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Temporada 2024

#### The world is the home of the body.

##### The body as a matter of common heritage. A body that listens and acts; a place of dance, from this and other worlds.

##### As Estúdios Victor Córdon enter a new cycle, we are firmly committed to continuing to support the independent artistic community, with a primary focus on dance. We also reiterate our dedication to promoting initiatives that help young artists start their careers, that intensify the circulation of artists from and within the Portuguese-speaking African countries, that provide a space where immigrant communities and their descendants living in Portugal can be represented, and that, in general, are an example of the increased democratic access to cultural institutions. When fundamental values are reversed, it is essential to multiply actions that directly impact on the lives of the people affected by this reversal, while it is true that many different approaches are needed to respond to the reality of our times.

##### The 2024 Season aims to reflect the state of a world in (dis)aggregation, about which we urgently need to think and on which we must act. As Portugal celebrates half a century of liberty and democracy, we need to reaffirm universal humanist values, because a transformation in the political context won't change the fact that such work has to be carried out. Establishing these values always involves a constant effort, starting at the core of one's individual life. Our time must be a time of continuous action to counter oblivion, which remains an eternal enemy of civilizations, and to respect and recognize the dignity of every person.

##### The voices and needs of creators and performers. The recording and transmission of these voices, coming from many different places in the world. Thinking about artistic creation and its impact on social reality. The routes of the Portuguese language as spaces for meeting, sharing and establishing networks where artists can travel, proposing to bring North and South closer together. Migrant communities living in Portugal and the role of artistic creation in the process of drawing different cultures together.  Communities of African descent and their presence in cultural institutions and society in general. To support artists, festivals and educational institutions, as well as to give assistance to young performers and creators who are starting their careers. These are the main lines guiding the nearly twenty programs we are proposing for 2024.

##### We launch this season knowing that the path can shape our intentions, making them more suited to the needs of those who can benefit from it, and while it is true that not all projects will reach the point where we initially imagined them, when driven by a creative and conciliatory spirit they will certainly bring about change.

##### This is where we propose to meet. In a home of the world.
##### ⎯
##### Rui Lopes Graça
##### January 2024

##### .

#### EVC: Other spaces
##### While researching the archive of choreographer Paula Massano at the National Museum of Theatre and Dance, I came across the file “Proposal for the Organisation of a Minimum Support Structure for a Workshop”. This document was sent to the National Ballet of Portugal (CNB) a year after its foundation, in 1978, as an attempt to establish a permanent choreographic experimentation project. The document opened with a description of what a workshop is, a term that wasn’t used at the time: “a workshop is a place where a group of people gather around a common work with the aim of, within a given field of artistic practices (in this case, dance), developing it in order to discover new forms and necessarily, new content.”

##### Paula Massano’s proposal was not adopted by the CNB. Was it discussed? It might have seemed radical, on the one hand, or naïve, on the other, at a time when the company had just been founded and was trying to become, essentially, a classical corps de ballet. If we propel it into the present, this proposal prompts a reflection on the mission of a state dance company. Although CNB’s statutes have always ensured a coexistence between classical and contemporary dance, this balance has always seemed complicated. What could a permanent movement research workshop do for the company, in particular, and to dance, in general?

##### The history of Estúdios Victor Córdon (EVC) is inextricably linked to the CNB and emerged as a project by Luísa Taveira (director from 2010 to 2017), with the intention of promoting the career transition of dancers who were no longer performing. Opening its doors in 2016 under the coordination of Bruno Cochat, EVC began as an “educational, community and creative centre” with dance classes for children and adults, masterclasses, workshops and other projects. In 2017, the choreographer, former dancer and CNB special projects coordinator Rui Lopes Graça was appointed to lead the project. Despite maintaining a concern for the dancers’ professional transition, another direction was set out.

##### Described as a “platform”, Estúdios Victor Córdon are a place for practice, research, experimentation and choreographic creation without a defined aesthetic line. Being one of the few places in Lisbon with the right conditions for dance practice – i.e. spacious studios with wooden flooring, sprung floor, linoleum covering and heating –, the EVC provide vital support to the independent dance community by offering proper studios to work and rehearse.

##### One of their core initiatives is to offer daily dance classes for professionals at a fee of three euros. The classical dance classes are usually taught by former dancers from the CNB and Ballet Gulbenkian, among others, ensuring intergenerational transmission. The classes are attended by a wide variety of people, and in the same studio you might come across a retired dancer from the Paris Opera who has bought a house in Lisbon, a choreographer of the New Portuguese Dance movement, a young dancer who has just graduated from the Conservatory, a former student of Forum Dança, a researcher at c.e.m – centro em movimento, an amateur doing a PhD in sociology, a dancer who works abroad, is on vacation in Lisbon and is attending a vogue ball in the evening, dancers who either are between projects, have an audition or want to warm up before rehearsing. The contemporary dance classes are taught by a younger community – active dancers aged between 20 and 40, who also have the opportunity to share their practice with others. With a pedagogical and professionalising focus, the EVC have also been working to create opportunities for young performers, either through collaboration between dance schools across the country and foreign choreographers, or by establishing collaborations between art schools from different fields, such as music.

##### The EVC have understood that, in order to have a comprehensive discourse, it can't always be the same people doing things. Power cannot be pyramidal; on the contrary, it has to be shared, to be a dialog, to be a bridge. Part of EVC’s programs involve inviting different people to curate, opening up the spectrum of collaborations to do what might not have been within their reach.  What comes out is not the voice of a director, but different voices that show and nurture the diversity of the dance scene in its multiplicity. This openness should also be seen as a space of responsibility for when, occupying places of power and decision making, institutions pursue the task of continuously repairing the structural injustices that continue to divide the world in two.

##### The world needs new and renewed institutions. Institutions that make us believe in them, that are transparent, open, with spirit, and that inspire us, represent us and make us want to be represented. Institutions that aren’t machines for sucking up heads and taxpayers, nor launching pads for their directors. The EVC have become a home for many. They are a place where we know we are well looked after, where we feel welcomed, appreciated and respected, regardless of the kind of dance we practise. This transversal dimension, promoting different perspectives, fosters communication between peers who often don’t cross paths, no longer cross paths or don’t want to cross paths. It’s a place of encounters, where one can meet new people or people we admire but never actually see. We never know who’s going to cross the hallway and that brings us a mixture of flutter and excitement.

##### Many of EVC’s actions are invisible and involve muscular, psychological and legal support or, in other words, care. Care which isn’t protocol, but that comes from an experienced team who are devoted to their daily practice: dance. This attitude proves that institutions, despite being created by decree, are made by people and out of love, attention and dedication. Although the EVC emerged as an attempt to solve a problem within the CNB, it became an inspiration for the dance scene in general, and an example of what a national dance project could be. That project would be, in addition to a corps de ballet, and in Paula Massano’s words, a place to develop the field of dance permanently, in its form and substance. Through the actions of the EVC it is possible to see a large spectrum of the dance field, its networks, subjects, aesthetics, concerns, desires and needs, but the way it operates allows us more: it allows us to collectively imagine how to make of an institution one other space.
##### ⎯
##### João dos Santos Martins
##### January 2024

#### O mundo é a casa do corpo.

##### Corpo enquanto matéria de herança comum. Corpo de escuta e ação; lugar de dança, deste e de outros mundos.
  
##### No início de um novo ciclo dos Estúdios Victor Córdon, confirmamos o compromisso de apoio à comunidade artística independente, com especial enfoque na área da dança. Confirmamos igualmente a dedicação à promoção de iniciativas que apoiem o início de carreiras, que intensifiquem o movimento de artistas dos e nos PALOP, que proporcionem espaços de presença das comunidades imigrantes e descendentes residentes em Portugal e que, de forma geral, sejam um exemplo da democratização do acesso às instituições culturais. Quando se invertem valores fundamentais é imperativo que se multipliquem ações com impacto direto na vida das pessoas afetadas por essa inversão, apesar das muitas frentes necessárias para responder às realidades que se anunciam pelo decorrer dos dias.

##### A Temporada 2024 pretende refletir o estado de um mundo em (des)agregação, acerca do qual é urgente pensar e agir. No ano em que se comemora meio século de liberdade e democracia em Portugal, precisamos de confirmar valores humanistas universais, pois estes não se estabelecem por si próprios através de uma qualquer mudança de regime ou contexto político. Estabelecer estes valores implica sempre um esforço permanente que se inicia no âmago da vida individual. O nosso tempo deverá ser um tempo de ação continuada no combate ao esquecimento, eterno inimigo das civilizações, bem como no reconhecimento de cada pessoa com dignidade e respeito.

##### As vozes e necessidades de criadores e intérpretes. O registo e a transmissão dessas vozes, vindas de muitas geografias. O pensamento em torno da criação artística e o seu impacto na realidade social. As rotas da língua portuguesa como lugares de encontro, partilha e estabelecimento de redes para a circulação de artistas, propondo avizinhar Norte e Sul. As comunidades migrantes residentes em Portugal e o papel da criação artística no processo de aproximação de culturas. As comunidades afrodescendentes e a sua presença nas instituições culturais e na sociedade em geral. O apoio à criação a artistas, festivais e instituições de ensino, assim como o suporte dado a jovens intérpretes e criadores em início de carreira. Estas são as principais linhas que norteiam a vintena de programas que trazemos em 2024.

##### Lançamos esta programação sabendo que o caminho pode moldar as intenções, tornando-a mais adequada às necessidades de quem dela pode usufruir, e, sendo certo que nem todas as propostas chegam ao ponto onde à partida as imaginamos, quando movidas por um espírito criativo e conciliador serão seguramente portadoras de mudança.

##### É neste lugar que propomos encontrar-nos. Numa casa do mundo.
##### ⎯
##### Rui Lopes Graça
##### Janeiro, 2024

##### .

##### 2024 marca um momento importante no percurso dos EVC. Formalizando-se enquanto unidade orgânica dentro do OPART – Organismo de Produção Artística, E.P.E., os EVC afirmam a sua autonomia artística e passam agora a uma nova fase no seu crescimento. Para assinalar o momento, João dos Santos Martins escreve um texto sobre os EVC.

