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INDEX
1 /3
out here: disquieted architecture
press release
4/5
disquiet in venice
Jorge Barreto Xavier . General Director of Arts
6/7
out here: disquieted architecture
José Gil and Joaquim Moreno . Curators
8/17
Eduardo Souto de Moura
biographie
selected works
selected bibliography
18/24
Ângelo de Sousa
biographie
selected works
selected bibliography
25/28
Joaquim Moreno
José Gil
biographies
29/31
images . contacts . portuguese pavilion
32
credits
Out Here
:
Disquieted
Architecture
Project for “Out Here: Disquieted
Architecture”, conceived by Eduardo Souto
de Moura e Ângelo de Sousa. Portuguese
Pavillion / Fondaco Marcello.
Official Portuguese Representation at the
11th International Architecture Exhibition,
La Biennale di Venezia
PRESS RELEASE
The Directorate-General for the Arts of the Portuguese Ministry of Culture has the pleasure to announce Out
Here: Disquieted Architecture, by Eduardo Souto de Moura and Ângelo de Sousa, curated by Joaquim
Moreno and José Gil, as the Official Portuguese Representation at the 11th International Architecture
Exhibition, La Biennale di Venezia.
The Official Portuguese Exhibit’s intervention project for the 11th International Architecture Biennial of
Venice has been developed by two commissioners, architect Joaquim Moreno and philospher José Gil,
leading figures from divergent academic backgrounds.
Taking as their point of departure the general topic proposed by Aaron Betskty, Joaquim Moreno and José
Gil have problematised the idea of developing architecture as a theme for work that could tackle the
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experience of architecture in a contemporary landscape marked by questions of ephemerality, transience,
frequent paradoxes and continuous movements in time and space.
In keeping with the programme, architect Eduardo Souto de Moura and the artist Ângelo de Sousa were
invited to produce a multidisciplinary proposal that temporarily would give substance to the idea of disquiet
in the Portuguese Pavilion at the Fondaco Marcello on the Grand Canal. “Out Here: Disquieted Architecture”
has a strong visual impact bearing always in mind the preservation of the internal and external parts of the
building.
The challenge issued by the commissioners to the creators took shape in the conception of Out There:
Disquieting Architecture, an intervention that invites the spectator to follow a path of pendular
movements between mirrors and reflections through a field of images that amplify ad infinitum their
experience of relating to and observing the locale.
In the exterior space, going along the Grand Canal or looking at the Fondaco Marcello from the other bank,
the visitor will see a mirrored surface that makes the building “disappear”, creating an empty space, an
absence in the plane formed by the line of houses that are located on the bank of the canal. This astonishing
facade mirrors images in motion and reflecting the surrounding landscape – palaces, water, boats on the
canal – and given the different points of view obtained by the observer on his journey, they reveal multiple
perspectives/ perceptions of the city.
Inside the Fondaco the architectural proposal is characterised by a differentiated use of space. In a first
room, that has been darkened, the visitor will have a perception of the reverse of the facade, the structure and
the materials that support it, and in an inner room he himself is the subject of a process of reflexion
sustained by reflecting walls and mirrored columns, where different views of his self come together.
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In the text that introduces the Portuguese exhibit, Joaquim Moreno and José Gil explain that they chose
Eduardo Souto de Moura and Ângelo de Sousa because of the distinctive features of the work of these two
artists – experimentation, the co-existence and combination of heterogeneous elements – and because they
they believe their discourses can intersect productively and move forward in exploring this “Disquieting
Architecture”.
The Portuguese Pavillion at the 11th International Architecture Exhibition is also a tribute to Venice.
Project for “Out Here: Disquieted Architecture”, conceived by
Eduardo Souto de Moura e Ângelo de Sousa. Portuguese Pavillion /
Fondaco Marcello.
Official Portuguese Representation at the 11th International
Architecture Exhibition, La Biennale di Venezia
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Disquiet in Venice
Jorge Barreto Xavier
General Director of Arts
The official Portuguese exhibit in this year’s International Architecture Exhibition proposes a unique
approach to the question of architecture as the art of what is built, with its inherent qualities of stability and
permanence. Disquieted Architecture, in the words of the two commissioners, architect Joaquim Moreno and
philosopher José Gil, contains a challenge that we interpret in this way: how can an architecture exhibition
interrogate the fragmented nature of contemporary society, made up of unstable, changing spaces, fluidity
and transience?
The challenge posed for the two exhibitors, Eduardo Souto de Moura and Ângelo de Sousa, in addition to the
dialogue between architecture and visual arts, is that of reflecting on this paradox, not in order to resolve it,
but to problematize it, transform it into an experience to be lived by the visitors. And this possibility appears
to have materialised in this proposal by Eduardo Souto de Moura and Ângelo de Sousa, two towering figures
on our country’s cultural scene, who have stepped aboard the Venetian traghetto from which any passerby
can come into contact with the surface of a moving picture that is the reflection of an urban landscape
between sky and water. From the canal, visitors can proceed to the Fondaco Marcello – what we call the
Portuguese Pavilion – and prolong their experience of otherness, fragmentation and heteronomy, by moving
in front of a set of mirror devices that open up the possibility of reflection, in both senses of the word.
Inside, the exhibit is necessarily different in character, accentuated by the darkness and by the priority given
to the visitor, the subject. In the external space, the protagonist is the surroundings, an accumulated urban
heritage redolent with history. But the features of this landscape reflected by the mirror are always different,
depending on the position of the observer; it can therefore be stated that the observer constructs the image
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that he or she wishes to see. Evoking Fernando Pessoa and his “disquieting” compositions on the multiple
experience of the subject, and investigating the mirror potential of any artistic creation, the Portuguese
exhibition in the 2008 Venice Biennial reformulates an age-old problem, at the same time proposing a way of
interpreting architecture as a fundamentally subjective experience.
By dint of its mission and its responsibilities, the General Directorate of Arts of the Ministry of Culture is the
body charged with organising and producing the official Portuguese representation. The technical staff of the
D-G of Arts should also be thanked for their contribution to the success of this initiative.
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Out Here: Disquieted Architecture
José Gil and Joaquim Moreno
Curators
“Out There: Architecture Beyond Building” can imply a dimension of the outside so active and closely
integrated to an inside to induce an unlimited exterior in the interior. The ever expanding “Out There” would
then ensure the enlargement of architecture. This interpretation implies that the problem at stake is no
longer the quest for a home, for a dwelling capable of sheltering us in an ever-changing world – a quest eager
to recover some neo-archaisms not beyond, but before contemporaneity. Nor would it be the definition of a
dissemination, of a nomadism, of the building process; a dissemination that would bring it to the public and
artistic space of contemporary life. In this case, the multiplication of heterogeneous, chaotic, and
discontinuous elements would lack the necessary consistency of an architecture for a time gone “out of joint”.
