archive – oct / nov / dec


postTuesday, December 16th, 9:30pm, free entrance

Daniel is a journalist, he worked in various media, had a firm but ended up to sleeping on 2 square meters. He will show us how the system works and how he considers it as being a true “poverty business” that involves millions. It is a film about the “new homeless”, who live in abandoned houses, under a ceiling and have nothing to eat.

After the projection there will be a conversation with the directors and the protagonist.


Film by: Ana Luísa Oliveira e Rui Oliveira

António Barros: REAL THINGS

postReal Things

Opening December 6, 4pm / until January 11, 2015

Finissage January 11, 5:30pm - Densidade endereçada, by Rui Torres

“The true use for the imaginative faculty of modern times is to give ultimate vivification to facts, to science, and to common lives, endowing them with the glows and glories and final illustriousness which belong to every real thing, and to real things only. Without that ultimate vivification – which the port or other artist alone can give – reality would seem incomplete , and science, democracy, and life itself, finally in vain.” Walt Whitman

António Barros was born in Funchal in 1953. He studied at the Universidade de Coimbra, Portugal, and at the Facultat de Belles Arts, Universitat de Barcelona, Spain. In the 1970s he worked with Wolf Vostell, Alberto Carneiro, and José Ernesto de Sousa. He organized several exhibitions and performance cycles, including Projectos & Progestos (1979-83, Coimbra). Since the late 1970s he participated in numerous collective exhibitions, and held several individual exhibitions. His artistic work is represented in the collections of the Serralves Museum, the Museum Vostell Malpartida in Cáceres, and the Contemporary Art Museum of Funchal.
The work of António Barros alignes itself in both the Portuguese Experimental Poetry and the international Fluxus movement. His intermedia works articulate the plastic dimension of objects, collages and installations, subjecting it to a metaphoric renaming operation of the referents, and to the exploration of the graphic visuality of the word. Among the different genres of visual poetry, his object-poems stand out. It is through a poetics of the found object that his work is fully integrated in the Portuguese Experimental Poetry. Through interventions involving the interaction between words and objects, these object-poems feed on the tension between the social semantics of the word and its correspondent referential function of naming.
The object is split between its function and the symbolic significance that defines it in social semiotics. Through the feedback between this re- signification of the object and the graphic objectification of the word, the object-poems become capable of creating layers of meaning, thus alluding to both individual and social experience. In these objects we find a deep sense of the political dimension of social relations, and an ironic criticism to the restoration of power structures in the post-revolutionary Portugal.

The Love of the Unfortunate

Pre-opening for general public: 28 and 30 November, 22h

This is the story of a dwarf woman living in the shadow of the pity of a small provincial town’s inhabitants. The dwarf, only about eighty centimeters tall, with a gangly and clumsy walk, always moaning with pain, was for other women but a creeping being, like a child who never grows up. She wasn’t a person really, they said. Her existence was limited, in the eyes of others, to her deformity, her monstrosity, the insurmountability of that body. She lived on the remains of big people, on their possible love. The love of the unfortunate.

Public performance of a monologue by actress Margarida Gonçalves, created and adapted from the second chapter of the novel The son of a thousand men [O Filho de Mil Homens], by Valter Hugo Mãe.
Margarida Gonçalves, a regular presence in the productions of the company Teatro Bruto, impersonates the character of a dwarf, exploring territories between this character and the narrator, becoming a spectator of herself and of the events she narrates, being simultaneously the vehicle of broader and more complex meanings that the text proposes.


opening and carrer

Mala Voadora

Rua do Almada, 277, Porto

10 to 14 december 22h

Sunday 17h and 22h

school groups in arranged schedules:

27 and 28 novemnber, Guimarães

11, 12 and 14 december, Porto

These sessions are subject to previous scheduling.


texts adapted from Valter Hugo Mãe .

staging, set design and costumes Ana Luena .

cast Margarida Gonçalves .

original music Peixe .

stage lighting Rui Monteiro .

executive producer Luís Puto, Marta Amaro

production Teatro Bruto

partners CAAA, Mala Voadora

support Circolando

duration aprox. 45 min.


