Our collective was founded on the basis of artist runned spaces, and since 2021 our goal has been to find a place where we could put in to practice this.
Throughout 2022, our project-space was located in Largo do Intendente in a small shop owned at the time by Largo Residências. This was the first try out of the space we envition to have. In there we hosted artists and curated an exhibition. Due to its closure, we remainned a few years without an alternative space.
Until 2024, where a partnership with METROCOM (lisbon’s metro company that manages all commercial spaces inside the metro galleries) allowed us to have a rent-free space and provide a project space for artists and cultural projects to showcase and/or work in a public acessible space with only a daily fee to cover costs of the store.
Dive in to each space to find out about the diversity of works and artists that have been showcasing in our spaces since 2022.
Throughout 2022, our project-space was located in Largo do Intendente in a small shop owned at the time by Largo Residências. This was the first try out of the space we envition to have. In there we hosted artists and curated an exhibition. Due to its closure, we remainned a few years without an alternative space.
Until 2024, where a partnership with METROCOM (lisbon’s metro company that manages all commercial spaces inside the metro galleries) allowed us to have a rent-free space and provide a project space for artists and cultural projects to showcase and/or work in a public acessible space with only a daily fee to cover costs of the store.
Dive in to each space to find out about the diversity of works and artists that have been showcasing in our spaces since 2022.
Here is a glimpse about our space in Picoas.
Intendente project space
mais uno +1 is a project-space at Largo Residências that seeks to explore hypothesis of relationships between
a space
+ Largo do Intendente
+ artist of the month
+ the community
+ you
—
project duration
2021 - 2022
2021 - 2022
— project location
Largo do Intendente (Lisbon)
Largo do Intendente (Lisbon)
—
curators
Angela Fellowes
Inês Nêves
Angela Fellowes
Inês Nêves
— partners
LARGO Residências
LARGO Residências
— artists
Angela Fellowes (Nov 2021)
Lígia Fernandes (Jan 2022)
Nicole Sánchez (Fev 2022)
mais uno +1 (Mar 2022)
Angela Fellowes (Nov 2021)
Lígia Fernandes (Jan 2022)
Nicole Sánchez (Fev 2022)
mais uno +1 (Mar 2022)
The project mais uno +1 contemplates the definition and management of an exhibition space, stemming from the interpretation of the curatorial exercise's as:
Through this perspectice, the construction of the space’s rationale, identity, communication and operation becomes an act of common creation that functions as a territory for reunion and mediation. Thus, the exhibition space adopts the nature of project-space. In a project-space the artistic practice is process-based: comented, presented, considered, tried and co-produced, seeking collaborative and/or participatory, and interdisciplinary processes.
With emphasis on the exploration of the involved actors’ different dynamics and energies, and considering that the collective is comprised of ones (1+1+1+1+...), which is on its own one as well, the the project-space mais uno + 1 (in english, more united +1) operates in a relational and incremental way that seeks to activate its potential for social and urban restoration and local artistic revitalization one link at a time.
(project-space) = mais uno
mais uno + 1 (actor* A) = uno (united)
mais uno + 1 + 1 (actor* B) = uno (united)
mais uno + 1 + 1 + 1 (actor* C) = uno (united)
* Someone/something able to cause effect which ca be composed by one or more. Example: neighbors, artists, residents, workers from the institution, students, etc.
- A shared act that is generated or is executed by more than one person, a way of testing hypothesis of relationships;
- An artistic act that establishes a way of exploring and creating collective practices;
- An act of premeditated spontaneity that prepares and facilitates the necessary conditions to the occurrence of organic encounters and events through artistic expression.
Through this perspectice, the construction of the space’s rationale, identity, communication and operation becomes an act of common creation that functions as a territory for reunion and mediation. Thus, the exhibition space adopts the nature of project-space. In a project-space the artistic practice is process-based: comented, presented, considered, tried and co-produced, seeking collaborative and/or participatory, and interdisciplinary processes.
With emphasis on the exploration of the involved actors’ different dynamics and energies, and considering that the collective is comprised of ones (1+1+1+1+...), which is on its own one as well, the the project-space mais uno + 1 (in english, more united +1) operates in a relational and incremental way that seeks to activate its potential for social and urban restoration and local artistic revitalization one link at a time.
