This is the project that has brought together different personalities to think about the green spaces in the city of Lisbon in relation to literature. Now, in an online format, each guest shares a photo of himself in a natural landscape, relating it to a book he has at home. A dialogue is established between the interior and the exterior, between the body (confined to housing and photography), nature and imagination. An informal chat via live Instagram, in which the online community is invited to participate.
Every Sunday until at least the 30th of June 2020.


Guest: Julião Sarmento (plastic artist)
Chosen Book: “Nutshell” by Ian McEwan, editora Gradiva

After a stay in London (1964-1965), he entered between 1967 and 1974 at the Lisbon School of Fine Arts, where he attended painting and architecture courses, which he left incomplete. From the mid-1970s onwards, he developed his artistic production in the fields of photography and film, in an artistic context of conceptual exploration. From a very early age, he defined a thematic orientation that works with eroticism and desire, through what the artist calls “seduction strategies”. The erotic and often violent content of the scenes or narratives is always suggested (and never explicit), through games of concealment / fragmentation of the images or the ambiguous message contained in the titles of the works. In the 1980s, he also dedicated himself to painting, which projects the same enigmatic dialectic of bodies, objects and words. His compositions are purified, creating in the 90s a new series, White Paintings, in which black figures express bodily violence through gestures that also assume an erotic dimension. Since the 1980s, he has built a solid national and international path through the presence of his works in international exhibitions: Documenta de Kassel (1982, 1987), Bienal de Paris (1981), Bienal de Veneza (1980, 2001, 2010) and Bienal de São Paulo (1992, 2002). In 1997, he was the representative artist of Portugal at the Venice Biennale. It also exhibits in several Portuguese and foreign museums (Fundação Calouste Gulbenkian, Serralves Foundation, IVAM, Guggenheim of New York, Stedelijk Museum and Tate Modern).

With support:

Editora Gradiva

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