From this reflection emerged the idea of a permanent disquiet, of an outside more exterior than every other
outside because it is lodged in the inside, beyond every distinguishable point. Hence: “Out Here: Disquieted
Architecture”.
This disquiet, this movement between inside and outside, is fundamental to thinking about the failures and
successes of Portuguese architecture. Every time that it was stopped or captured, Portuguese singularity
aborted. But here and there, one architect or another drafted converging lines originating from the interval,
or the intensity, of the disquiet. This was a productive creative movement that reinforced the consistency of
our outside in “here”, beyond every “there”. This movement opened an ever-expanding field of
experimentation: this “Out Here” opened unsuspected directions for the future of Portuguese architecture.
The invention of spaces in differential intervals (an outside expanding in an inside perpetually mobilized
through this paradoxical expansion), experimentation, co-existence, or combination of heterogeneous
elements, are thus some features of the singular work of a pair of authors we believe can be productively
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collided to further investigate this “disquieted architecture”: the architect Eduardo Souto de Moura and the
artist Ângelo de Sousa.
The interest in the formulation of a paradoxical “Out Here” is the continuity of this expansive movement.
Such formulation is better substantiated in an architectonic experiment, in the mobilization of the Portuguese
Pavilion as a laboratory setup, than in the documentation of earlier events. To promote transformation, to
inquire into the future – more than access the present or the recent past – is a program better served with
architectonic experiments than with clearly framed retrospections, and this is the general purpose of the
Portuguese representation, to temporarily materialize the heteronymous disquiet in a paradoxical “Out Here”.
North Elevation - mirror 1
North Elevation - mirror 1
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BIOGRAPHIES | NATIONAL REPRESENTATIVES
EDUARDO SOUTO DE MOURA
Eduardo Souto de Moura was born in 1952, in Porto, where he lives and
works.
From 1974 to 1979, he worked in Álvaro Siza Vieira’s architectural studio.
In 1980 he graduated with a degree in Architecture from the Porto School
of Fine Arts, and embarked on his professional career. He began to lecture
at the Faculty of Architecture of Porto University in 1981 and was a guest
lecturer at the universities of Paris-Belleville, Harvard, Dublin, Zurich and
Lausanne between 1988 and 1994. Since the 90s, he has regularly
collaborated with Siza, with whom he has co-authored a number of
projects, such as the Portuguese Pavilion at Expo 2000 in Hanover, or the
Serpentine Gallery Pavilion, London, 2005.
Souto de Moura’s work attracts attention both in and out of Portugal. This has come about not only because
of his reduction of formal means reminiscent of Mies van der Rohe but also because of his sensitive
treatment of situational factors. But Souto de Moura is as little interested in dusting off models of the early
modern movement as in a simplistic adaptation to the context in which he has to build. Both his linguistic
reduction and his contact with the context appear – surprisingly enough – to have their roots in
contemporary American sculpture, in artists like Robert Morris, Donald Judd and Sol Le Witt.
Souto de Moura is not a “contextualist”. His buildings are never complacent answers to the topographic and
morphological qualities that he encounters at a particular site. His interventions always generate a new,
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formal field of force that rearranges the situation and imposes a new order upon it. Like the above sculptors,
what he is concerned with is making discrete, precise but very convincing gestures in a field of relations.
Within such a field, ruins, interstitial urban zones and decayed spaces of the periphery can be charged with
new, even dominant meanings. Some authors, like Angelillo, make a connection here with the novels of Peter
Handke and the films of Wim Wenders. Souto de Moura’s architecture sets out to offer resistance. Walls of
chiselled granite blocks, steel-framed façades of reflecting glass and floors of Brazilian tropical wood give his
work an aura of serene monumentality.
The Miesian formal reduction and the emancipation of floors, walls and columns, both of which characterise
his work, lend his buildings a material and sensual permanence, in which everyday life with its variety and
transience can ensconce itself at will. This contrast between sensual and material eloquence and the relative
indifference to the programme – which is not, after all, controllable by the architect – makes Souto de
Moura’s work particularly topical.
Souto de Moura’s work is certainly changing, however. He has designed a “new inventory” of materials, strategies and
forms, and thereby showing some affinity with the work of Swiss architects Herzog and De Meuron. The design
strategy and construction procedure which he has had to sustain for years to maintain his position in the Portuguese
building world is necessarily always under revision. This is partly a result of his success.
Eduardo Souto de Moura’s work was first granted public recognition with the Fundação António de Almeida
and Fundação Antero de Quental Prizes, in 1980 and 1984 respectively. In the 1980s, he was awarded first
prize in the competitions for the refurbishment of the Praça do Giraldo (Évora), for the Casa das Artes (Arts
House) – Centro Cultural da Secretaria de Estado da Cultura (Porto), the CIAC Pavilions, a hotel in Salzburg,
and the In/Arch (Istituto Nazionale di Architettura) competition for Sicily in 1990.
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Since 1992, when he received the SECIL Architecture Prize, he has been the recipient of many other awards,
including the International “Stone in Architecture” Prize for the Casa em Braga (Braga House), awarded by
the Verona Fair, and the Annual Prize of the Portuguese Section of the International Association of Art
Critics. In 1996 he was nominated for the European Architecture Prize Mies van der Rohe, for the following
projects: Casa das Artes (Arts House); Casa em Alcanena (House in Alcanena); Department of Earth
Sciences, University of Aveiro; Dwelling houses in the Rua do Teatro; the Pousada Santa Maria do Bouro,
Amares; Patio Houses in Matosinhos; and Casa do Cinema Manoel de Oliveira (Manoel de Oliveira Film
Centre), Porto.
In 1998 he received the Pessoa Prize, awarded by the Expresso newspaper and Unisys company. In the same
year, he was a finalist for the IberFAD Prize with the Pousada Santa Maria do Bouro, which also won 1st Prize
at the 1st Ibero-American Biennial. In 1999, again for the Pousada Santa Maria do Bouro, he was given an
honourable mention in “Stone in Architecture”, and another in 2003 for the Matosinhos Faixa Marginal
Project. In 2001 he was honoured with the Heinrich Tessenow Gold Medal. In 2002 he was a finalist in the
3rd Ibero-American Architecture and Civil Engineering Biennial, with the Casas Pátio (Patio Houses) in
Matosinhos, and in 2004 he reached the finals of the FAD Architecture and Interiors Prize with the project
Two Houses in Ponte de Lima, for which he received the Jury’s Prize. In 2004 he was again awarded the Secil
Architecture Prize for the Braga Municipal Stadium, which has brought him many honours, finalist in the
European Architecture Prize Mies van der Rohe 2004 and the Prize of the 5th Ibero-American Biennial in
Architecture and Urbanism, as well as the FAD Architecture Prize, the Gold Medal of the Cologne
International Association of Sports and Leisure Facilities, and the International Prize bestowed by the
Chicago Athenaeum. In 2006, he won the FAD Prize for City and Landscape and the Enor Grand Prize, both
for the Porto Metro. In 2007, the National Academy of Architecture of the Mexican Society of Architects
honoured him with the Carrera Prize. Souto de Moura is an Honorary Fellow of the American Institute of
Architects.