(project-space) = mais uno
mais uno + 1 (actor* A) = uno (united)
mais uno + 1 + 1 (actor* B) = uno (united)
mais uno + 1 + 1 + 1 (actor* C) = uno (united)
* Someone/something able to cause effect which ca be composed by one or more. Example: neighbors, artists, residents, workers from the institution, students, etc.
Angela Fellowes
"A Nossa Memória"
Uma coleção de memórias do Largo do Intendente desenhadas em individuais de café.
Lígia Fernandes
"avó não me contou"
"avó não me contou"
A avó não me contou sobre a sua infância, sobre como foi nascer e viver em Portugal.
A avó não me contou sobre a sua vida em Angola e Moçambique, nem sobre como teve que regressar.
A avó não me contou que guarda a fotografia do seu primeiro amor no álbum, mas não a mostra a ninguém.
A avó não me contou que fugiu da guerra com o dinheiro que conseguiu esconder dentro da vagina.
A avó não me contou sobre o dia em que deixou de tocar piano.
A avó não me contou nada sobre como o avô se foi embora e a deixou com a minha mãe.
A avó não me contou sobre a prostituição das artistas de cabaret e revista.
A avó não me contou sobre as vítimas negras da independência das ex-Colónias
A avó não me contou que as meninas ricas não podiam ir à escola.
A avó não me contou sobre a sua viagem pelo continente africano.
A avó não me contou sobre o seu trabalho de infância.
A avó não me contou sobre a sua carreira de cançonetista e artista da rádio
A avó não me contou sobre as amantes do avô.
A avó não me contou sobre o trisavô, que era de São Tomé e Príncipe e poderia ter sido traficante de escravos.
A avó não me contou sobre a sua paixão impossível por um homem de outra classe social.
A avó não me contou sobre o bisavô, que era músico de jazz e que só conheceu enquanto este dormia.
A avó não me contou porque mandou a mãe para o colégio interno.
A avó não me contou sobre o 25 de Abril.
A avó não me contou sobre a sua infância no teatro Tivoli.
A avó não me contou sobre esta Lisboa que é feita de tantas camadas.
A avó não me contou que eu fui a primeira mulher da família a nascer em Liberdade.
Isso descobri eu, depois de a ouvir.
Texto: Lígia Fernandes, baseado em depoimentos reais recolhidos com as utentes do centro de dia da N. Sra. dos Anjos entre Maio e Setembro de 2020.
Desde março de 2020 com o despoletar da pandemia de COVID-19, foram encerrados em Portugal a maioria dos espaços comunitários — entre eles o do centro de dia da Nossa Senhora dos Anjos, em Lisboa. Para muitos dos seus utentes as atividades do centro de dia eram os únicos momentos de interação social do seu quotidiano. A pandemia revelou-se especialmente difícil para a geração mais idosa, que se viu confinada em casa, em situações de solidão extrema. Foi neste contexto que recebi um convite urgente do LARGO Residências para desenvolver uma iniciativa artística com os utentes do centro de dia da N. Sra. do a Anjos.
O projeto “retratos de família” fez parte dessa iniciativa. Foi o primeiro que realizei depois da ocorrência da pandemia. Foram várias semanas de recolha das imagens e histórias de vida das diferentes utentes. A recolha consistia em visitas às suas casas e a uma conversa que decorria ao ritmo da viragem das páginas dos seus álbuns de família. Estórias de vida com muitas pausas e recomeços.
Desta iniciativa nasce o projeto a "avó não me contou": uma recolha-em-progresso das histórias e imagens de vida da geração mais antiga de mulheres em diferentes partes do mundo. Re-construo, através do desenho, uma narrativa feminina da história que ficou por escrever. Em Janeiro de 2022, regresso às imagens recolhidas no espaço mais uno +1.
