifice and nature, culture and nature exist in continuity. The drawings represent possible annotations; fabulations presented as fictitious scientific works that observe and take on forms, ideas, and sensations we can extract from the dimensions of the organic, the manufactured, geology and botany."
Catarina Leitão
Systema Naturæ is an installation and drawing project that, based on research in the field of botany, proposes the addition of fictional elements to the list of known species.
The title refers to the work Systema naturae per regna tria naturae, secundum classes, ordines, genera, species, cum characteribus differentiis, synonymis, locis, published by Linnaeus in 1735. In this treatise, the author establishes a hierarchical classification of species and conceives a system that divides nature into three kingdoms. The book marks the founding moment of binomial nomenclature, the method today universally accepted for assigning scientific names to species.
In this research project, Catarina Leitão imagines and draws botanical species crossed with mechanical forms, hybrid plants alluding to the manipulation of the natural and artificial constructions. Drawing from scientific illustrations from various periods and visits to herbaria and botanical gardens, she creates a parallel science. Once the new species are invented, meticulously drawn, and shaped according to a didactic and museological aesthetic, she proceeds to classify them taxonomically. This classification is developed based on the study of plant taxonomy rules and follows traditional classification systems (based on the external morphology of species). Existing Latin names that describe genus and species characteristics are combined with new terms, either translated or invented in botanical Latin. In the search for connections between the various denominations and their meanings, she proposes new, contradictory, absurd, or ironic interpretations.
Watercolor and sumi ink on paper, 33 x 33 cm