##### .

#### EVC: Outros lugares
##### Enquanto investigava o espólio da coreógrafa Paula Massano no Museu Nacional do Teatro e da Dança, encontrei um dossier intitulado Proposta de Organização da Estrutura Mínima de Suporte de um Workshop. Este documento foi endereçado à Companhia Nacional de Bailado (CNB) um ano após a sua criação, em 1978, como tentativa de integrar um projeto permanente de experimentação coreográfica. O documento começava com uma descrição do que é um workshop, palavra que não circulava na altura: «um workshop é um local onde um grupo de pessoas se reúne à volta de um trabalho comum com o objetivo de, dentro de um dado campo das práticas artísticas (neste caso, a dança), o desenvolver no sentido de descobrir novas formas e, necessariamente, novos conteúdos.»

##### A proposta de Paula Massano não foi acolhida na CNB. Terá sido discutida? Poderia parecer radical, por um lado, ou ingénua, por outro, num momento em que a Companhia se tinha acabado de formar e procurava constituir-se como corpo de baile de matriz essencialmente clássica. Se a catapultarmos para o presente, esta proposta instiga um questionamento sobre a missão de uma companhia da dança estatal que importa invocar. Se os estatutos da CNB sempre preservaram o convívio entre dança clássica e dança contemporânea, esse equilíbrio sempre pareceu complicado. O que é que um workshop de pesquisa de movimento permanente poderia servir à companhia, em particular, e à dança, em geral?

##### A história dos Estúdios Victor Córdon (EVC) é indissociável da CNB e surge enquanto um projeto de Luísa Taveira (diretora de 2010 a 2017), com a intenção de contribuir para a recondução da carreira de bailarinos que não estariam no ativo na companhia. Abertos em 2016 com coordenação de Bruno Cochat, os EVC iniciam-se como um «Centro educativo, comunitário e criativo» com aulas de dança para crianças e adultos, masterclasses, oficinas e outros projetos. Em 2017, seria nomeado para o projeto o coreógrafo, ex-bailarino e coordenador de projetos especiais da CNB Rui Lopes Graça, cujo foco de ação, apesar de manter uma preocupação com o reenquadramento profissional dos bailarinos, foi noutra direção.

##### Caracterizados como uma «plataforma», os Estúdios Victor Córdon são um lugar de prática, pesquisa, experimentação e criação coreográfica sem uma linha estética definida. Sendo um dos poucos lugares em Lisboa com condições próprias para a prática de dança — isto é, estúdio espaçoso com chão de madeira, caixa de ar, linóleo e aquecimento —, os EVC dão um apoio fulcral à comunidade da dança independente através da disponibilização de estúdios dignos para trabalho e ensaios.

##### Uma das ações centrais é oferecer aulas de dança diárias para profissionais com o custo de três euros. As aulas de dança clássica são dadas geralmente por ex-bailarinos da CNB e do Ballet Gulbenkian, entre outros, garantindo uma transmissão intergeracional. As aulas são frequentadas por uma grande variedade de pessoas, e no mesmo estúdio podem estar: uma bailarina reformada da Ópera de Paris que comprou casa em Lisboa, uma coreógrafa da Nova Dança Portuguesa, um jovem acabado de sair do Conservatório, uma ex-aluna do Forum Dança, uma investigadora do c.e.m., uma amadora que faz doutoramento em sociologia, um bailarino que trabalha no estrangeiro, está a passar férias em Lisboa e tem um baile de vogue à noite, bailarinos que estão entre projetos, que têm uma audição ou que querem «aquecer» antes dos seus ensaios. As aulas de dança contemporânea são orientadas por uma comunidade mais jovem – bailarinos ativos entre os 20 e 40 anos que têm aqui também a oportunidade de partilhar a sua prática com outros. Com um enfoque pedagógico e profissionalizante, os EVC têm ainda tentado criar oportunidades para jovens intérpretes, quer através da colaboração entre escolas de dança, em todo o país, e coreógrafos internacionais, quer estabelecendo colaborações entre escolas artísticas de áreas distintas, como música.

##### Uma das coisas que os EVC entenderam é que, para ter discursos abrangentes, não podem ser sempre as mesmas pessoas a fazer as coisas. O poder não pode ser piramidal; pelo contrário, tem de ser partilhado, tem de ser um diálogo, tem de ser uma ponte. Parte dos programas dos EVC acontece através de convites a diferentes curadorias, abrindo o espectro de colaborações para fazer o que talvez não estaria ao seu alcance. O que sai para fora não é a voz de um diretor, mas diferentes vozes que expõem e cultivam a diversidade da cena da dança na sua multiplicidade. Esta abertura deve ser vista também como um espaço de responsabilidade para quando, ocupando lugares de poder, as instituições prossigam o seu papel de reparação das injustiças estruturais que continuam a dividir o mundo em dois.

##### O mundo carece de novas e renovadas instituições. Instituições que nos permitam acreditar nelas, que sejam transparentes, abertas, que tenham espírito, que nos inspirem, que nos representem e que nos façam querer ser representados. Instituições que não sejam máquinas de sugar cabeças e contribuintes, nem plataformas de lançamento para os seus diretores. Os EVC tornaram-se uma casa para muitos. São um lugar onde sabemos que somos bem tratados, onde nos sentimos acolhidos, prezados, respeitados, independentemente do tipo de dança que fazemos. Esta dimensão transversal, que promove diferentes visões, fomenta a comunicação entre pares que muitas vezes não se cruzam, que deixaram de se cruzar ou não se querem cruzar. É um lugar de encontros, tanto de pessoas novas, como de pessoas que admiramos e nunca vemos. Nunca sabemos quem vai atravessar o corredor e isso dá-nos um misto de nervosismo e entusiasmo.

##### Muitas das ações dos EVC são invisíveis e prendem-se com apoio muscular, psicológico e jurídico ou, por outras palavras, cuidado. Um cuidado que não é protocolar, mas que advém de uma equipa experiente e devota naquilo que é a sua prática diária: a dança. Esta forma de estar prova que as instituições, por mais que sejam criadas por decreto, são feitas por pessoas e são feitas de amor, atenção e dedicação. Se os EVC surgiram como tentativa de solucionar um problema na CNB, tornaram-se uma pequena inspiração para a dança em geral, e uma extensão do que poderia ser um projeto para a dança no país, que, além de um corpo de baile, seria, nas palavras de Paula Massano, um lugar para desenvolver o campo da dança em permanência, na sua forma e no seu conteúdo. Pelas ações dos EVC é possível entender um espectro da dança que se faz, as suas redes, sujeitos, estéticas, preocupações, vontades e necessidades, mas o seu modo de funcionamento permite mais do que isso: permite imaginarmos coletivamente como é possível fazer de uma instituição um outro lugar.
##### ⎯
##### João dos Santos Martins
##### Janeiro, 2024



TEMPORADA 2024 - O mundo é a casa do corpo.

Season launch

2024 SEASON - The world is the home of the body.

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Residências Artísticas

With the aim of supporting independent artistic creation, this program welcomes creators in the field of dance and other areas of artistic intersection, at national and international level, for a maximum period of two weeks.

Applications are accepted continuously and residencies are scheduled in our calendar on a first-come, first-served basis. Since their beginnings, the EVC have been a space where multiple languages coexist, responding in direct proportion to the needs of the artistic community.

Home.M ⎯ Daniela Andana

_"OVNI – unidentified visible object" is a disciplinary cross between image, dance and sound environment.Through the performer's body and its relationship with a tent, the piece/performance constructs through the notions of dwelling, living, sheltering and being born in the contemporary world. A desire to reflect cities, their territorial contours and ways of living on Earth and beyond, in which visual narratives are inspired from the poetic and political images of: folds, house, space, uterus, ufo and migrations._

###### Credits

##### Project conception | Dally Schwarz
##### Artistic direction | Dally Schwarz and Marcos Aganju
##### Choreographic creation, text and performance | Dally Schwarz
##### Sound creation and performance | Marcos Aganju
##### Costume Design | Erika Schwarz
##### Costume maker | Judite de Lima
##### Support - Studios for rehearsals and creation | c.e.m - centro em movimento/ Lisboa (2023/2024), CPBC / Lisboa (2023)
##### Support - work-in-progress open studio | Movement Research/ New York (2023), Festival Pedras 2023/ Lisbon (2023), Rede More Associação Cultural/ Lisbon, Festival Reunion 2022/ Lisbon
##### Support - Artist Residencies | Dansverkstæði/ Reykjavik (2024), Teatro Viriato/ Viseu (2024), Casa Cronópios / Salvador (2024), Oficinas do Convento/ Lisbon (2024), Devir Capa/ Faro (2024), Estúdios Victor Córdon (2024)

OVNI — Dally Schwarz & Marcos Aganju

_We often experience a quiver in the nose. The chin trembling. The bladder in our eyes filling up. 
The urge to cry. 
Because we're sad, because shampoo gets in our eyes, 
because we've been given good news or because laughing also makes us cry. 
As we grow up, we create a unique relationship with this urge._


###### Credits
##### Creation | Maria Abrantes
##### Performers | Pedro Matias, Ana de Oliveira e Silva, Laura Boque
##### Music | Noiserv
##### Artistic assistance | Sara Anjo
##### Artistic consultant |  Vânia Rovisco
##### Costumes and set design | Maria Abrantes and Rafael Dos Santos 
##### Light design | Tomé Ferreira
##### Audiovisual recording | João Sanchez
##### Support | Opart | Estúdios Victor Córdon
##### Hosting venues | ADDK Portugal,  Armazém 22

###### Bio note 
Maria Abrantes (Ereira, 1998) is a performer, creator and artist. She expresses her work through the body, choreography, illustration, writing, tattooing and sculpture. She is now developing her first piece for children, entitled _Que Vontade de Chorar_ [What an Urge to Cry].