Fotografia: Nicole Sánchez
Os estúdios fotográficos de rua representaram durante décadas um lugar de celebração, de reunião, de ritual, onde pessoas, amigos e famílias se juntavam em ocasiões especiais (e não só), enfeitando-se com o seu vestido mais bonito ou mais brilhantina no cabelo do que era habitual. Ao mesmo tempo, estes estúdios tornavam-se também um local de arquivo: nas suas montras agregavam-se os rostos aperaltados da vizinhança, as fotografias de passe, os retratos de família, ou as imagens do bebé que acabava de nascer. Via-se espelhado cada rosto que construía esse bairro, essa comunidade, essa família extensa.
Ao reconstruir no espaço-projecto mais uno +1 este “estúdio do bairro”, Nicole procura confortar a nostalgia por um lugar de encontro consumido pelo tempo. Durante um mês, os vizinhos poderão de novo colocar a sua melhor gravata, usar o seu verniz mais brilhante, e unirem-se para uma foto. Uma foto que podem levar para casa, emoldurar, e colocar na parede da sala, para relembrar que, afinal, pertencem a algo mais uno. Como uma montra, o Largo Café Estúdio apresenta os resultados do "Estúdio de Bairro" que foi montado em Dezembro de 2021
Fotografia: Nicole Sánchez
Fotografia: Inês Gil Silva (Sounds Like a Plan Photography)
mais uno +1
"Domingos de Criação"
Em plena ditadura militar no Brasil — e três anos antes do seu fim em Portugal — aconteceram em 1971, no Museu de Arte Moderna do Rio de Janeiro, os “Domingos de Criação”. Pela iniciativa de Frederico Morais, e pela ação e imaginação das centenas de pessoas que se foram reunindo, a cada domingo sucedeu-se um acto de criação, diálogo e celebração colectiva. Esta acção assumiu-se como um verdadeiro rasgo político numa altura em que a liberdade não era uma possibilidade.
Em Março de 2022, no Largo do Intendente, em Lisboa, relembrámos os “Domingos de Criação” no Largo Café Estúdio. Como parte da Cooperativa Cultural LARGO Residências, também aqui foram acontecendo muitos Domingos dedicados à cultura e à arte. Ao longo dos últimos 10 anos, o Café tem pulsado neste LARGO como centro de encontro e diálogo do Bairro Intendente.
Nestas últimas acções do Largo Café Estúdio no Largo do Intendente, convidámos a sua comunidade a criar connosco. Cada Domingo desse mês foi dedicado a uma forma de expressão — palavras, imagens, linhas, movimentos — em homenagem a todas as pessoas, artistas e trocas que por aqui passaram, e os diversos tipos de linguagem utilizados. Assim convidámos todos a despedirem-se do Café Estúdio, agradecer-lhe e dizerem que lhe pertencem, que vive em nós e continuará a perdurar no tempo.
Em simultâneo, no adjacente mais uno +1, acumulámos os afectos e expressões trocados ao longo destes Domingos num projecto de fanzine. A fanzine tornou-se um ateliê aberto, um projecto artístico, um processo participativo e uma exposição arquivo, onde as palavras ditas, as imagens capturadas, as linhas desenhadas e os movimentos realizados foram unidos e imortalizados em cada das suas páginas.
Em Março de 2022, no Largo do Intendente, em Lisboa, relembrámos os “Domingos de Criação” no Largo Café Estúdio. Como parte da Cooperativa Cultural LARGO Residências, também aqui foram acontecendo muitos Domingos dedicados à cultura e à arte. Ao longo dos últimos 10 anos, o Café tem pulsado neste LARGO como centro de encontro e diálogo do Bairro Intendente.
Nestas últimas acções do Largo Café Estúdio no Largo do Intendente, convidámos a sua comunidade a criar connosco. Cada Domingo desse mês foi dedicado a uma forma de expressão — palavras, imagens, linhas, movimentos — em homenagem a todas as pessoas, artistas e trocas que por aqui passaram, e os diversos tipos de linguagem utilizados. Assim convidámos todos a despedirem-se do Café Estúdio, agradecer-lhe e dizerem que lhe pertencem, que vive em nós e continuará a perdurar no tempo.