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His work has been shown in numerous exhibitions, such as: Depois do Modernismo, Sociedade Nacional de
Belas Artes, Lisbon; Onze Arquitectos do Porto – Imagens Recentes, SNBA, Casa dos Crivos, Braga and
Cooperativa Árvore, Porto; Desenhos de Arquitectura, Architectural Association, London; Mercado de
Braga, Paris Biennial (1983); Identità nell’ Arquittetura, Pirano, Yugoslavia; L’ Ecole de Porto, ClermontFerrand (1985); Emerging European Architects, Harvard University, Boston and Columbia University, New
York (1988); Architectures Publiques, Centre Georges Pompidou, Paris; Ouvertures à Bordeaux, Arc en Rêve
– Centre d’Architecture, Bordeaux (1990); Architektur Forum Zurich, Zurich (1992); Portugal – Four Points
of View, Galerija DESSA, Ljubljana (1993), Waves of Influence, New York (1994); Objecto Luz, Porto and
Lisbon; Less is More, UIA, Colegio de Arquitectos de Catalunya, Barcelona (1996); Design aus Portugal –
eine Anthologie, Frankfurt (1997); Temi di progetti, Mendrisio Art Museum, Switzerland, E.P.F.L.,
Lausanne, Institute gta, Zurich, Vicenza, Italy, Matosinhos Town Council and Valongo Town Council (1999);
Case. Ultimi Progetti, Bologna, Italy, and Dresden, Germany (2001); La Biennale di Venezia 2002; La
Biennale di Venezia 2004; Desenho nas Cidades. Arquitectura em Portugal, V BIA de São Paulo and Milan
Triennial; Estádios do Euro 2004, Lusíada University, Lisbon (2004); São Paulo Biennial; Descontinuidade,
São Paulo (2005); 22 Casas, Ordem dos Arquitectos, Lisbon; Habitar Portugal 2003/2005, Belém Cultural
Centre, Lisbon (2006); Infra-Estruturas Urbanas – Metro do Porto 1994-2005, Museum of Transport and
Communication, Porto; Lisbon Architecture Triennial (2007); Eduardo Souto de Moura / Luís Ferreira
Alves, Galeria JN, Porto, and Galeria DN, Lisbon (2008).
Version of a text by Hans Van Dijk published in Archis, December 1994.
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SELECTED WORKS
Remodelação de uma casa em Ronfe, Guimarães, 1977
Remodelação de uma ruína em Paços de Ferreira, 1978
Monumento ao General Humberto Delgado, Porto, 1979
Reconversão de uma ruína no Gerês, Vieira do Minho, 1980-82
Habitação colectiva para a Praça de Liége, Porto, 1980
Mercado Municipal de Braga, 1980-84
Casa das Artes, Centro Cultural para a Secretaria de Estado da Cultura, Porto, 1981-91
Remodelação de uma casa em Sanfins do Douro, 1982
Reestruturação da Praça do Giraldo, Évora, 1982
Café do Mercado Municipal de Braga, 1982-84
Casa 1 em Nevogilde, Porto, 1982-85
Café do Eixo Desportivo de Braga, 1983
Penthouse na Praça do Império, Porto, 1983-87
Plano de Pormenor para a Foz do Neiva, Esposende, 1984
Filial do Banco Pinto & Sotto Mayor, Arcos de Valdevez, 1984
Casa na Quinta do Lago, Almansil, 1984-89
Pavilhões C.I.A.C. (Cascais, Fafe, Parede, Setúbal, Torres Vedras, Vila Real, Vila Real de St. António), 1986-87
Plano de Pormenor para Porta dei Colli, Palermo, 1987
Duas casas na Rua Beato Inácio de Azevedo, Porto, 1987-90
Casa 1 em Miramar, Vila Nova de Gaia, 1987-91
Casa em Alcanena, Torres Novas, 1987-92
Casa na Av. da Boavista, Porto, 1987-94
Plano de Pormenor e Equipamentos para Mondello, Palermo, 1988
Casa no Bom Jesus, Braga, 1989-94
Casa 6 em Nevogilde, Porto, 1989-95
Reconversão do Convento de Stª. Maria do Bouro numa
Pousada, Amares, 1989-97
Casa na Maia, 1990-93
Casa em Baião, 1990-93
Piscina exterior para uma casa do Arqt.º Viana de Lima na Av. Montevideu, Porto, 1990
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Departamento de Geociências da Universidade de Aveiro, 1990-94
Empreendimento Burgo, escritórios e galeria comercial, na Av. Boavista, Porto, 1991
Instituto Superior de Estudos Empresariais, Maia, 1991
Casa em Tavira, 1991-95
Casa em Moledo, Caminha, 1991-98
Casa Meirinhos, Porto, 1992
Casa 3 em Miramar, Vila Nova de Gaia, 1992
Galeria de arte, Clérigos, Porto, 1992-93
Bloco de habitação na Rua do Teatro, Porto, 1992-95
Biblioteca Infantil e Auditório para a Biblioteca Municipal do Porto, 1992-2001
Casas em banda na Pasteleira, Porto, 1992-2002
Restauro e Mobiliário da Academia de Ciências, Lisboa, 1993
Reconversão de uma ruína em Arco de Baúlhe, 1993
Casas Pátio em Matosinhos, 1993-99
Remodelação e Valorização do Museu Grão Vasco, Viseu, 1993-2004
Reconversão do Edifício da Alfândega do Porto para Museu dos Transportes, 1994-95
Três casas na Praça de Liége, Porto, 1994-2001
Casa na Serra da Arrábida, Azeitão, 1994-2002
Casa em Cascais, 1994-2002
Edifício na Praça Gomes Teixeira, Porto, 1995
Plano de Pormenor para o Lido de Camaiore, Itália, 1995
Plano de Pormenor do Novo Centro Direccional da Cidade da Maia, 1995-2004
Reconversão da Faixa Marginal de Matosinhos Sul – 1ª. Fase, 1995-2002
Conteúdos do Pavilhão de Portugal, Expo’98, Lisboa, 1995-1998
Casas em banda na Rua do Lugarinho, Porto, 1996
Casa na Rua do Crasto, Porto, 1996-2001
Estudo de Definição de Paisagem, Urbanismo e Economia Urbana, Murs a Pêches, França, 1997
Estádio Municipal, Évora, 1997
Projecto de Interiores para os Armazéns do Chiado, Lisboa, 1997-99
Reconversão da Cadeia da Relação do Porto para Centro Português de Fotografia, 1997-2001
Edifício de habitação colectiva, Maia, 1997-2001
Remodelação do Mercado de Braga, 1997-2001
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Metro do Porto, 1997-2005
Igreja da Misericórdia da Maia, 1998
