Torre De Moncorvo Mogadouro Miranda Do Douro Alfândega Da Fé

Trás-os- -Montes

Torre de Moncorvo Mogadouro Miranda do Douro Alfândega da Fé

Gabriela Cristina Fernando Draw Vaz-Pinheiro Mateus José Pereira Godmess Sofia Borges Gonçalo MAR R2 Hazul Nuno Pimenta FAHR Miguel Schreck MADEP/FBAUP Students Alejandra Jaña Pedro Almeida Thiago Marcial Ricardo Santos Catarina Rodrigues Trás-os- -Montes

Torre de Moncorvo ...... 6 Mogadouro ...... 26 Miranda do Douro ...... 44 Alfândega da Fé ...... 64

Imagine we visit all the locations included in the Edp foundation Public Art programme and paint all the walls white, take apart the installations in their spaces, erase the works of art created in countless towns across the country. What effect would this have on these people’s lives?

Edp foundation Public Art is a map comprised of a set of works of art created in public spaces, in small towns located in various Portuguese regions. A programme designed by the edp foundation to bring rural communities into closer contact with art, while also provoking reflection on its role in society.

Traffic lights transformed into traditional figures like the woman with a head- scarf? Two intertwined tree roots with arms and legs? A windmill on top of a donkey? A man on a ladder catching stars? “Beautiful” works that are “good for the town”, as the people from these communities say, without going to great lengths to extrapolate meaning beyond the signifiers that are presented to them. It is at this ground zero, at this starting point, that lies the urgency of the Edp foundation Public Art programme.

Edp foundation Public Art introduces a contemporary idea of visual culture through a concerted contact with populations. For many, the concept of art is still associated with a notion of handicrafts or an idea of truth-art, where the artistic object assumes the role of replicating reality, in a mimetic embel- lishment of it, as explains the visual artist Xana, a member of the 1980s art movement ‘Homeoestética’ and one of the artists in the Edp foundation Public Art project that left their mark in locations across the Algarve.

In each region, associations and artists were challenged to present proposals for public interventions, ranging from painting and sculpture to video and/or sound installation. The artists set out across the country with two premises. The first was not to play the role of educator, but rather facilitator. To place 2016. Moncorvo, de Torre community, the with Meeting tools at the populations’ disposal for them to discover how the whole process of artistic creation develops, from brainstorming to defining themes, to the use of techniques and the actual creation, to the result. And the second was to demystify art as an elitist and inaccessible practise. Art has, at its premise, a political matrix: to give freedom, to provide a path and a choice.

Local institutions were involved to define which public spaces were available, as well as which equipment from the EDP Distribuição network—the edp foundation’s corporate partner in this project—would be subject to intervention. And, in each location, the population was invited to participate in community meetings. The townspeople met the artists and introduced themselves. They suggested themes for the works, told stories and explained their traditions, talked about their main economic activities and prominent personalities.

The artists had the task of internalising the suggestions and integrating the proposed themes into their work and composition. Models of the “soon-to be-art” were made and then presented to the population.

2 3 THE PROGRAMME ARTE PÚBLICA •

Days of work followed, of making art. In the community, curiosity and closeness to the artists grew. Did they need anything? Water? Something to eat? Breaks were taken in the street’s café, hanging out with the locals.

Edp foundation Public Art is this converging point where artistic intention meets social intention. It is a programme that drives a sense of belonging, which endures, regardless of the paint starting to chip, of the rain falling and making the colours fade. In this sense, there is a dual sense of belonging. This artistic heritage belongs to the people, to the community. Which is why we have created, in each region, tours with local guides, which are also a link, a connection between the populations and those who visit them. And rather than feeling isolated from the world, it makes them feel part of a notion of contemporaneity that experiences visual culture at an astonishing speed. If on the one hand art bonds, bonds a town’s identity, on the other hand it flows, it allows new uses and approaches.

Minho Trás-os- Braga -Montes Crespos e Pousada Padim da Graça Alfândega da Fé Merelim (São Paio) Torre de Moncorvo Panoias e Miranda do Douro Parada de Tibães Mogadouro Palmeira

Alto 2016. Douro, do Miranda cabinets, distribution EDP Association, Cultural Lérias , Ribatejo Alentejo Rio Maior

Vila da Marmeleira Campo Maior Is bielhos i Is nuobos Assentiz Degolados São João da Ribeira Ouguela Ribeira de São João Mirandese symbols Mirandese Médio Algarve Vila do Bispo Tejo Barão de São João Mexilhoeira Grande Vila Nova da Barquinha Figueira Atalaia S. Bartolomeu de Messines Praia do Ribatejo Alte Tancos Alportel

4 5 Route TRÁS-OS-MONTES • Project VOLTAGEM • Torre de Moncorvo ARTE PÚBLICA •

Rio Douro

N221 N218 20 M 17 Miranda L 19 do Douro J M568 18 IC5

Av. da

Indústria 16 IC5 15

21 N216

N219 22 N221 Q 14 Rio Douro I 23 N315 24 13 Sendim IC5 31 11 32 25 O

30 33 26 G 10 12 IC5

N221 Mogadouro N221-7 29 Alfândega da Fé F H 28 27 IC5 N315 Rio Douro IC5 P N Rio Sabor E

IC5 Torre de Moncorvo Parque Natural C do Douro Internacional 1 INVERTIDO, MADEP/FBAUP Students

Meirinhos A N221 2 PALAVRAS SOLTAS, MADEP/FBAUP Students

Rio Sabor Rio Douro 3 UNTITLED [THE UNKNOWN], Nuno Pimenta

D Torre de N220 4 A CÉU ABERTO, Sofia Borges Moncorvo IP2 5 HORIZONTE [REFLEX], Gabriela Vaz-Pinheiro B N325 with Diana Baptista

N221 6 HABITADO, MADEP/FBAUP Students

7 DESAPARECIDO, MADEP/FBAUP Students

Rio Douro img © Rute Ferraz, Torre de Moncorvo, 2017.

Torre de Alfândega Mogadouro Miranda Moncorvo da Fé do Douro Route TRÁS-OS-MONTES • Project VOLTAGEM • Torre de Moncorvo ARTE PÚBLICA •

new beyond those hills. where she is a profes- process were given new bulky things that made Contemplation occurs in sor, to participate in the references.” Piedade the landscape ugly. Torre de three stages: a feeling of Voltagem project in Torre Meneses also states that Like this, painted with isolation, pure appreci- de Moncorvo. “We were some “anxieties” that con- local symbols, they look Moncorvo ation for the landscape’s privileged to have imple- cerned the population were much better. On some beauty and imagination, mented the first project voiced at the meetings. that aren’t painted, they the desire to go out and in this town, which got “It is necessary to fight could paint an eagle, the Partner: discover the unknown. off to a very good start isolation and bring equity Egyptian vulture – which that reflects the horizon “Art is not a priority in and made things much to this region. The people is one of the park’s sym- extends to the piece by Rede Inducar people’s lives, but it helps easier”, states Gabriela are connected to the out- bols –, the griffon”, adds Nuno Pimenta, a wooden reinforce concepts. In this Vaz-Pinheiro. “We were side world through social Afonso Meneses, who is structure that overlooks case, that those hills lie always very well received networks, but we must also Piedade Meneses’ the landscape from a Facebook: between Moncorvo and and made extremely wel- make the inland areas less husband. small lookout in the town the rest of the world, no come. Our work was not remote”, she warns. “Art “The idea for the sub- of Torre de Moncorvo. voltagemtmad matter how many tunnels easy to read, but the peo- is a form of freedom, of stations was developed This object is comprised are built”, refers Gabriela ple understood it.” The thought – of development from the concepts of «in- of two house-shaped Vaz-Pinheiro, artist and project Palavras Soltas in every aspect.” habited», «disappeared» modules, one which is in- The atmosphere in the artistic coordinator of the (Loose Words), sentences Piedade Meneses and «inverted»”, explains verted. And Sofia Borges main square is amusing. Edp foundation Public Art comprised of three words thinks the youth who Catarina Rodrigues, a filled the interior of the Praça Francisco António programme – Voltagem painted on distribution choose to stay in the MADEP student who lower module with graph- Meireles is actually a (Voltage) in Torre de cabinets using an alphabet council are heroic. And she participated in the Edp ic material alluding to the large roundabout and, Moncorvo. “We wanted created for this purpose, notes the participation in foundation Public Art memory of the council’s on rainy days, several to build a set of interven- was the first intervention the Voltagem meetings that – Voltagem in Torre de iron mines. “From the senior citizens spend their tions that could relate to to take place in the town. were held in the villages Moncorvo. “In our first people who served us ev- afternoons sitting there, each other, we wanted all Before starting, the MADEP for the interventions car- visits to the town, the ery day at the restaurant watching the townspeople of the proposals to make students decided to give ried out in three EDP Dis- people complained about to the place where we go about their lives and the sense within the context a stencilling workshop tribuição secondary sub- the substations, that they stayed, everyone was ex- antics of outsiders who ar- of this town. The common to students from the Dr. stations. “The town meet- imposed on the space, the tremely welcoming. What rive by car and don’t quite thread is the social and Ramiro Salgado schools. ings could not have gone landscape. The goal was most fascinated me in this know which way to go. scenic context. That is what “The feedback I was better. In Larinho, for ex- always to disguise the experience was the fact Sitting beside the court- we found when we arrived. given is that people en- ample, the locals mounted substations.” that, over time, we built

house, they frown as they We developed the idea joyed it”, comments Piedade 2016. Moncorvo, de Torre community, the with Meeting scaffolding, they support- Gabriela Vaz-Pinheiro friendships with the locals”, try to guess what the vis- and built relationships.” Meneses, councillor for ed, there was solidarity.” designed a structure made says Nuno Pimenta. The itors want, and determine artist invited friends – whether it will be neces- architects, other artists, sary to intervene and give filmmakers – to partici- directions. From the street pate in the construction of that runs along the right the piece, as if they were side of the courthouse, on in an artistic residency. the horizon, green hills are “This isn’t so much about outlined against the sky. leaving something for The town is bordered Gabriela Vaz-Pinheiro Social Action and Public “In my opinion, the sub- of mirrors and placed these people; it’s about by an impressive natural invited students from the Spaces at the Torre de stations stand out the most”, on top of a warehouse the fact that there was landscape. And it is this Master’s in Art & Design Moncorvo Municipal considers Afonso Meneses, wall on Avenida dos sharing, an exchange. same landscape that has for the Public Space Council. “The town meet- forestry engineer at the Combatentes, which she a dual effect on the peo- (MADEP Mestrado em ings could have had more Portuguese Institute for named Horizonte [Reflex]; ple who live here. If on the Arte e Design para o Es- participation. But this ini- Nature Conservation & this work is complement- one hand it contains the paço Público), from Uni- tiative with the edp Foun- Forests (Instituto da Con- ed by a small poppy field town and closes it off from versity of Porto’s Faculty dation was positive due servação da Natureza e in front, with technical the outside, on the other, of Fine Arts (FBAUP Facul- to its innovative charac- das Florestas) at the Douro collaboration by Diana that natural barrier sug- dade de Belas Artes da ter. Populations that are International Nature Park. Baptista, a landscape ar- gests there is something Universidade do Porto), not used to this type of “The substations were chitect. This symbolic line

8 9 Route TRÁS-OS-MONTES • Project VOLTAGEM • Torre de Moncorvo • SHORT BIOS ARTISTS ARTE PÚBLICA •

Gabriela Vaz-Pinheiro (1962) Sofia Borges (1971) MADEP Student collective Catarina Rodrigues (1990)

Studied Painting at the Lisbon Faculty António Cardoso, Beatriz Lima, Catarina A Master in Art & Design for the Public of Fine Arts and Sculpture at Ar.Co and Rodrigues, Daniel Sousa, Francisco Leal, Space from University of Porto’s Faculty completed a Master’s in Curatorial Studies Herlander Alves, Malgorzata KosmatkaKos, of Fine Arts, Catarina Rodrigues was by the University of Lisbon / Calouste Maria Lourenço, Niccoló Rossi, Thiago part of the Distopia collective, where Gulbenkian Foundation. Between 2006 Marcial. The participants of the MADEP she participated in 2015 in the mural and 2009, Borges coordinated and co- collective varies according to the years measuring 1400 m2 on Rua da Lionesa, Director of the Master’s in Art & Design -directed the project “A Festa Acabou” and projects students are assigned to. in Leça do Balio, Porto. Some of her for the Public Space (MADEP- Mestrado (The Party’s Over), which connected In Voltagem – Torre de Moncorvo, there individual works are also featured at em Arte e Design para o Espaço Público) narratives created by the residents of were notable works by Thiago Marcial the Lionesa Business Centre, as well as at University of Porto’s Faculty of Fine the now demolished Quinta da Vitória and Catarina Rodrigues. in the Ponte da Pedra and AAA business Arts, where she has been an assistant district, to the public space. In 2016, centres, the Braga Camping Site and professor since 2006. She has a degree she completed the film Maxamba, co- EDP distribution cabinets at Largo de in Sculpture & Painting from the same -directed with Suzanne Barnard, which Thiago Marcial (1987) São Domingos, in Porto. Winner, with university, completed a Master’s at portrays a couple of Portuguese tailors Thiago Marcial, of the Street Art Porto Central Saint Martins College of Arts of Indian origin who lived in Quinta da – EDP Distribution cabinets competition and Design, in London, and a PhD at Vitória, and received an award at the with the project “É um produto português Chelsea College of Arts and Design. IndieLisboa festival. com certeza!” (A Portuguese Product, She was head of the Art & Architecture of course!), which was implemented on programme for the European Capital Rua de Cedofeita and is still examined of Culture – Guimarães 2012 and has Nuno Pimenta (1985) by the collective. written articles for various publications. She has exhibited individually and col- lectively since 1985. Trained in design and communication, Thiago Marcial traded Rio de Janeiro for Porto to complete a Master’s in Art & Design for the Public Space at Univer- sity of Porto’s Faculty of Fine Arts. He was interested in renouncing corporate work to have a more direct contact Nuno Pimenta develops a transdisci- with people through interventions in the plinary practise that combines art and public space. He is part of the project architecture, focusing his work on ap- “Narrativas Espaciais” (Space Narra- propriating and subverting constructive tives) with Catarina Rodrigues. elements and techniques to create narratives for political and social reflection. He has a Master’s in Architecture from the University of Porto’s Faculty of Archi- tecture and a Master’s in Art & Design for the Public Space from University of Porto’s Faculty of Fine Arts. In recent years, he has developed work in various artistic fields, like temporary architecture, installation, public art and performance art.

10 11 Route TRÁS-OS-MONTES •TRÁS-OS-MONTES Project at the Rua do Campo and and Campo do Rua the at from FBAUP. In Junqueira, Público oEspaço para eDesign Arte em Mestrado (MADEP- Space Public the for &Design Art in ter’s sor’s students in the Mas of profes this participation substations involved the landscape?” the into pear disap them wemake don’t of enhancing them, why instead wethought: “So Gabriela Vaz-Pinheiro. - - (FBAUP- Arts Fine of University of Porto’s Faculty corvo and professor at the Voltagem in Torre de Mon- of coordinator artistic the overpowering»”, recounts very they’re disappear, these substations would wish «we hearing kept we meetings, the “During council in Trás-os-Montes. a Torrein Moncorvo, de tion – Public Voltagem Art founda Edp by the tomised tribuição substations cus Dis- EDP three are These Inhabited, Disappeared three concepts: Inverted, de Moncorvo, address substationsondary in Torre planned for the sec- The artistic interventions Authors: Invertido Universidade do Porto Faculdade de Artes Belas Work on these three Students MADEP/FBAUP Inverted 1

VOLTAGEM • Torre • de Moncorvo VOLTAGEM ), ), ), ), . - - - - -

Untitled [The Untitled work the to inverted landscape allude substations representing an works them. between These somehow connect the seven Moncorvo intended to – Voltagem in Torre de Edp foundation Public Art in the that participated artists of group the that fact the from comes also sphere on a clear sunny day. vegetation and the tropo hourglass made from green an like sky, the with switched was earth the and earth the with switched was sky The its differentshades ofblue. in painted is sky the bottom, the On ends. skyline the where begin which earth, of green representing the layers various are there earth on sky ( “o terra” na and céu céu...” ( no “a terra explanation: an on the substation provide Inverted of meaning the is What substation. the on students MADEP by the the intervention created of effect the observe to marks the best distance point That substation. the from steps 45 – precisely ground the on marked is apoint Cruzeiro, do Largo towards Cabine da Rua along walking up, Further there is one substation. Rua da Cabine intersection, The idea for Inverted for idea The Two sentences written the earth in the sky the in earth the ). On the top, top, the On ). the the •INVERTIDO Students MADEP/FBAUP ?