Que Vontade de Chorar ⎯ Maria Abrantes

_NORMA_ ["norm"] is a dance, circus and performance piece that is site-specific and under constant construction. 
The spectator is invited to be part of the work, and the body acts as a discourse of intersection between art and life. The body is observed as a unique experience, in the duality of a gravitational space and a space without gravity. Witnesses to a game of resistance and risk, where limits are relative, in that they will always be restricted, but not restrained. 

The work is inspired by Heinrich Von Kleist's text _On the Marionette Theatre_ and reflects on the context of Portuguese eugenics, in which the Mitra asylum (abolished in 1960) served to institutionalize people who fell out of the norm. A piece that encourages us to look at history and reflect on the place of social violence that contributed to exclusion practices and the marginalization of communities that were not within the norm.


###### Credits

##### Artistic direction | Diana Niepce
##### Performers | Diana Niepce, Eric Santos, Lucas Damiani, Sara Garcia, Tarlie Lumby, Rebeca Mateus
##### Sound: Diogo Melo
##### Costumes | Silvana Ivaldi
##### Technical direction | Roger Madureira
##### Illustration | Maria Abrantes
##### Production | Joana Costa Santos
##### Pre-production | Produção d'Fusão
##### Co-production | As Niepce's, Teatro Nacional D.Maria II
##### Co-production in residence | O Espaço do Tempo, Estúdios Victor Córdon
##### Support | Directorate General for the Arts

NORMA ⎯ Diana Niepce 

_This quartet, is a choreographic explora8on that goes beyond tradi8onal boundaries, blending the technical precision of point work with the expressive freedom of contemporary dance. The choreography is a testament to the idea that, despite our diverse backgrounds, we dancers share a common ground._

_The choreography goes into the notion that despite external differences, we are united by our shared experiences and emotions. (...) Through the language of movement, my goal is to take apart preconceived notions and societal biases, creating a sense of shared humanity among performers and audience alike._

###### CREDITS
##### Performers | Beatriz Mira, Gonçalo Andrade, Lucas Ribeiro, Rita Ferreira
##### Music | TBD
##### Lights | Ana Isabel Casquilho
##### Costumes | TBD

Ana Isabel Casquilho — TBD

_Traces of memory, traces of blue. How do we create traces with dance, the most ephemeral of arts? How is it possible for blue to be linked to forgetfulness, memory and nostalgia? What traces has the color blue left in history? A performance around traces and memory, and the color blue._

###### Public event
## open rehearsal
###### APRIL 29
###### 8.30pm

Traces of Blue  ⎯ Helena Dawin

_This is a project that focuses on the search for sensibilities, a project about the non-binary trans body in search of its own masculinity. This is an autobiographical project, about my transition from the macho language I absorbed through hip-hop to finding a healthier masculinity within other forms of dance. This is a body that navigates memory and the construction of a new memory, the construction of a future. I work on blending various dancing styles. In waving, in Vogue, in ballroom dance, I find gender expressions that fit into a non-binary framework, and which consequently put forth a new way of living and of socially repositioning the body, in an attempt to answer the question: “How does a non-binary body dance? Why is it important to create a non-toxic transmasculinity, and what does that mean? Why are transmasculinities invisible? Why do we hide?_

##### _The name “primarosa” comes from “primrose”. The first flower to bloom in early spring. It means beginning, transformation, cure. A goodbye, a death, which brings forth something new, a rebirth, a new body. A desire to create new concepts and ideas._ — Eríc Amorim dos Santos

###### Credits
##### Creator / performer | Eríc Santos
##### Dramaturgy | Maurícia Neves
##### Sound design | Rui Lima and Sérgio Martins
##### Production assistant | Catarina Corujeira

 Eríc Amorim dos Santos ― Prima rosa

##### IMERSÃO is an annual interdisciplinary project created by QUEER ART LAB, which presents itself as an artistic creation laboratory aimed at LGBTQI+ people. This year, the IMERSÃO Art Labs will be mentored by Brazilian director, dancer, actress and producer Gaya de Medeiros. 

##### Queer Art Lab will work with 4 emerging artists, each of whom will create a piece lasting at least 20 minutes over the course of a 6-week residency. This piece will be a first approach to what the artist wants to develop or a continuation of the process. Phase 3 of the project takes place between March 25 and April 24, 2024 in Lisbon, and in the first week of creation the artists will be in residence at the EVC, with mentor Gaya de Medeiros.


##### The pieces created will be presented in October 2024 at the IMERSÃO Festival.


###### A QUEER ART LAB project
###### Mentoring 
##### Gaya de Medeiros
###### Artists
##### Dai, Izabel Nejur, Luan Okun, Suh Pat
###### Creative Direction 
##### Ary Zara


IMERSÃO Art Laboratories ― Queer Art Lab + Gaya de Medeiros

###### Credits
##### Author | João dos Santos Martins
##### Performers | Adriano Vicente, Ana Rita Teodoro, Connor Scott, João dos Santos Martins, Natacha Campos, Noel Quintela, Sofia Kafol, Teresa Silva
##### Costumes | Constança Entrudo
##### Light | Filipe Pereira, Joana Mário
##### Vocal support | Joana Nascimento
##### Music from Horse Sings from Cloud (1975), by Pauline Oliveros
##### Production and management | João dos Santos Martins, Lysandra Domingues, Sofia Lopes | Associação Parasita
##### Coproduction | Associação Parasita, Culturgest, Teatro Municipal do Porto
##### Residencies | Espaço Parasita, Estúdios Victor Córdon, O Espaço do Tempo, PRO.DANÇA
##### Acknowledgements | Dani Issler 

João dos Santos Martins ― vida e obra

Mawaru ⏤  Matilde Barbas & Miguel Santos

_"The Stone, the Sorrow"is based on the observation of abandoned quarries in Portugal, analyzing the acceleration of the decomposition of spaces into images and comparing them to the social conception of the notion of Family. Positioning himself on the border between the public and the private, the choreographer seeks a speed that leads the viewer to a mythological space of hospitality and disruption, where contemplation is made possible through thousands of frames per second._

###### Credits
##### Artistic Direction, Creation and Plastic Conception | Daniel Matos
##### Performers and Co-creators | Lia Vohlgemuth, Elia Pangaro and Joana Simões  
##### Artistic Collaboration, Archive, Photography and Video | João Catarino 
##### Original Soundtrack (from Debussy) | João Galante aka Coolgate 
##### Artistic consultancy | Beatriz Marques Dias
##### Technical Direction | Ana Carocinho 
##### Light Design | Manuel Abrantes
##### Stage design | Daniel Matos 
##### Costume design | Marina Tabuado
##### Communication | Maria Tsukamoto
##### Production Direction | Joana Flor Duarte
##### Production | CAMA a.c.
##### Co-Production | Teatro das Figuras, Cine-Teatro Louletano, Casa Varela/Cine-Teatro de Pombal - Município de Pombal, Município de Lagos
##### Co-Production Residency | O Espaço do Tempo, Teatro Municipal Baltazar Dias / Estúdio de Criação Artística do Funchal
##### Support | Estúdios Vítor Córdon / OPART, Espaço Alkantara, Casa da Dança de Almada, CAMADA - Centro Coreográfico, O Rumo do Fumo, A Piscina, Estúdio CAB


THE STONE, THE SORROW ― DANIEL MATOS

"Corpo do Tempo" is the first piece by Pulsar - Companhia Do Corpo, focused on a multidisciplinary approach. The piece combines music, dance and theater through a single instrument: the body.

###### Credits
##### Creation and Direction | Marco Santos
##### Support to movement | Miguel Oliveira
##### Dramaturgy assistance | Yola Pinto
##### Production | Marco Santos, Rui Aires, Margarida Soares
##### Cast | Ana Sofia Sequeira, André Tasso, Cristina Clara, Denys Stetsenko, Eva Parmenter, Gonçalo Pereira, Marco Santos, Mariana Camacho, Mariana Frazão, Margarida Soares, Miguel Oliveira, Nazaré Pinto, Poliana Tuchia, Rafaela AmoDeo, Rui Aires, Ulisses Ruedas
##### Acknowledgements | Manuel da Luz Santos, Clara Andermatt, Simão Costa, Yola Pinto, Silvia Real
##### Support | Antena 2; Real Pelágio, MATT image & design; Menu das Artes; Companhia ACCCA; EVC - Estúdios Victor Cordon; UartM - United Art Movement; Musibéria.

PULSAR ― Corpo do Tempo

_Esteira_ ["straw mat"] is a contemporary dance duet in which the expression of the bodies, the mat and the space feed into each other, bringing to light a reflection on various moments in history.

Two bodies in one story use dance and rhythmic movements, as well as other forms of bodily expression, to observe and question how the body reacts and manifests itself to each challenge and cultural experience it encounters.

The idea is to stimulate conflicts between bodies in space, recovering the primordial utility of the straw mat and its place in Mozambican culture. Through architectural (scenographic) and choreographic thinking, Fernando Machaieie and Martins Tuvanji intend to question the relationship between the increasing rhythm, the usefulness of the objects in question, their socio-cultural role and their aesthetic aspect in everyday life.

Esteira ⏤ Fernando Machaieie & Martins Tuvanji

_KRUMP Session_ delves into the roots of the KRUMP culture, which originated in the African-American and Latin American communities of Los Angeles (USA) in the late 1990s. Born as a response to the adversities faced in these communities, such as gang warfare and police oppression, the KRUMP style became a form of abstraction from reality, a celebration of life and an expression of resistance to the socio-political context marked by racism and economic discrimination. Thus, the need for artistic expression as a means of resistance is central to the history of KRUMP.

In Portugal, this movement found its own space in 2006/2007, through clandestine sessions in places like the Lisbon-Oriente Station. Despite keeping out of the public eye (due to the movement's expressive and energetic nature), the sessions have continued over the years, allowing the KRUMP culture to be kept alive.

The piece _KRUMP Session_, being rehearsed at the EVC and presented at the end of January in Teatro do Bairro Alto (TBA), aims to pay homage to national krumpers from different generations, bringing to the stage a style that usually doesn't find its way into mainstream venues.

