Contemporary Art Trail

Dani Karavan's Fountain Column manifests a relationship between a pair of vertical columns on a pedestal and the undulating waters of a canal that demarcates one side of Carvalhais Park. The tall columns become small compared to the long waterway that turns the work into a plac

David Lamelas presents us with a structure similar to a dwelling, designed by its elementary edges, which only delimit a space, defining indoor-outdoor situations. In this project, the artist experiments with a desire that has guided his work: to produce sculptural forms without any physical volume.

Going down to Praça do Município (Município Square), Reinhard Klessinger creates a multiple piece that prolongs a practice consistent with previous interventions in which the association between contrasting materials is stimulated - iron, glass and stone - local elements of ancestral memory, in a complex relationship that generates its own space and leads to a symbolic experience of the place.

In this proposal, Ângelo de Sousa recovers, on a different scale, some domestic and spontaneous experiences elaborated in the 1960s and 1970s from folding and cutting out pieces of paper. Thus, the artist explores transpositions of the plane into forms related to sculpture by their three-dimensionality, designing spaces of great fluidity and simplicity.

A "broken" door on a solid wall becomes a symbol of hope and represents the end of isolation or oppression. A passageway, once obstructed, that rekindles our longing for freedom. Um Tai Jung makes us reflect on the walls and borders that are being erected for political, social or religious reasons. 

Peter Klasen's sculpture allows us to identify mechanical elements or parts of an electronic device that convey a particular fascinating strangeness. Structured formally in two parts, one heavy and earthy and the other airy and delicate, the piece has the appearance of a childish architecture or a gigantic playful-construction game. 

Pedro Cabrita Reis used materials and working methods that are typical of civil engineering to build a small dwelling, by exposing the bricks, without any coating, and leaving no room for imagination as to the precarious nature of the work, which contrasts with the other sculptures located in the surrounding area. 

The "wind egg" was born from Kishida's sensory internalisation of space: the sound of leaves rustling in the wind, invisible to the naked eye or the drawings sketched by the movement of air between the trees. The invisible immateriality of the place triggered the inspiration and the artist’s desire to convert it into matter. 

Possessing an ambiguous appearance, "Canyon" exposes, in a disconcerting way, a fracture that rips the material of the sculpture to reveal an organic interior. The unusual relationship established between the geometric exterior and its contrast with the irregular organicity of the work's interior should be highlighted as well. 

At the Geão Urban Park, Arghira Calinescu presents a work made of Corten steel that reveals a kind of standard de-multiplication of a rectangular vertical plane that is cut out inside until it reaches its centre. A work of geometric cutting and deconstruction that seems to follow the instructions of "cutting with no leftovers".