) -

peared Disap with Vaz-Pinheiro’s with the work by SofiaBorges connection with Inverted a makes Pimenta by Nuno Thiago Marcial. work “The students, MADEP the of connections”, states one establish to order in artists, conjunction with the other “ ment. penetratessky the pave Junqueira substation, the piercing the ground. At the roof the with position, inverted an in house the is placed upright, and the other house the is blocks the of one structure, atwo-storey On shape. atriangular in side a cube that extends on one – shape house abasic with each blocks, two of prised com- is wood from made synopsis nº 3]. This structure [see Torrein Moncorvo de Santiago de Rua at located Unknown] ly interesting experience.” extreme an was scale this on ect. “Implementing a work proj the in participated who another student MADEP tells Catarina Rodrigues, surface”, the on we worked Then ground. the on point a mark skyline, the mark to “The first task was always always was task first “The Inhabited Inverted ”, he explains. by Nuno Pimenta, Pimenta, by Nuno and Gabriela emerged in -

, - - -

•2016 12 13 Invertido, MADEP/FBAUP Students, EDP Distribuição transformation substation, Junqueira, 2016. better than being all white. And the people are more open. open. more are people the And white. all being than better nice, better.looks It look landscape the makes it different, looks building the I think TOWN Council: TOWN Catarina Vieira, 33 years, restaurant worker. TORRE DE MONCORVO Rua da Cabine, Junqueira. Location: Rua do Campo, Campo, do Rua

GPS: GPS: Longitude -7.08275 Latitude 41.26977 ARTEPÚBLICA • Route TRÁS-OS-MONTES •TRÁS-OS-MONTES Project Torre de Moncorvo. in –Voltagem Art Public foundation Edp the of and coordinator artistic FBAUP at Master’s the of Vaz-Pinheiro, professor Gabriela inets”, states cab- onto the distribution painted then were that they composed sentences letters, new the With bet. generate a kind of alpha to students the for a basis interesting and as served Adeganha, which we found inhieroglyphics a church in some wediscovered lage, vil- the to visits frequent own alphabet. our “During their create to decided Torre de Moncorvo, they from kilometres eight ed Adeganha, a village locat at church main the in found by the inscriptions they Inspired alphabet. an was created (FBAUP), Arts Fine of Faculty Porto’s of sity (MADEP), from the Univer Design for the Public Space & Art in Master’s the of brown. What the students ferring to “Heritage” are in re those and yellow in are “Tales” to referring those blue, in are “Landscape” the to referring words The Authors: Soltas Palavras MADEP/FBAUP Students MADEP/FBAUP Words Loose 2

VOLTAGEM • Torre • de Moncorvo VOLTAGEM - - - -

means ‘something’s fishy’). tuguese expression that ( the phrase “aqui há gato” nº 3290 CE on discover can visit who those letters, translate each of the new to use can visitors that sheet the from help With cabinets.” the distribution on paint to sentence the café’s owners, suggested the of one is who “Vera, chitect Telmo Seromenho. ar- the shop, pastry the of owners the of one tells it”, and the customers adopted houses were demolished, here, from when some acat was “There nº 3290. distribution cabinet, CE there’s a Shop, Pastry beside the Seromenho age.” every of people were There participated. adults and the elderly all –children, cabinets tion nity, painting the distribu commu- the with centre, town’s the historic in a day wespent Then stencils. with ing the students to work days of workshops, teach three by giving started “We students involved.MADEP Rodrigues, one of the munity”, states Catarina connection with the com project had the closest throughout the town. “This distribution cabinets spread on various EDP Distribuição phrases the write to used stencilling, the technique of art the on workshops do schools, who attended Dr. Salga the Ramiro from students school high with partnership in out carried Loosecalled Words, –aPor here there’s acat On Rua Prior do Crato, Crato, do Prior Rua On is which project, The was was • PALAVRAS SOLTAS PALAVRAS • - - - - -

terra” ( wheel ties ( laços” “casa roda phrases to be decoded, like with town in cabinets distribution 23 are there Rodrigues. Altogether, land”, explains Catarina this from come to proud strength. The people are region’s the is culture “Aside from the landscape, nature, culture and History. categories: three into fall colours the above, tioned wemen- As below. cilled sten are them painted who of initials the and words, always comprised of three peixe” ( peixe” moor gold “fraga moura ouro” ( the town’sthe ex libris.” became It citizens. senior among also but school, teenagers from the high cation channel, among a privileged communi indeed, was, It Moncorvo! Torre in de existed once that alphabet a specific was it say and alphabet this find may chaeologist ar- an future, the “In Gabriela Vaz-Pinheiro. space”, states public the in mystery acertain ate of people and they gener by aseries out carried was The sentences are “The word“The selection wine porridge fish porridge wine iron soul earth soul iron ) or “vinho migas migas “vinho ) or ), “ferro alma alma “ferro ), MADEP/FBAUP Students MADEP/FBAUP house cliff cliff ), ), - ). ). - - •2016 14 15 Palavras Soltas, MADEP/FBAUP Students, Torre de Moncorvo, 2016. The distribution cabinets look nicer like this. this. like nicer look cabinets The distribution José. for a«J», put had they me told they and afterwards, Iasked there. what’s read even can’t we names, ofour one They used even well. went it I think Além Monte Natural 4427, Fruto Amêndoa Terra1423, Torre Vale Memória 1427, Queijo Fumeiro1429, Mel Peixe Migas Vinho 451, Pura Água Fonte 007, Vila da Chave 1445 nº board Electrical TOWN Council: TOWN José Carvalhais, 73 years, retired. years, 73 Carvalhais, José TORRE DE MONCORVO Location: Serra Granito Xisto Granito s/nº, Serra 2001, Olival Azeite Douro Sabor do Foz 4422, Fonte Água Vida292, Gato Há Aqui 3290, Terra Boa Vale 411, 410, 0300, [various] Casa Roda Casa Laços Pessoas Tradição Simpatia Tradição Pessoas GPS: GPS: Ferro Alma Terra Alma Ferro 387, Vida Vila 385, Via Volta Amigo Bom 369, Mendo Torre370, Corvo Lenda Ouro Moura Fraga 1438, 2003, s/nº, Curva do Meão Monte do s/nº, Atrás Longitude -7.05311 Latitude 41.17521 Árvore Verde Flor [?] Flor Verde Árvore ARTEPÚBLICA • Route TRÁS-OS-MONTES • Project VOLTAGEM • Torre de Moncorvo • UNTITLED [THE UNKNOWN] Nuno Pimenta • 2018 ARTE PÚBLICA •

“The piece has two is in the conventional 3 moments, two storeys. position. In the Edp TOWN Council: Location: GPS: Inside, the lower floor is foundation Public Art TORRE DE MONCORVO Rua de Santiago Latitude 41.17249 occupied by Sofia Borges’ – Voltagem in Torre de Longitude -7.05327 Untitled work, after she thor- Moncorvo project, the oughly researched this concept was to intercon- [The Un- community’s memoirs. nect the works concep- The second floor has a tually. This Untitled [The known] strong sense of floating, Unknown] is directly con- it invites introspection”, nected to the EDP Distri- describes Nuno Pimenta. buição substations cus- Author: “The idea is to create a tomized by the students Nuno Pimenta dialogue between the of the Master’s in Art two vectors. The lower & Design for the Public floor helps us discover Space at University of Located in front of the the identity issues of Porto’s Faculty of Fine town’s theatre-cinema. Torre de Moncorvo and Arts: Inverted, Inhabited It stands on a wall, an- the upper level looks be- and Disappeared. The chored by a cobblestone yond the town limits, lower floor of this wooden ledge that is slightly to the horizon.” According construction conveys an wider. This work project- to Pimenta, the goal is idea of inversion, of utopia. ed by Nuno Pimenta for to generate public space, The upper structure Edp foundation Public Art to create an object that conveys liveability, home, – Voltagem in Torre de is able to bring the com- comfort. And the exhibi- Moncorvo juts out over- munity together. tion – created by Sofia looking the marshlands “The reaction was Borges – inside the ground below and the hills out- quite positive, to my level module lends the idea

lined against the sky, in surprise. It’s something of memory – which pre- 2018. Moncorvo, de Torre Pimenta, , Nuno the distance. “In my visits new, but the people were vents the disappearance to get close to the Torre always very curious. of these people’s tales, de Moncorvo community, During the construction heritage and landscape. this idea of enclosure was work, I had many conver- “Construction was the

always evident. But for sations with the locals, most difficult part, these Untitled [The Unknown] these people, the horizon even those from the sur- are complicated mate- is also synonymous with rounding areas”, says rials to work with. The expansion, with a search Pimenta. “It brings us object was built by myself for knowledge”, states the back to this really impor- and a team of colleagues author, who is a trained tant characteristic: to that I usually work with architect and studied open people up to new – architects, artists, film- fine arts. things that may happen.” makers”, explains Nuno On the side wall of the The work is comprised Pimenta. “The construction upper module, the skyline of two modules, where process was, in fact, a of Gabriela Vaz-Pinheiro’s each represents the kind of artistic residency.” piece stretches out, rein- stereotype of a house forcing the outline of the – the lines of the floor, hilltops in the distance. the walls and the roof There is curiosity about (an upside down ‘V’). the outside, the people are The ground-level module I gave the artists a guided tour of the library, through the Memoirs Centre. quite proud of the land is inverted, with the roof They showed great interest and we created bonds. We would meet at night and talk where they live and the facing down and the about our work. The result is excellent. beauty of the landscape floor in the ceiling’s place. Helena Pontes, Torre de Moncorvo Municipal Library. that is part of their daily life. The module placed on top

16 17 Route TRÁS-OS-MONTES • Project VOLTAGEM • Torre de Moncorvo • A CÉU ABERTO Sofia Borges • 2018 ARTE PÚBLICA •

Sofia Borges carried ble: to combine aspects 4 out research at Museu do from memory and the TOWN Council: Location: GPS: Ferro (Iron Museum) and present day; to integrate TORRE DE MONCORVO Rua de Santiago Latitude 41.17249 in two private archives, the subject of inland Longitude -7.05327 A Céu collected testimonials isolation, pointed out by from people who had a former miner”, she Aberto worked in the mines and continues. “How can you lived in Torre de Moncorvo talk about ‘inland’ when Open Sky and neighbouring villages Portugal is 218 km wide at the time. “I tried to and 561 km long? The reach the greatest number people are in favour of Author: of people possible. There the mines because there Sofia Borges weren’t many left. I found isn’t work and the popula- a universe of 15 families. tion is diminishing, but re- And I tried to explore the opening them raises oth- This is a montage of entire hierarchy: from er issues that were also photographic material the workers that used mentioned, regarding inside the work Untitled hammers to extract the financial investment and [The Unknown]. “I have ore, to the engineers who environmental impact.” been developing a series worked in the lab.” It is on this delicate line of projects in the public Sofia Borges insists that Sofia Borges built the space, with communities, on mentioning that her body of her work. When she for 10 years. This research approach to the theme thought of presenting these is almost ethnographi- is not historic. “It’s the diverse elements, she was cal. I go somewhere, try people I meet with who careful not to put them in to understand the place give me the material.” any order. The collage in- and involve the people “The idea is to bring to side Untitled [The Unknown] who live there”, tells Sofia the public space a series was random. “I provide

Borges, author of the of material that is coming the elements and people 2018. Moncorvo, de Torre Borges, , Sofia collages made inside together, where people interpret them as they the ground-level module contribute to produce wish. I give a reading index,

of Nuno Pimenta’s artistic that material.” a sentence at the begin- A Céu Aberto object. “Knowing this, Sofia Borges collected ning – to provide a starting Gabriela [Vaz-Pinheiro, images and texts, took point for an image’s mean- artistic coordinator of notes, asked a series of ing – and that’s it.” Written Edp foundation Public questions in the field about based on testimonials she Art – Voltagem in Torre the relationship between collected, the phrases are de Moncorvo], invited the people and the mines not signed. But one of the me to work on this and their imagery. Then posters has the name of project.” The Torre de she photographed, se- all the people who parti- Moncorvo iron mines, lected and grouped texts cipated in the project, as Ferrominas, were active and photographs. “There well as the job they per- from 1951 to 1985. There is a picture of the café formed in the mines. is even an Iron Museum Dallas, where the former in town. “For years there workers still get togeth- have been discussions er. It is where one of the about reopening the mines’ first offices used mines. This public debate to be, which today are Sofia Borges built on the idea of memory from the railways. These are the most and the vast amount of abandoned”, describes important memories from the second half of the 20th century. At their peak, those documentation, provided Sofia Borges. “I always mines employed about a thousand people. a good starting point for made an effort to have Nelson Campos, director of Museu do Ferro (Iron Museum). the work.” the broadest view possi-

18 19 Route TRÁS-OS-MONTES • Proj. VOLTAGEM • Torre de Moncorvo • HORIZONTE [REFLEX] G. Pinheiro w/ D. Baptista • 2017 ARTE PÚBLICA •

throughout town, due But we quickly realised it 5 to the heat that is always was too expensive”, says TOWN Council: Location: GPS: felt in this region. If we Gabriela Vaz-Pinheiro, TORRE DE MONCORVO Avenida dos Comba- Latitude 41.17204 are not curious enough who is also artistic coor- tentes da Grande Guerra Longitude -7.05251 Horizonte to look more closely, we dinator of Edp foundation don’t realise there is an Public Art – Voltagem in [Reflex] artistic intervention here, Torre de Moncorvo. the mirror passes for dec- “I realised this first concept oration on the warehouse. was a kind of warm-up”, Authors: Horizonte [Reflex] lives continues Gabriela Vaz- Gabriela Vaz-Pinheiro from subtlety, invites us -Pinheiro, professor of & Diana Baptista to make the effort to the Master’s in Art & De- notice. That subtlety pre- sign for the Public Space sents a second moment: (MADEP), at University Poppies are flowers a reflecting line on the of Porto’s Faculty of found virtually all over side of the upper module Fine Arts. “I realised that Torre de Moncorvo and of Nuno Pimenta’s piece, the topographic line the surrounding areas. Untitled [The Unknown], could be extended from Traditionally one of the situated at Rua de Santi- the warehouse. There’s symbols of WWI, they ago, and which transects a point where, if you were the only thing that the building from where stand there, the horizon thrived after the trail the reflected sky is visi- stretches out. And the of destruction left on the ble. And, if we make the game is complemented battlefields. The patch effort to look for the exact by the field of poppies that is found on the point to place ourselves in and grass”, she contin- plot facing the work by front of that line, we can ues. “The people are very Gabriela Vaz-Pinheiro, see the Cathedral in its attached to the poppies, Horizonte [Reflex], was full splendour. there are plenty in this created with technical area. And it completely collaboration by Diana coincides, although not Baptista, and comple- deliberately: the poppies, Gabriela Vaz-Pinheiro & Diana Baptista, Torre de Moncorvo, 2017. Moncorvo, de Torre Baptista, Diana & Vaz-Pinheiro , Gabriela ments the idea of land- a symbol for combatants scape, reinforcing it due (combatentes), are on to its mimetic charac- an avenue named Com-

ter, duplicating what is batentes!” Horizonte [Reflex] already at our disposal The public art piec- when we walk through es have an ephemeral the streets of Torre de character. However, the Moncorvo. On the side intervention by Gabriela wall of a warehouse on Vaz-Pinheiro has another Avenida dos Combaten- feature: a certain liquid- tes, which faces the view ity. If we place ourselves over the marshlands and “The intention was to below the mirror and the hills in the distance, «play» with the idea of look at it as we walk, it is a mirror, rectangular horizon. People are always a living work of art – the and slightly reclined, talking about someone shapes that appear in runs along the top of the who is on the other side our view are changeable, This action could have had more participation. People aren’t open to this sort building. The mirror and of the mountain. The first like a travelling shot in of thing yet. It is easier to criticise than to practice good citizenship. And these the poppy field form a concept was to place the cinema. The reflections processes with the edp foundation are important precisely due to their innovative diptych. In the summer, word «Horizonte» on a of what we see change character. They provide references for the inland populations. the field is dry, like many hilltop, like in Hollywood, at every step. Piedade Meneses, councillor for Social Action at the Torre de Moncorvo Municipal Council. patches of land spread to make a chimera.

20 21 Route TRÁS-OS-MONTES • Project VOLTAGEM • Torre de Moncorvo • HABITADO MADEP/FBAUP Students • 2016 ARTE PÚBLICA •

[see synopsis nº 1] and 6 Disappeared [synopsis TOWN Council: Location: GPS: nº 7], painted in layers TORRE DE MONCORVO EN 220, Larinho Latitude 41.18634 of greens and browns Longitude -7.00281 Habitado – representing the vegetation and earth – and a Inhabited blue area that represents the sky. This substation of the Portucale county, also has a vantage point who, during the battles Authors: from where you can against the Moors, gave MADEP/FBAUP Students better observe the work shelter to a Moorish of art, where the height girl who was on the run. of the vegetation is an He wanted to convert This is Inhabited, the extension of the land- her to Catholicism and second EDP Distribuição scape’s horizon in the suggested she take the transformation sub background. name Joana. They fell in station that the students The presence of this love and he promised to of the Master’s in Art & impressive crow almost build her a tower for them Design for the Public Space invites us to stop. From to live in when they were (MADEP) at the University the other side of the married. Meanwhile, she of Porto’s Faculty of Fine road, there’s a restaurant fell ill and, when she dis- Arts (FBAUP) worked on, called O Ti-Churrascão, covered that her fiancé within the context of the a house-shaped building had felt a great passion Edp foundation Public that looks like a venue for a cousin named Joana Art – Voltagem project for wedding receptions. who had died of illness, in the Torre de Moncorvo In front, there is a large she turned pale and died council. “In the first visits, parking lot and a small as well. The second tale the people complained patio covered with a is as follows: a farmer about the substations, canopy. It is a roadside named Mem or Mendo their imposing presence, restaurant, for travellers discovered a buried trea- the space they occupied to stretch their legs. sure and, before telling his in the landscape”, states From there, they can wife, decided to test her Catarina Rodrigues, a linger and observe the to see if she could keep

MADEP student. “Our idea painted crow which, at a secret. He told her he 2016. Larinho, substation, transformation Distribuição EDP students, , MADEP/FBAUP for the substations was to the end of a sunny after- had seen a crow giving

disguise them. Inhabited noon, is backlit, enhanced birth to two small crows. Habitado and Disappeared are by the golden shades The woman, stunned by identical, Inhabited has of the plants that are this situation, couldn’t the crow.” dry in the summer. resist telling her neigh- Travelling along Es- Why the crow? Where bour. From there the news trada Nacional 220 from does the name Torre de spread to the whole town Carviçais towards Torre Moncorvo (Crow Tower) in an instant. Therefore, the de Moncorvo, you can see come from? The official farmer decided to build a on the left, away from the website of the Torre de tower to store his gold. curb and integrated into Moncorvo Municipal the countryside, a sub- Council mentions two station that serves as a tales as possible explana- perch for a giant painted tions for the town’s name. crow. The black of its body The first tale states that In my opinion, it looks nice. They were over there painting for two or three days. contrasts with the back- there was once a noble- We’re always looking at it, you can’t help it. drop of the walls, like in man named Mem Corvo, José Graça, 57 years, owner of the restaurant O Ti-Churrascão. the substations Inverted before the independence

22 23 Route TRÁS-OS-MONTES • Project VOLTAGEM • Torre de Moncorvo • DESAPARECIDO MADEP/FBAUP Students • 2016 ARTE PÚBLICA •

stone, with a wall also or lack – of sunlight 7 made of stone. In the sum- that gives the blue its TOWN Council: Location: GPS: mer, this wall is swallowed luminosity. On sunny TORRE DE MONCORVO Rua do Prado, Felgar Latitude 41.21013 up by the lush vegetation, days, the substation’s Longitude -6.95846 Desapa- sky is a radiant blue, illuminated. When there -recido is no sunlight, that blue is duller, hard. Disappeared On the side of the substation that is against the wall, with ivy grow- Authors: ing between the stones, MADEP/FBAUP Students someone drew a small spaceship in black marker. The substation Disappeared is the and the last layer of green is located beside Largo opposite of Inverted. lines painted on the front of da Santa Cruz, where In the third EDP Distri- the substation is at exactly there is a small chapel. buição transformation the same height as the wall, At the top of the square, substation, in Felgar, prolonging its existence. where Rua do Cimo do subject to intervention Lugar begins, there is a by the students of the two-storey mansion that Master’s in Art & Design dates back to the 18th for the Public Space century, which contrasts (MADEP) at the Univer- with the modest architec- sity of Porto’s Faculty ture surrounding it. of Fine Arts (FBAUP), Today the space is used the same layers of green as a guesthouse. On the were used to simulate chapel’s side wall, a stone the landscape’s vegeta- bench was built for peo- tion, and blues to simu- ple to sit and enjoy the late the sky of that same This substation is camou- view. At the end of a landscape. But, this time, flaged, like army fatigues in sunny day, they can see in the gravitational order the battlefield. The area re- the substation backlit, 2016. Felgar, substation, transformation Distribuição EDP students, , MADEDP/FBAUP presented in nature. If in served for the sky occupies with the stone storage the substation Inverted two thirds of the building’s hut keeping company

the green layers begin right beside it. To the Desaparecido from the horizon up, in- left, is Rua do Prado, undating the sky, and the delineated by two stone blue layers overlap the walls. The left wall be- landscape’s vegetation, longs to a house that in Disappeared, the idea has a gate with a stone is for them to fuse. Mak- lion on the top of each col- ing the substation disap- umn. In the background, pear. Therefore, from an the skyline is visible, lay- optimal vantage point, ers of brown and green it’s as though we can’t that touch the sky. The see any building. height and is painted a substation is a mimesis of This substation, locat- soft blue, decorated with the landscape, dissolves These initiatives are important. But they cannot be isolated acts. These small deeds ed on Rua do Prado, in very faint clouds, like into it, like in a sort of at- brighten up the town’s urban atmosphere. There should be continuity. Felgar, is situated beside those on a clear spring titude that empowers it. Telmo Seromenho, 50 years, architect. a storage hut made from day. It is the presence –

24 25 Route TRÁS-OS-MONTES • Project VOLTAGEM • Mogadouro ARTE PÚBLICA •

Rio Douro

N221 N218 20 M 17 Miranda L 19 do Douro J M568 18 IC5

Av. da

Indústria 16 IC5 15

21 N216

N219 22 N221 Q 14 Rio Douro I 23 N315 24 13 Sendim IC5 31 11 32 25 O

30 33 26 G 10 12 IC5

N221 Mogadouro N221-7 29 Alfândega da Fé F H 28 27 IC5 N315 Rio Douro IC5 P N Rio Sabor E

IC5 Parque Natural C do Douro Internacional

Meirinhos A N221 Mogadouro

Rio Sabor Rio Douro 8 O TEU NOME, Cristina Mateus e FAHR

D Torre de N220 9 LIVRO DE ARTISTA BIEN-ÊTRE, Various authors Moncorvo IP2 10 MUSH, Gonçalo MAR with the community B N325 11 ONDAS DE CHOQUE, FAHR, Cristina Mateus

N221 12 ACERCA DE MOGADOURO, FAHR

13 MÁS CARAS, Gonçalo MAR

Rio Douro img © Mogadouro, Rute Ferraz, 2018.