The show proposes a ritualistic experience of liberation, acceptance and resistance, providing a space for genuine and raw artistic expression. It aims to create an environment of mutual support and sharing, challenging stigmas and offering an authentic glimpse into KRUMP culture.


######Credits

######Author |  Dougie Knight
######Artistic direction, choreography and performance | Dougie Knight
######Choreography, performance and host |Carlos Zagalo aka BIG Z
######Assistant director and production support | Lúcia Afonso
######Dj | Morf
######Light design | Pedro Guimarães
######Video |Pedro Jafuno
######Photography | Pedro Jafuno
######Performance | Aires Lion, Julien Wrestler, Nádia P. Futur, Inês Martins, Jéssica Costa, Inês Bernardo, Maria Ribeiro, Hélio Sango KAÔ, Vagner Beef, Emerson West, Stevan Bright, Gonçalo Carrapiço Boy KAÔ, Gilberto KAÔ Ujima and Maria Costa Lady KAÔ
######Artists invited for residency at the EVC | Dougie Knight, Carlos Zagalo, Inês Martins, Jéssica Costa, Inês Bernardo, Maria Ribeiro
######Production | MOSJAM Associação Cultural e Artística


KRUMP Session ⎯ Dougie Knight

Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx, Onyx.

[installation - performance - oniric | political occupation of the space]

_Are we living through the failure of utopia or a reformulation of previously ( mis)dreamed dystopias? If there is a temporal dimension, it's because things happen only in the experience, transforming abstract time into real duration, with harmony and a break from vertigo being an enemy of capitalist production. Can we dream and have it be concrete reality?_

_As if the body were not a border, as if history were not full of absences, with the certainty that imagination is absolutely essential. The ancestry of a present future. Strength may indeed lie in the ability to imagine. It's really about questioning. It's poetic. And there's pleasure. There's confrontation, I don't know about comfort._ Piny


##### Credits

##### Creation | Piny
##### Performers | Piny, Violet Scrap, Adrielle Mendes
##### Sound design | Carincur
##### DJ | Leo Soulflow
##### Dramaturgy support | Teresa Coutinho
##### Text support | Teresa Coutinho and Chullage
##### Outside look / advice | Patrícia Portela, Rita Diamond, Pedro Coquenão, other guests
##### Set design | to be determined
##### Costume design | to be determined
##### Light design | to be defined
##### Advice on color and installation | to be confirmed
##### Production | Produção d'Fusão | Filipe Metelo and Patrícia Soares

ÓNYX 

O meu corpo não é só uma instância ― Yola Pinto & Simão Costa

_Borte_ is a poetic performance for children aged 4-5 and their adults. In a universe of red birds, the ensemble opens up for philosophical wonder about what is lost and never returns, narrated through dance, music, animation, and text.

Borte ⎯ Siri Dybwik

Rh ― CiM

Mono-no-aware ― Rafael Alvarez

Stabat Mater com aroma a pêssego ⎯ Beatriz Garrucho

A body that listens. What can a body do? What can a listening body do? It listens to Prokofiev and listens to itself. A fleeing body. A body having fugitive visions. Phantasmagoria. The flight of bodies. What’s the point of fleeing? Where to search. Where to listen from. From the fog. A body of gas.

Escuta fugitiva ― Abel Rojo and Edgar Ariel

_Andar para trás_ ("Moving Backwards") builds a fable, a possible history of movement, moving backwards, from front to back. It outlines a path towards the future by looking at the past and reflecting on the invasive and infesting nature of the human race, which explores earth materials as capital, exhausting the ecosystem. 

This danced fable thus evokes an ecosystem inhabited by hybrid and symbiotic creatures whose allegorical and pictorial character reflects and creates possible points of view for the future. It also raises questions like: What is your environment? What is your horizon? What do you find out when you walk? What does the future tell you?

###### Credits

##### Staging: Sara Anjo
##### Performers: Sara Anjo, Mickaella Dantas
##### Sound design: Artur Pispalhas
##### Set design: Martina Manyà
##### Costume design: Marisa Escaleira
##### Technical direction and lighting design: Carin Geada
##### Outside perspective and voice training: Flora Détraz
##### Production: Sara Anjo and Agência 25 | Vítor Alves Brotas
##### Distribution: Pia Krämer | Cliff Catalyst
##### Residences: Opart | Estúdios Victor Córdon, Teatro Viriato, O Espaço do Tempo
##### Support: LU.CA, Teatro Viriato

Andar para trás ⎯ Sara Anjo

Este programa de apoio à criação artística independente acolhe criadores(as) na área da dança e noutras áreas de cruzamento artístico, a nível nacional e internacional, por um período máximo de duas semanas. 

As candidaturas são recebidas em contínuo e as residências são integradas na agenda dos Estúdios por ordem de chegada das respetivas propostas. Desde a sua génese, os EVC são um espaço de coabitação de múltiplas linguagens, respondendo em proporção direta às necessidades da comunidade artística.

Residências Artísticas 2024

This program supports independent artistic creation, welcoming Portuguese and international dance artists and creators from other artistic areas, for a maximum period of two weeks. Since its inception, EVC is a space of cohabitation of multiple languages, acting in direct response to the needs of the artistic community.


Artist Residencies 2023

Artist Residencies 2024

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Uma Coleção para Amanhã ⎯ À la minute


In the new edition of the series A Collection for Tomorrow, Cristina Peres collects short statements by choreographers on fundamental questions about the state of the world.

##### “Almost everything has changed in the world today, but many modus operandi remain unchanged. Faced with two active wars, a significant increase in the planet's average temperature, a continent of plastic waste drifting in the oceans, an economic model based on growth that is leaving millions more people on the margins every year and global consumption that is exhausting the earth of natural resources earlier and earlier in the year, we want to hear from the artists. Do these issues weigh on the choices they make? Do they go into the studio with them everyday? What kind of questions do they ask themselves when a member of their team is barred entry to their country of work? Is art safe from aggression? Is it immune to xenophobia? If not, how can it be strengthened? What are they doing to keep art a bastion of humanity?”

##### This program is designed to question renowned choreographers  and hear what they have to say about current events. In addition to the reflection process involved in creating a piece, we want them to tell us how they perceive the world. We went after their words so that we could turn them into short and quick messages adapted to the frenetic rhythm of our times.”

##### Cristina Peres

Nova edição da série _Uma Coleção para Amanhã_, agora com curtas intervenções de coreógrafos(as) acerca de questões fundamentais do estado do mundo, com base numa reflexão levada a cabo pela curadora do projeto, Cristina Peres, endereçada aos(às) artistas.

##### ⎯

##### «Quase tudo já mudou no mundo de hoje, porém são muitos os modus operandi que permanecem inalterados. Perante duas guerras ativas, o aumento sensível da temperatura média do planeta, um continente de resíduos plásticos a vogar nos oceanos, um modelo económico baseado no crescimento que vai deixando mais milhões de pessoas à margem todos os anos e um consumo global que deixa a terra exaurida de recursos naturais cada vez mais cedo no ano, queremos ouvir os artistas. Pesam ou não estas questões nas escolhas que fazem? Entram elas em estúdio com eles na rotina diária? Que tipo de interrogações se lhes colocam quando um elemento da equipa vê barrada a entrada no seu país de trabalho? Estará a arte protegida das agressões? É ela imune à xenofobia? Caso não seja imune a ataques, como pode ela ser fortalecida? O que fazem para mantê-la um bastião da Humanidade?
##### Este programa foi pensado para interrogar os coreógrafos de primeira água e ouvir o que têm a dizer sobre a atualidade. Além do pensamento envolvido na criação dos espetáculos, queremos que nos digam como pensam o mundo. Fomos à procura das palavras deles para podermos transformá-las em mensagens curtas e rápidas como a velocidade do hoje.»
##### Cristina Peres


Uma Coleção para Amanhã ⏤ À la Minute

The 2nd edition of _A Collection for Tomorrow_, curated by Cristina Peres and directed by João Afonso Vaz, dedicates 10 conversations to the dance scene in Mozambique.
A program in partnership with Camões - Portuguese Cultural Center in Maputo, with the institutional support of Camões, I.P. and decor support by Around the Tree.


>The imposition of social distance brought us other possibilities to generate improbable encounters. It revealed ideas and questions we hadn't asked yet - about the resonance of experiences beyond the time when they took place - and suggested that we talk.
>
>So, we perfused the months of 2021 with _A Collection for Tomorrow_ - ten conversations with ten people invited to reflect on creation, world, art, and politics and to follow this unique movement taking place over the last thirty or forty years and bringing us here. 
>
>Along the way, we have influenced each other. In 2022, and because dance travels, goes back and forth, and makes comparisons, we want to transform the imaginary bridge standing between Lisbon and Maputo, as well as going through the inverse route, by publishing the second collection of conversations. When do we discover things which are better than ourselves, at the same time that we discover in ourselves traces of what we imagined to be others'?
>
>Lisbon and Maputo are cities connected by the marks of those who have woven invisible threads associating the body's memory to all the other memories we will bring together, now in a systematized way, resulting in a new collection of conversations.
>
>Cristina Peres, 2022   


###### Part  I
Quito Tembe
_[I am a mirror of the issue of professionalization of art in Maputo](https://youtu.be/zbotY1zKE8Q)_


###### Part  II
Maria Helena Pinto
_[Dance has become a political path](https://youtu.be/VTJb-0sEjz0)_


###### Part  III
Panaibra Canda
_[This Mozambique is full of diversity](https://youtu.be/ity6XkBApzU)_


###### Part  IV
Edna Jaime
_[Artivism - my work impacts the world](https://youtu.be/5tgS7SvNP40)_


###### Part  V
Pak Ndjamena
_[Persist, insist, go back, and...it happens!](https://youtu.be/WGh2FDx40I0)_


###### Part  VI
Ídio Chichava
_[Emancipate Mozambique](https://youtu.be/LBWqP24clvY)_


###### Part  VII
Horácio Macuácua
_[I didn't choose dance. Dance chose me.](https://youtu.be/hoe7NGAJWfs)_


###### Part VIII
Mariana Tembe
_[To keep a dialogue with the world](https://youtu.be/1yrZ76TDYoo)_


###### Part IX
Edivaldo Ernesto
_[My whole life influences what I do on stage](https://youtu.be/jfMu_LFSSFg)_


###### PART X
Yuck Miranda
_[What drives me in art is indignation](https://youtu.be/arlTEH7gWwg)_

###### More information
You can see the whole collection [here](https://www.youtube.com/playlist?list=PLAO_nJtqGJzGzfNRxgzkwgeuMzDvE8nQU).