Cenografia para a ópera Os Dias Levantados, Teatro S. Carlos, Lisboa, 1998
Galeria Silo no NorteShopping, Matosinhos, 1998-99
Projecto de Interiores do BPI, Santiago de Compostela, Espanha, 1998-99
Quiosques modulares para a Sociedade de Transportes Colectivos do Porto, 1998-99
Reformulação Urbanística da Praça do Município e Arruamentos Convergentes, Maia, 1998-2001
Casa do Cinema Manoel de Oliveira, Porto, 1998-2003
Casa e adega em Valladolid, Espanha, 1999
Biblioteca de Valente de Oliveira, Porto, 1999
Recuperação e ampliação do armazém da Real Companhia dos Vinhos em Miragaia, Porto, 1999
Casa em Sesimbra, 1999
Casa na Rua do Molhe, Porto, 1999
Projecto de Interiores do BPI, Lordelo do Ouro, Porto, 1999-2000
Pavilhão de Portugal na Expo Hanôver, co-autoria com o Arqt.º Siza Vieira, Alemanha, 1999-2000
Apartamento em Matosinhos, 1999-2004
Ampliação da Biblioteca Municipal do Porto, 2000
Pavilhão Multiusos, Viana do Castelo, 2000
Museu de Arte Sacra, Santiago do Cacém, 2000
Museu do Surrealismo, Vila Nova de Famalicão, 2000
Recuperação e adaptação do Antigo Sanatório dos Ferroviários em Pousada, Covilhã, 2000
Remodelação da Casa das Artes, Porto, 2000-02
Estádio de Braga, 2000-03
Frente Norte do Parque da Cidade (Estrada da Circunvalação) e Frente Sul da Av. da Boavista, Porto, 2001
Duas casas em Ponte de Lima, 2001-02
Projecto para a Área Envolvente ao Sr. do Padrão, Matosinhos, 2001-03
Reabilitação Urbana do Centro Histórico de Valença do Minho, 2002
Plano de Pormenor para a área actualmente ocupada pela Fábrica Gist-Brocades, co-autoria com Arqt.º Álvaro Siza,
Matosinhos, 2002
Duas casas na Maia, 2002
Edifício de habitação colectiva no Passeio Alegre, Porto, 2002
Casa D6 em Ponte de Lima, 2002
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Restaurantes Norte e Sul na Marginal de Matosinhos – 2ª. Fase da Faixa Marginal Matosinhos Sul, 2002
Centro de Actividades Náuticas e Centro de Animação e Diversões – 2ª. Fase da Faixa Marginal Matosinhos Sul, 2002
Casa na Quinta da Borralha, Braga, 2002
Conjunto de 28 casas na Av. da Boavista, Porto, 2002-06
Centro de Arte Contemporânea – Museu de Arte Moderna de Bragança, 2003
Edifício Sede da Metro do Porto, 2003
Linha de Metro da Boavista, co-autoria com o Arqt.º Álvaro Siza, Porto, 2003
Cafetaria da Rotunda da Boavista, co-autoria com o Arqt.º Álvaro Siza, Porto, 2003
Requalificação da área da Fábrica Robinson – Plano Geral e Escola de Hotelaria e Turismo, co-autoria com a Arqt.ª Graça
Correia, Portalegre, 2003
Estação de Metro do Município, co-autoria com o Arqt.º Álvaro Siza, Nápoles, Itália, 2003
Casa em Girona, Llábia, Barcelona, Espanha, 2003
Casas na Rua da Cerca, Porto, 2003
Casa na Quinta das Laranjeiras, Cantanhede, 2003
Casa em Valongo, Ermesinde, 2003
Reordenamento da Rotunda da Boavista, co-autoria com o Arqt.º Álvaro Siza, Porto, 2003-04
Edifício de escritórios na Av. da Boavista, Porto, 2003-07
Casas em Óbidos, 2004
Centro Residencial e de Serviços de La Pallaresa, co-autoria com Atelier Terradas i Muntañola, Santa Coloma de Gramenet,
Espanha, 2004
Conjunto habitacional em Sittard, Maastricht, 2004
Edifício de habitação colectiva na Av. da Boavista, Porto, 2004
Casa do Douro I, 2004
Casa do Douro II, 2004
Pavilhão da Galeria Serpentine, co-autoria com o Arqt.º Álvaro Siza, Londres, 2004-05
Reformulação da Avenida dos Aliados, co-autoria com o Arqt.º Álvaro Siza, Porto, 2005
Recuperação e Valorização do Complexo Medieval do Castelo Fienga, co-autoria com o Arqt.º Nicola di Battista, Nocera,
Itália, 2005
Museu Paula Rego, Cascais, 2005
Escola de Música, Braga, 2005
Edifício de escritórios para a Novartis, Basileia, Suíça, 2005
Conjunto habitacional para o Bernia Golf Resort, Alicante, Espanha, 2005
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Crematório de Kortrijk, Bélgica, 2005
Edifício de habitação colectiva em Campanhã, Porto, 2005
Recuperação de edifício na Arcada de Braga, 2005
Casa do Conhecimento, Vila Verde, Braga, 2005
Casa em Barcelos, 2005
Reconversão da Frente Urbana do Príncipe Real, Lisboa, 2005
Quinta do Carmo, co-autoria com os Arqt.º João Saraiva Mendes & Ricardo Rosa Santos, Évora, 2005
Abrigos Multi-Modais no Porto e Vila Nova de Gaia, 2005-06
“Casa do Professor”, Cascais, 2006
Duas casa em Ibiza, Espanha, 2006
Casa em Ovar, 2006
Casas em Póvoa de Varzim, 2006
Edifício para turismo de habitação, Régua, 2006
Requalificação das Margens da Lagoa das 7 Cidades, co-autoria com o Arqt.º Adriano Pimenta, S. Miguel, Açores, 2006
Casas no Parque de Santa Cruz, Carnaxide, Oeiras, 2006
Reabilitação do edifício da Estação Marítima e Requalificação Urbana da Praça Principal, co-autoria com o Arqt.º Siza
Vieira, Nápoles, Itália, 2006
Chia Lagura Resort, Sardenha, Itália, 2006
Centro de Acolhimento e Museu no Castelo di Abatemarco, co-autoria com o Arqt.º Nicola di Battista, St.ª Maria del Cedro,
Itália, 2007
Reconversão do Convento das Bernardas em habitação, Tavira, 2007
Edifício de escritórios para a Edemi Gardens, Porto, 2007
Habitação Colectiva no Vale de Santo Amaro, Lisboa, 2007
Adega na Mealhada, 2007
Apartamentos e Hotel, Benidorm, Espanha, 2007
Espaço Miguel Torga, Sabrosa, 2007
Requalificação Urbana do Centro Histórico, co-autoria com o Arqt.º Adriano Pimenta, Ribeira Grande, Açores, 2007
Reconversão da Pensão Monumental em habitação, Porto, 2007
The designated dates relate to the beginning of the project/ end of the work. All works are in Portugal
unless otherwise noted.