Torre de Alfândega Mogadouro Miranda Moncorvo da Fé do Douro Route TRÁS-OS-MONTES • Project VOLTAGEM • Mogadouro ARTE PÚBLICA •

The centre of Moga- which make up the north anyone who arrives can lives”, continues Virgínia douro is comprised of - easternmost elbow identify each mask.” When Vieira. “For example, Moga- two adjacent squares: of Portugal. The masks the work was completed, where there are vineyards, Praça Engenheiro Duarte – and celebrations the townspeople visited they wanted grapes, they douro Pacheco and Largo associated with them the location to see the wanted harvests. Or ani- Trindade Coelho, named – play a very important result. mals, birds. Everything as- for the writer who was role in the municipality’s “I think this public sociated with their land.” Partner: born here on 18 June 1861. sociocultural life. Dur- art brought something The population wanted to At the time, Parque da ing the Winter Festivals, new to Mogadouro, which see art that was figura- Rede Inducar Vila didn’t exist yet, which the six types of masks will eventually end up tive, that illustrated their is attached to Avenida found in Mogadouro are progressing beyond this customs. The artists also Nossa Sra. do Caminho, represented: Chocalheiro project”, says the mayor Facebook: where the main retail es- de Bemposta, Velhos de Francisco Guimarães. not what we wanted. tablishments are located. Bruçó, Farandulo, Velho He also mentions the That’s what these people voltagemtmad There is a shop here for Chocalheiro de Vale de population’s appreciation have every day.” household appliances, Porco, Careto & Velha de for the intervention made Luís Carlos Fernandes, some placed every day Valverde, and Mascarão to the transformation the city council’s secre- It’s also a good experi- on the pavement-turned- & Mascarinha de Vilari- substation in Duas Igre- tary, accompanied the ence to arrive somewhere shop window, as well as nho dos Galegos. In the jas, in Miranda do Douro. works in the field, took in Trás-os-Montes at a restaurant known in the office of the councillor The drawing of a piper care of logistics. “I was night. One passes roads area for its Mirandesa for Culture and Tourism, occupies the façade of available from day one with landscapes made of meat grilled in the fire- Virgínia Vieira, there is felt the need to defend to take the artists to the hills that melt into a sky in place. There is also a a mask representing the their ideas. “The artists sites and tell the story shades of midnight blue, modern bakery that sells Velho (Old Man). Made were very well received. of the spaces we visited. the green of the plants on cakes and bread, and from wood, painted red But that is part of our I also told them about the roadside is intensified a student residence. and lined with sponge, hospitality. Even at the some of the people’s by the unique twilight. The town hall is sit- the mask is crowned by end of the meetings, the concerns and needs”, The silence and the de- uated in the former São two horns and symbolizes population would stay he describes. “I went to serted streets of Moga- Francisco Convent, as the devil. It was these and talk to the artists, my hometown, Ventozelo. douro are a state of mind is the space that houses types of masks that the welcoming them”, tells I ended being the mes-

that remains throughout the Archaeology Museum. artist Gonçalo MAR 2016. Mogadouro, community, the with Meeting Joana da Silva, coun- senger about what was the day, as though the This is where we can find the building that can be cillor for Education and going on. We went to the population finds the discoveries from the ar- seen from EN 221. “Since Social Action. “Even when water towers, the locals strength to exist in that chaeological digs carried we had seen the pipers, Gonçalo MAR started to sang them a song, the serenity, which enables out in the 1980s. The cas- of course we immediate- carry out his interventions artists felt at ease and it to live in the aridness tle, or what remains of it, ly imagined them for us in the former plant, school understood where they of that land, which is so is strategically located within the context of the children and teachers could start to work. hard to work, but whose on the highest point of masks. After some strug- went there to help. People Many ideas emerged beauty acts as a magnet the town. Its origins are gle, we were able to bring would pass by and ask. in those first days, they that attracts us, we know still under debate, but it one here – and it looks But understanding and appeared as we walked.” not how. has been proved that it beautiful. It’s a place for letting other people touch Luís Carlos Fernandes existed as early as 1145. painted on the walls celebration.” what’s theirs is another concludes: “It was a seed The view extends over of the EDP Distribuição At the meetings, which matter.” The artists sensed that was planted. When- the hills and beyond. transformation sub- first took place in Ventoze- that reticence. “We’re all ever someone comes to Mogadouro is part station located beside lo, Tó and Peredo da Bem- artists with our own author- Mogadouro and asks of the Terra Fria Trans- Rua da Fonte Nova, in posta, and then in Meiri- ship”, explains Gonçalo about Edp foundation montana route. This cir- Mogadouro. “All six of nhos and Mogadouro, the MAR. “We present con- Public Art, the people will cuit is 455 kilometres long the council’s masks population suggested cepts that force people know how to describe the and spans the municipal- are represented there. themes for the artists to to think about art. In Ven- programme and where ities of Bragança, Miran- Gonçalo was able to con- work on. “The themes they tozelo, for example, they the pieces are. It aroused da do Douro, Mogadouro, vey our identity”, states proposed were those that wanted us to represent curiosity.” Vimioso and Vinhais, Virgínia Vieira. “Indeed, they live with in their daily cows, ploughs. And that’s

28 29 Route TRÁS-OS-MONTES • Project VOLTAGEM • Mogadouro • SHORT BIOS ARTISTS ARTE PÚBLICA •

Cristina Mateus (1968) Gonçalo MAR (1974) FAHR — F. F. Almeida (1981) H. Reis (1986)

In 2018, one of their works was represented in the Serralves Pavilion at the 16th International Architecture Exhibition – La Biennale di Venezia, entitled Public Without Rhetoric, curated by Nuno Brandão Costa and Sérgio Mah. FAHR are also building another project, which involves an architectural intervention in the landscape, in an ongoing collaboration with other creative studios, named HODOS.

Cristina Mateus lives and works in Porto. Focusing on building an imagination FAHR 021.3 are a collective founded in Between 1986 and 1991, she attended that the artist himself describes as 2012 by Filipa Frois Almeida and Hugo Alejandra Jaña (1973) a course in Visual Arts & Painting (Artes “figurative surrealism”, the work by Reis. Both are trained in Architecture Plásticas e Pintura) at Porto’s School of Lisbon native Gonçalo MAR combines from Escola Superior Artística do Porto Fine Arts (Escola Superior de Belas-Artes elements from the world of comic strips (Porto Arts Institute) and their paths Alejandra Jaña has dedicated her pro- do Porto), today the University of Porto’s and animation with some elements have been marked by intersections be- fessional practise to communication Faculty of Fine Arts (FBAP-Faculdade de from Japanese culture and others more tween art and architecture. design projects with emphasis on visual Belas Artes da Universidade do Porto), closely associated with street art codes. Filipa Frois Almeida did an Erasmus identity and editorial design, focusing where she is a professor. In recent years, His multicoloured central figures are programme at Technische Universitãt on culture. She was co-founder of the she presented the individual exhibitions shrouded in an absurd aura, depicted Berlin and worked in architecture firms studio Martino&Jaña where, over 15 years, J. and Pedras (Espaço Mira, Porto), ŊOIT in dream-like scenarios. The wall of a in Berlin, like LW Architekten and J. she had the opportunity to develop (Galeria Fernando Santos, Porto) and building may feature a giant character MAYER H. At the same time, she studied countless projects that span multiple Répétition (Círculo de Artes Plásticas that invites the observer to escape from photography at Instituto Português de disciplines associated with design, de Coimbra) and participated in the col- routine and dream. Aside from street art Fotografia Portuguese( Institute of Pho- for clients like Nike (USA), NBC (USA), lective exhibitions Lugares de Viagem – and graffiti, Gonçalo MAR’s obsession tography) and later at Imago Galerie Serralves Museum, Porto (2001), Maia Biennial 2015, Homeless Monalisa with drawing and the richness of details, Berlin. Since 2000, she has won various Guimarães European Capital of Culture (Colégio das Artes, Coimbra), Diálogo is also transferred to the canvas and national and international awards in (2012), Centro Cultural Vila Flor and (Galeria Fernando Santos, Porto), oneiric installations in a gallery context. this discipline. Porto Municipal Council, among others. Uma (Painel –FBAUP gallery, Porto), These combine wood, cardboard and While attending an Architecture She taught the course Applied Typog- P. – a tribute to Paulo Cunha e Silva, other recycled materials. course, Hugo Reis worked at the firm raphy in 2008 at ARCA, in Coimbra por extenso (Galeria Municipal do Por- Arquitectos Anónimos, from 2008 to and, between 2009 and 2012, taught at to). In 2015 she also designed the set 2012. At the same time, he completed University of Porto’s Faculty of Fine Arts for Lastro choreographed by Né Barros, a set of training courses in digital archi- (FBAUP-Faculdade de Belas Artes da and participated as an interpreter in tecture and manufacturing technolo- Universidade do Porto), in the Master’s the film A Santa Joana dos Matadouros gies, tools that later led him to join the in Graphic Design and Editorial Projects by João Sousa Cardoso (2014). In 2016, internationally renowned firm J. MAYER (Mestrado de Design Gráfico e Projetos she presented the performance... de H. in Berlin. Editoriais). In 2012, she became involved qualquer modo há um ritmo forte... e tu The FAHR duo has received national with a collective of creators and re- sabes o que é. Não dá para parar in the and international recognition for a set searchers to build We Came From Space, space Maus Hábitos, in Porto. In 2017, of projects that are characterised by a platform to research and exchange she participated in the exhibition Them their formal and provocative approach, knowledge in the field of design and or Us, Um Projecto de Ficção Científica, like Hairchitecture, Metamorfose, graphic production, where she is cur- Social e Política, curated by Paulo Mendes, Eclipse and Nappe (2016-19 in Taiwan). rently part of the management team. at Galeria Municipal do Porto. She is co- -founder of the cultural association Virose.

30 31 Route TRÁS-OS-MONTES • Project VOLTAGEM • Mogadouro • O TEU NOME Cristina Mateus & FAHR • 2017 ARTE PÚBLICA •

of the populations and developed this work by 8 the artists – seemed very discussing methods to TOWN Council: Location: GPS: far removed. “The people relate to the substation MOGADOURO Rua da Galiza, Latitude 41.26211 don’t want to occupy an and to Gonçalo MAR in Meirinhos Longitude -6.82217 O Teu unfamiliar space, they a graffiti approach, the want to occupy an identi- so-called tags (the writ- Nome ty space”, she states. ers’ signatures) distribut- “We were told extravagant ed across city walls. “I’d Your Name stories, stories of contra- love to be like Gonçalo, band, frontiers. This isn’t writing my name on walls. just a land of isolation, it’s I’m writing it in a differ- Authors: also a land with the pos- ent way. I’m writing my Cristina Mateus sibility to be on the other name on the landscape.” & FAHR side.” And she adds that Cristina Mateus invites the Trás-os-Montes peo- passers-by who see the ple are fearless. “There work to inscribe their “Isto não é poesia/ was a sense of mistrust. own idea of a name, of Escreve/ As tuas coisas/ There is an overwhelming identity, on the green Nos montes/ Nas pedras/ feeling that the villages landscape in the distance, O teu nome” (This is not are dying, and the popu- behind the building. “The poetry/ Write/ Your lation that still lives there name has to do with our things/ On the hills/ On doesn’t want them to die connection to things”, the stones/ Your name). associated with images Cristina Mateus extrap- Inscribed on a metallic other than their identity. olates. “The name may structure on the EDP Dis- The people are cautious.” be the origin. How does tribuição transformation that happen? Even us, substation in Meirinhos, when we’re born, we don’t this is the poem that result- have control over that.” ed from a cross-section FAHR’s signature in this

of conversations Cristina collaboration is evident 2017. 021.3. Meirinhos, FAHR & Mateus , Cristina Mateus had during the in the choice to position meetings with the popu- the letters asymmetri- O Teu NomeO Teu lations, with people from cally, to the left, as well the Edp foundation Public as the fact that the entire Art organization in the structure transcends the field, with municipal frame. In other words, it employees who accom- extends past the walls panied the work. “In the and projects out into the very first meeting, in This substation in landscape. Mogadouro, we sensed Meirinhos is located on a reactive atmosphere. Rua da Galiza, a road And we were only in that runs parallel to EN the presentation phase, 315, but is topograph- to introduce our work”, ically lower than that Cristina Mateus begins route. The black letters, by contextualising. mounted on a burgundy Although rural environ- structure also made of ments have a strong oral metal, were placed high tradition that uses fiction enough so that those This street has five residents, I’m the oldest. But a lot of young girls come to visit extensively, through fables, passing along EN 315 find from out-of-town. Cristina Mateus explains an invitation to read the Gualter Prata, 94 years, retired. that the imaginations – landscape. FAHR also

32 33 Route TRÁS-OS-MONTES • Project VOLTAGEM • Mogadouro • LIVRO DE ARTISTA BIEN-ÊTRE Various authors • 2018 ARTE PÚBLICA •

“At one point, a text the assembly.” The Artist 9 written by me appeared Book is exhibited to be TOWN Council: Location: GPS: and was presented at one handled in the Archaeo- MOGADOURO Sala Museu de Arqueo- Latitude 41.3405735 of the meetings”, recounts logical Museum, but there logia, Rua D. Afonso II Longitude -6.7158408 Livro de Cristina Mateus. “Al- is a physical edition of though the text ended up more than 149 copies, 140 Artista not being used – only an of which are sewn. There excerpt from it was ap- are 10 books, including Bien-Être plied in the intervention the one on exhibition, on the EDP Distribuição that are loose. Alejandra Artist Book transformation substation Jaña states that this was Bien-Être in Meirinhos (see work not the initial idea, but nº 8) –, the idea of a book she doesn’t mind that it seemed the most user- evolved to 150 copies be- Authors: -friendly way to present ing printed. She says the Alejandra Jaña it.” Everything the artists memory endures. Cristina Mateus did was recorded. “The “Regarding the Filipa Frois Almeida process was based above graphic art, there are Gonçalo MAR all on everything that was only small details. I didn’t Hugo Reis being considered and want to be too interven- ended up not happening. tive, because the book The book is like an archive itself – the format – was This is basically an archae- of material.” already highly inter- ological object. Which is The pages of this ventive”, Alejandra Jaña why it is considered an exhibitive book are not continues. “There are artistic object that can be glued together. “The references to the atti- visited, and consulted, in book can be opened and tude of the artists during the site that houses the the pages all spread out. their exploratory work. council’s archaeological When it is put together They worked with colours, discoveries, the Mogadou- again, it can be done in transparencies, rectan- ro Archaeological Museum. different ways”, explains gles. There’s a slight nod

Bien-Être is a book that Cristina Mateus. “The to these references on the 2018. Mogadouro, Livro de collective, artist Artista (detail), documents the entire cre- formats are uneven”, cover and on the overlay ative process of the four adds Alejandra Jaña. of the formats.” artists invited to carry out “The publication has This book is also a interventions in the Moga- three chapters, with dif- political act. “I hope it douro public space, under ferent sized formats. is consulted. I would like the Edp foundation Public In the first, there are im- people to pick it up, take Art programme. It portrays ages that provide context it apart and put it back everything Cristina Ma- on the territory – the together in their own teus, Filipa Frois Almeida, people the artists spoke way. Almost like a perfor- Gonçalo MAR and Hugo with, the encounters they mative act.” Reis prepared, created had with the landscape, and presented to the the buildings they would populations, even works work on, the memories of that ended up not being the land itself. The second produced. It is essentially chapter is made up of a record of everything Cristina’s texts, which are I really liked the interventions. It’s a good initiative, we ended up with instruments that was created. The isolated and then used. that elucidate our cultural heritage. There should be more, because they enrich the book’s graphic art is The third contemplates public space. signed by Alejandra Jaña the entire work, from Emanuel Campos, 36 years, archaeologist. and Cristina Mateus. the exploratory work to

34 35 Route TRÁS-OS-MONTES • Project VOLTAGEM • Mogadouro • MUSH Gonçalo MAR w/ community • 2017 ARTE PÚBLICA •