A Collection for Tomorrow ⏤ Lisbon | Maputo

Coming to its 3rd edition, which follows a series of conversations dedicated to artists and cultural activists from Mozambique, _A Collection for Tomorrow_ will travel the Atlantic axis in 2023 and early 2024. Cristina Peres invites creators from Angola, Cape Verde and São Tomé and Príncipe, in a total of seven episodes. 

##### ⎯

##### Few people remember the social distance imposed by the pandemic that in 2020 and 2021 forced us to imagine other possibilities to communicate and provoke unusual encounters. The positive part of these limitations was the way we overcame them and how we got quite far. We gained the perspective that allowed us to ask the questions we had not yet asked, and we listened to the resonance of the experiences far beyond the time in which they happened. **We decided to engage in conversation**.
##### 2021 was the first year of _A Collection for Tomorrow_, ten conversations with ten people invited to reflect on artistic creation, world, art, and politics, bringing together a whole of experiences that contributed to and constituted the movement which, organized in such a unique way over the last 30, 40 years, brought us here.
##### Along the way, **we have influenced each other**. In 2022, and because dance travels, it moves, comes back and compares itself, we invented a way of building a two-way bridge connecting Lisbon to Maputo. Actually, it already existed; what we did was invite those who made the journey from here to there and from there to here to tell us all about it in a new collection of ten conversations. At what point did we discover things that are better than ourselves while at the same time finding in ourselves traces of what we imagined would be from others?
##### The invisible threads that link the body's memory to all other memories are not easily exhausted - this was the conclusion of these new ten conversations that we gathered at a distance. So, why not spread the discussion, moving from the Indian Ocean to the Atlantic, and propose again in 2023 a new _Collection for Tomorrow_? Lisbon - Cape Verde, Angola and S. Tomé and Príncipe are waiting for a connection.
##### Cristina Peres, 2023

###### Invited artists:
##### Ana Clara Guerra Marques (Angola)
##### Aneth e Miguel Carlos (Angola)
##### António Tavares (Cape Verde)
##### Bibiana Figueiredo (São Tomé e Príncipe)
##### Lucièny Cabral & Nuno Barreto (Cape Verde)
##### Mano Preto (Cape Verde)
##### Mónica Anapaz (Angola)

###### You can watch the program [HERE](https://youtu.be/VqGBXj5Xl00).



A Collection for Tomorrow ⏤ Atlantic Axis

>_**A Collection for Tomorrow**_
>##### (the people we are going to be)
>Before the world underwent the great change that 2020 brought us globally and almost simultaneously, dance was no longer just the art of the virtuous, aerial, indisputable body outside the canons that allowed it to fly, but at the same time locked it in a code that removed it from the larger discussion of the body. 
>The dancing body opened the way to the expression of many other bodies and to a diversity of experiences that created a mixture. Cutting short the story, which is after all recent, we decided to add the word and reflection to formulate in another way, and in parallel, the discoveries that the bodies led us to make.
>
> The imposition of social distance brought us other possibilities of having or provoking unlikely encounters. It gave us ideas about the questions we hadn't yet asked, about the resonance of experiences beyond the subject matter dealt with at the time. 
> 
> For the collective memory, thousands of themes that made us the people we are today remain unnamed. We want to know more about the paths of the people who, in the past, led to breakthroughs in Portuguese performing arts, whether that time was ten, 20 or 30 years ago. We want to know who they are today and why they are like that. And to discover who we are after having come across them.  
> 
> Dance in Portugal has traveled. It went outside and came back, it compared itself. To compare oneself to the reality of the other is the greatest and most essential experience in the construction of the self. At what point do we discover things that are better than us at the same time that we discover in ourselves traces of what we imagined to be in others?
> 
> Dance relates to a multiplicity of "layers" of all people and, therefore, of the public too. We might be more used to resorting to reason to discuss what we saw in a performance, but our muscles "saw" us at the same time. Did the muscles "talk" about the experience? Probably not. Hence, the series of interviews promoted by the EVC will be dedicated to the questions that were never asked to people who were there at the time, and are here again. Maybe they were headliners then, yet now they will be reflecting. And they are going to transform those who were not headliners into protagonists of the change that made us as we are. 
> 
> I, Cristina Peres, will ask the questions and lead people to question themselves. I was there ten, 20, 30 years ago, but I haven't seen everything, either. As we can never have a clear notion of the present, the past, and the future in a single moment, we will try to look at the trace that remained, valuing our being a point of arrival. And, even more, serving as a bridge to what is to come.
> 
> One or two guests. One theme. A conversation that is meant to travel as far as dance can go. Without limits of time or space, building a collection for tomorrow.
>
> Cristina Peres, 2021



###### Part I 
Marlene Monteiro Freitas
_[Pieces are living entities](https://youtu.be/yCN27S_SjtA)_

###### Part II
Clara Andermatt
_[To choose the best surprises](https://youtu.be/HSFdhAxJWOE)_

###### Part III
André Guedes
_[Generating spontaneous complicity](https://youtu.be/nJey-jEeWI0)_

###### Part IV
Vera Mantero
_[The party of conjugation](https://youtu.be/WebwaqDphyE)_

###### Part V
António Pinto Ribeiro
_[We are willingly going blind](https://youtu.be/BHMMcPDdneg)_

###### Part VI
Mark Deputter
_[The first impulse is to be fascinated by the work](https://youtu.be/ZyyeX25WT3U)_

###### Part VII
João Fiadeiro
_[Suspending Certainty](https://youtu.be/XJGYv6y2zP8)_

###### Part VIII
João Lucas
_[Discovering the world beyond what it is](https://youtu.be/-clcK1BzGUo)_

###### Part IX
Miguel Abreu 
_[The non-coexistence of diversity destroys culture](https://youtu.be/ClpbpwFFmkw)_

###### Part X
Olga Roriz
_[The soul of the shoe is me](https://youtu.be/_J9gBSiY9Co)_

###### More information
You can watch the entire collection [here](https://www.youtube.com/playlist?list=PLAO_nJtqGJzH_jYr9EMTjIhDVFfMK-oZS).



A Collection for Tomorrow

A Collection for Tomorrow ⏤ À la Minute

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Prática Diária

Daily classical and contemporary dance practice designed for professional dancers and those in the process of becoming professional dancers. The diversity of the teachers' proposals is intended to mirror our approach to what a dance practice can be today. The monthly schedule of daily practices is available in the schedule.

###### Classical Dance
Mon - Wed - Fri: 10am – 11:15am

###### Contemporary Dance
Tue - Thu: 10am – 11:15am

###### Price
3€ / class (insurance required)


###### Classical Dance
Mon – Wed – Fri: 10am – 11:15am

###### Contemporary Dance
Tue – Thu: 10am – 11:15am

###### Price
3€ / class (insurance required)


Daily Practice

##### CLASSICAL DANCE
Mon – Wed – Fri: 10am – 11:15am

##### CONTEMPORARY DANCE
Tue – Thu: 10am – 11:15am

##### PRICE
3€ / class (insurance required)

DAILY CLASSES ⏤ March

###### CLASSICAL DANCE
Mon – Wed – Fri: 10am – 11:15am 

###### CONTEMPORARY DANCE
Tue – Thu: 10am – 11:15am 

###### PRICE
3€ / class (insurance required)

DAILY CLASSES ⏤ APRIL

###### CLASSICAL DANCE
Mon – Wed – Fri: 10am – 11:15am

###### CONTEMPORARY DANCE
Tue – Thu: 10am – 11:15am

###### PRICE
3€ / class (insurance required)

DAILY CLASSES ⏤ MAY

Daily Classes ⎯ July

###### CLASSICAL DANCE
##### Mon – Wed – Fri: 10am – 11:15am

###### CONTEMPORARY DANCE
##### Tue – Thu: 10am – 11:15am

###### PRICE
##### 3€ / class (insurance required)

DAILY CLASSES ⏤ JUNE

###### CLASSICAL DANCE
##### Mon – Wed – Fri
##### 10am – 11:15am

###### CONTEMPORARY DANCE
##### Tue – Thu
##### 10am – 11:15am

###### PRICE
3€ / class (insurance required)

Daily Classes ⎯ October

Daily Classes ⎯ November

Daily Classes ⎯ December

###### Classical Dance
Mon – Wed – Fri: 10am – 11:15am

###### Contemporary Dance
Tue – Thu: 10am – 11:15am

###### Price
3€ / class (insurance required)

Daily Classes ⏤ February

Daily Classes ⏤ March

Daily Classes ⏤ April

Daily Classes ⏤ May

DAILY CLASSES ⏤ July

Daily Classes ⏤ September

Práticas diárias de dança clássica e contemporânea destinadas a intérpretes profissionais ou em vias de profissionalização na área da dança. A diversidade das propostas de formadores pretende espelhar um pensamento acerca do que pode constituir uma prática de dança nos dias de hoje. O calendário mensal da prática diária está disponível na agenda.

###### Dança Clássica
2.ª - 4.ª - 6.ª feiras: 10h00 - 11h15

###### Dança Contemporânea
3.ª - 5.ª feiras: 10h00 - 11h15

###### Preço
3€/aula (seguro obrigatório)



Aulas de Dança ⏤ Profissionais

Daily practice for professionals dancers

Dance Classes ⏤ Professionals

Prática Diária ©Susana Chicó | EVC

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to their well-being. The monthly schedule of these practices is available in the monthly schedule.