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SELECTED BIBLIOGRAPHY
2G International Architecture Review. Barcelona, 1998, 5
ANGELILO, Antonio (ed.). Architettura portoghese – opere recenti di Gonçalo Byrne, João Luís Carrilho da Graça, Eduardo Souto
de Moura. Trevi: G. Politi, 1995 (cat.)
Architectures à Porto – Opus Incertum d’Architecture de Clermont-Ferrand. Bruxelles: Pierre Mardaga Editeur, 1987 (cat.)
BLASER, Werner. Eduardo Souto De Moura – Stein Element Stone. Basel: Birkhauser, 2003
CAMBERT, May. Top Architects of the World. Barcelona: Atrium Group, 2004
CANAT À, Michele; Fernandes, Fátima. Estádio Municipal de Braga de Eduardo Souto de Moura. Porto: Civilização Editora,
2007
CANAT À, Michele; Fernandes, Fátima. Pavilhão Multiusos Viana do Castelo de Eduardo Souto de Moura. Porto: Civilização
Editora, 2005
CARNEIRO, Alberto; Moreno, Joaquim. Desenho Projecto de Desenho, Lisboa: IAC – Ministério da Cultura, 2002 (cat.)
CERVER, Francisco Asensio. Architects of The World. Nova Iorque: Watson-Guptill Publications, 1999
CUITO, Aurora (ed.). Eduardo Souto de Moura. Dusseldorf, Nova Iorque: teNeues, 2003
Eduardo Souto de Moura: Case, Ultimi Progetti. Firenze: Alinea, 2001 (cat.)
El Croquis – Eduardo Souto de Moura 1995-2005, The Naturalness of Things. Madrid, 2005, 124
LEÓN, Juan Hernández; Colov à, Roberto; Fontes, Luís. Santa Maria do Bouro – Construir uma Pousada com as Pedras de
um Mosteiro. Lisboa: White & Blue, 2001
LEONI, Giovanni; Esposito, Antonio. Eduardo Souto De Moura. Barcelona: Gustavo Gili, 2003
MILHEIRO, Ana Vaz (org.). Habitar Portugal 2003/2005. Lisboa: Ordem dos Arquitectos, 2006
NEVES, José Manuel das. Eduardo Souto de Moura – Casa do Cinema Manoel de Oliveira. Lisboa: Caleidoscópio, 2004
NUFRIO, Anna (ed.). Eduardo Souto de Moura – Conversaciones con estudiantes. Barcelona: Gustavo Gili, 2008 (no prelo)
OBRIST, Hans Ulrich; BOERI, Stefano. Álvaro Siza, Eduardo Souto de Moura – Serpentine Gallery Pavilion 2005. Londres:
Trolley Press, 2006
OJEDA, Oscar Riera. Eduardo Souto de Moura – Ten Houses. Gloucester, Mass.: Rockport Publichers, 1997
Prototypo – Zaha Hadid, Souto de Moura. Lisboa, 2000, 3
RYAN, Raymund. Cool Construction. Londres: Thames & Hudson, 2001
Temi di progetti = Themes for projects – Eduardo Souto Moura. Milão: Skira, 1998 (cat.)
TRIGUEIROS, Luiz. Eduardo Souto Moura. Lisboa: Editorial Blau, 2000
Vinte e Duas Casas – VI Bienal Internacional de Arquitectura de São Paulo. Lisboa: Ordem dos Arquitectos e Caleidoscópio, 2005
(cat.)
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ÂNGELO DE SOUSA
Ângelo de Sousa was born in Maputo, Mozambique, in 1938. He lives
and works in Oporto.
From 1955 to 1963 Ângelo de Sousa attended the Oporto School of
Fine Art, nowadays the Faculty of Fine Art of the University of
Oporto, and held a scholarship from the Calouste Gulbenkian
Foundation and the British Council in the State School of Art and
Saint Martin’s College of Art and Design in London in 1967 and 1968.
In that same year he formed the group “Os Quatro Vintes”, with
Armando Alves, Jorge Pinheiro and José Rodrigues (1968-1972).
His first exhibition was held in 1959, in the Galeria Divulgação,
Oporto. The numerous collective and individual showings of his work
include the two anthological shows held by the Serralves Museum in
1933 and 2001, and the retrospective dedicated to him in the Centre
Ângelo de Sousa, How I am seen by others,2008
of Modern Art in 2003.
His work has achieved wide recognition winning him a series of honours and prizes, among them the Soquil
Prize (1972), the International Prize (ex aequo) of the 13th International Art Biennial of São Paulo (1975), 1st
Prize (ex aequo) in the 1st Exhibition of Contemporary Art in the National Museum of Soares dos Reis
(Oporto, 1985), the Painting Prize in the III Calouste Gulbenkian Foundation Exhibition of Visual Arts
(Lisbon, 1986), the EDP Painting Prize (2000) and the 1st Gulbenkian Prize in the Art Category (2007).
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Since the end of the 1950s Ângelo de Sousa has been carrying out work that cuts across various disciplines
(drawing, painting, film, photography, vide). He has painted and drawn continuously since the beginning of
his career, producing work that relies strongly on the use of formal and chromatic resources. In the 1960s he
explored linear and chromatic values in paintings and drawings where the stylised and direct register of
human and vegetal elements predominated. In the 1970s, he presented black geometrical figures against a
white background and soon afterwards made abstract compositions with a suggestion of monochrome, where
the lines he inscribed permit a glimpse of the visual ambiguities between volume and plane. After intense
exploitation of the lines of work that he had been pursuing since the 70s and 80s, Ângelo de Sousa presents,
in the 1990s, canvases which contain subtle exercises in perspective based on the treatment of planes of
colour. Since the turn of the century, his research into painting has led to the creation of spatially strong
compositions notable for the inscription of multiple geometric figures and the introduction of different
planes of colour in each of these figures.