Picking mushrooms is 10 a tradition passed down TOWN Council: Location: GPS: from fathers to sons, it is MOGADOURO Caminho da Central Latitude 41.33684 important to know how Velha Longitude -6.71806 Mush to identify which species are edible. The walls of the former plant were Authors: transformed into a large Gonçalo MAR canvas where everyone painting, as well as 8-year- & the community was invited to participate. -olds. The age spectrum Children and adults joined, was very broad. Virtual- municipal employees ly every age group was joined, other artists joined. represented.” “The kids loved it. The On one side of the for- graffiti resonated with mer plant, wild plants grow them, the forbidden. so high that they seem to Some had never picked want to be a part of the up a can of spray paint. painting. The mushrooms It was really gratifying painted in shades of blue, for them”, tells Joana da pink, green and yellow, “Viva o capitão Cruz, Silva, councillor for Edu- burst from those weeds que nos deu água e luz” cation and Social Action in harmony, as though the (Long live captain Cruz, who in Mogadouro. human intervention and gave us water and light). The painting tech- the landscape were made Francisco Guimarães, the nique was inverted here. for each other. On anoth- current mayor of Moga- The mushrooms weren’t er façade of the building, douro, recalls the rhyme. painted over a pre- a special mushroom is Captain Cruz was the -existing background, the painted. It doesn’t have mayor when the first background was painted the same longitudinal for- power plant was installed black afterwards by mat as the others, the ‘um- 2017. Mogadouro, community, the & , MAR in the town in 1935. The Gonçalo MAR and de- brella’ is rounder, more like Mush former plant, located on fined the contours of a face. In the centre, two the road with the same the mushrooms. “The big eyes are painted, and name and which is now colour of the intervention, the door structure under- inactive, features a small which formed the body neath provides the nose inscription: “CMM 1935.” of the mushrooms, was and mouth. The mush- In the field around the left to whoever wanted room’s stem is a neck, very building – the houses are to participate”, explains long and thin. This “boy” a few metres above the Gonçalo MAR. “We tried is the last in a sequence of sloping terrain –, there to make this a communi- mushrooms on the façade are ploughs and other ty effort.” And he stated that faces Caminho da agricultural equipment. that, unlike other situa- Central Velha, and he is A tractor may be seen tions in town meetings, watching passers-by. ploughing the adjoining when the difference be- plot, a dog sitting beside tween communal artistic the driver. work and the authorship For the building, which of a piece was not always was once white and is now understood, this interven- I accompanied Gonçalo. It was the first work to be produced. We insisted on multicoloured and black, tion served to demystify taking the school kids. There were many people from the outset. Curiosity led the Gonçalo MAR drew inspi- that difference. “Partic- population to join the activity. ration from a strong local ipation was really good. Núria Borges, 33 years, cultural officer, anthropologist. custom: the mushroom. There were 70-year-olds

36 37 Route TRÁS-OS-MONTES • Project VOLTAGEM • Mogadouro • ONDAS DE CHOQUE FAHR, Cristina Mateus • 2017 ARTE PÚBLICA •

art attracts them, due operational issues associ- 11 to its intervention on the ated with the substation, TOWN Council: Location: GPS: urban landscape. using painting instead MOGADOURO Rua Dr. Casimiro Latitude 41.33917 “We are much more to create that effect. Machado Longitude -6.71364 Ondas de interested in how people “The logic was almost to live in the public space create a new mark, a new Choque – which is highly codified centrality. The lattice no – and disrupt preconcep- longer acts as support Shockwaves tions about it”, says Hugo [for the structure], and Reis. “All our studies, all becomes its identity – a our interventions, aim to new identity”, explains Authors: create a certain disquiet.” Hugo Reis. “We created an FAHR, Cristina Mateus Filipa Frois Almeida adds: incident in this grid, rep- “To create something un- resented an incident in it. expected that completes, Architecture doesn’t that uses imbalance to have to be lived in, it can give balance. ” FAHR work simply be used. FAHR on stimulating the citizen. approaches the architec- And with that they gen- tural practise as a form erate new memories, new of expression and prefers identities. to address uses for architecture rather than its purpose. One of those As though a shadow uses is fruition, therefore detached itself from the they are interested in structure – it stopped working with the limits of being something physical, , FAHR & Cristina Mateus, 2017. both architecture and art. it became bidimensional. It’s an uneven wave that was subjected to a pro- For the EDP Distribui- vocation.” Ondas de Choque de Ondas ção transformation sub- The sentence that station located on Rua served as a title, written Dr. Casimiro Machado, by Cristina Mateus, FAHR chose two subjects was as follows: “Tramas to work with: a sentence elétricas são ondas de written by Cristina Mateus, choque” (electrical grids FAHR, Filipa Frois taking an excerpt to use are shockwaves). “FAHR Almeida and Hugo Reis, as the work’s title, and the got the idea of a grid”, completed their degrees cement lattice that pro- Cristina Mateus contex- at Escola Superior Artís- vides texture to the four tualises. “I really like it tica do Porto (Porto Arts façades of the building. when things aren’t en- Institute). At university, This grid placed on the tirely finished, and that’s they had contact with stu- wall’s surface was paint- the impression that re- dents in painting, sculp- ed green. The initial idea mains in the intervention. ture, photography, video was to create a volume This grid is incomplete, art. They emphasise the that extended the geo- and it echoes what difference between tem- metric ribbing and they could have been: a grid porary and ephemeral considered placing a wood- in space, in the air, a grid My opinion is extremely positive. This work revived an architectural heritage that architecture and say they en grid. This option ended made of shockwaves, was deteriorating and brought vitality to the town. like the way the second up not being implement- without matter.” Luzia Salgado, 47 years, tourism & culture officer. ages. The idea of public ed due to technical and

38 39 Route TRÁS-OS-MONTES • Project VOLTAGEM • Mogadouro • ACERCA DE MOGADOURO FAHR • 2018 ARTE PÚBLICA •

are no boundaries”, Hugo a pattern of white patch- 12 Reis states. “At one point, es drawn on most of the TOWN Council: Location: GPS: when we got here to Mo- surface. “When we came MOGADOURO Rua das Eiras Latitude 41.3435108 gadouro, the fields looked here, we photographed Longitude -6.7207724 Acerca like a blanket of cut-outs time. We photographed in the landscape. There things that are fading de Moga- are many olive trees, which with time – old billboards, create a metric, a pattern, abandoned houses”, adds -douro textures, colours – which Filipa. are always in contrast. The initial idea was About Mogadouro The concept became to make posters with stronger when we realised superimposed pho- that there are distances. tographs of all the works Authors: The people travel by car by artists involved in the FAHR a lot, they really defend Edp foundation Public Art their town and, ultimately, – Voltagem in Mogadouro. they really defend their The project didn’t go “This is a human shout land and their home. And through, but it provided in a single photo.” The they’re proud of it. So the the basis for a collage statement is by Hugo territory is all of this.” with faces of people, as Reis, one of the members though they were cut- of FAHR. A canvas panel -outs of land seen from that occupies the front the sky. The shades – façade of the EDP Dis- whites, greys, blacks and

tribuição transformation very faint salmon-pinks 2018. , FAHR, substation on Rua das – create a watercolour Eiras, this work resulted effect and lend the work a from visits to the town certain lightness, a slight- for research. “Hugo and ly angelical character.

I came here on our own Over time, the colours Mogadouro de Acerca a few times. We really on the canvas will fade. wanted to experiment on The work is facing south, the ground, get a little it’s in the sun from morn- lost, drive around, stop ing to night. Filipa Frois and go into the middle An elderly woman, Almeida likes that. of fields to take some dressed in black, her “As we did our research, photos. We would explore hair in a bun, occupies there were many old our surroundings, stop the painting’s centrality, posters where you could and talk to someone or as though her figure only make out the paper other”, tells Filipa Frois holds every part of the and some nuances of Almeida, who was the narrative together. what was once written. one carrying the camera. “I make a great deal And that doesn’t bother “I started working with of these compositions. me.” Another nuance is photography a great deal I tell a story from various the fact the canvas isn’t at the beginning of my events that endure hung in the centre of the Architecture course. It’s a through time”, explains façade, but rather some very important explorato- Filipa Frois Almeida. centimetres to the left. tory tool for me.” Images of other women This is one of the charac- FAHR have always are superimposed, teristics of FAHR’s work: I think it’s very good, both for EDP and for the heritage in Mogadouro. The panel liked the idea of field work. blurred, and the work creating small diversions focuses on the townspeople, it spreads our culture. “The territory is comprised to simulate the passage to elicit new identities. Diogo Verde, 21 years, student. of many layers. And there of time was created by

40 41 Route TRÁS-OS-MONTES • Project VOLTAGEM • Mogadouro • MÁS CARAS Gonçalo MAR • 2018 ARTE PÚBLICA •

Mascarinha de Vilarinho colours, he says he often 13 dos Galegos. “Mogadouro uses chewing gum and TOWN Council: Location: GPS: has a series of districts cotton candy shades. The MOGADOURO Rua da Fonte Nova Latitude 41.3454204 and each one has its own masks painted on the Longitude -6.7078905 Más mask”, explains Gonçalo Mogadouro substation MAR. “I selected the most were no exception. Vari- Caras interesting ones and por- ous shades of pink, pur- trayed them.” It was an ple, violet, some oranges. Dis Guises instant success with the They could be children’s the population. The people mask-shaped lollypops. ran to Rua da Fonte Nova to Or balloons, those in a Author: see the work spray-painted metallic material that Gonçalo MAR onto the substation. children are given at Gonçalo MAR empha- outdoor parties. The wall sises the importance of adjoining the painted This is the only one that insisting on producing façade displays a single isn’t masked, in the actual this piece using features mask – on a white back- sense of the word. Within that are characteristic ground – with a string the context of the Iberian of his work. “It was instan- tied to the base. “The Mask rituals and celebra- taneous. It’s my image, colours are very bright tions, the ‘farandulo’ is it’s my trademark up and I like to work with con- an individual who doesn’t there, and it was super- trast – hot and cold colours have an object covering -recognised”, he explains. –, in order to arouse sen- his face. His face is paint- “All it took was a little sations, to convey a highly ed black – with shoe pol- colour to make the con- positive energy.” ish or burned cork. In Tó, nection.” The juxtaposition one of the Mogadouro of hot and cold colours councils, Farandulo Day Gonçalo MAR refers to is, is celebrated on 6 Jan- in the case of this substa- uary. Part of pagan ritu- tion, with the surrounding als to celebrate the winter landscape. The pinks and MAR, EDP Distribuição transformation substation, Mogadouro, 2018. Mogadouro, substation, transformation Distribuição , MAR, EDP solstice, the festivities in- violets on the wall draw volve the farandulo going context from the greens from door to door trying of the trees and grass that Caras Más to steal unmarried girls. encircle the substation, The enactment ends in The key features as well as from the blue front of the church, with in Gonçalo MAR’s work sky, on sunny days. Black a bagpipe performance. point towards figurative also plays an important Gonçalo MAR represent- surrealism. “If I’m in Am- role. It is the element that ed the masks of the sterdam, I might paint reminds us that this is an Mogadouro councils on a cyclist with a windmill adult matter, that fiction one of the façades of the for a head and fish for and fantasy are also able EDP Distribuição sec- feet”, he exemplifies. to show their dark side. ondary substations on The important thing is Rua da Fonte Nova in to have total freedom Mogadouro, including the with the subject. “I twist farandulo. Also depicted what is supposed to It was a wonderful experience. EDP Distribuição’s secondary substations look very are the Chocalheiro de be the norm. And then nice. The one on Rua da Fonte Nova is beautiful, the people are very proud. Not long Bemposta, Velhos de Bruçó, there’s how I build the ago some girls were there taking photos. They were models. They even put benches Velho Chocalheiro de Vale characters. I use very and sofas in front of the substation. do Porco, Careto & Velha loose lines, with a lot of Augusto Alves, 53 years, EDP Distribuição electrician – Bragança. de Valverde, Mascarão movement.” In terms of

42 43 Route TRÁS-OS-MONTES • Project VOLTAGEM • Miranda do Douro ARTE PÚBLICA •

Rio Douro

N221 N218 20 M 17 Miranda L 19 do Douro J M568 18 IC5

Av. da

Indústria 16 IC5 15

21 N216

N219 22 N221 Q 14 Rio Douro I 23 N315 24 13 Sendim IC5 31 11 32 25 O

30 33 26 G 10 12 IC5

N221 Mogadouro N221-7 29 Alfândega da Fé F H 28 27 IC5 N315 Rio Douro IC5 P N Rio Sabor Miranda do Douro E 14 IC5 GAME OF DRONES - NO PRINCÍPIO ERA O VENTO, Parque Natural C do Douro Internacional Ricardo Santos

Meirinhos A N221 15 PAULITEIROS, Miguel Schreck

Rio Sabor Rio Douro 16 L GUEITEIRO EILECTRICO, Pedro Almeida

D Torre de N220 17 SIMBLOS MIRANDESES: IS BIELHOS I IS NUOBOS, Moncorvo IP2 Lérias Cultural Association B N325 18 POR I, Fernando José Pereira

N221 19 YOU=EU, R2 Design

20 CARTAZES YOU=EU, R2 Design

Rio Douro img © Rute Ferraz, Miranda do Douro, 2017.

Torre de Alfândega Mogadouro Miranda Moncorvo da Fé do Douro Route TRÁS-OS-MONTES • Project VOLTAGEM • Miranda do Douro ARTE PÚBLICA •

who are knowledgeable Association), it’s three in the Douro River. Among unit and a member of on the subject.” The space the afternoon and several visitors strolling through Lérias. “We worked in Miranda is visited by an average of men are leaning against the city, more Spanish the field a great deal, 400 students each year. the bar, some ordering than Portuguese is heard. we know the people well. do Douro a coffee, others drinking Palaçoulo and Sendim Therefore, that contact a spirit. This space is (and Atenor) are two of with the population was located on Estrada Naci- the 13 townships in Miran- carried out informally, it Partner: onal 221, which intersects da do Douro and, along occurred naturally. the village Duas Igrejas. with Duas Igrejas and the And it went very well.” we came into contact with Rede Inducar Asked about the public city of Miranda itself, it’s Fernando José Pereira, new artists, built relation- art piece at the EDP Dis- the locals who welcome the artist invited to handle ships with these councils tribuição transformation the works of one of the four the artistic coordination and this methodology – to Facebook: substation and they units of the Edp founda- of this unit of Voltagem, involve people in the pro- Moment two. It’s past quickly reply that, al- tion Public Art in Trás-os- says the same. “It went cess – it was very positive. voltagemtmad lunch time at Café Burela, though it features a piper, Montes, named Voltagem. really well. I strongly dis- People were still phoning in Palaçoulo, a cooperage Duas Igrejas is a land Lérias – Associação Cul- agree with what they’re me at Christmas”, she and cutlery town, and of folk dancers. “It looks tural was the local artistic doing in many places, states. “One of the things Moment one in the life several people are still good here, it looks nice. partner chosen to handle painting façades, doing we realised is that the of the Miranda do Douro eating dessert, others And it is clearly visible production in the field. graffiti. I consider that municipalities want to council. On a late Sat- are having coffee at the from the road”, says “Miguel Schreck, Pedro visual pollution”, says give continuity to this type urday morning, Rua da bar. Through the strips Manuel Afonso, a retired Almeida and Ricardo the artist who is also a of initiatives, they under- Ermida, a wide street that that keep insects away police officer who was a Santos, from the Lérias professor at University stand that the interventions leads to Sendim ceme- from the front door, we folk dancer in Lisbon. association, were invited of Porto’s Faculty of Fine can bring additional expo- tery, is deserted, every- can see people hovering since the beginning. The Arts (FBAUP-Faculdade sure to the council.” They one has gone for lunch. in the entrance, outside, association is highly fo- de Belas Artes – Univer- recognize the potential. The Sons da Terra centre forming a spontaneous cused on local culture, from sidade do Porto). “There “The advantage that for traditional music is on gathering that does not music to theatre and was a complete collab- came with a project like the left side. The founder need words to express the dance”, explains Patrícia orative process at stake, Edp foundation Public Art of the association, Mário meaning of the assembly. Costa, from Rede Inducar, with other artists, with is to be able to collaborate Correia gives a tour of the A boy picks up a harmoni- the cooperative designat- the population. I wanted with institutions, which space, a white two-storey ca, a man in his late thirties ed by the edp foundation to do something that was brings novelty. Combining house, the ground floor also has a harmonica, 2016 Douro, do Miranda Cabinets, Distribuition Distribuição EDP Association, Cultural Lérias , to implement Voltagem in precarious and wouldn’t contemporary and tradi- full of instruments and another the same age Moment four. Late on the four Trás-os-Montes decay with the walls.” tional ideas and something memorabilia associated as the second holds a a Saturday afternoon, the councils. “Sometimes it Fernando José Pereira innovative emerging from it”, with Mirandese culture bongo, and a woman, park near the city of Mi- was difficult to integrate created a visual installa- says Celina Bárbaro Pinto, and sound, and the top also thirty-something, randa do Douro’s cathe- the project, but this was tion entitled Por i (see director of Museu da Terra floor with a media library grabs a drum. They all dral frequently has brides not the case in Miranda do synopsis nº 18). “The prin- de Miranda. “I received very organized by vinyl records, start to play. They spend and grooms in photo ses- Douro. There was instant ciple was to use media that positive feedback from video cassettes, books. some time there, the sions, the photographer acceptance because would not violate this terri- people. This project creates This association’s job café is located beside a giving instructions to Lérias had already carried tory’s history, that respect- networks, creates aesthet- is to collect records of square where, on Satur- straighten their posture Simblos mirandeses: Is bielhos i Is nuobos out that work among the ed the idea of temporality. ic awareness. The people pipers and drummers, day mornings, there is a or clothing. The impres- populations.” Two meet- There are beautiful walls, questioned. And, these days, of traditional songs, small market and, after sive mannerist church ings were held, in the town where time is visible, damp that is very important.” soundscapes, as well as some time, the band dates back to the 15th hall’s auditorium, one in stains are visible. The sug- bibliographical editions moves away and goes off century, and the surround- June 2016 and another in gestion to paint everything on traditional music. playing down the street, ing green spaces are en- January 2017. white repulses me, it erases “Today there is a differ- through the square. circled by a wall, sepa- “The locations where history from those walls.” ent consciousness about Moment three. rating and protecting the the interventions were Patrícia Costa, from Mirandese culture. It’s At Café Associação dos hilltop where the city is implemented were chosen Rede Inducar, talks of interesting that the peo- Pauliteiros de Duas situated, the landscape with love”, recounts Miguel challenge. “Working with ple who come here aren’t Igrejas (Café of the Duas that loses itself in the Schreck, one of the artists the edp foundation on this tourists, they’re people Igrejas Folk Dancers mountains and, below, of the Miranda do Douro project was new for us,