###### Classical Dance
Mondays and Wednesdays: 6:30 pm - 8:00 pm

###### Price
10€ / class (insurance required)

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to healthy physical condition. 
 
###### Classical Dance
Mondays: 6:15 pm - 7:45 pm

###### Price
7,5€ / class (insurance required)

Dance Classes for Adults

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to healthy physical condition. 

###### CLASSICAL DANCE
Mondays: 6:15 pm - 7:45 pm 

###### PRICE
7,5€ / class (insurance required)

DANCE CLASSES FOR ADULTS ⏤ APRIL

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to healthy physical condition.

##### CLASSICAL DANCE
Mondays: 6:15 pm - 7:45 pm

##### PRICE
7,5€ / class (insurance required)

DANCE CLASSES FOR ADULTS ⏤ March

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to healthy physical condition.

###### CLASSICAL DANCE
##### Mondays and wednesdays
##### 6:15 pm - 7:45 pm

###### PRICE
7,5€ / class (insurance required)

DANCE CLASSES FOR ADULTS ⏤ MAY

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to healthy physical condition.

###### CLASSICAL DANCE
##### Mondays and Wednesdays
6:15 pm - 7:45 pm

###### PRICE
##### 7,5€ / class (insurance required)

DANCE CLASSES FOR ADULTS ⏤ JUNE

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to healthy physical condition.

###### CLASSICAL DANCE
##### Mondays and Wednesdays
##### 6:15 pm - 7:45 pm

###### PRICE
##### 10€ / class (insurance required)

Dance classes for adults ⎯ October

Dance classes for adults ⎯ November

DANCE CLASSES FOR ADULTS ⎯ DECEMBER

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to their well-being.
 
###### Classical Dance
##### Mondays
##### Wednesdays
##### 6:15 pm ─ 7:45 pm

###### Price
10€ / class (insurance required)

Dance Classes for Adults ⏤ February

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to their well-being.

###### Classical Dance
##### Mondays
##### Wednesdays
##### 6:15 pm ─ 7:45 pm

###### Price
10€ / class (insurance required)

Dance Classes for Adults ⏤ March

Dance classes for Adults — April

##### Come on and dance with us!
##### Next April 29th marks International Dance Day and Estúdios Victor Córdon are organizing a ball evening open to everyone who wishes to celebrate the body and the joy of dancing.

##### The ball at the EVC starts with a workshop by Miguel Ângelo, in which participants will learn the basic steps of two Latin ballroom dances.

##### This event is open to anyone, regardless of their dance experience.

###### WHEN
APRIL 29
###### SCHEDULE
6.30—8.30pm
###### FREE ENTRY
subject to registration
###### INSTRUCTOR
Miguel Ângelo


BALL AT EVC ⏤ International Dance Day

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to their well-being.

###### Classical Dance
##### Mondays
##### Wednesdays
##### 6:15 pm ─ 7:45 pm

###### Price
10€ / class (insurance required)


Dance Classes for Adults ⏤ May

Dance Classes for Adults ⏤ June

Dance Classes for Adults ⏤ July

Classical dance classes designed for beginners or for those who have always been connected to dance and want to continue this practice as a means to their well-being.

###### Classical Dance
##### Mondays
##### Wednesdays
##### 6:30 pm ─ 8:00 pm

###### Price
10€ / class (insurance required)

Dance Classes for Adults ⏤ September

Dance Classes for Adults ⏤ October

Dance Classes for Adults ⏤ November

As aulas de dança clássica para adultos destinam-se a quem pretende iniciar a sua aprendizagem ou a quem mantém uma ligação à dança clássica desde sempre e quer continuar essa prática como meio para o seu bem-estar. O calendário mensal destas aulas está disponível na agenda.

###### Dança Clássica
2.ª e 4ª feiras:
18h30 - 20h

###### Preço
10€/aula (seguro obrigatório)

Aulas de Dança ⏤ Adultos

dance classes for adults

Dance Classes ⏤ Adults

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Teresa Silva. Créditos Joana Linda.jpg

##### _At Home_ is a space dedicated to dance artists who, throughout the year, are invited to develop their projects at the EVC and make them their creative home. After having been introduced to the work of Miguel Moreira, João dos Santos Martins, Jonas & Lander, Marlene Monteiro Freitas and Victor Hugo Pontes in previous years, in 2024 we welcome Teresa Silva, who will show us her work in all its facets and different formats.

##### Over the course of a year, various projects by her or in collaboration with others will be developed at the EVC.

##### Teresa Silva (Lisbon, 1988) has dedicated herself to research, creation and performing in the fields of contemporary dance and performance since 2008. She sees dance as something that goes beyond the physical body, resulting in a work of attentiveness and sensitivity, as well as a multidisciplinary approach to movement.

##### The artist will bring to the EVC a series of very different proposals, in collaboration with Sara Anjo, David Marques, Kristina Norman, and Mathieu Bouvier, among others.

###### Oráculo expandido [“Expanded oracle”] — towards an investigation into practices of care, attention and connection

Since 2017, Sara Anjo and Teresa Silva have been researching the potential of the body as a place of knowledge and revelation, and have designed workshops and created a piece based on the premise “can the body be an oracle?” There is a great diversity of people who share a curiosity for practices aimed at a holistic awareness of the body, and _Oráculo expandido_ is an invitation to continue this research, opening it up to other people and expanding the research to other languages, practices and perspectives. 

» 23 Nov, 4pm - 7pm, EVC

###### Fazer falar o fazer [“Making the making speak”] — devices for creating speech about artistic practices

This project, conceived and developed by David Marques and Teresa Silva, arises from the desire to make the work of their generation more visible and to bring the community together around the issues that move and engage them in their artistic practices. In this sense, the artists will develop different devices that encourage thinking, speaking and listening, and which provide encounters between artists and between the artists and the audience. In this _Making the making speak_'s edition, Teresa and David invite Ana Rita Teodoro, Andresa Soares and Francisco Rolo to an openly exchange.

» 30 Nov, 2:30pm - 8pm, EVC

###### Carnation

After collaborating on _Orchidelirium — An appetite for Abundance_, a project presented at the 2022 Venice Biennale, Estonian visual artist Kristina Norman has partnered with Teresa Silva to conceive a new piece. This time, the artists use the red carnation as a symbol of power and freedom, seeking to bring into dialogue the culture and history of their respective countries.

###### Ah! — Experimentation sessions for a transformative artistic practice

In this project driven by Teresa Silva, the artist aims to show how artistic practice generates states of attention, self-knowledge and transformation that intensify human potentialities. In these individual sessions, each person will be invited to listen to what affects them in the present moment and therefrom work together on a sensitive and experimental path, through exercises, tasks and actions. To prepare the sessions, Teresa Silva draws on her research with Sara Anjo around the question "can the body be an oracle?" and finds inspiration in the work of artists such as Anna Halprin, Lygia Clark (Relational Objects), Alejandro Jodorowsky (Psychomagic) and Valentina Desideri (Fake Art Therapy), who have made and continue to make their artistic practice a place of affection, ritual and healing.

In these sessions, which will be individual, each person will be invited to listen to what affects them in the present moment and, from there, work together on a sensitive and experimental path, through exercises, tasks and actions.

» 10 - 20 Dez, 45 minutes individual sessions, 11am - 7pm, EVC

» Registration | By completing this form: [https://forms.gle/UPdi27jWqwR45hZD6](link)


"Throughout our careers, we have felt a lack of occasions that encourage reflection and speech about artistic practice, and we have noticed how scarce the records are which might document and make more lasting and geographically widespread what artists like us are doing. "Fazer falar o fazer" thus arises from the hope that the work of our generation can claim a place of its own and the desire to bring the community together around the issues that move and engage us in our artistic practice, and which we believe to be a source of fundamental knowledge. In this context, we have been developing, in residence at the Estúdios Victor Córdon, different devices that encourage thinking, speaking and listening, and which provide an encounter between artists and between artists and the public.

On November 30, 2024, at the EVC, we invite Ana Rita Teodoro, Andresa Soares and Francisco Rolo to join us and activate 3 different conversation devices, from 2:30pm to 8pm. 
We hope you can join us and help us make sense of this 'speaking about the making' with your listening."

Teresa Silva e David Marques

###### Programa
- 2:30pm - 3pm: Presentation of the project and the artists involved in the first edition 
- 3pm - 4:30pm: First conversation device: “Hidden Questions”
- 4:45pm - 6:15pm: Second conversation device: “Objects of doing”
- 6:30pm - 8pm: Third conversation device: “Circle conversation”

###### Credits
##### A project conceived and developed by David Marques and Teresa Silva
##### Invited artists | Ana Rita Teodoro, Andresa Soares and Francisco Rolo
##### Support | Estúdios Victor Córdon as part of the At Home — Teresa Silva program

AT HOME — Fazer falar o fazer ["Making the making speak”]

"Since 2017, we've been interested in researching the potentialities of the body as a place of knowledge and revelation. We have designed workshops and created a piece based on the premise “can the body be an oracle?”, and we have been developing a card deck as a tool for the record and activation of physical, mental and emotional experiences. Concurrently, we have noticed a diversity of people who, each with their distinct methods and approaches, share this curiosity for practices aimed at a holistic awareness of the body and which foster the possibility of transformation, taking as a starting point a collective and relational experience. In this way, _Oráculo expandido_ is an invitation to continue this artistic research, opening it up to other people and expanding the research to other languages, practices and perspectives.

On November 23rd, 2024, starting at 4 pm, at the Estúdios Victor Córdon, we will welcome into the studio anyone who wishes to join this research. Performance experience isn't required, just curiosity and an interest in these subjects and in taking part in the practical proposals or simply in watching them."