Em simultâneo, no adjacente mais uno +1, acumulámos os afectos e expressões trocados ao longo destes Domingos num projecto de fanzine. A fanzine tornou-se um ateliê aberto, um projecto artístico, um processo participativo e uma exposição arquivo, onde as palavras ditas, as imagens capturadas, as linhas desenhadas e os movimentos realizados foram unidos e imortalizados em cada das suas páginas.
Fotografia: Nicole Sánchez, LARGO Residências, e Zé Luís C.
BROWSE THROUGH THE FULL ZINE BY CLICKING ON THE IMAGE
Picoas project space
Located inside Picoas Metro Station in Lisbon since march 2024, this spaces offers a unique possibility of showcasing artitst’s works while being publicly acessible to anyone. It revolves around artist’s studio creating a new dynamic of cultural offers inside central urban area.
This space is a partnership with METROCOM which provides spaces rent-free for cultural and artistic initiatives. While we keep the space this way, occupiers have a daily payment towards expenses such as light consumption and insurance. We offer curatorial assistance and a white canva for you to work on.
We are looking forward to get your proposal. Check the OPEN CALL here.
— project duration
2024 - ongoing
2024 - ongoing
— project location
Metro station PICOAS
Metro station PICOAS
— partners and sponsors
METROCOM
ASTRATEC
LIZ MELCHOIR
METROCOM
ASTRATEC
LIZ MELCHOIR
Vitrine
Over 6 weeks we developed different installations in our project space at Picoas Metro station. The shop was used as a space and site for creative exploration and ephemeral displays.
— project duration
30.07.2024 - 13.09.2024
30.07.2024 - 13.09.2024
— curators
Aino Garcia Vainio | Joyce Ward | Sophia Niederkofler
Aino Garcia Vainio | Joyce Ward | Sophia Niederkofler
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.
The framework for this project was both a challenge and a guiding principle: to create engaging installations with no additional costs, minimal waste, and maximum ingenuity. Each week, we developed a new idea collaboratively, coming together on the day to brainstorm and transform the “vitrine” with different installations. The vitrine, traditionally associated with the presentation of valuable or fragile objects in museums and retail environments, has long been a symbol of preservation and curation. In its essence, the vitrine frames objects within a transparent barrier, creating a space where viewers engage with what is displayed while remaining physically separate. This separation invites contemplation, imbuing everyday or found objects with an aura of significance. By isolating items in a controlled environment, the vitrine recontextualizes them, transforming the mundane into the extraordinary.
For the installations and displays we utilized materials from our storage, objects found on the streets, and items lent to us by friends, we prioritized sustainability and emphasized the reuse of discarded or forgotten materials. Our process was inherently collaborative, relying on the synergy of collective effort and hands-on experimentation. The result was a series of dynamic, ever-changing installations that evolved weekly. By stepping away from traditional exhibition models, we aimed to reimagine the role of a space in transition and the transformative potential of shared creativity.
Here you can have a look at the 5 different topics and see photos and read the artistic statements:
For the installations and displays we utilized materials from our storage, objects found on the streets, and items lent to us by friends, we prioritized sustainability and emphasized the reuse of discarded or forgotten materials. Our process was inherently collaborative, relying on the synergy of collective effort and hands-on experimentation. The result was a series of dynamic, ever-changing installations that evolved weekly. By stepping away from traditional exhibition models, we aimed to reimagine the role of a space in transition and the transformative potential of shared creativity.
Here you can have a look at the 5 different topics and see photos and read the artistic statements:
#1 DISPLAY SURFACE
This vitrine displays a series of half-objects or broken entities that stand individually in the room but also, depending on the standpoint of the observer, in relation with one another. On the right side of the vitrine hangs an anthropomorphic cartoon-marionette figure, partly covered by shiny black matter, which stands in contrast with the white metro ghost almost at the same height 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 Niederkofler). 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 brushes 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 glass transmits the conception of being shown 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 standpoint, they will always also stand in relation to one or more groups of objects. This way not only is it 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.
Artists: Joyce Ward, Sophia Niederkofler, Aino Garcia Vainio, MoMO Gallery, Clem
Curators: Joyce Ward, Sophia Niederkofler, Aino Garcia Vainio
Text: Aino Garcia Vainio
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 glass transmits the conception of being shown 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 standpoint, they will always also stand in relation to one or more groups of objects. This way not only is it 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.