46 47 Route TRÁS-OS-MONTES • Project VOLTAGEM • Miranda do Douro • SHORT BIOS ARTISTS ARTE PÚBLICA •

Fernando José Pereira (1961) Miguel Schreck (1978) Ricardo Santos (1982) R2

Began his artistic journey at a very early age. Describes himself as self-taught and learned to draw from books. Studied Architecture at Universidade Lusíada do Porto and transferred to Interior Design at ESAD in Matosinhos. Studied theatre at Method Studios in London and his love of photography has accompanied him Has a degree in Visual Arts /Painting throughout his career. Has lived in Miranda Musician, professor and anthropolo- Lizá Defossez Ramalho (1971) and from the University of Porto’s Faculty do Douro since 2012 and is associated gist, Ricardo Santos has a degree in Artur Rebelo (1971) have a degree in of Fine Arts (FBAUP-Faculdade de with Lérias - Cultural Association as a Anthropology from Universidade Nova Communication Design from University Belas Artes – Universidade do Porto) professor and manager, where he helped de Lisboa’s Faculty of Social Sciences of Porto’s Faculty of Fine Arts (FBAUP and a PhD in Fine Arts from Faculdade create the theatre group Tretas. & Humanities. He completed a Training Faculdade de Belas Artes – Universi- de Belas Artes de Pontevedra, Spain. Course for Musical Entertainers at Casa dade do Porto) and diplomas in Ad- Professor at FBAUP and researcher da Música, in Porto, and received bag- vanced Studies in Recerca, Disseny, at i2ADS, Instituto de Investigação Pedro Almeida (1980) pipe training from Associação Portu- from the Fine Arts Faculty of Universi- em Arte, Design e Sociedade (Institute guesa para o Estudo e Divulgação da dade de Barcelona. They founded the for Research in Art, Design & Society). Gaita-de-Foles (Portuguese Association communication design studio R2, in Recipient of various scholarships and for the Study and Dissemination of the Porto in 1998. They have worked with research grants from the Calouste Bagpipe). Was a bagpipe instructor at various cultural institutions, artists Gulbenkian Foundation and exhibits Escola de Música Tradicional da Lérias - and architects, in projects in fields like regularly in galleries (Graça Brandão, Cultural Association, Miranda do Douro, visual identity, editorial design, bill- Marta Vidal, João Graça, Adhoc) and between 2011 and 2016. boards, sign systems, exhibition, web museum institutions (Serralves Museum, and motion design. Their work includes Centro Cultural de Belém, Chiado Mu- curatorship, publication and creating seum, Culturgest, Calouste Gulbenkian interventions and installations. Foundation, Centro Galego de Arte Has a degree in Visual Arts from Escola Contemporânea, Círculo de Artes Superior das Caldas da Rainha, studied Plásticas de Coimbra). Participates photography at Ar.Co and is a Master in international shows and biennials in Artistic Education from Faculdade de and has works in public collections in Belas-Artes de Lisboa. Has participated institutions like Serralves Foundation, in various national and international Instituto de Arte Contemporânea, photography and painting exhibitions Calouste Gulbenkian Foundation, since 2002, as well as several cultural Centro Galego de Arte Contemporâ- exchanges in Turkey, France, Lithuania, nea and Universidade do Porto. Spain and India. In Miranda do Douro, collaborates actively in the educational project by AEPGA (Associação para o Estudo e Proteção do Gado Asinino-As- sociation for the Study and Protection of Mules) and in musical and theatre projects with Lérias - Cultural Association.

48 49 Route TRÁS-OS-MONTES • Project VOLTAGEM • Miranda do Douro • GAME OF DRONES Ricardo Santos • 2016 ARTE PÚBLICA •

“The idea was to ap- rães. “And it worked: 14 proach bagpipes from a I recorded a base-drone TOWN Council: Location: GPS: contemporary perspec- first and then a second. MIRANDA DO DOURO MP3 available at Sons Latitude 41.38763 tive, to make a decon- When the third enters, da Terra Association, R. da Longitude -6.42399 Game of struction of the instru- the first has reached a Ermida, Sendim; AEPGA, ment. Bagpipes are com- higher frequency. It was Casa do Povo, Atenor; and Drones prised of a melody pipe, all timed, minute 1, minute Assoc. Caramonico, R. da called a chanter, and an- 2, minute 3, minute 4. Indústria, Palaçoulo other tube called a drone The third drone coincides Author: that always produces a with the first two.” He Ricardo Santos pedal tone, a continuous ended up selecting the low note. What I did was version at 7 minutes and discard the melody pipe 53, and the sound is Our first urge when we and use three drones”, acoustic and without start to the hear the sounds explains Ricardo Santos. effects. Only the volumes of the installation Game “And I played with tuning were mastered. of Drones, after putting on and untuning. The act the headphones, is to go, to of tuning and untuning simply go. To let ourselves creates a distinct rhythm, wander through the vast through the combination landscape that surrounds of these three drones. Ba- the towns in Miranda do sically, it is a drone pipe Douro, like Sendim, Atenor rather than a bagpipe.” and Palaçoulo. It’s in the Ricardo Santos also associations of these collaborated on the sound- three villages that we find track for the installation The process developed the MP3 devices with the by Fernando José Pereira above all from experiments work by Ricardo Santos: (see synopsis nº 18). He Ricardo Santos carried at Sons da Terra Associa- says that participating out. “It has a strong start, tion, in Sendim, AEPGA, in in the film opened up the like something that comes

Atenor, and Caramonico, prospects for this work, from the depths of the 2016. Douro, do Miranda Santos, , Ricardo in Palaçoulo. for this sound installation. earth, very visceral, and “It’s a piece with a begin- ends by fading out – the ning, middle and end. drone – from the experi- Game of Drones I created two versions, ence.” The name, Game of one that is seven minutes Drones, is a pun between long and the other 15. the bagpipe’s “drone” It ended up being a very and Game of Thrones, mathematical process”, the famous books written he states. “I had exper- by George R. R. Martin, imented recording two which led to the television “My participation drones at the same time series. “Drone is also the in the Edp foundation while tuning or untuning name given to this type of Public Art – Voltagem one at a time. The drone sound. As for the subtitle in Miranda do Douro was is the base, and that base – In the beginning there to present the bagpipes, gives me the concept to was wind –, wind is the an instrument I play”, tells tune, to approximate, beginning of everything. Ricardo Santos, who is also which provides the fre- And it is also wind pass- a member of the Lérias quencies”, he explains. ing through the reeds It is this disruption. Game of Drones cannot be appreciated within a normal aesthetic Cultural Association, The process was carried that produces sound.” current. It is creative audacity. It’s a beautiful idea and the goal was achieved. a partner of Voltagem out in the studio, at Royal Mário Correia, 65 years, Centro de Música Tradicional Sons da Terra (Centre for Traditional Music). in Miranda do Douro. City Studios, in Guima-

50 51 Route TRÁS-OS-MONTES • Project VOLTAGEM • Miranda do Douro • PAULITEIROS Miguel Schreck • 2016 ARTE PÚBLICA •

kind of game, like a board 15 game, that displays ele- TOWN Council: Location: GPS: ments such as the folk MIRANDA DO DOURO Rua da Indústria, Latitude 41.45425 dancers’ shoes, on the Palaçoulo Longitude -6.44266 Pauliteiros bottom, a detail from the trousers, the colourful Folk Dancers vests, the hat, the sticks. The game also develops was that the installation through the elements that Author: wasn’t finished. “«It isn’t are present and those Miguel Schreck finished», «there are pie- that are absent, from the ces missing». This was the empty squares. Thus, they type of comment I would create a greater power What is fascinating about hear”, tells Miguel Schreck. of suggestion. the works Pauliteiros, by “This created an interest- There is also the issue Miguel Schreck, and L ing dialogue, I ended up of context, of environment. Gueiteiro Eilectrico (see taking the opportunity to The substation is located synopsis nº 16), by Pedro talk about my work, about on the roadside, on the way Almeida, is precisely the what I do.” in for those arriving in the idea of exchange. The village and on the way out intervention involving folk for those leaving. “That was dancers was implemented the issue, the road. Choos- on an EDP Distribuição sub- ing the opposite side of the station in a land of pipers, building I worked on was Palaçoulo, and the work complicated because there on pipers is implemented were wires coming out of on a substation in a land it. I ended up choosing the of folk dancers, Duas side that suggests a calling Igrejas. What the popula- Professor of Painting card for those who arrive.” tions of the two locations and Drawing at Lérias Miguel Schreck also con- didn’t understand at first School of Arts – Cultural sidered how the work is – there were dissenting Association (Escola de perceived: whether passing voices saying it didn’t make Artes da Lérias – Asso- on foot or by car. “From my

sense – is what makes the ciação Cultural), a local own experience and what 2016. Palalouço, substation, transformation Distribuição EDP Schreck, , Miguel idea so strong: the idea partner of Edp founda- I realised, those who pass

of bringing together, the tion Public Art – Voltagem by car don’t have time to Pauliteiros idea of coming closer to in Miranda do Douro, appreciate the work. Which others by embracing what Miguel Schreck considers is also good, because it others are or do. With this himself a landscape arouses curiosity. This in- proposal, Miguel Schreck artist: he loves painting tervention forces people to and Pedro Almeida did lit- landscapes. “What I do is go and look closer, to stop tle more than foster great- deconstruct the image to the car and get closer. It er intimacy between the then put it back together, forces them to pay a visit.” two populations and force in a grid format. My work them to put themselves in develops mostly from there. each other’s place: pipers And, since I am a land- in the place of folk dancers, scape artist, I observe and folk dancers in the a great deal. I carry out place of pipers. a fragmentation, I purge Another critique Miguel the image and then re- You don’t even notice it, you don’t quite understand it. Is it a drawing of shoes? Schreck received about build it with its identifying Manuel Martins, 80 years, retired. his work, in a playful tone, elements.” The grid is a

52 53 Route TRÁS-OS-MONTES • Project VOLTAGEM • Miranda do Douro • L GUEITEIRO EILECTRICO Pedro Almeida • 2016 ARTE PÚBLICA •

region’s festivals and 16 celebrations. “He’s as TOWN Council: Location: GPS: important as the priest. MIRANDA DO DOURO EN 221, Duas Igrejas Latitude 41.4733 Without pipers there’s Longitude -6.34801 L Gueitei- no celebration. They play the religious and ro Eilectri- profane repertoire”, he continues. “The festival “This plugging in has to do co committees always hire with an upgrade. I wanted a group of pipers: they to connect the traditional The Electric Piper start at dawn, at six in the component of the art of morning, to announce the playing bag-pipes with festivities, they make the contemporaneity. And also Author: collection throughout the give an idea of the digital Pedro Almeida village collecting funds world. Especially because for the saint, some play much of a piper’s reper- in the church, all play in toire is what he hears on the The power of this work’s the procession. And then radio. In fact, kids who play concept, as we stated in there’s the dance and the the pipes today play songs the text on the artistic in- handover of stewardship. like Despacito or music by tervention that precedes Even for the folk dancers Xutos [& Pontapés].” this one (synopsis nº 15), to dance there must be a The speaker also replies in the idea of a diptych. piper.” The handover of resents the idea of project- The possibility of consid- stewardship is the event ing sound, since bagpipes ering L Gueiteiro Eilectri- that defines the following are an instrument that was co, by Pedro Almeida, and year’s festival committee. conceived to be played Pauliteiros, by Miguel “Duas Igrejas was the in the streets. “Until a Schreck, together – as first to have dance groups few years ago, bagpipes though one mirrors the go out and represent this suggested old people and other, despite being in dif- art outside the region”, had a bad reputation – it ferent locations – grants tells Pedro Almeida. “But was considered an activi-

them a full semantic there are also pipers. ty for drunkards. But that 2016. Igrejas, Duas substation, transformation Distribuição EDP Almeida, , Pedro charge. In L Gueiteiro People saw it and liked has changed, kids now Eilectrico, located on the the result.” learn to play at school.” EDP Distribuição trans- Beside Estrada Nacio- This is thanks to important formation substation nal 221, which transects work by local associations in Duas Igrejas, Pedro the village, the substation that, for the past 10, 15 Eilectrico Gueiteiro L Almeida wanted to sub- is painted dark yellow and years, have standardised vert the obvious. “I chose the piper is painted brown, the chanter and tuned it so a substation in the village both in earth tones. that it can be played with where I am currently Next to it, there is a large other instruments, as well living. It has a great tra- parcel of ploughed land. as the assertive work car- dition of folk dance and The piper is drawn on the ried out to disseminate this song. Therefore, if I had façade facing this plot, art in events and festivals. said I was going to paint bagpipes on his shoulder, folk dancers, they would playing. On his right leg, have agreed immediately. there is a plug with a wire I think it’s really good for the region to have this type of initiatives. This one And this village already leading from it. We follow of the piper is spectacular. If you want to come and paint the association’s façade, has a sculpture of folk the wire with our gaze as I can talk to the members. dancers”, explains Pedro it leads to the other side, André Alves, 50 years, employee at Café Associação dos Pauliteiros de Duas Igrejas Almeida. He chose the which faces the road, and (Café of the Duas Igrejas Folk Dancers Association). piper, a key figure in the ends in a sound speaker.

54 55 Route TRÁS-OS-MONTES • Project VOLTAGEM • Miranda do Douro • SIMBLOS MIRANDESES... Lérias Cult. Ass. • 2016 ARTE PÚBLICA •

architecture or clothing”, moulds and we painted 17 states Miguel Schreck, one them. I’m proud of them, TOWN Council: Location: GPS: of the artists in the initia- it was hard work, it’s our MIRANDA DO DOURO Rua do Mercado, Latitude 41.49806 tive Voltagem in Miranda trademark.” Largo da Moagem, Longitude -6.27205 Simblos do Douro, and one of the Distribution cabinet Rua 25 de Abril members of Lérias. nº 0439 requires prior mirande- Rua do Mercado is explanation, context. a street with arcades on In Miranda do Douro, there ses: Is bie- the buildings on both sides is a fable about young Jesus of the road, filled with all in a Top Hat (menino Jesus lhos i Is kinds of shops that often da Cartolinha). There are spill their merchandise two versions: the first tells nuobos onto the pavement, occu- that, during the Spanish pying the public space of siege of Miranda, a young Mirandese symbols: the arcades and fostering boy ran through the streets The old and The new traditional trade like an shouting to encourage re- open market. There are volt, giving the population cutlery shops – a strong strength to fight and beat Authors: industry in the region the Spanish; the second Lérias — Cultural –, shops that sell blan- states that, during that Association, w/ students kets and linen, furniture siege, a young officer was from the Lérias School shops. On the distribu- killed in combat and his of Arts tion cabinets along the fiancée decided to donate street, we see details in his uniform to Jesus. On one various colours. These are of the altars in Miranda’s They were asked to gath- the stencils applied by cathedral, there is a young er traditional elements, students from the Lérias Jesus in a uniform, wear- from the Mirandese association. Distribution ing a top hat. Distribution culture, with components cabinet nº 2444 is painted cabinet nº 0439 features that identify modernity. red and, in yellow, there a young Jesus in a Top Hat From the ages of 6 to 15, is a drawing of a pointy writing on a computer. students from the Lérias hard rock guitar – the The stencils were 2016. Douro, do Miranda Cabinets, Distribuition Distribuição EDP Association, Cultural , Lérias School of Arts (Escola de modern element – whose applied on two different Artes da Lérias), the local arm is the bagpipe's flute days. “The street reacted association chosen as – the traditional element. fantastically. Even the field partner of Edp Distribution cabinet nº police realized what was foundation Public Art – 2243 is painted yellow and happening and didn’t raise Voltagem in Miranda do features two cows – or are any problems”, tells Miguel Douro, created stencils they bulls? –, one blue and Schreck. “The second time that were then spray the other black, with cod- we went to paint, there painted on Rua do Mer- fish for faces. Distribution was more gossip. Even Simblos mirandeses: Is bielhos i Is nuobos cado, as well as Largo cabinet nº 1826 is blue the elderly put on gloves da Moagem and Rua 25 and displays a television and masks and painted.” de Abril. with a fireplace inside. “We held, at Museu “I had never done sten- da Terra de Miranda, cils, it was really fun”, tells a so-called junior as- Helena Rodrigues, 15 years, sembly. We got together a student who participat- I was invited to draw and make graffiti and I thought it was a good experience. with the students and ed in the intervention. I’d never done this before, it was fun. Even the police showed up to ask if we had a asked them to associate “We gave ideas for the license. tradition and modernity stencils, the teacher drew João Rodrigues, 11 years, student. in a series of topics, like them and cut out the

56 57 Route TRÁS-OS-MONTES • Project VOLTAGEM • Miranda do Douro • POR I Fernando José Pereira • 2016 ARTE PÚBLICA •

By dividing the film Barrocal do Douro – 18 Por i into parts, exhibited is a prime example of TOWN Council: Location: GPS: in different locations, modernist architecture MIRANDA DO DOURO [various] Latitude 41.494331 Fernando José Pereira in Portugal. It is now Longitude -6.274302 Por i gave it the freedom of abandoned. “There is an a path. “Although I didn’t impeccably restored inn paint walls in Miranda, there, but it’s dead, the Part 1: de Albuquerque Part 5: Author: this piece had a much women who work there Museu da Terra de Miranda, Part 3: Café Cristal, R. 25 de Abril Fernando José Pereira more intimate relation- are in absolute tedium, Largo D. João III Casa da Música Mirandesa, Parte 6: ship with the people, as if they are waiting Part 2: Largo do Castelo River pier because we had to ne- for Godot. Then there’s Ready-to-wear shop Ana Part 4: Por i has various meanings gotiate with them. And it another fascinating side, Teixeira, R. Mouzinho Tourism Office, R. 1º de Maio in Mirandese. It can mean went really well”, he tells. where nature penetrates “por aí” (around), “aí per- “The owner of Café Cristal those ruins, the brambles to” (close by), it can mean is the son of a person who piercing the cracks in “no entanto” (however) was associated with the the walls. It is a stark con- and it can even mean “se city and construction of trast between ruin and calhar até dá” (maybe). the dam [in 1961]. He said: preservation. No one is This is also the title of the «I want the whole film. seen in the film, but foot- video installation created The only time it won’t be steps are heard, in black by Fernando José Pereira, playing is during football shots; man’s presence is who is also the artistic co- games. Otherwise, it will only felt through sound.” ordinator of Edp founda- always be running.»” The film’s soundtrack tion Public Art – Voltagem Café Cristal, which was was handled by the in Miranda do Douro. going to show part 5 of Haarvöl project, which The first thing we re- the film, ended up run- requested the collabo- call the moment we look ning all of it. “People were ration of Ricardo Santos, at this installation by proud that it was playing a member of the Lérias Fernando José Pereira, in the locations. We were cultural association and whose 43-minute video going to do something author of the sound in- is divided into six parts, else, but the lady from the stallation Game of exhibited on televisions clothing shop came after Drones (see synopsis nº placed in various loca- us saying «the television 14). “We made the first tions in the city, is the film isn’t working!». ” The video recording”, recounts the