— Teresa Silva and Sara Anjo

###### Credits
##### A research project by Sara Anjo and Teresa Silva
##### Guest researcher | Mathieu Bouvier
##### Collaborators in the labs | Catarina Câmara, Catarina Vieira, Joana Leal, Margarida Bettencourt and Romain Teule
##### Picture | Martina Manyà from a drawing by Sara Anjo
##### Support | Estúdios Victor Córdon, as part or the program AT HOME – Teresa Silva


AT HOME — Oráculo Expandido [“Expanded oracle”]

“In these sessions, I would like to show how artistic practice generates states of attention, self-knowledge and transformation that intensify human potentialities. More and more I feel a need to create a practice that takes care of the various dimensions of the human body and puts them into dialogue, and which combines what I learn from dance, in my experience as a performer and choreographer, with practices of attention and care for oneself and for what surrounds oneself.

These will be individual sessions guided by me, where I invite each person to listen to what affects them in the present moment, and therefrom we will work together on a sensitive and experimental path, through exercises, tasks and actions.

To prepare these sessions, I draw on my research with Sara Anjo around the question “Can the body be an oracle?”, and I find inspiration in the work of artists such as Anna Halprin (Life/Art Process), Lygia Clark (Relational Objects), Alejandro Jodorowsky (Psychomagic) and Valentina Desideri (Fake Art Therapy), who have made and continue to make their artistic practice a place of affection, ritual and healing."

Teresa Silva

###### About the event

Sessions will be 45 minutes long and will take place from Monday to Friday, from 11am to 7pm, between December 10 and December 20, 2024, at the Estúdios Victor Córdon.

##### **Price** | Free of charge upon prior registration.

##### **Registration** | By completing this form: [https://forms.gle/UPdi27jWqwR45hZD6](link). Please select only one date and time for the session. You will receive an email confirming your registration. Registrations will not be accepted less than 24 hours in advance. If you are unable to attend on the scheduled date and time, please send an email at least 24 hours in advance to info.projeto.ah@gmail.com.

##### **Target public** | People over the age of 18, with or without artistic experience, of any gender, nationality and profession/occupation. It is essential to be curious and interested in the proposal.

###### Details
##### **A proposal by and with** | Teresa Silva
##### **Support** | Estúdios Victor Córdon as part of the program AT HOME — Teresa Silva

EM CASA — Ah!

##### _Em Casa_ é um espaço destinado a criadores(as) da área da dança, propondo que ao longo de uma temporada desenvolvam o seu trabalho nos EVC. Depois da presença de Miguel Moreira, João dos Santos Martins, Jonas & Lander, Marlene Monteiro Freitas e Victor Hugo Pontes, em 2024 acolhemos as propostas de Teresa Silva, que nos dará a conhecer o seu trabalho nas suas várias facetas e dimensões.

Durante um ano de intervenção, vários programas da sua autoria ou em colaboração com convidados(as) habitarão os espaços dos EVC.

Teresa Silva (Lisboa, 1988) dedica-se à investigação, criação e interpretação nas áreas da dança contemporânea e da performance desde 2008. Vê a dança como algo que excede o corpo físico, o que se traduz num trabalho de atenção e sensibilidade, bem como numa abordagem multidisciplinar ao movimento.

A artista trará aos EVC um conjunto de propostas muito diferentes entre si, em colaboração com Sara Anjo, David Marques, Kristina Norman, Mathieu Bouvier, entre outros(as).

###### Oráculo expandido — para uma investigação sobre práticas de cuidado, atenção e relação.

##### Sara Anjo e Teresa Silva andam desde 2017 interessadas em investigar as potencialidades do corpo enquanto lugar de conhecimento e de revelação, tendo já desenvolvido laboratórios e uma peça a partir da premissa «pode o corpo ser um oráculo?» Há uma grande diversidade de pessoas que partilham esta curiosidade pelo desenvolvimento de práticas que visam uma consciência holística do corpo, e _Oráculo expandido_ é um convite a dar continuidade a esta investigação, abrindo-a a outras pessoas e desdobrando a pesquisa a outras linguagens, práticas e perspetivas.

» 23 Novembro, das 16h às 19h, EVC

###### Fazer falar o fazer — dispositivos para criar discurso sobre práticas artísticas

Este projeto, pensado e desenvolvido por David Marques e Teresa Silva, surge da vontade de que o trabalho da sua geração tenha um lugar onde se inscrever e do desejo de juntar comunidade em torno das questões que os movem e ocupam nas suas práticas artísticas. Nesse sentido, os artistas irão desenvolver diferentes dispositivos para fomentar o pensamento, a palavra e a escuta, e proporcionar o encontro entre artistas e entre artistas e público. Nesta edição de _Fazer falar o fazer_ Teresa e David convidam para a partilha pública Ana Rita Teodoro, Andresa Soares e Francisco Rolo. 

» 30 Novembro, das 14h30 às 20h, EVC

###### Carnation

Depois de terem colaborado em _Orchidelirium — An appetite for Abundance_, projeto apresentado na Bienal de Veneza de 2022, a artista visual estoniana Kristina Norman junta-se a Teresa Silva para conceber uma nova criação para palco. Desta vez, as artistas partem do cravo vermelho enquanto símbolo de poder e liberdade, procurando pôr em diálogo a cultura e a história dos respetivos países de origem.

###### Ah! — sessões de experimentação para uma prática artística transformadora

Nesta proposta, guiada por Teresa Silva, a artista pretende evidenciar como a prática artística gera estados de atenção, autoconhecimento e transformação que intensificam as potencialidades do ser humano. Nestas sessões, que serão individuais, cada pessoa será convidada a escutar o que a afeta no momento presente para, a partir daí, trabalharem em conjunto num caminho sensível e experimental, através de exercícios, tarefas e ações. Para preparar estas sessões, Teresa Silva apoia-se na investigação desenvolvida com Sara Anjo em torno da questão «pode o corpo ser um oráculo?» e encontra inspiração no trabalho de artistas como Anna Halprin, Lygia Clark (Objetos relacionais), Alejandro Jodorowsky (Psicomagia) e Valentina Desideri (Fake Art Therapy), que fizeram e fazem da sua prática artística lugares de afeto, ritual e cura.

Nestas sessões, que serão individuais, cada pessoa será convidada a escutar o que a afeta no momento presente para, a partir daí, trabalharem em conjunto num caminho sensível e experimental, através de exercícios, tarefas e acções.

» 10 a 20 de Dezembro, sessões de 45 minutos, das 11h às 19h, EVC

» Inscrições: através do preenchimento do formulário: [https://forms.gle/UPdi27jWqwR45hZD6](link)



Em Casa ⏤ Teresa Silva

Following Miguel Moreira, João dos Santos Martins and Jonas&Lander, this time EVC welcomes Marlene Monteiro Freitas to be EVC’s 2022 season AT HOME artist.

The program provides a continuous workspace, giving each artist the freedom to use the various facilities of the Estúdios for artistic creation projects and any other initiatives they develop.

###### Marlene Monteiro Freitas 
She was born in São Vicente, Cabo Verde, where she was co-founder of the dance group Compass. She studied at P.A.R.T.S. (Brussels), at E.S.D. and at Fundação Calouste Gulbenkian (Lisbon). She worked with Emmanuelle Huynn, Loic Touzé, Tânia Carvalho, Boris Charmatz, among others. She created the works _ÔSS_ (2022), _Ri te / Paris Intermission_, in collaboration with Israel Galván (2022), _Bacchae - Prelude to a purge_ (2017), _Jaguar_, in collaboration with Andreas Merk (2015), _Of ivory and flesh - statues also suffer_ (2014); _Paradise - private collection_ (2012-13); _(M)imosa_ (2011), a project developed with Trajal Harell, François Chaignaud and Cecilia Bengolea; _Guintche _(2010); _A Seriedade do Animal_ (2009-10); _A Improbabilidade da Certeza_ (2006);_ Larvar_ (2006); and _Primeira Impressão_ (2005). The common denominator of these works is openness, impurity and intensity. In 2017, the Portuguese Society of Authors (SPA) awarded _Jaguar_ the prize for best choreography. In the same year, the artist was honored by the Government of Cape Verde for her cultural achievements. In 2018, the Venice Biennale awarded Marlene Monteiro Freitas the Silver Lion in the Dance category, and, in 2021, the artist was awarded the Chanel Next Prize in its first edition. In 2022, as part of the Portugal-France Crossed Season, the Festival d'Automne à Paris dedicates a cycle to the artist's work, presenting a vast retrospective and two new creations. She is co-founder of P.OR.K, a production structure based in Lisbon, and has an ongoing collaboration with O Espaço do Tempo (PT).



At Home ⏤ Marlene Monteiro Freitas

Celebrating 20 years since he began his artistic path, Victor Hugo Pontes is the artist invited to be _At Home_ in 2023. It will be a year of commemoration in which EVC will be the choreographer's temporary home. Here, new works of his will be conceived, and encounters with various formats will be held, through various ways of approaching and promoting a meaningful reflection about his path. 

###### Exhibition ⎯ _For a happiness like this_
Victor Hugo Pontes,  20 years of artistic creation through images

###### Performance lecture ⎯ _Unique physical parts_

###### Book edition ⎯ _For a happiness like this_ 
Victor Hugo Pontes, 20 years of artistic creation
(provisional title)




At Home ⏤ Victor Hugo Pontes

Image

At Home ⏤ Teresa Silva

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Treino EVC

Complementary intensive training for professional dancers that gives them the opportunity to explore the fundamental languages of contemporary dance, this year focusing on the artistic language of Canadian choreographer Crystal Pite.

###### Target Audience
Dance professionals

###### Price ⎯ 200€

###### GDA grants available

###### Online registration




The next complementary intensive training for professional dancers focuses on the language developed by Canadian choreographer Crystal Pite, founder and artistic director of the dance company Kidd Pivot. 

The EVC Training program aims to enable contact with the fundamental languages of contemporary dance on a universal scale, and this year will take the form of a three-day immersion in Crystal Pite's universe, with Sandra Marín Garcia.

