The project amanhã by the conceptual artist Pedro Pratas Radrigues, currently based in Lisbon, offers an intimate diary of his personal connection to the Algarve, a region he defines as home and the core of his origins. Through his time in Alte, the artist reflects on the themes of memory and everyday life as an artist, using his experiences to explore the ways in which these concepts shape his artistic practice. In this reflection, he examines his journey as a young artist, considering how he will find his place within the contemporary art world. The work is an exploration of identity and place, offering a window into the artist's evolving relationship with his roots and his future.

“When I decided to go to school, a part of me was left behind at that age, a memory that for years I tried to forget. Now, eight years later, I think about what home, time, place and moment mean. There's a desire to show that this place is capable, in this wound, something that can't be erased but that makes us, me and the other, grow and be reborn together.”

- Pedro

amanhã (tomorrow) will help us understand how the tomorrow shapes our present and how artists can dream, create, and build on a collective utopia.

Links: https://www.instagram.com/f.dido/

Fotografias: Sofia Marcos

This vitrine sees displayed a series of half-objects or broken entities that stand individually in the room but also, depending on the stand point of the observer, in relation with one another. On the right side of the vitrine hangs an anthropomorphic carton-marionette figure, partly covered by shiny black matter, which stands in contrast with the white metro ghost almost at the same hight on the left side. Moreover groups of objects stand in the room, with broken skateboards with a piece of street, oddly positioned broken vintage children’s toys, destroyed floppy discs and a light play hanging, made with a collage of the inside of the floppy discs (by Aino Garcia Vainio). On the back right corner there is the Afromerica globe by MoMO gallery that interacts with the background shaped by irregular stripes (by Joyce Ward and Sophia Nieder…). On the one hand a long black shiny stripe that makes a whole round in the room, and on the other hand with segments of colourful wrap paper, partly featuring Popota. On the “display surface” three objects lay equidistant from each other: a vase with brushed made by Clem, a head of a dog with a blonde wig and a muffin.

This vitrine aims at challenging the perception transmitted by a showcase in the context of both the “museum effect” as well as the consumption culture. The physical distance imposed by the materiality of the glas transmits the conception of being showed something valuable. The observer is challenged by the habit of perceiving something precious when actually confronted with half-objects, broken entities and chaos. Moreover the isolation of an object while reinforcing its value also pushes the observer to admire its aesthetic quality. In this context, when watching the #1 vitrine, while objects can be standing as individual groups, depending on the stand point, they will always also stand in relation to one or more groups of objects. This way not only it is impossible to admire singular objects or groups as isolated entities, but the crossing of them is out of the control of the observer. This vitrine is placed in a metro station: people watch it by walking. There is therefore an almost instant new constellation of the display by every step the observer takes, while going where they are headed. Both of these distorted perceptions culminate on the “display surface” where the observer is challenged by non-valuable, silly and senseless self-standing objects.

This vitrine aims at confronting the notions of reality, realism and borders. The shadows of the hands on the wall are projections of objects defined by a distorted shape. They are not the object itself while at the same time the glass surfaces dividing the space into an inside and an outside denies the viewer the access to know the reality behind the shadows. They are therefore indexes of a truth that could be, that is represented, but they are not the truth. As the vitrine starts with the representation of a possible reality made by indexes it brings the viewer to a state of perception of a possible reality that questions the reality itself, triggering their instinct of understanding the sight in a realistic way, therefore connecting the index to a known reality. This is highlighted by the central and sharpest shape: an index pointing down, or better an index of an index pointing down. The border-line on the ground also bears in this concept of an index to a constructed space defining one more time an inside and an outside. The index on the wall points down to this geometrical line that resembles something like the lines on sports camps, suggesting that this border-line is also just an index to an idea that has nevertheless found a materiality on the ground, in contrast to the shadows. This line is made of flour which, apart from being a very cheap source of nutrition, is also vulnerable to change by the wind, someone stepping on it or just a brush. Hide behind a vitrine however, it is protected by all of these changes. Lastly these concepts of reality, realism, border and untouchability of them is emphasised by the clouds or, as they originally were thought, pieces of the earth floating around, suggesting that the earth is immune to the borders, who claim to define it.

Artists: Joyce Ward, Sophia Niederkofler, Aino Garcia Vainio
Curators: Joyce Ward, Sophia Niederkofler, Aino Garcia Vainio
Text: Aino Garcia Vainio

When was the last time you screamed at the top of your lungs?

Upon first approach, the installation appears as an unassuming site of construction, the room obscured by an black wrapping. From the metro stop, it mimics the ongoing urban metamorphoses surrounding it. But as soon as you ascend the stairs in front of its window something different happens. Here, the illusion ruptures: a shattered mirror reveals fragmented reflections of the passerby. One hole in the mirror is precisely aligned with where your face might appear.

You look inside and a large typographic declaration—Scream Room—anchors the opposite wall, its letters looming over shards of mirror scattered across the floor. The space is both disorienting and clarifying. The black wrap itself defies expectations; with light, it transforms from opaque to translucent, dissolving the boundary between the viewer and the hidden world within.

The interplay of mirror and black surfaces reflects not only the external environment but also the viewer's own form, transposing the flatness of reflection into a multidimensional invitation. The hole in the mirror, perfectly calibrated to frame your face, situates the participant at the center of a transformative moment. Beyond it lies a visual and acoustic escape: a space for the unfiltered release of a scream.

As a continuation of this concept and to the until now silent scream a shape we invited passersby and friends to send us voice messages with screams of different everyday emotions.

All the collected SCREAM-recordings will be part of an evolving auditory collage of the #5 vitrine. Each scream, representing a unique expression of the human condition, contributes to a collective soundscape.

In the second phase installation challenges societal norms around emotional restraint, offering a cathartic release and a powerful reminder of our shared humanity. It transforms personal pain into communal art, allowing visitors to experience the transformative power of expressing and sharing their most intense emotions.

Artists: Joyce Ward, Sophia Niederkofler, Aino Garcia Vainio, MoMO Gallery, Clem
Curators: Joyce Ward, Sophia Niederkofler, Aino Garcia Vainio
Text: Sophia Niederkofler