Since the 60s and 70s his production in the field of sculpture has been characterised by continuous
experimentation with different materials and non conventional solutions in sculptural construction. He
makes works with metal sheets, using harmonium style cutting and folding techniques, sometimes painting
or enamelling the surfaces in alternating, complementary colours. The 1970s see the emergence of the
concept of highly flexible, mobile and dynamic pieces, that reinforce central aspects of his sculptural
research: an experimentalist orientation which expresses the spatial premises of inside / outside, volume /
plane, immobility / mobility and countless possibilities for observation, to the detriment of fixed points of
view.
In recent years, he has continued his exploration of materials, although, in his opinion, some of these more
recent works originate in the scale models conceived in 1965 and 1966. Even then, some were being executed
in slightly bigger sizes, in iron or stainless steel, with or without paint (and have been exhibited, since 1968,
in the Buchholz Bookshop, in Lisbon and, thereafter, in other locations). In 1996, he made a larger piece
(around 3m x 7m) which stands beside the Santo Tirso Town Hall. In 2006 he produced another piece (14m x
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8m, in iron painted green and red) that is located beside the Burgo Project of architect Eduardo Souto de
Moura (Avenida Boavista, Oporto).
Among Ângelo de Sousa’s photographs the best known are his series of self-portraits where he experiments
with the photographic technique of breathing, as well as series of hands where the use of the wide shot
predominates and other non self-referential images are captured in exterior spaces. Since 1968 Ângelo de
Sousa has made films, some of which have been shown, since 1996, in the Casa das Artes in Oporto, and in
2001 in the Serralves Museum of Contemporary Art, as well as installations (one with mirrors, in the Oporto
Customs House, in 1994). In the experimental films made since the end of the 70s, he presents long sequence
shots, that constitute exercises in composition in which the treatment of shadow and light produces
suggestively pictorial visual effects.
Ângelo de Sousa lectured in the Faculty of Fine Art in Oporto University between 1962 and 2000, the year in
which he retired as professor.
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SELECTED INDIVIDUAL EXHIBITIONS
Almada Negreiros. Galeria Divulgação, Porto, 1959 (cat.)
Pintura e Escultura. Salão Poliarte, Lourenço Marques, Moçambique, 1960
Desenhos. Galeria Divulgação, Porto, 1963
Pintura. Escola Superior de Belas Artes do Porto, 1963 (cat.)
Ângelo, Cerâmicas. Galeria Divulgação, Porto, 1963
Pintura. Cooperativa Árvore, Porto, 1964 (cat.)
Pintura e Desenho. Cooperativa Árvore, Porto, 1965
Pintura. Galeria 111, Lisboa, 1966
Pintura. Galeria Árvore, Porto, 1966
Pintura e Escultura. Livraria Buchholz, Lisboa; Galeria Divulgação, Porto, 1968 (cat.)
Ângelo, Escultura e Desenho (integrada numa série de exposições de “Os Quatro Vintes”). Galeria Alvarez e Cooperativa Árvore,
Porto, 1970
Escultura. Sociedade Nacional de Belas Artes, Lisboa, 1972
Pintura, Anos 60. Mini-Galeria, Porto, 1973
Ângelo de Sousa, Pinturas Recentes 1971-1975. Galeria Quadrum, Lisboa, 1975
Pintura e Escultura, 1970/75. Centro de Arte Contemporânea – Museu Nacional Soares dos Reis, Porto, 1976 (cat.)
Esculturas 1966/67. Galeria Módulo, Porto, 1979
Da Bienal de Veneza 1978. Pintura e Fotografia. Galeria JN, Porto, 1981
Pintura. Círculo de Artes Plásticas de Coimbra, 1983
Pintura. Galeria Roma e Pavia, Porto, 1984
Pintura dos anos 60. Galeria EMI – Valentim de Carvalho, Lisboa, 1985 (cat.)
Ângelo de Sousa. Galeria Quadrado Azul, Porto, 1987 (cat.)
Escultura dos anos 60. Instituto Britânico, Lisboa, 1989
Desenho. Galeria Diferença, Lisboa, 1989
Escultura. Galeria EMI – Valentim de Carvalho, Lisboa, 1990 (cat.)
Desenhos. Galeria EMI – Valentim de Carvalho, Lisboa, 1991 (cat.)
Ângelo de Sousa. Escultura 1966-67. Galeria Quadrado Azul, Porto, 1992 (cat.)
Uma visita, instalação com espelhos. Caves da Alfândega do Porto, 1993 (cat.)
Almada Negreiros, Ângelo de Sousa: Exposição evocativa no centenário de Almada Negreiros. Centro Cultural de Lagos,
1993 (cat.)
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Ângelo 1993, Uma Antológica. Fundação de Serralves, Porto, 1993; Centro Cultural de Belém, Lisboa, 1994 (cat.)
Pinturas 19 Caras. Galeria Quadrado Azul, Porto, 1995 (cat.)
Pintura e Escultura. Galeria Quadrado Azul, Porto, 1997 (cat.)
Ângelo de Sousa. Fotografia (1975). Galeria Quadrado Azul, Porto, 2000 (cat.)
Ângelo de Sousa. Pintura. Galeria Quadrado Azul, Porto, 2001 (cat.)
Prémio EDP. Palácio da Ajuda, Lisboa, 2000
Ângelo de Sousa, Sem Prata = Without Silver. Fotografia e Cinema. Museu de Arte Contemporânea de Serralves, Porto, 2001
(cat.)
Transcrições e Orquestrações, Desenhos de Ângelo de Sousa. Centro de Arte Moderna José de Azeredo Perdigão – Fundação
Calouste Gulbenkian, Lisboa, 2003 (cat.)
Pinturas Recentes. Galeria Quadrado Azul, Porto, 2003 (cat.)
Ângelo de Sousa. Desenhos. Palácio da Galeria, Tavira, 2004 (cat.)
Ângelo de Sousa, Escultura. Centro de Arte Moderna José de Azeredo Perdigão – Fundação Calouste Gulbenkian e Cordoaria
Nacional, Lisboa, 2006 (cat.)
Escultura. Galeria Quadrado Azul, Porto, 2006
Pintura 2000-2003. Galeria Quadrado Azul, Lisboa, 2007 (cat.)
Treze Esculturas + Um Espaço. Pavilhão Centro de Portugal, Coimbra, 2007
Escultura de (em) Prata. Galeria novaOgiva, Óbidos, 2007; Galeria Quadrado Azul, Porto, 2008
Escultura + 100 Desenhos. Galeria Municipal de Matosinhos, 2008 (cat.)