Artists: Joyce Ward, Sophia Niederkofler, Aino Garcia Vainio, MoMO Gallery, Clem
Curators: Joyce Ward, Sophia Niederkofler, Aino Garcia Vainio
Text: Aino Garcia Vainio
#2 SHADOW BORDERS
The #2 vitrine sees a spatial dialogue between shadows, floating entities and a long closed line on the floor, all of these entities being white. Perhaps the first element the viewer is confronted with, are the shadows of hands projected on a white background on the wall. Indeed, in order to see the rest of the composition, it is necessary to come closer to the vitrine, since the floating bubbles that look almost like clouds and the border-line are (almost) laying on the ground.
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
Artists: Joyce Ward, Sophia Niederkofler, Aino Garcia Vainio
Curators: Joyce Ward, Sophia Niederkofler, Aino Garcia Vainio
Text: Aino Garcia Vainio
#3 SCREAM ROOM
The "Scream Room" is a conceptual installation which locks screams as human emotions in a glass vitrine inside Picoas Metrostation. In the first phase of the project we invite passerbys, and others to think about a scream as an explosion of emotions in a raw form, which is often suppressed in society. We are looking for screams of fear, happiness, anger, stress-ventil, …
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
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
#4 SURFACE ORDER
In this vitrine there are three quite isolated elements standing on three layers. The first layer is a black wrap on the glass that has been ripped in order to give the impression of a broken mirror that opens the door to a distorted reality. On the second layer there is a self standing installation constructed by random real or reality-resembling objects that develop vertically, from the roots to the top. On the wall in the background there is a writing “SURFACE ORDER”, an art statement by MoMO Gallery.
Surface Order, two words that together do not have a given meaning, standing alone and coupled play with the perception of the viewer. Influenced by the personal experience as well as from the installation standing in front of it, the viewer will perceive the association of these words in a personal unique way. The order is also challenged by the installation in the middle of the room. The vertical assemblage of random half-real objects chaotically put together to achieve a form looks like it is growing by itself, almost as if it was immune to artificial imagination. Lastly, the surface of the vitrine is reigned by a strong black outline, most of it being covered by a leather-resembling material. The setting looks like a broken mirror, which apart from being eye-catchy, is both threatening and gives hope at the same time, being a portal to an immaculate word or representing a surface order.
Artists: Sophia Niederkofler, Aino Garcia Vainio
Curators: Sophia Niederkofler, Aino Garcia Vainio
Text: Aino Garcia Vainio
Artists: Sophia Niederkofler, Aino Garcia Vainio
Curators: Sophia Niederkofler, Aino Garcia Vainio
Text: Aino Garcia Vainio
#5 SCREAM-SCAPE
Building upon the concept of the #3 Scream Room installation, this continuation transforms the vitrine into an archive and embodiment of human emotions. In the aftermath of the initial call for screams 22 screams were collected. Each of them is an auditory imprint of a distinct emotional state in different situations. From stress to joy, fear to amusement, these screams compose a raw, vocal landscape of emotions, reflecting the breadth of human experience through the unfiltered act of release.
At the heart of the installation lies the Box of Origin, a container both literal and symbolic. It houses the collection of screams and serves as a reminder of their shared humanity: an assemblage of singular expressions, yet universally resonant. This central object offers visitors a contemplative point of focus amidst the fragmented chaos of strings coming out of the inside of the box. Each black string is attached to one starting point of a contour line forming a landscape on the glass.These threads create a visual dialogue between human emotion and the natural world, forging a poetic connection between the inner landscapes of feeling and the physical terrain of the earth. It is a catalyst for an exploration of one's own emotional topography.