###### Dates
##### 28-30 MAR

###### Schedule
##### 28 MAR
##### 11:30 am to 6:30 pm
##### 29 MAR
##### 10 am to 5 pm
##### 30 MAR
##### 10 am to 4 pm

###### Target audience
Dance professionals

###### Price ⎯ 200€

###### GDA grants available
##### 8 GDA collaborating artist grants: 130€ (value to be deducted from the price)
##### 11 GDA non-collaborating artist grants: 70€ (value to be deducted from the price)
##### * Fundação GDA grants will be conceded by order of confirmation of registration.

###### Personal accident insurance is required

EVC Training ― Crystal Pite

Crystal Pite

Sandra Marín Garcia

Formação intensiva complementar para bailarinos(as) profissionais que permite o contacto com linguagens fundamentais da dança na contemporaneidade à escala universal, este ano centrada na linguagem desenvolvida pela coreógrafa canadiana Crystal Pite.

###### Público-alvo
Profissionais da dança

###### Preço ⎯ 200€

###### Bolsas GDA disponíveis

###### Inscrições online

###### Seguro de acidentes pessoais obrigatório





Treino Intensivo EVC

Calendar

Intensive training week for dance professionals, with Belgian choreographer Wim Vandekeybus.  

###### Target Audience
Dance professionals



EVC Training 2022

Intensive and complementary KOVA training for dance professionals. KOVA is the language, practice and composition tool developed by the choreographer Marcos Morau, in which the focus of the movement is not so much the contact with emotions and feelings but a deep connection with the body and the search for shapes and volumes. 

Marcos Morau created in 2005 the company La Veronal, a collective of artists from dance, cinema, literature, and photography. His training and the tools he uses to develop his work are not limited to dance, extending to artistic disciplines such as photography and theater. 


###### Target Audience
Dance professionals

###### Price ⎯ 200€

###### GDA scholarships available

###### Limit of 30 participants

###### Online registration

EVC Training 2023

EVC Intensive Training

Espaço Expositivo

The entrance to the EVC building has become an exhibition space, welcoming proposals on an ongoing basis by visual artists whose work has a connection to performing arts in general and dance in particular. This year, we welcome a curatorial idea by choreographer Carlota Lagido, who invited three dance artists who have a strong connection to the visual arts -  Luís Guerra, João Galante and Elizabete Francisca - and an exhibition by Guilherme Gouveia, who will show us the result of the photography residency he undertook at the EVC in 2023.


### _brain, eyes, hands and paper_
##### Curated by Carlota Lagido
#####

### Photography exhibition
##### by Guilherme Gouveia




_The works presented here were born out of the desire to imprint bodies on sheets or canvases; they were born out of the desire to adorn dead bodies as was the case, for example, of the mummies in ancient Egypt. Some of these works have been presented in a school context. The artist is studying at ArCo, where he attends the Year 2 of the Advanced Course in Visual Arts. Other works integrated the performance _Almada Negreiros, o bailarino_ [“Almada Negreiros, the dancer”], presented last October at the Gulbenkian Foundation. The solution to the challenge of presenting a work in the movement temple-space that is Gulbenkian came precisely from these works, since the essence of the place leads the author to the very act of living and dying, i.e. dancing, reinventing oneself, being present and being reborn._ ― Luís Guerra

### brain, eyes, hands and paper

_What is this capacity of the body that takes what we observe and puts it on a sheet of paper? I'm talking about the body transmuting itself into a drawing, in an intricate fusion between eyes, hands and paper. It's like the development of a mental muscle that mysteriously extends down the arm, reaches the hand and travels across the paper. It turns into movement and dynamism. There are people in the world of performing arts who have been drawing even before they started using their bodies as tools. Luís Guerra, João Galante and Elizabete Francisca are some of these people. These exhibitions reveal three different ways of using mental muscles, each with its own identity and beauty. Drawing is a physical act that requires time, memory, focus, practice, will, endurance and freedom. It's like dancing._ ― Carlota Lagido

#####
##### 

###### VERNISSAGE
##### FEB 24 at 7pm
##### Estúdios Victor Córdon

Luís Guerra ― Múmias ou como homenagear um corpo

Luís Guerra, invited by Carlota Lagido to be part of the series of solo art exhibitions "brain, eyes, hands and paper", will be teaching a workshop entitled "Drawing with the whole body" in connection with his exhibition proposal _Múmias ou como homenagear um corpo_.

―

_In this masterclass, aimed at people who are both passionate about dance and drawing, exercises will be proposed that could possibly instigate a broader awareness of the body when drawing and painting that doesn't stop at the wrist.  Participants are invited to bring their own drawing instruments, like pencils, charcoal bars or other materials - with which they intend to leave a mark on their bodies._
― Luís Guerra

DRAWING WITH THE WHOLE BODY ― WORKSHOP

_What is this capacity of the body that takes what we observe and puts it on a sheet of paper? I'm talking about the body transmuting itself into a drawing, in an intricate fusion between eyes, hands and paper. It's like the development of a mental muscle that mysteriously extends down the arm, reaches the hand and travels across the paper. It turns into movement and dynamism. There are people in the world of performing arts who have been drawing even before they started using their bodies as tools. Luís Guerra, João Galante and Elizabete Francisca are some of these people. These exhibitions reveal three different ways of using mental muscles, each with its own identity and beauty. Drawing is a physical act that requires time, memory, focus, practice, will, endurance and freedom. It's like dancing._ ― Carlota Lagido

###### Curator
#### Carlota Lagido

###### Artists
#### Elizabete Francisca
#### João Galante
#### Luís Guerra


BRAIN, EYES, HANDS AND PAPER

### Divã

_When I paint I try to do the same as when I play or compose music. To find a place where I have no responsibilities towards society. A place where I can either meditate on the world or not at all. A state of surrender. A state of rest._ — João Galante

### brain, eyes, hands and paper

_What is this capacity of the body that takes what we observe and puts it on a sheet of paper? I'm talking about the body transmuting itself into a drawing, in an intricate fusion between eyes, hands and paper. It's like the development of a mental muscle that mysteriously extends down the arm, reaches the hand and travels across the paper. It turns into movement and dynamism. There are people in the world of performing arts who have been drawing even before they started using their bodies as tools. Luís Guerra, João Galante and Elizabete Francisca are some of these people. These exhibitions reveal three different ways of using mental muscles, each with its own identity and beauty. Drawing is a physical act that requires time, memory, focus, practice, will, endurance and freedom. It's like dancing._ ― Carlota Lagido

#####
##### 

###### VERNISSAGE
##### MAY 24 at 6.30pm
##### Estúdios Victor Córdon

João Galante ― Divã

### _ELLES DISENT_
##### _Since I started dancing, my drawing practice vanished. I had to focus on learning something entirely new, and already at a late stage, considering the conventional path of a professional dancer. Now I was drawing only at very sporadic, rarefied, stray and even arbitrary moments. In 2021, while we were making the film MINA, Carlota got me moving, but also drawing. In Alfafar, with 12 women sitting around a table, among food, books and conversations, she gave me a bird. And there I was. Slowly testing pencils, reviving this magical connection between seeing and putting down on paper, with mixed feelings of fear and excitement. Returning to something that had belonged to me, not knowing whether it still did, whether I still had it in me. Recently, Carlota challenged me once more: to exhibit some of my drawings, here at the EVC. I would say that this is someone’s gesture who indeed sees the other, beyond what is obvious, beyond what is known. Who gives that little push which helps us see the different facets we all hold within, at any risk. And looking, or taking the time to see, is truly what drawing gives me. A fullness of being, a profound presence and connection, which is something I find extremely necessary in these times, be it only for some minutes._
##### _With this in mind, this exhibition includes drawings from different time periods, thus marking diverse occupations and moods, but also photographs, because they were conceived in Alfafar. And because they, too – the photographs –, got me handling materials of various kinds, other materialities. Making things with my hands again. And how happy that made me. Knowing that there’s still this world for me to be busy with if ever dance fails me or I fail it. This world of the hands that drag everything else along._ — Elizabete Francisca
#####
_____________________
#####
##### *The photographs were conceived in collaboration with artist Larissa Lewandowski and feature Wicca Magda Ferreira/ PWUD activist.



### cérebro, olhos, mãos e papel (“brain, eyes, hands and paper”)
_What’s this capacity of the body to take what we observe and encase it in a sheet of paper? I am speaking of the body transmuting itself into a drawing, in an intricate fusion of eyes, hands and paper. It is like the development of a mental muscle that mysteriously extends down the arm, reaches the hand and travels across the paper. It turns into movement and dynamic. There are performance artists who draw even before using their bodies as instruments. Luís Guerra, João Galante and Elizabete Francisca are some of these artists. These exhibitions reveal three different ways of using the mental musculature, each with its own identity and beauty. Drawing is a physical act that requires time, memory, focus, practice, will, endurance and freedom. Just like dance._  ― Carlota Lagido

#####
##### 

###### OPENING
##### SEPTEMBER 13th at 6:30 p.m.
##### Estúdios Victor Córdon

Elizabete Francisca ― ELLES DISENT

A entrada no espaço dos EVC passou a ser lugar de exposições, recebendo em continuidade propostas de artistas visuais cujo trabalho tem uma ligação às artes performativas em geral e à dança em particular. Este ano, acolhemos uma proposta de curadoria de Carlota Lagido, que convidou três artistas da dança que têm uma forte ligação às artes visuais - Luís Guerra, João Galante e Elizabete Francisca - e  uma proposta de Guilherme Gouveia, que apresenta o resultado da residência de fotografia que realizou nos EVC em 2023.


### _cérebro, olhos, mãos e papel_
##### Curadoria de Carlota Lagido
##### 

### Exposição de fotografia
##### Guilherme Gouveia





Support

Exhibition space

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First Stage is a residencies program dedicated exclusively to young artists who have recently graduated from higher education institutions or equivalent. The initiative aims to support and encourage the production of their first works in a professional context. To this end, the EVC promote partnerships with several educational institutions linked to the performing arts, namely Escola Superior de Dança (ESD), Escola Superior de Música e Artes do Espetáculo (ESMAE), Faculdade de Motricidade Humana (FMH) and Fórum Dança.


Programs