SELECTED COLLECTIVE EXHIBITIONS
1ª, 2ª e 3ª Exposição extra-escolar dos alunos da Escola Superior de Belas Artes do Porto, 1959, 1960 e 1961
Os Quatro Vintes (Ângelo de Sousa, Armando Alves, Jorge Pinheiro e José Rodrigues). Galeria Alvarez e Cooperativa Árvore, Porto,
1968
Os Quatro Vintes. Sociedade Nacional de Belas Artes, Lisboa, 1969
Os Quatro Vintes. Galerie Jacques Desbrière, Paris, 1970
Os Quatro Vintes. Galeria Zen, Porto, 1971
Artistas distinguidos com o prémio ou menção honrosa Soquil. Livraria Buchholz, Lisboa, 1972
Exposição A.I.C.A. Sociedade Nacional de Belas Artes, Lisboa, 1964
XII Bienal de São Paulo, Brasil, 1975
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Alternativa Zero: tendências polémicas na arte portuguesa contemporânea. Galeria Nacional de Arte Moderna, Lisboa, 1977
(cat.)
A fotografia na arte moderna portuguesa. Centro de Arte Contemporânea – Museu Nacional Soares do Reis, Porto, 1977
Helena Almeida, Julião Sarmento, António Sena, Ângelo de Sousa. Porto: Módulo – centro difusor de arte, 1978 (cat.)
Pintura e Fotografia. Bienal de Veneza, Veneza, Itália, 1978
Nova fotografia. Cooperativa GRAFIL, Lisboa; Museu Nacional Soares do Reis, Porto, 1978
Arte Portoghese Contemporanea. Salone Brunelleschiano dell’Instituto degli Innocenti, Firenze, 1978
A fotografia como arte, a arte como fotografia. Centro de Arte Contemporânea – Museu Nacional Soares do Reis,
Porto; Galeria Edifício Chiado, Coimbra, 1979 (cat.)
XV Bienal de São Paulo (secção de artistas premiados nas anteriores edições). São Paulo, Brasil, 1979
Rui Mário Gonçalves escolhe cinco pintores “puros”. Centro Nacional de Cultura, Lisboa, 1980
Depois do Modernismo. Sociedade Nacional de Belas Artes, Lisboa, 1983
4os Encontros de Fotografia. Coimbra, 1983
Exposição-Diálogo. Fundação Calouste Gulbenkian, Lisboa, 1985
Os Quatro Vintes, Quinze Anos Depois, Casa do Infante, Porto, 1985 (cat.)
III Exposição de Artes Plásticas. Fundação Calouste Gulbenkian, Lisboa, 1986
Um Olhar sobre a Arte Contemporânea Portuguesa. Fundação de Serralves, Porto, 1988
Flutuações = Fluctuactions. Galeria Fluxus, Porto, 1989 (cat.)
Há um minuto do mundo que passa. Fundação de Serralves, Porto, 1991
17 Pintores no 12º aniversário da Galeria Neupergama. Torres Vedras, 1992
Obras da Colecção Luso-Americana para o Desenvolvimento. Museu de Évora, 1993
O rosto e a máscara: a auto-representação na arte portuguesa. Centro Cultural de Belém, Lisboa, 1994 (cat.)
III Jornadas de Arte Contemporânea do Porto. Casa das Artes, 1995
IV Bienal de Fotografia. Edifício Patriarcal, Vila Franca de Xira, 1995
Galeria Quadrado Azul: Dez Anos Depois. Galeria Quadrado Azul, Porto, 1996 (cat.)
20 Artistas no 16º aniversário da Galeria Neupergama. Torres Vedras, 1997
3 + 3 Olhares sobre o Rivoli. Teatro Municipal Rivoli, Porto, 1997 (cat.)
Circa 1968. Museu de Arte Contemporânea de Serralves, Porto, 1999
A Indisciplina do Desenho, Fundação Cupertino de Miranda, Famalicão, 1999; Museu de José Malhoa, Caldas da Rainha; Museu de
Aveiro, 2000 (cat.)
Colecção Portuguesa de Arte Contemporânea do MEIAC. Fundação D. Luís I, Cascais, 2000
Um Olhar sobre a Colecção Berardo. Sintra Museu de Arte Moderna, 2000
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1986-2002 Zoom. Colecção de Arte Contemporânea da Fundação Luso-Americana para o Desenvolvimento, Museu de Arte
Contemporânea de Serralves, Porto, 2002
Alguns Fragmentos do Universo: Escala de Cores. Centro Cultural de Lagos, 2004
Ângelo de Sousa – pintura, Francisco Tropa – escultura, Rui Sanches – escultura. Galeria Quadrado Azul, Porto, 2004
Ângelo de Sousa tem sido representado pela Galeria Quadrado Azul nas feiras: Basel Kunstmesse, Basileia
(1978), ARCO, Madrid (1995-2008), Fórum Atlántico de Arte Contemporânea, Santiago de Compostela/A
Corunha (1995, 1997), FAC – Feira de Arte Contemporânea, Matosinhos/Lisboa (1995, 1996, 1999, 2000),
Marca Madeira (1998, 2000), Arte Lisboa (2001-2008), Art Cologne, Colónia (2001), Foro Sur – Feira
Iberoamericana de Arte Contemporâneo, Cáceres (2001, 2003, 2004).
SELECTED BIBLIOGRAPHY
ALMEIDA, Bernardo Pinto de. Ângelo de Sousa. Lisboa: Imprensa Nacional-Casa da Moeda, 1985
Ângelo de Sousa – ÁRVORES, quarenta e oito desenhos A5, de 1958 a 1962. Porto: O Oiro do Dia, 1989
Ângelo de Sousa – 75 Desenhos, de 1975 a 1983. Porto: O Oiro do Dia, 1991
MELO, Jorge Silva. Ângelo de Sousa – A Alegria Impermanente (documentário). Produção Artistas Unidos com apoio da Fundação
Calouste Gulbenkian, 2008
NAZARÉ, Leonor. Ângelo de Sousa – Com um Mínimo de Gritos. Lisboa: Editorial Caminho, 2005
PERNES, Fernando. Ângelo de Sousa. Porto: Secretaria de Estado da Cultura, 1976
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BIOGRAPHIES | CURATORS
JOAQUIM MORENO
Joaquim Moreno was born in Luanda, Angola, in 1973. He lives
and works in New York.
He was awarded a degree in Architecture from the Faculty of
Architecture of the University of Porto in 1998, and a Masters
from the Barcelona Higher Institute of Architecture, Technical
University of Catalonia, in 2001.
He is preparing his doctoral thesis on Theory and History of
Architecture in the University of Princeton, where he works in the
Media and Modernity Programme, and also lectures in the School
of Architecture, Planning and Preservation, University of
Columbia.