Artists: Joyce Ward, Sophia Niederkofler, Aino Garcia Vainio
Curators: Joyce Ward, Sophia Niederkofler, Aino Garcia Vainio
Text: Sophia Niederkofler
Ministry of Strange Affairs x MAISUNO +1 | Berry the sun
Ministry of Strange Affairs x MAISUNO +1 | Berry the sun
— project duration
01.06.2024 - 07.06.2024
01.06.2024 - 07.06.2024
curators
Aurelie D’incau | Eugenia Bianchessi | Ioanna Kaloudioti | Kalle Hübel | Léa Heudes | Sophia Niederkofler
Aurelie D’incau | Eugenia Bianchessi | Ioanna Kaloudioti | Kalle Hübel | Léa Heudes | Sophia Niederkofler
Travel agencies sell experiences in beautiful places. They sell sun and sand, beautiful views, local food and happiness. They make it look like the experience is effortless, affordable and unforgettable. At Berry the sun, we also sell sand and sunshine but everything is slightly off or rather inside out, the travels are extremely cheap, the guided tours not quite factful and the unforgettable memories we try to create are in very very very hidden places. In fact, the travel experience we are selling are the most hidden, not even the sun, our eternal guide to happiness, can reach it: in the metro.
The metro is a public space, a neutral place, a non space and a place of transition. It is one of the rare spaces where we briefly share our living space with all kinds of social strata, backgrounds and interests. The reason for this is that in its very essence, the metro is never our destination, it is the most mundane activity one can do and yet it has a democratic performative aesthetic of its own. It is the symbol of movement and interconnectedness.
At Berry the sun, we therefore use humour to twist the meaning of the travel destination and propose to the audience, as an antithesis of sightseeing, to experience the metro and the travel therein as the most unique of all travel experiences.
The metro is a public space, a neutral place, a non space and a place of transition. It is one of the rare spaces where we briefly share our living space with all kinds of social strata, backgrounds and interests. The reason for this is that in its very essence, the metro is never our destination, it is the most mundane activity one can do and yet it has a democratic performative aesthetic of its own. It is the symbol of movement and interconnectedness.
At Berry the sun, we therefore use humour to twist the meaning of the travel destination and propose to the audience, as an antithesis of sightseeing, to experience the metro and the travel therein as the most unique of all travel experiences.
Photos by: Nicole Sánchez
During the week, the Agency offered different services like guided tours,experiences and selling of very peculiar gadgets.
The guided tours offered were:
Sunsetive tour:
In this guided tour we take Berry the sun to places it has never seen. Join to experience the metro in a new light and come to (all of) your senses as we go underground!
The guided tours offered were:
Sunsetive tour:
In this guided tour we take Berry the sun to places it has never seen. Join to experience the metro in a new light and come to (all of) your senses as we go underground!
Tracing a way:
Straight metro lines begin to bend as we draw our path through the tunnels under Lisbon. In this guided tour we’ll map the metro with experimental sketching techniques.
Costumers could also join various experiences, such as:
Follow the sun:
We are all attracted to the sun - so chase it! A simple game in which you follow all (metaphorical) suns throughout the metro.
Come and get your instructions at our bureau in Picoas.
Commute for a day:
You want a truly authentic Lisbon experience?
We enable you to accompany someone on their daily way to work.
Find out what it means to live in the city and search for excitement in the mundane.
The project is meant to be developed in the future with different events and surprises.
We can't wait to find out where Berry will take us!
Straight metro lines begin to bend as we draw our path through the tunnels under Lisbon. In this guided tour we’ll map the metro with experimental sketching techniques.
Costumers could also join various experiences, such as:
Follow the sun:
We are all attracted to the sun - so chase it! A simple game in which you follow all (metaphorical) suns throughout the metro.
Come and get your instructions at our bureau in Picoas.
Commute for a day:
You want a truly authentic Lisbon experience?
We enable you to accompany someone on their daily way to work.
Find out what it means to live in the city and search for excitement in the mundane.
The project is meant to be developed in the future with different events and surprises.
We can't wait to find out where Berry will take us!
FOLLOW @BERRYTHESUN__ON INSTAGRAM TO STAY UPDATED!