Stalker, by the Russian was also shown in full musician who plays the 2016. Douro, do Miranda Pereira, José , Fernando

director Andrei Tarkovsky. during the exhibition held bagpipes. “And they Por i “Totally. This is a direct in the summer of 2017 en- were quite curious about reference. Stalker is my titled Voltagem: às voltas the drone sound. They favourite film directed com a(s) memória(s) na work with sound manip- by him”, states Fernando antiga cadeia de Miranda ulation a lot and they José Pereira. “All of the (dealing with memory(ies) manipulated the drone Tarkovsky school, the in the former Miranda sound.” research on the relation- prison). ship between art and The film planes time. If there’s no time elucidate the nature/ for art, there’s no time culture duality experi- for thought. In Tarkovsky, enced in Picote, a town- the shot is cut when time ship in Miranda do Douro dictates it, in a clear where a dam was built in This video [Por i] unites traditional icons with modernity. It’s good to approach break from the 1920s 1958, and where the vil- things from a new perspective, to show them in a new light. Russian avant-garde lage constructed for the Celina Bárbaro Pinto, 42 years, director of Museu da Terra de Miranda. montage school.” workers at that time –

58 59 Route TRÁS-OS-MONTES • Project VOLTAGEM • Miranda do Douro • YOU=EU R2 Design • 2017 ARTE PÚBLICA •

point and, when we produce the expression 19 reached the letter y, we “You=Eu”, makes a big TOWN Council: Location: GPS: realized that «you» in difference in the percep- MIRANDA DO DOURO Miranda do Douro Latitude 41.48916 Mirandese means «me», in tion and interpretation Dam, EN 218 Longitude -6.2651 You=Eu Portuguese. And that it’s of this public art piece written the same way as in by R2 Design. If we come You = Eu (Me) English. This happened from the Spanish side, during the Brexit debate in before crossing the the United Kingdom. The bridge over the river, Authors: you, the me, implies a re- we have the blue sign R2 Design lationship with the other.” with the word Portugal surrounded by stars intro- ducing us to the slogan. When invited to partic- If we get too close and ipate, they immediately look at the huge surface, found the project very seen diagonally, the let- interesting, because they ters become distorted could work with the ter- and abstract. “The idea ritory using language and was to decipher the enig- text. Lizá Ramalho and ma, to provide various Artur Rebelo – R2 Design Miranda do Douro interpretations. From the – studied the local culture, is located on a frontier, front, it has a certain inter- researched the Mirandese between Portugal and the pretation; if we approach dialect and realised that rest of the world. “It made from the Portuguese side, this was a language with total sense, considering the letters become dis- an essentially oral tradi- this set of coincidences. torted and only some are tion, with some articles We developed a kind of readable”, explains Lizá written about it appear- slogan, «you equals eu Ramalho. “It invites you

ing in the 1990s. On the (me)», which has various to decipher, like we did 2017. Douro, do Miranda Design, , R2 structure of the Miranda interpretations: «eu» could with Mirandese. It’s what

dam on the Douro River, also be the abbreviation we do when we enter a You=Eu at the foot of the mountain for European Union. Using new land. That’s the beau- where the city is located, something that is extreme- ty of different cultures letters about eight metres ly local, we’re evoking and coming together, discov- high were drawn – each talking on another level.” ery, dialogue.” occupying a square R2 Design didn’t want formed by pairs of columns this work to be intrusive. that protrude from the “We painted the letters in concrete structure. white, a white that doesn’t “The contents and the completely cover the back- relationship of the draw- ground. We didn’t want it ing with the letters is very to be an artificial layer, strong. That is essentially not only in terms of the our approach. We read shape but also the content”, texts, listened to music, The letters were states Lizá Ramalho. “We immersed ourselves in the designed specifically for didn’t want to come from local culture and studied that place, they come the outside and impose the language”, tells Lizá from the space they occupy. ourselves. We wanted to Ramalho. “We were inter- Where we stand to look dialogue, we wanted to Voltagem is an urban art project in a rural territory where the edp foundation ested in diving into Miran- at these letters, painted understand. We wanted continues to shine its light. dese. We analysed the white on the brownish grey to make a contribution.” Artur Nunes, 50 years, Mayor of Miranda do Douro. dictionary, as a starting concrete, which altogether

60 61 Route TRÁS-OS-MONTES • Project VOLTAGEM • Miranda do Douro • CARTAZES YOU=EU R2 Design • 2017 ARTE PÚBLICA •

“We are really interested work”, states Lizá 20 in working with materials Ramalho, of R2 Design. TOWN Council: Location: GPS: and their relationship “It was really interest- MIRANDA DO DOURO Wall of the Miranda Latitude 41.49269 with time. As days and ing, the reactions were prison, gable beside Longitude -6.27452 Cartazes months pass, only the extremely positive, I think the library and lookout black remains, which is because we worked with over the dam (EN 218) You=Eu the basis.” Human action the Mirandese language, is another factor that we wrote it. There were You = Eu (Me) Posters shapes the life of a work people from various age that occupies the public groups, everyone was very space. Some posters interested and tried to Authors: have torn edges, there participate. You could tell R2 Design is graffiti on the same they were appreciative.” wall – everything provid- Lizá Ramalho adds ing context to the viewer’s that it was one of those These posters aim to raise perception. When we ap- projects where every- awareness. They don’t re- proach the posters, we thing flows so naturally fer to a place or date, but realise the composition that it falls into place intend to act as propa- is made up of squares, and makes sense, from ganda about an artistic some are photographs, the selection of the sites intervention in the public others are excerpts from to the discoveries the space in Miranda do Dou- a Mirandese dictionary. duo made during the ro (see synopsis nº 19), in order to urge people to be curious, to search. The posters – produced by R2 Design – each evoke a letter that, placed side by side, form the word “you”, which means “me” in Mirandese, “eu” in Por- tuguese. They were placed 2017. Douro, do Miranda Design, R2 (detail),

on the wall of the Miranda On the lookout on the way research they initiated You=Eu prison, the gable beside to the dam, comprised of to develop the work. the library and on a look- a cement canopy to pro- “There are these types out overlooking the dam, vide shelter, the inner and of coincidences. Indeed, on Estrada Nacional 218. outer façades of the two creativity has that fan- “At the beginning, side walls were used to tastic side, when every- the posters were fluores- create a language game. thing makes sense. cent pink. The idea was to If we approach from be- This was one of those be extremely noticeable low, we read “you” twice; projects where that hap- to those who passed, with if we approach from the pened”, explains Lizá a propaganda effect, top, “eu”. The meetings to Ramalho. “The entities although there are no present the works to the promoting this project references to locations local community were held well, the existence of or dates.” The ephemeral in the auditorium of the another language in nature of the paper, left Miranda do Douro Town Miranda do Douro and outside and therefore Hall. “It was incredible, the fact we like to work subjected to the diverse standing before such a with language… it went It gives new colour, a new look. I think it makes the city look nicer and attracts more weather conditions felt vast audience that wasn’t well from the outset, it people. throughout the year, led who had commissioned had to be a success.” Leonor Pimentel, 14 years, student. the pink to become faded. the piece, to defend our

62 63 Route TRÁS-OS-MONTES • Project VOLTAGEM • Alfândega da Fé ARTE PÚBLICA •

Rio Douro

N221 N218 20 M 17 Miranda L 19 do Douro J M568 18 IC5

Av. da

Indústria 16 IC5 15 Alfândega da Fé 21 N216 21 MATÉRIA PRIMA, Draw, Godmess, Hazul N219 22 N221 Q 14 Rio Douro 22 MATURAÇÃO, Godmess I 23 N315 24 13 Sendim IC5 31 11 23 FRANCELA E MACHADO, Draw 32 25 O

30 33 26 G 10 12 IC5 24 FÉNIX, Draw, Godmess

N221 Mogadouro N221-7 29 Alfândega da Fé F H 25 TÉTIS, Draw, Hazul 28 27 IC5 N315 Rio Douro IC5 P N Rio Sabor 26 TOTEM, Hazul E 27 IC5 SEMIO, Hazul (w/ Senior University) Parque Natural C do Douro Internacional 28 LINES, LINES, LINES,

Meirinhos A N221 Draw (w/ Senior University)

Rio Sabor Rio Douro 29 TEMPO, Godmess, Hazul

D Torre de N220 30 SARAU, Hazul Moncorvo IP2 31 OLIVA, Hazul B N325 32 O TEU FUTURO SERÁ COMO TU FIZERES!,

N221 Godmess (w/ students EB2/3 de Alfândega da Fé)

33 FUTURAMOS, Godmess

Torre de Alfândega Mogadouro Miranda Moncorvo da Fé do Douro Route TRÁS-OS-MONTES • Project VOLTAGEM • Alfândega da Fé ARTE PÚBLICA •

Some just stand in of Casa da Cultura Mes- Among them, they de- the official photographer, the doorway, in the cool tre José Rodrigues, whose fined that Draw would adds: “There was a man Alfândega air. Like in any rural building was designed develop the idea of the who would even pick up setting. Going around by the architect Alcino present, Godmess the the cans.” What Rute found da Fé Alfândega da Fé for the Soutinho. The grandeur future and Hazul the past. most gratifying about first time, we understand of the cultural centre, “Since their language is the experience was when what Berta Nunes means along with the chapel at a mural, painting, they they would offer her a cup Partner: by the idea of integrating the end and some cafés, Both the Senior Uni- divided the work into of tea; she felt it was a the new – the so-called help establish Largo de versity and Alfândega three moments and sign that she was doing Rede Inducar urban public art inter- São Sebastião as one of da Fé school group, par- made a proposal for the a good job. Diogo Rego ventions – into the local the town’s principal gath- ticipated in the public art region’s identity from also recounts how “fire- identities. The murals and ering places. works produced in the there”, explains Patrícia man Camilo” approached Facebook: EDP Distribuição trans- council. Draw, Godmess Costa, from Rede Indu- Godmess with a curious formation substations and Hazul used the idea car, the field partner for proposal. “Would you voltagemtmad customised by the street of time as the underlying production of the edp draw some screwdrivers artists Draw, Godmess concept to work on the foundation Public Art in on my truck?” To which and Hazul are integrat- proposals presented dur- the four Trás-os-Montes Godmess replied: “Yes, “Art has different per- ed into the landscape; ing the meetings. units, which were named of course.” And she drew ceptions, it depends they’re not dissonant. “We visited the area Voltagem. two crisscrossed tools. on the places. Urban They contribute to a fuller before the meetings, to “I had never been in art in rural locations harmony, as if they had “Dona Laurindinha define some spaces we a situation like this. These is not appreciated the always been there. These showed the francela im- considered ideal. It was atmospheres aren’t so same way as in the works grant themselves mediately”, continues important to help us urban, but they aren’t city”, begins by noting a sense of belonging. Ana Margarida Duque reach to the concept”, that rural either. There’s the Mayor of Alfândega Dias, referring to an explains Godmess. a critical mass. In Vales, da Fé, Berta Nunes. instrument used to make “We get the sense that 26 people attended the “In the city, it is associ- artisanal cheese. Aside Alfândega da Fé is some- meetings”, tells Draw. “You ated with defiance. for producing wonderful what featureless, even In terms of identity, end up becoming more Here, in the country, cheeses, an art that is in historical terms. It’s the only historic monu- involved with those peo- it must be viewed as a being revived, the council a place of passage”, he ment in this town is Torre ple. Getting to know each

form of inclusion, as a lives mostly from agricul- 2016. Fé, da Alfândega involvement, Community continues. “At the same do Relógio (Clock Tower), one of them. In Porto, in common space. Here, ture – namely chestnut, time, the population is a building shrouded in the city, you’re just anoth- it is associated with Like in all units of the cherry and olive pick- elderly. Time – and the vagueness regarding er person painting. People two concepts: aesthet- Edp foundation Public ing – and from livestock. passage of time – worries its origin and function, come to talk to you, but it’s ics and participation.” Art, meetings were held Cork is also an important these people. This is what another reason why the fleeting.” Draw says there’s previously with the com- source of revenue. guided us when we listened artists used time and the a different chemistry with munity to promote debate “The new is always to them. In fact, it was passage of time as a this type of public. “In and reach conclusions being integrated, par- more challenging this unifying point in the en- Vales, for example. Since regarding the themes ticularly through the way. It was good to sense tire creative process. they know you’re making to be developed by the younger generation’s that people felt they were “«They made such beau- something specifically for artists. “It was a very new ways of seeing, a part of the project. tiful things next to the them, they take care of the organic process. In the through the Internet, We created together, with Tower, do more!» This works and they take care of first meeting, we ex- television, through teach- them.” Following each was the kind of thing the you. After a couple of days, To arrive in Alfânde- plained from the outset ing”, states Berta Nunes. meeting, they would go population would say to you’re one of them.” ga da Fé on a summer what the project was “This is not a fossilised home and translate those the artists”, states Diogo afternoon, almost at the about. It was extremely community, frozen in ideas into sketches to paint Rego, who documented end of the day, is to face fluid, the people made time. Sometimes, people the next day. That’s how it the entire process on the town’s silence, the suggestions right away”, think this place stopped was with Draw and God- video for Edp foundation silence of resting after tells Ana Margarida 50 years ago. Nothing mess. Due to scheduling Public Art – Voltagem. a day’s work, when peo- Duque Dias, head of the could be further from the issues, Hazul was only “In Vales, they wanted to ple take the time to sit culture and tourism of- truth. There’s renewal, able to join the process feed them all the time.” in a café or on a patio. fice, as well as manager there’s integration.” later, after the meetings. To which Rute Ferraz,

66 67 Route TRÁS-OS-MONTES • Project VOLTAGEM • Alfândega da Fé • SHORT BIOS ARTISTS ARTE PÚBLICA •

Draw (1988) Godmess (1988)

Member of the collective RUA, Tiago Godmess is a multidisciplinary Frederico Draw uses cans of spray paint artist who focuses on the fields of as if they were pencils to sketch people’s illustration, graphic design, painting, faces, who are normally anonymous. In sculpture, installation and urban art. his own words, the idea is to charge the Conceptually, his work mostly involves subject with a certain lyricism, which representing people – through stories, makes each wall seem like a sketchbook. through moments. He frequently refers Draw is also artistic director of the to them as a visual diary. His work is collective PUTRICA (Propostas Urbanas divided into two components: red and Temporárias de Reabilitação e Inter- characters; yellows, greens and tur- venção Cultural e Artística-Temporary quoise – more poetic. Urban Proposals for Cultural & Artistic Regeneration & Intervention), which sees urban art as a way to change the Hazul (1981) city’s empty spaces, giving them new artistic and cultural value.

Hazul is part of the first generation of graffiti artists in Porto. With no academ- ic training, he began street painting in 1997, at the age of 16, and his inspiration comes from interests like Egyptian and Celtic archetypes, universal symbology, ancient decipherment – symbols that endure through time. He explores natural and vegetal elements, basic geom- etries, the human figure, the female figure. And he is passionate about crystals, which are always represented in his work.

68 69 Route TRÁS-OS-MONTES • Project VOLTAGEM • Alfândega da Fé • MATÉRIA PRIMA Draw, Godmess, Hazul • 2016 ARTE PÚBLICA •

council is in the northern “It was the meeting 21 region, which is more with greater attendance, TOWN Council: Location: GPS: mountainous, and the it was one of the most ALFÂNDEGA DA FÉ Avenida Principal, Latitude 41.44403 endlessly winding roads difficult – because it Gebelim Longitude -6.93013 Matéria don’t make access easy. was featureless”, states “We could do more to Godmess. “The refer- Prima drive tourism, we would ences are virtually identi- like to use the forest cab- cal to those in the other Raw Material ins [of the former forest locations. The differenti- rangers].” ating element we found was the lime kiln. There Authors: is limestone in that re- Draw, Godmess, Hazul gion, with some historic power.” Conveying the specific styles of each “This is a job well done”, of the three street artists’ said a lady in her late work, the mural on the sixties rushing by the substation makes refer- mural drawn on the EDP Near the substation, ence to limestone and Distribuição transforma- on the other side of the the method to extract it. tion substation on Aveni- street, there’s a wall and, Godmess also created da Principal in Gebelim, on the sidewalk, there’s the logo for the new Casa without giving us time a bench. On the two sides da Cultura de Gebelim to ask her name. A little of the substation, Draw, (cultural centre). He says further, on the same Godmess and Hazul creat- it helped the artists feel street – which is barely ed a six-handed interven- more connected to that an avenue since this is tion. On one side, there is place and those people. a village with about 150 a hand holding a crystal, “People were very Draw, Godmess & Hazul, Gebelim, 2016. Gebelim, Hazul, & Godmess , Draw, inhabitants – two or which is on a yellow back- participative, they talked three people are gath- ground with red details. about their past, of what ered, all elderly, sitting On the other side, there they used to do. They outside on improvised is also a hand holding talked about the lime Matéria Prima benches. The president of a crystal, but on a blue kiln, chestnuts, water”, the Gebelim and Soeima background. One is fire. confirms the president union of townships is with The other is water. of the union of townships, them. It’s a sunny Sunday “I decided to put Hélio Aires. “There is morning. “These initia- a crystal on each side. plenty of water here, it’s tives are always healthy. Gebelim has a history a pity there isn’t a dam.” We’re in a village, in a of gemstone extraction, It starts to get windy, the disadvantaged region”, there was one with that dry leaves from the trees tells Hélio Aires. And the type of texture”, explains blow around the cobble- young president quickly Hazul. “Since I frequently stone street. The clouds corrects what he has just draw stones – which, start to cover the blue said: “I don’t like to say for me, represent purity, sky. “It’s going to rain.” that. Actually, we have balance and harmony –, everything.” I opted to use that sym- The young genera- bol, associated with the tions leave for the coast location’s history.” The lime kiln is something else. You extracted the stone, burned the lime. I did it, or to go abroad, the Hazul drew the crystals, before my military service. I think the substation looked like a dead thing and now region lives off chestnuts, Draw, the hands, and it’s alive. olives or lumber. This part Godmess, the fire and Teodoro Amador Morais, 77 years, retired. of the Alfândega da Fé water elements.