In addition to his work as a practising architect, currently suspended because of his dedication to academic
activity, he has published with Paula Pinto and Pedro Bandeira the urban culture magazine In Si(s)tu and
was co-commissioner, with Alberto Carneiro, of the exhibition Drawing Design Project (2001), organised by
the Institute of Contemporary Art of the Ministry of Culture, on the theme Design and Architecture in
Twentieth-Century Portugal. He also collaborated in the exhibition Clip/Stamp/Fold: Radical Architecture
of Little Magazines 196X-197X, organised by Beatriz Colomina with the doctoral students of Princeton
University School of Architecture.
At the present time he is finalising a dissertation entitled “Arquitecturas Bis (1974-85): from publication to
public action”, which questions the role of an architectural magazine in Barcelona’s urban evolution in the
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period between the transition to democracy in 1975 and the accession by the Iberian nations to the European
Union in 1986.
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JOSÉ GIL
José Gil was born in Lourenço Marques, now known as Maputo, in
Mozambique, in 1939. He lives and works in Lisbon.
After completing his secondary education in the capital of
Mozambique, in 1957 he travelled to Lisbon in order to study in the
Faculty of Science of the Lisbon University, where he enrolled in
Mathematical Sciences. In the following year, he moved to Paris,
where he continued his maths studies. However, realising that his
subject of choice was Philosophy, he changed course. In 1968 he
finished his degree in Philosophy in the Faculty of Arts, University
of the Sorbonne.
In the following year he took a Masters in Philosophy, with a thesis on Kant and morality. In 1982 he
completed his doctorate with a thesis on Body, Space and Power, published in book form in 1988.
Between 1965 and 1973 he taught Philosophy in a secondary school, spending time in Vincennes and Corsica.
Since then, he has directed the Department of Psychoanalysis and Philosophy in the University of Paris VIII,
at the same time translating scientific texts for a section of the OECD (Organisation for Economic Cooperation and Development).
In 1976 he returned to Portugal to act as Assistant to the Secretary of State for Higher Education and
Scientific Research. Five years later he took up permanent residence in Portugal, becoming a lecturer in the
Faculty of Social and Human Sciences in the New University of Lisbon, where he lectured on Aesthetics and
Contemporary Philosophy.
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At the same time he taught at the Collège International de Philosophie, in Paris, at the New School for Dance
Development, in Amsterdam and at the University of São Paulo. He has directed various seminars in Porto
Alegre, also in Brazil, and has taken part in conferences in the USA.
Since 1996 he has directed the philosophy collection for the Portuguese publishing house Relógio d’Água. He
has published scientific articles and essays in magazines and encyclopaedias throughout the world, some
novels and numerous essays, among which the following titles stand out: Fernando Pessoa ou a Metafisica
das Sensações, Salazar – A Retórica da Invisibilidade, Mostri, Umanità e anormalità, Cimetière des
plaisirs, Un’Antropologie delle forze A Imagem-Nua e as Pequenas Percepções, Metamorphoses of the
Body, Movimento Total – O Corpo e a Dança, A Profundidade e a Superfície –Ensaio sobre Le Petit Prince
de Saint-Exupéry, Portugal, Hoje – O Medo de Existir, Sem Título – Escritos sobre Arte e Artistas or O
Imperceptível Devir da Imanência – Sobre a Filosofia de Deleuze. In January of 2005, the French magazine
Le Nouvel Observateur included José Gil in the list of “the 25 great world thinkers”.
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IMAGES
High resolution images are available in the CD-ROM and at www.dgartes.pt/outhere/index.htm
01
05
09
02
03
04
06
07
10
11
08
12
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CAPTIONS
01
Eduardo Souto de Moura
02
Ângelo de Sousa, How I am seen by others, 2008
03
Joaquim Moreno
04
José Gil
05
Eduardo Souto de Moura and Ângelo de Sousa in Venice, June 2008
Photo: Manuel Henriques
06 | 07 | 08
Ângelo de Sousa, José Gil, Eduardo Souto de Moura, Rui Furtado and Joaquim Moreno in Venice, June 2008
Photo: Manuel Henriques
09 | 10
Project for «Out Here: Disquieted Architecture», conceived by Eduardo Souto de Moura e Ângelo de Sousa. Portuguese
Pavillion / Fondaco Marcello. Official Portuguese Representation at the 11th International Architecture Exhibition, La
Biennale di Venezia
11 | 12
North Elevation - mirror 1
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CONTACTS
GENERAL-DIRECTION OF ARTS
[Official Portuguese Representation]
11st International Architecture Exhibition . La Biennale di Venezia
Sandra Vieira Jürgens / Maria Schiappa
Tel. + 351 211 506 974 / + 351 933 451 744
E-mail: [email protected]
www.dgartes.pt/outhere/index.htm
ARTE COMMUNICATIONS
[partner in Venice]
Via P. Orseolo II, n. 16
30126 Venezia Lido Italy
Tel. + 39 041 5264546
Fax + 39 041 2769056
E-mail: [email protected]
www.artecommunications.com
FONDACO MARCELLO
Portuguese Pavilion /Fondaco Marcello
Calle del Traghetto o Ca' Garzoni . San Marco 3415 . Venezia
MORE INFORMATIONS
Official website:
www.labiennale.org/it/architettura/mostra/
Portuguese Representation website:
www.dgartes.pt/outhere/index.htm
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CREDITS
Out Here: Disquieted Architecture
Project
Eduardo Souto de Moura
Ângelo de Sousa
Curators
Joaquim Moreno
José Gil
Portuguese Official Representation
11 International Architecture Exhibition
La Biennale di Venezia
Fondaco Marcello
Calle del Traghetto o Ca’ Garzoni
San Marco 3415,Venezia
14.09 – 23.11.2008
Organisation and Production
Direcção-Geral das Artes
Ministério da Cultura de Portugal
General Director of Arts
Jorge Barreto Xavier
Deputy-Director of Arts
Inês Dias Costa
Director of Arts’ Support Department
Alexandra Pinho
Coordination
Manuel Henriques
Communication
Maria Schiappa
Press
Sandra Vieira Jürgens
Website
Susana Neves
Local Architect
Daniele Vicentini
Engineering Project
AFA Consult
Main Builder
Gruppo Italtelo
Acknowledgments
Ana Godinho, António Gomes de Pinho, Arianna Abbate, Arjen Oosterman, Claudia
Taborda, Costanza Ronchetti, Francesco Prosperetti, Francesco Dal Co, Francesco
Gerbaudi, Giannatonio Zanga, Hans Van Dijk, Italo Giacommi, João Fernandes, José
Paulo Fernandes, Leonor Nazaré, Mário Valente, Mónica Guerreiro, Nuno Moura,
Stefano Riva
Local Partner
Arte Communications
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