Play(The Under)ground
MaisUno +1 presents the Play(The Under)ground project, which provides a creative space for anyone who wants to show their own art in a space that has direct contact with the city's public.
project duration
march - december 2024
march - december 2024
project site
Metro Picoas
Metro Picoas
partner entities
METROCOM | ASTRATEC | LIZ MELCHOR (Curious Monkey)
METROCOM | ASTRATEC | LIZ MELCHOR (Curious Monkey)
curators 2024
Aino Garcia Vainio | Eugenia Bianchessi | Ioanna Kaloudioti | Joyce Ward | Kalle Hübel | Karina Zelonka | Léa Heudes | Sophia Niederkofler
artists
Mais Uno +1 | Malibu Ninjas | Argelia Bravo | Max Provenzano | Sandra Viva | Juan Carlos Urrutia | Eliseo Solís Mor | Muu Blanco Carlo | Salazar-Lermont | Ignacio Pérez Pére | Macjob Parabavis | Dixon Calvetti | Flix | Ana Andrè | Greg Hannan | Aurelie D’incau
The goal of the project space is bringing art in the underground, in order to explore the unique dynamics and challenges of working in unconventional spaces like metro stations.
This is an ongoing open call and projects will be selected according to space availability and relevance of the proposal. You can apply individually or collectively.
For more details and to submit your application
CLICK HERE
— Events
Play(The Under)ground
project-space is an open studio which seeks to explore incremental relationships between a shop at Picoas Metro station
+ the territory
+ artist(s) in process
+ the community
+ you
Welcome!
︎ the mais uno project space over the past months
project duration
2025
2025
project site
Metro Picoas
Metro Picoas
partner entities
METROCOM | ASTRATEC | LIZ MELCHOR (Curious Monkey)
METROCOM | ASTRATEC | LIZ MELCHOR (Curious Monkey)
curators 2025
Anika Borko | Frederike Antonia Ohnewald | Lyuba Hrisimova| Natalia Bošković | Sophia Niederkofler
Anika Borko | Frederike Antonia Ohnewald | Lyuba Hrisimova| Natalia Bošković | Sophia Niederkofler
artists
mais uno +1 | Runa Marie Dubrow | Anna Rebecca Unterholzner | Lobby Teatro | Alfonso Gorostiag | Ludmila Nawrotzki | Kiki and Aurélie d’Incau | Trying to get under the surface - reading session | Micaela Guedes and Carina Prazeres | Hanna Sander | Sibel Koschinski | Loop tube | Constança Villaverde Rosad | João Malato Correia | Maria Shargátova |
Pedro Feio and Francisco Damascêno dos Santos | XIX collective | Bernardo Soare | Marana Barros | Courtney Askey | Mihaela Rašica | Louisa Henriques | Diogo Cortesão | BiMosaic | Aphantos Collective | Ana Andre | Artéria | Margarita MIRORI | Institute of Machine Unlearning | Liz Melchor
mais uno +1 | Runa Marie Dubrow | Anna Rebecca Unterholzner | Lobby Teatro | Alfonso Gorostiag | Ludmila Nawrotzki | Kiki and Aurélie d’Incau | Trying to get under the surface - reading session | Micaela Guedes and Carina Prazeres | Hanna Sander | Sibel Koschinski | Loop tube | Constança Villaverde Rosad | João Malato Correia | Maria Shargátova |
Pedro Feio and Francisco Damascêno dos Santos | XIX collective | Bernardo Soare | Marana Barros | Courtney Askey | Mihaela Rašica | Louisa Henriques | Diogo Cortesão | BiMosaic | Aphantos Collective | Ana Andre | Artéria | Margarita MIRORI | Institute of Machine Unlearning | Liz Melchor
As a continuity of 2024, we are up and running a cultural space in lisbon’s underground station of Picoas.Together with artists from different fields, we will fill a 20m2 room with a diverse range of projects, ideas, workshops, exhibitions, performances, theatre, performance, video art.
The goal of the project space is narrow the space between pblic and artists by having a public space on a public transport system, in order to explore the unique dynamics and challenges of working in unconventional spaces like metro stations.
We have an ongoing open call and projects will be selected according to space availability and relevance of the proposal. You can apply individually or collectively.
For more details and to submit your application. CLICK HERE
The goal of the project space is narrow the space between pblic and artists by having a public space on a public transport system, in order to explore the unique dynamics and challenges of working in unconventional spaces like metro stations.
We have an ongoing open call and projects will be selected according to space availability and relevance of the proposal. You can apply individually or collectively.