Tânia Dinis: Curva Ascendente


Curva Ascendente


October 10th, 7pm

October 11th, 4pm, 6pm



postOctober 18th, 11:30 pm

Jaye Rhee: Overlapping and Unfolding

postCAAA is pleased to announce the solo exhibition of Jaye Rhee, Overlapping and Unfolding.

Using video, sound, installation and photography, Rhee investigates the evasive nature of authentic desire by focusing on irreconcilable tension.

When the camera “captures” a space, it removes the third dimension of that space. The viewer can partially restore that lost space by believing in the 2D image that the camera constructs. But that is work done on the level of imagination and perception – the “original” space can never be regained. Loss and gain counterbalance each other and in so doing create a new visual space. Rhee’s work dances on this edge of 2D and 3D, inquiring after the interplay of perception, imagination, desire and belief.

As in many of her works, at the heart of her recent project The Flesh and the Book lies an irresolvable conflict; here it exists between physical dance and musical notes. The dancers perform within a “musical staff” made of five thick rubber bands that are suspended at different heights yet are equidistant from each other. A visual loss occurs when the two-dimensional music notes transition into the three-dimensional dance, and vice versa. As more notes are gained, more dancers are lost; the two must maintain a balanced yet opposed existence.

Yehuda E. Safran wrote of that work: “We follow with our eyes the movements and contours of things, this magical relation, this pact between them and us according to which we lend them our body in order that they inscribe upon it and give us their resemblance, this fold, this central cavity of the visible which is my vision, these two mirror arrangements of the seeing and the visible, the touching and the touched, form a closed bound system. We count on this system, which defines our vision and offers a constant style of visibility from which we cannot detach ourselves.”

Salt Itinerary

postSalt Itinerary
New Op-Era - Miso Ensemble

October 25th, 6:30pm



”Salt Itinerary” is the end result of a creative project on writing – composing, poetic writing and designing of gestures – in which the voice is an extension of the poet-composer’s body and thought. “Salt Itinerary” is a symbiosis between the word’s essence and the evolution of a being, presented in form of a new dramaturgy (Electroacoustic Theatre or New Op-Era).

After the show, there will be a meeting with the artists.

More information here.

Rui Castanho: Quando os Céus ainda não tinham nome, a Terra ainda não tinha nome

postUntil October 26th


postR2: Lizá Ramalho + Artur Rebelo

Opening October 31st 10pm / Until November 3oth

Some of the documents that comprise our personal collection are the starting point for the creation of a series of visual essays. Printed documents and objects from different origins — purchased, found, inherited or offered — which document experiences and memories and form part of a collection assembled over several years, having, in some cases, informed our professional and artistic practice.

Lacaton & Vassal: Two Projects

postOpening October 31st, 10pm / Until November 30th

plica – Fábrica de Artigos

postOpening October 31st, 10pm / Until November 30th

III anniversary

post III CAAA’ anniversary!

we’re celebrating CAAA’ third anniversary with concerts, performances and exhibitions.

I – October 3rd

Performance / Installation
Curva Ascendente, Tânia Dinis / 7pm

Mucho Flow 2014
Movimento Perpétuo / 7:30pm
Toulouse / 8:15pm
Bitchin’ Bajas / 9pm
The Vacant Lots / 10pm
Sculpture / 11pm
Amen Dunes / 12am
Cave / 1am
Dj Lynce / 2am
more info here

II – October 4th

Overlapping and Unfolding, Jaye Rhee
Quando os Céus ainda não tinham nome, a Terra ainda não tinha nome, Rui Castanho
Held in Costums 2013, Chihiro Ito

Performance / Installation
Manuela São Simão / 4pm

Mata de Ouro, Yuutus Roy / 5pm, 10:30pm

Performance / Installation
Curva Ascendente, Tânia Dinis / 6:30pm

Bandstand Blues Band / 7:30pm

DJ Twingo / 7pm
DJ HL + DJ Xplosion / 8pm

III – 5 de Outubro

Overlapping and Unfolding, Jaye Rhee
Quando os Céus ainda não tinham nome, a Terra ainda não tinha nome, Rui Castanho
Held in Costums 2013, Chihiro Ito

Mata de Ouro, Yuutus Roy / 5pm

Performance / Installation
Curva Ascendente, Tânia Dinis / 6pm