70 71 Route TRÁS-OS-MONTES • Project VOLTAGEM • Alfândega da Fé • MATURAÇÃO Godmess • 2016 ARTE PÚBLICA •

a parallel street on a high- 22 er plane. There are hous- TOWN Council: Location: GPS: es on either side and the ALFÂNDEGA DA FÉ Rua 25 de Dezembro, Latitude 41.40835 street is in cobblestone. Sambade Longitude -6.97143 Matura- On one of the substation’s sides, Godmess -ção drew the evolution of the chestnut in three stages, which may represent Ripening from the chestnut husk to gold. Godmess reveals the nut in its final phase that it is a coin. The chest- of development. The husk nut is the principal live- Author: is the prickly capsule that lihood of the Sambade Godmess protects the nut while it population. “There were grows. When autumn ar- only two youths in the rives, the husk opens and meeting. One was a farm- “It was the first meeting the chestnut drops to the er, who had a very unique we held, the basis of the ground. On the top part of perspective on chestnut theme was chestnut pro- the wall, the husk is paint- farming, defending that duction. It has always ed green. In the middle it should be maintained”, been the livelihood of the drawing, the nut is yellow- continues Godmess. “That Sambade population”, ish. And in the bottom draw- image is a direct refer- tells Godmess. “The por- ing it is brown, ripe. All ence to him, to give us a trayal on the EDP Distri- three are surrounded by perspective of the future.” buição transformation chestnut leaves. The green On the fourth side of substation is a collection shades of the leaves paint- the substation is the op- of what the people talked ed on the wall match the posite of hope, a leafless about. The environmen- grass that adorns the slop- tree, painted black, with

tal warning, for example. ing terrain where the sub- only dry branches con- 2016. Sambade, , Godmess, Today you can only plant station is located. Some taminating the landscape

chestnut trees at a cer- weeds grow in the grass, and creeping to the other Maturação tain level because of global as though they are suck- façades. Some branches warming. Chestnuts can ing the grass’ strength to are broken and falling, only grow in the mountain grow. like charcoal snowflakes. range, because this tree Others invade the farmer’s needs very cold weather.” green shirt, giving the Global warming forced young farmer a resilient chestnut tree planting to character. Despite the diffi- rise an average altitude culties, the chestnut is the of 200 metres in recent most profitable produc- years. tion in the council. Beside “Therefore, I drew the substation, on the a leafless chestnut tree, On two sides of the grass, two rosebushes are I drew a chestnut farmer substation, Godmess planted. There are pink holding a coin – since the painted a young farmer: buds in bloom. chestnut represents mon- he looks at the horizon ey”, explains Godmess. and there is a crescent The substation is near an moon behind him, in the intersection. One of these top right corner. He is roads transects the village holding something round The artists were careful to show what they were creating. There was consent among and leads to Alfândega in his hand, a mixture of the population. da Fé. The other intersects greens and blues, with Diamantino Mário Lopes, 56 years, president of the Pombal and Vales Union of Townships. the main road and forms stalks and a yellow mass,

72 73 Route TRÁS-OS-MONTES • Project VOLTAGEM • Alfândega da Fé • FRANCELA E MACHADO Draw • 2016 ARTE PÚBLICA •

“The substation was 23 in that house. But I didn’t TOWN Council: Location: GPS: draw their faces”, Draw ALFÂNDEGA DA FÉ Rua Principal, Latitude 41.39187 says, referring to Dona Vales Longitude -6.99692 Francela e Laurinda and Senhor João. And he explains Machado why: “When you work for a community – I’m used Cheese press and Axe is an instrument that helps to working in public hous- make cheese, letting the ing districts, for example whey drain from the curd. –, it’s a mistake to portray Author: Dona Laurinda used to a specific person. And I Draw make more than a hundred didn’t want the people to cheeses per month, in the be represented. Rather, winter. Nowadays, she has I was interested in what “Hey Fred, I don’t want slowed the pace substan- they did. I wanted to work the eyes to be visible. And tially, she is 66 years old. on the village’s trades the one on the other side Dona Laurinda’s daughter, that were still active. is my husband.” Laurinda who lives in Germany, was From those I saw, cheese Rodrigues has the EDP enlightened by her son and cork were the ones Distribuição transforma- while they watched the I found most interesting.” tion substation virtually report on Edp foundation Building a close entering the yard of the Public Art – Voltagem on relationship with Dona two-storey house where television: “Hey mummy, Laurinda and her hus- she lives with her husband. don’t you see that’s where band was inevitable.

Therefore, to portray granny makes cheese?” “I knew how to open the , Draw, Vales, 2016. two crafts typical of Vales, As for Senhor João’s axe, gate, they loaned ma- a village in Alfândega this is the instrument to terial, gave me drinks. da Fé, it made sense for remove the cork bark It was like I was doing a Frederico Draw to use from the oak, another private piece”, tells Draw. Francela e Machado e Francela Dona Laurinda and her source of income for the There were times when husband as models for village and the council. he stayed there painting the people he portrayed “After the meeting, I until two in the morning. on two sides of the sub- went for a walk around the “One time, he dropped station located on the village, I went to meet the a can of paint, he was village’s main street (Rua people almost one by one. embarrassed, and I said Principal). “My children Some were drying fruit”, «don’t worry about it, also really liked it, they mentions Draw. The aver- we’ll paint over it»”, had already seen it in the age age in Vales is 75 years, Dona Laurinda recounts. newspaper. They’ll stay there are only two children “I used to take him a beer, here with me forever.” in the village and they’re a pastry, a little cheese. These trades were sisters. The second youngest Dona Emília, the neigh- mentioned to the urban person in this place is their bour, did the same.” artist during the first mother. “It made an impres- meeting held with the sion on me, it was a vision population, where he of Portugal I wasn’t ac- explored the themes he customed to. There isn’t was interested in por- a shop, or a café.” A truck traying. Cheese produc- drives through the village In the first meeting, they asked me if I still had this object [francela]. They loved the tion and cork extraction every day selling bread, «guitar». They came right over to my house to see it. were two of them. The and another every other Laurinda Jesus Rodrigues, 66 years, domestic cheesemaker. cheese press (francela) day with grocery products.

74 75 Route TRÁS-OS-MONTES • Project VOLTAGEM • Alfândega da Fé • FÉNIX Draw, Godmess • 2016 ARTE PÚBLICA •

Draw painted the phoenix, Next to the drawing, 24 on top, Godmess painted there’s a small dirt patch. TOWN Council: Location: GPS: the firefighter, below. They It has a palm tree and ALFÂNDEGA DA FÉ Rua dos Bombeiros Latitude 41.3435 took turns on the scaffold. a chestnut tree. Whoev- Longitude -6.95952 Fénix “We wanted to convey er approaches the work the idea of protection, of from this side can see Phoenix concern”, he continues. branches from both trees “Especially because of complementing the paint- what has been going on ing, as though they were Authors: in Portugal, it gives added extra branches compos- Draw, Godmess importance”, he says, re- ing the work. Crowning ferring to the tragic fires this wall of the tower are that afflicted the country two impressive large red “That’s not right, they in recent years. letters made of metal: drew an eagle here”, B V. On the opposite side said a man, who was a of the dirt patch are the Futebol Clube do Porto garages: several large fan. It’s not an eagle, it’s mouths of the building a phoenix, the interna- with fire trucks peering tional symbol for fire- from inside. fighters and which is Both artists empha- painted on the tower of sise the firefighters’ the Alfândega da Fé fire- helpfulness throughout house. “A person paints the entire process. A local a red bird and immedi- firm, Ferreira & Bebiano, ately it’s associated with provided a platform lift Benfica [football club]. and one firefighter han- I had to explain it was a dled the truck with an ele-

phoenix”, clarifies Draw. vator for three days. They , Draw & Godmess, Alfândega da Fé, 2016.

“It made sense to draw were also given scaffolds. Fénix something associated “One really important with firefighters.” Which “Godmess worked on thing was: which direc- Godmess corroborates: a firefighter, who is look- tion does the site face? “Most people expected ing up, which indicates We always discussed the fire trucks, ambulances, prosperity”, Draw says. issues of time at length”, but the truth is that the “We would look at the wall explains Godmess, refer- phoenix symbolizes the from a park bench locat- ring to the concept that firefighter, they all have ed in front of the fire- he, Draw and Hazul had one on their chest”, he house and that is where defined for Alfândega da tells. “It’s like: surprise we sketched our ideas.” Fé: time – past, present first, then acceptance.” On one of the façades and future. “We must Godmess and Draw of the firehouse tower, consider the location’s held a kind of sub-meeting Draw drew the head of potential. People always with the firefighters. “We a phoenix above a fire- mirror each other in discussed ideas of what fighter in red clothing large shopping centres. they would like to see. They and surrounded it with There, the natural rich- said many things, things various elements: from ness is so great and it’s You can’t just say «let’s do it». You must apply the right methodologies, involve that were more easily red and yellow flames put aside, when it’s an people. Explain to them, using language they can understand, what they have to identifiable. We took those to tree trunks. On the asset. The work also gain from it. ideas and included them left, a small projector reflects that, the natural Ana Margarida Duque Dias, 45 years, director of Casa da Cultura Mestre José Rodrigues and in our work, in our image”, is painted, which points potential.” head of the culture and tourism office at Alfândega da Fé Municipal Council. explains Godmess. at the phoenix’s eyes.

76 77 Route TRÁS-OS-MONTES • Project VOLTAGEM • Alfândega da Fé • TÉTIS Draw, Hazul • 2016 ARTE PÚBLICA •

“I usually work with old- The space in front 25 er people, but I thought of the wall of the town TOWN Council: Location: GPS: that a younger face made council building where ALFÂNDEGA DA FÉ Estrada Nacional 315 Latitude 41.34295 more sense there. Water the work was developed Longitude -6.96056 Tétis is also life.” is a small outdoor am- Hazul says he doesn’t phitheatre, with four wide Tethys like to justify his work, stone steps serving as that fine arts people are benches. In the centre, accustomed to doing it. the stage is occupied by Authors: “Our [street artists’] work natural springs that Draw, Hazul is much more direct.” sprout from the ground, Hazul was unable to par- the same ground that ticipate in the meetings once had a stream run- There’s a certain time of with the community to ning through and which day, in the late afternoon, define the themes for the still has water under- when the sun only shines Edp foundation Public Art ground. The woman por- on the side wall of the Al- – Voltagem in Alfândega trayed, with a youthful but fândega da Fé Town Coun- da Fé, but his two col- austere expression, has cil building. The waves leagues explained the her hair pulled back in a formed by the light-shad- subjects to be explored bun, a sign of farm work. ow border help the draw- in the region. Her expression is melan- ing by Draw and Hazul, es- choly and slightly hope- pecially the curved motifs - less, her eyebrows are in blue – created by Hazul. thick and well defined. “We tried to understand The façade has four what went on there. That windows, three on top square used to be closely and one below to the left, connected to the theme of with closed blinds, and water. I think there used small square windows that help compose the

to be a river or stream , Hazul & Frederico Draw, Alfândega da Fé, 2016. and some fountains”, tells work’s geometry. Painted Tétis Draw. “Since my work is by Hazul, there are swirls figurative, I investigated of water escaping from and discovered Tethys, a between the jugs and the goddess of water. I made woman’s neck, like tenta a reinterpretation and cles from an octopus painted a female figure “I went there intending seeking space to survive. associated with water.” to meet the people and Draw and Hazul understand the place’s painted the work at the identity”, explains Hazul. same time. “Basically, “Actually, the people’s cu- I represented the water and riosity isn’t very different water jugs. Draw created than in the city. The dif- the figure and the sur- ference is that they aren’t roundings, blue waves”, used to us coming and states Hazul. “Water has painting so visibly. The at- movement, it has very titude was a combination organic lines. The water’s of distrust, first, and joy, I liked this one a lot. Even my son says «they chose the nicest one for the town council path is extremely undu- after, for EDP choosing wall». I also like the other ones, but this is something else. It represents water, the sea. lating, almost sensual Alfândega da Fé to carry Sandra Rego, 41 years, administrative assistant at Alfândega da Fé Town Council. – curving and counter out interventions for Edp curving”, adds Draw. foundation Public Art.”

78 79 Route TRÁS-OS-MONTES • Project VOLTAGEM • Alfândega da Fé • TOTEM Hazul • 2016 ARTE PÚBLICA •

blue, which form eyes Stones, an element 26 that scrutinize us enig- from nature that fasci- TOWN Council: Location: GPS: matically. Directly above, nates Hazul, also have ALFÂNDEGA DA FÉ Rua Branco Rodrigues Latitude 41.34285 in a banana-yellow that timeless character. Longitude -6.95983 Totem square, there is a red “If on the one hand drawing of what seems stones refer to ancient to be a jug, with indige- structures, to totems, Author: nous, ritualistic lines. on the other, the stone Hazul At the bottom, on a light wall, for example, is still distribution cabinet at- frequently used in this tached to the wall, Hazul region nowadays.” This work, on the EDP painted a crystal. This The lacy art-nouveau Distribuição transforma- stone is a figure that is fre- design represents a tree, tion substation on Rua quently represented in his those that frequently Branco Rodrigues is lo- work, due to its pantheist, grow in people’s yards. cated near the previous sacramental nature. “The olive tree can last two in the route, in the thousands of years, town of Alfândega da Fé. it spans many genera- Following the street of the tions.” As for the crystal, town council building that Hazul claims to collect passes by this substation, this type of stones. immediately above lies He usually finds them the back of the firehouse. with a friend in the This is where one enters Gerês region, whose the institution’s bar. They name he does not want serve snacks and peo- to disclose. “It’s incredi- ple usually gather here to ble, you’re in the middle watch football games. of nowhere and suddenly , Hazul, Alfândega da Fé, 2016.

Hazul transformed you find these beautiful, Totem the substation into a totem, limpid stones”, he de- through painting. Seen scribes. “Aside from from a distance, the ar- their use in technology. tistic intervention seems Everything that has bidimensional. And, in technology uses quartz, terms of relief, like watches, for example. it is. But, if we approach Crystal regulates the the wall, we make out beat.” the lacy effect and three- Crystal is also a -dimensionality Hazul “It acts like a photo symbol of purity, as he gave the different motifs album, as though each has already mentioned. that fill the various square were a photo- “Of purity and harmo- squares and rectangle graph”, explains Hazul. ny. The story of crystal drawn on the substation “These representations itself originates from wall facing the road. allude to ancient times, mud, from rough stone, Inside one of these, the but also to the present. and it turns into some- horizontal rectangle that On top, there’s a jug thing that is extremely occupies the full width that, aside from being crystalline and transpar- I welcomed the artists, showed them around the council. We held meetings in the of the wall, painted baby something people nor- ent. That’s what led me villages and presented what we were going to do. Building a connection between blue, art-nouveau motifs mally use here, more than to represent it. It’s a the artists and the people. When we mentioned graffiti, they thought the walls are painted. Inside an- in the city, it is an object symbol of my work, like would be vandalised. But afterwards they were extremely pleased with the result. other, on top, there are that is common to the a signature.” Sónia Vieira, 36 years, tourism officer. various ellipses in midnight present and the past.”

80 81 Route TRÁS-OS-MONTES • Project VOLTAGEM • Alfândega da Fé • SEMIO Hazul (w/ Universidade Sénior) • 2016 ARTE PÚBLICA •

The artist and senior 27 citizens from the town TOWN Council: Location: GPS: had one day to work. The ALFÂNDEGA DA FÉ Parque Verde Latitude 41.34171 old folks painted the base, Longitude -6.96009 Semio Hazul painted the figures on top. “Then I made a sign just for them. During Authors: the afternoon, we made Hazul (w/ Senior a demonstration of what three human figures – University ) I was going to do with the the combination of the rest of the signs. Their sign signs’ different geome- features the Clock Tower, tries gave them a human There’s something semi- the Senior University, side –, they’re positioned otic about this work by cherries, and a star, I don’t as voyeurs, spectators, Hazul. In Semio, the know why. I gave them the watching what’s going on street artist explores freedom to do whatever in the park. They’re a sort the layers in an object’s they wanted.” Cherries are of guardians, protectors. communication, in this a typical crop in the region, They’re always there. case traffic signs, and the Clock Tower is the his- The connection with applies other guises, other toric monument most rep- nature is a legacy that cloaks of interpretation. resentative of the town. Hazul says is extremely Produced in partnership On the remaining vibrant in this region and with students from the signs, Hazul placed his in Trás-os-Montes in gen- Alfândega da Fé Senior own symbology, the com- eral. And it’s an asset that University (Universidade mon thread in his work. needs to be more recog- Sénior), Hazul employed “Basically, the other signs nised, since it is a matter municipal traffic signs portray a set of stones, of time until these people that were unused. a jug, water, a figure I are fully aware of that draw regularly”, he tells. quality of life. “Some say she looks like In the park, there is , Hazul Senior w/ University, Alfândega da Fé, 2016. a saint. In fact, it’s a human a small bridge made of figure. When I represent stone. It suggests that Semio a human figure, I usually there was once a stream represent a feminine one. here. Further down, It’s the origin. But, in this there’s a water channel, work, I also represented a kind of brook in the a male figure.” middle of the higher “It was really cool. Hazul asked for the vegetation because it is One of the choices they signs to be placed sepa- flooded. In terms of gave us was to use the rately, along the park, in topography, the park contents of the munici- Parque Verde. “My idea features numerous slight pality’s warehouse, there was for them to be among elevations, which create was a pile of traffic signs people.” But, for security small amphitheatres. there”, recounts Hazul. reasons, this wasn’t pos- “Since that was the mate- sible. Placed near roads, rial available, I decided they could be confused to use an object everyone with real traffic signs. is familiar with, an object They were placed togeth- I accompanied the initial phase, to select the sites and materials that would be from daily life, and give er, on the border of the used. I insisted. And I really enjoyed it. It brought another route to this region, an- it a different symbology, park on the opposite side other interesting reason for people to visit. to allow other interpreta- of the road, beside the Luís Rocha, 39 years, computer programmer/designer. tions.” hill. The three signs, the

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all scrawled. But, once 28 the work was concluded, TOWN Council: Location: GPS: they ended up liking the ALFÂNDEGA DA FÉ Rua da Escola Prepa- Latitude 41.34227 wall. And felt they were ratória (former Rua Longitude -6.96296 Lines, li- part of the process. Júlio Manuel Pereira) Over the tangle of words nes, lines and sayings, Draw drew the face of an old man, in a cap, his features hard- Authors: ened by years of work in Draw w/ Senior the fields – picking chest- University nuts, cherries, extracting but also Italian, pizzas. cork. These are the re- Bairral was a favourite gion’s principal sources for the artists to have In a collaboration with of income. their meals. They usually the Senior University “My work is mostly chose francesinhas and (Universidade Sénior), comprised of the human pizzas. And the Oreo Draw painted the wall figure, transferred onto mousse, a house special. of the town hall’s park- a large scale. I am known “Bairral often served as ing lot, which leads to for sketching, large scale their office. They would Rua da Escola Prepara- sketches. I don’t exactly come here, charge their tória (former Rua Júlio do hyper-realism, I super- batteries [of electronic Manuel Pereira). “We di- -impose lines of strokes, devices], as well as their vided the work between of paints”, explains Draw. own batteries”, tells us. I didn’t feel like draw- “It’s a tangle of lines that Sandra Gonçalves, Dona ing some shapes and looks like a pen drawing, Ester’s daughter who also having the senior citizens but on the wall.” works at the restaurant. paint inside them. Getting Draw usually applies “They would sketch on the , Draw, Alfândega da Fé, 2016. them to paint with cans a grey scale to paint his napkins. We have photos of spray paint wouldn’t be human figures, giving the of them drawing. There

easy either. But I wanted faces a certain austerity. was even an exhibition lines lines, Lines, them to have a voice”, In technical terms, he fre- with that.” And she adds, explains Draw. “So I sug- quently uses a classic grid regarding the impact Edp gested they write some to transfer the drawing foundation Public Art – sentences that came from on paper to the wall. The Voltagem in Alfândega the heart. There was an elderly male figure por- da Fé had on her: “When amazing man who said trayed in this work is spat- I go somewhere and see «rags are old».” Aside tered with golden-yellow their works, I can identi- from this phrase, there lines, which creates an fy them. They each have are others like “don’t be effect of light beams. their own distinct style.” ignorant”, “you’re never As though the hardness too old to learn”, “stop- of the man’s lines was ping is dying”. “There lightened, illuminated. were dozens of sentences At the end of the street like these and I painted there is the restaurant an image over them. This Bairral, owned by Dona fruit salad ended up as a Ester and her husband. background for my work.” After emigrating to France, This only makes sense for tourism if you tell stories about the local culture. The old Draw says that, in the they returned to Alfândega folks tell some stories, the younger people tell others. The cultures overlap. It’s an beginning, people were da Fé 17 years ago and interesting contrast. shocked. The wall used to opened a restaurant that Berta Nunes, 62 years, Mayor of Alfândega da Fé Municipal Council. be all white and now it was serves Portuguese food,

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continues. “The tower has where the horsemen were 29 been restored and is cur defeated and a virgin TOWN Council: Location: GPS: rently a museum space, appears to give them ALFÂNDEGA DA FÉ Travessa do Terreiro Latitude 41.34157 where there is a permanent a balsam.” Longitude -6.96576 Tempo photographic exhibition Hazul used the same depicting the restoration concept in the work Totem, Time of this local monument.” a set of images that act And he adds: “The history like a photo album. “I of the tower itself is some- made fragmented images, Authors: what undefined. They say separated from each oth- Godmess, Hazul it was a castle, but there er, like they were flashes of are no traces of that. memory. The wall also con- Therefore, it’s a bit mysti- veys that. I thought I should cal, it seems like it doesn’t maintain the same logic.” belong there. On the other The work was created in hand, there isn’t any other two moments. First Hazul monument that reflects painted, then Godmess. History. It’s a medium that “The elements are basical- somehow lacks context.” ly the same as in Totem: Right beside the tower, the female figure – here in white, on Travessa do there are two –, the jug. Terreiro, there used to be The justification is always “I was more associated a small house with a yard. the same, these are ele- with the past, Draw took A postman used to live ments that endure through the present and Godmess there, called Mário Dam- time”, he continues. “Then the future. We always asceno, and he had lots of I drew an embryo, which worked around time, which children. Many asked him has to do with birth – with was symbolized by the how he could live there with the idea of the past, but Clock Tower”, tells Hazul. so many people. Today all also the future.”

“Taking into account the that stands is a wall from When Godmess and , Godmess & Hazul, Alfândega da Fé, 2016. concept of the Edp foun- the adjacent buildings, the Hazul started to create Tempo dation Public Art, we didn’t house was demolished. It the mural, there was an bring fixed ideas. Although was on that wall that God- ornamental stone placed we each have our own mess and Hazul produced on top of the wall – with language, we didn’t want a joint artistic intervention. volutes – which served to have images that “We didn’t go in that as inspiration for the were too defined”, states direction, concerning work and was also drawn. Godmess. “What we did the house that used to be They say these are from was reach an abstract there. We felt that wall the supposed castle that concept – the passage of had a stronger connection once stood in Alfândega time or passing time – and with the tower, because it da Fé, whose stones were worked from there.” This stands beside it”, clarifies used by the population was the underlying con- Godmess. “The painting to build houses and walls. cept to listen to the peo- we made deals with time, ple and work with them. time passing. The images “That Clock Tower was have references: the suit- the only element that we case represents the people felt was Alfândega da Fé’s who emigrated, who went trademark. Nothing else to France. Then there’s also I really like the [work with] the Clock Tower. I like all of them, the one here at the was as different and as the legend of the Horsemen [primary] school is also very nice. They should paint all over Alfândega da Fé. present, simultaneously, with Golden Spurs, about Sabrina Gonçalves, 29 years, Bairral restaurant employee. in that place”, Godmess a battle against Muslims

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elements that are a com- The bird, in the centre, 30 mon thread in my work. occupies a prominent po- TOWN Council: Location: GPS: There’s the female figure, sition. “When you go to ALFÂNDEGA DA FÉ Sports/gym pavilion Latitude 41.34534 the small bird, a crystal. Trás-os-Montes you hear of EB1 primary school Longitude -6.9638 Sarau Next, I created a mytho- the birds right away. I love logical being, I’m not quite listening to birds. Here in Gathering sure what it is”, describes Porto we don’t hear them, Hazul. “At school, children which I find very unfortu- dream more. They spent nate”, he states. Author: the afternoon asking me The female figure he Hazul «what is this?», «what are claims is present in this you making?». They started work is represented more inventing a series of pos- subtly this time. It is the “This work is harder to sibilities for these figures. volume on the left, lean- explain because it was Since the shapes aren’t ing, without a visible head. produced post-project, it very exact, at recess they She is only recognisable was an extra wall. I went would discuss what they by her cloak, in shades of back to Alfândega da Fé could be, and each kid blue, a frequent colour one month later to pro- saw different things.” in Hazul’s work. Above, duce this intervention at small, a baby is represent- the EB1 primary school.” ed; we see its head, the Hazul doesn’t know why body wrapped in a blan- he chose the name Sarau. ket. This figure alluding to “I looked on the Internet, birth is represented again, I don’t know why. Names even smaller, on top of always have a justifica- the bird’s head. The crys- tion, what the pieces re- tal is painted once again, mind us of, etc. It’s the this time on a blue back- opposite of rational. But, The building is com- ground, between midnight , Hazul, Alfândega da Fé, 2016.

although the names may prised of two volumes, one blue and water. The major Sarau seem random, they must more horizontal and the sphere drawn below looks all make sense to me, even other higher up. It was like a large water bubble, if only on an intuitive level. on the wall of the higher about to burst. The lower I like beautiful words.” volume that Hazul pro- part of the wall has a brick duced his intervention. sash, orange, which helps Those coming from the compose the whole image. higher part of town see the Regarding this Sarau, and painting in the distance. all his work, Hazul con- In front, there’s a playing cludes: “I enjoy socialising, field in synthetic flooring, but not to discuss what with goals and basket- I painted or didn’t paint. ball hoops. Surrounding I leave that freedom to this, defining the school others.” As he painted the wall perimeter, there’s a plot of the sports/gym pavil- of earth, arid, lined with ion of the Alfândega da some pine trees. As is Fé EB1 primary school, common in Hazul’s inter- the kids spent the after- ventions, the mural is di- noon interacting with the vided into various frames, I thought it really embellished spaces that were degraded. It was an improvement. artist, who was perched squares and rectangles, Lots of people stop and ask what it is. on the scaffold. “Once where the street artist Ermelinda Salgueiro, 61 years, ombudsman of Santa Casa da Misericórdia of Alfândega da Fé. again, this mural contains from Porto draws figures.

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are more abstract ele- a beginning and an end, 31 ments”, like the waves one in the top left corner TOWN Council: Location: GPS: under the representation and another in the bot- ALFÂNDEGA DA FÉ Roundabout at the end Latitude 41.34615 of the woman. tom right corner of the of Avenida da República Longitude -6.96403 Oliva Seen from a distance, painting. There is also an- the substation looks like other type of motifs that a horizontal matchbox, indicate the idea of ori- Author: customized with many gin. This is the case with Hazul colours. And it’s as though the vertical line intersect- it were an annex of the ed with small lines, a ball building, painted in and two S-shaped swirls. This was also an addition- shades of salmon and It is like a primitive paint- al work, directly beside white, located directly ing, prehistoric – a con- the wall of the sports/gym beside it. On the left side stant connection between pavilion of the EB1 pri- of the mural, Hazul paint- the past and the present, mary school. “The name ed a figure resembling a here and now, which Ha- Oliva refers to the olive fish, although he doesn’t zul is interested in explor- groves found everywhere make any reference to ing in his work. in this region. The green it. It could be a sardine. I used is almost olive- The oval shape, the wavy -green”, tells Hazul. “It’s interior suggesting scales not exactly olive-green, and gills, the muted eye. but it’s close.” It makes total sense that this is a fish, associated with this idea of fruit, of birth, mentioned by Hazul, right beside the vastness of water the urban artist drew in the centre. , Hazul, Alfândega da Fé, 2016. To the question about Oliva the importance of blue in his work, Hazul replies saying that the impor- This intervention by tance is relative. “It de- The artist took one Hazul is produced on an pends. I have worked a lot hour to paint this substa- EDP Distribuição trans- with blue in the last two tion. “Since I’m accus- formation substation lo- years. Some people have tomed to painting outside, cated at the roundabout an extremely defined I’m used to painting fast. at the end of Avenida da chromatic line. Some- I paint with spray paint”, República in Alfândega times I like the idea of a tells Hazul. “If I’m not da Fé. The middle section colour continuum, despite painting quickly, I can’t of the painting repre- my tendency to constant- get into the right frequen- sents, once again, water. ly try other compositions. cy for the ideas. And, if I “Water for no particular I don’t think I have much paint for too long, I start reason. I thought the olive of a chromatic identity.” overthinking things and needed water”, he says. In this work, Hazul make mistakes. It’s a way “The drawing on top is introduces graphic de- of bringing creativity to not an olive, but almost. sign elements, stylised you. It’s almost a focus. If It represents a fruit.” To details like spheres in you’re focused, you cancel We’ve never seen this kind of thing around here. It’s good. The town’s strength is the the right, on top, once red and white – like sig- out external noise. In the cherry and the olive. again a female figure is nals to observe this visual end, it’s a performance.” Filipe Fernandes, 23 years, farmer. represented. “Then there composition. They mark

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words. I collected material is a world, planet Earth – 32 from those two sessions the continents are green TOWN Council: Location: GPS: and made a plan, with the and the ocean, blue. ALFÂNDEGA DA FÉ EB2/3 elementary Latitude 41.34357 students. The plan for the More buildings follow, school, Rua Dr. Manuel Longitude -6.96268 O teu fu- composition we were going with a crescent moon Vicente Faria to transfer onto the wall.” on top and we reach the turo será In the third session with middle of the drawing, this group of students, which has a central figure. como tu Godmess gave a workshop This is a face, half human where he taught them to (a woman, with red lips fizeres! handle paint and spray and freckles), half ma- paints and provided tips chine, robot. Metallic Your future will be on how to pass ideas from pieces emerge from the what you make of it! paper onto a large format. brain, in the shape of a “It was important to give puzzle. To the right of the them that autonomy and figure, there are more Authors: predisposition to create buildings, as well as an Godmess w/ students something unique, which airplane. It points towards from Alfândega da Fé gave them a sense of be- a circumference with EB2/3 elementary school longing. Something they several layers of blue, as could relate to.” though it were entering This is the only work another dimension in time. Like Futuramos, at the in the Edp foundation Curiously, a watch and EB1 primary school, this Public Art – Voltagem a calendar are depicted public art intervention in Alfândega da Fé that on top. was also produced in a cannot be seen from the “They feel very far from school, this time at the public space. We have to the urban centres. This was EB2/3 elementary school. enter the school premises. clear right away: there’s “This process was com- O teu futuro será como tu a plane, for them to travel. prised of three sessions fizeres! (Your future will Things that are simple for – two debate sessions, be what you make of it!) me, are difficult because with students from var- reads like this, from left they don’t have them. They

ious classes, and one to to right: we start by see- seem so basic for us, don’t , Godmess students w/ from Alfândega da Fé EB2/3 elementary school, Alfândega da Fé, 2016. help students transfer ing drawings of buildings, they?”, considers Godmess. their ideas onto the wall”, with many floors, build- “There are things in that states Godmess. ings that, with various region that could be max- For the first two ses- architectures, are repli- imised. There’s an incred- sions, the school principal cated several times along ible natural and gastro- spoke to one of the Visual the wall. On a yellow nomic wealth. We always Education teachers, to surface, that could be a had lunch and dinner in O teu futuro será como tu fizeres! create a group of students desert, but also a human local restaurants. The fla- that included the ones figure due to its shape vour is different, the air is who were most interested and the details that adorn different.” in the field and the less it, there’s a UFO – this UFO integrated students, in may also serve as a hat order to encourage the for that figure (which has latter to take more inter- two stars in the place of est in the school reality. eyes, a large full moon for These sessions, to debate a nose – or is it a crater? ideas, took place in the – and a thick line, across, The graffiti is cool. It’s a fun initiative. They certainly don’t look bad. classroom. “I suggested that could be a mouth). Rui Vales, 21 years, construction worker. texts, images, phrases, Attached to this figure

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school is attended by leftist political propa- 33 pre-school and primary ganda posters, with the TOWN Council: Location: GPS: students. The process people placed in a row ALFÂNDEGA DA FÉ EB1 primary school, Rua Latitude 41.34527 was similar, in both works. as a sign of strength and da Escola Preparatória Longitude -6.96351 Futuramos “For this one, I collected power, as a mass, as a information in a single group. As though the ide- Futurising session, with 4th grade als that drive them were classes”, states Godmess. a star in the firmament. “I asked them how they The woman has a pink Author: saw Alfândega da Fé, scarf on her head and her Godmess what they wished it was, eyes are closed. One of if they saw it being or the men in the centre has doing something else. a top hat. The one on the The idea was to collect right has a plane and a testimonials.” After talk- small paper boat throw- ing to the children, God- ing a net on his head. mess went home to draw, The base of the mural is using their contributions. filled with elements from “I was interested in com- nature in various shades bining the ideas suggest- of green: leaves, clovers, ed by them with more ab- tree branches. Beside stract elements, with per- the man in the top hat, spectives of the future. a walking cane is drawn. This work functions as a On top there are two game: it seems abstract, cherries, one of the prod- but it’s very figurative.” ucts that make up the re- Since Godmess got the And he goes on: “Not only gion’s agriculture. The future, he worked with is there a symbol of Bat- lady’s pink scarf flows children and teens. Within man, because one of the across the bottom section , Godmess, Alfândega da Fé, 2016. the context of the concept students wanted to see of the drawing, reaching

of time discussed at the a Batman in town, but the base of the head of Futuramos meetings with the Alfân- there’s also an owl on the man in the top hat, dega da Fé community, a farmer’s hat. And also suggesting the idea of regarding Edp foundation a plane, since someone a cradle, which, like in Public Art – Voltagem, would like Alfândega da Hazul’s work, refers to ori- Godmess focused on the Fé to have an airport. gin. The Clock Tower, in future, while Hazul ex- And there’s a staff, a ref- white, here with a roof, in plored the past and Draw, erence to one of the stu- red, was also not forgotten. the present, although the dents saying he’s going works by the three urban to be a shepherd when he artists based in the city grows up.” It’s a mixture of Porto display lines that of the abstract with per- build bridges between spectives of the future the three periods. and local realities. Godmess worked on The work is visible two murals, within the from the street, since it is school context: this one located beside the school at EB1 primary school railing. The mural is and the other at EB2/3 structured by four central People participated a lot. I saw them [artists] painting the school, I could see them elementary school, both figures, three male heads from my shop. part of the Alfândega da and a woman’s head. Ester Araújo, 55 years, owner of the Bairral restaurant owner and haberdashery. Fé School Group. The EB1 All four are in profile, like

94 95 edp foundation Public Art Acknowledgements:

Route TRÁS-OS-MONTES Torre de Moncorvo: Project VOLTAGEM to the students and teachers of Agrupamento de Escolas Dr. Ramiro Salgado (Moncorvo), Curator edp foundation Public Art: the whole team at the Moncorvo Municipal João Pinharanda Council and Townships, and Museu do Ferro.

Coordinator edp foundation Public Art: Mogadouro: Sandra Santos to the students and teachers of Agrupamento de Escolas, the whole team at the Municipal Communication edp foundation Public Art: Council and Townships, Biblioteca Municipal, Elisabete Sá Sala Museu de Arqueologia and Casa da Cultura.

Texts: Miranda do Douro: Cláudia Marques Santos to the students and teachers of Agrupamento de Escolas, the whole team at the Municipal Photography: Council and Townships, Museu da Terra de Rute Ferraz Miranda, Casa da Música Mirandesa, Posto de Ricardo Castelo Turismo, Café Cristal, river pier (Europarques) Mogadouro Municipality and the ready-to-wear shop Ana Teixeira.

Graphic design: Alfândega da Fé: Cláudia Baeta & Paula Dona to the students and teachers of Agrupamento de Escolas, Bombeiros Voluntários, the whole Proofreading: team at Casa da Cultura, the Municipal Council Joana Ambulate and Townships, and Universidade Sénior.

Publishing: A special thanks to the entire community edp foundation that participated in the community meetings Lisbon, September 2018 and supported the artists during the execution of the works. Printing & finishing:: Indústria Portuguesa de Tipografia, Lisbon

Legal deposit Nº: 445554/18 ISBN: 978-972-8909-66-6

Partner:

With support from: “Through this programme, the edp foundation helps bring rural communities into closer contact with art, while also provoking reflection on its role in society. Furthermore, it has additional merit: to reconcile within a single programme the edp foundation’s two key fields of intervention: social innovation and culture. This is a project that mobilises artists and rural communities in an innovative dialogue that will result in an unexpected public art route and a source of pride for all parties involved.” Miguel Coutinho Managing director and CEO of edp foundation

Minho Ribatejo Alto Braga Rio Maior Alentejo Crespos e Pousada Vila da Marmeleira Padim da Graça Assentiz Campo Maior Merelim (São Paio) São João da Ribeira Degolados Panoias Ribeira de São João Ouguela e Parada de Tibães Palmeira

Trás-os- Médio Algarve -Montes Tejo Vila do Bispo Barão de São João Alfândega da Fé Vila Nova da Barquinha Mexilhoeira Grande Torre de Moncorvo Atalaia Figueira Miranda do Douro Praia do Ribatejo S. Bartolomeu de Messines Mogadouro Tancos Alte Alportel

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