For more details and to submit your application. CLICK HERE
— Events
RUNA MARIE DUBROW
The future is dry
LOBBY TEATRO
The film Dixney never made
ALFONSO GOROSTIAG
(no one)’s land
(no one)’s land
MICAELA GUEDES AND CARINA PRAZERES (Time for the Oniric)
UNDERNEATH
HANNA SANDER
Very first exhibition
JOÃO MALATO CORREIA
Resquícios de tempos conturbados
XIX COLLECTIVE
XIX meeting ground
BERNARDO SOARES Sinestético Open Week
MARANA BARROS
Céu de Dentro
DIOGO Cortesão
Flores, Lobos
Flores, Lobos
BiMOSAIC
Un/hidden: a collection of bi+ voices
Un/hidden: a collection of bi+ voices
APHANTOS COLLECTIVE
All Things Must Go: A Ritual Performance on the Observance of Loss
All Things Must Go: A Ritual Performance on the Observance of Loss
DUALGO
Processo de Algo Em Curso
dualgo is a creature bred out of the necessity for creation. Intimate friend of Duarte Gil Ferreira, dualgo is the search for something which it finds repeatedly at the tip of its pencil. Working primarily through drawing, dualgo explores different outlets to express the same old something he can’t ever put a finger on – algo – making its way through photography work, illustrations and animation. Basquiat painted ‘Samo esta en algo’; dualgo says ‘algo esta en samo’.
PROJECT
The space of a subway store becomes the artist’s open studio for 3 days, where the variety of works dualgo has accumulated over the years are displayed on the walls, inviting a closer look to all the things something can be.
PROJECT
The space of a subway store becomes the artist’s open studio for 3 days, where the variety of works dualgo has accumulated over the years are displayed on the walls, inviting a closer look to all the things something can be.
ANNA REBECA UNTERHOLZNER
Connecting with our inner feelings <womb>
Connecting with our inner feelings <womb>
In the exhibition Connecting with our Inner Feelings,
The first project, Daily Cyclical Affirmations, is a collaborative work by aru and duaraconcept, a cyclical mentor and feminine yoga teacher. The project was co-created as a daily invitation to connect with oneself, with cyclical rhythms, emotions, and nature. The result is an analog earthy affirmation card deck designed for all people—regardless of gender, menstrual regularity, or the presence of a uterus. It encourages reflection on cyclical living and embodied awareness. The digital version is available in the IOS store for iPhone.
During the exhibition, a public conversation on cyclical living with duaraconcept (online) and aru took place at Picoas metro station on 18.01.25.
The second project, “womb feelings,” consists of a series of illustrations exploring the relationships between nature, the brain, the womb, and the life cycle.
JULIA DŻBIK,SOPHIA NIEDERKOFLER
Trying To Get Under The Surface
Trying To Get Under The Surface
In the format of gatherings taking place inside the Picoas metro station, we read aloud short stories, essays, articles or pre-chosen parts of publications. Originated from an idea of Community Economies iceberg, representing diverse economic relations, as a purpose of literal trying to see below the surface in neoliberal capitalism. Here knowledge sharing can become a tool for our collective imagination reaching beyond today’s society limitations.
Through practice of deep listening explained by Pauline Oliver’s as one that „involves in going below the surface of what is heard, expanding to the whole field of sound while finding focus” – we’re exploring connections to one another, our environment and its habitants. Bridging together authors and any (complex) concepts, that might keeps us up at night.
These sessions might spark some discussions or even action, or maybe just offer what’s possible. If you have any ideas for publications to read together or want to get involved in this project feel free to contact us maisunomaisum@gmail.com; juliakatarzynadzbik@gmail.com
20.01.2025
The Social Turn – Collaboration and its Discontents in Artificial Hells: Participatory Art and the Politics of Spectatorship (2012) by Claire Bishop
17.02.2025
The Tyranny of Structurelessness (1970) by Jo Freeman
10.03.2025
Who is it for? Art and social practice in a time of slow burn crisis (2022) by Raphael Vella and Margerita Pulè
04.11.2025
Hard (2014) & That Old Wall (2025) by Sara Ahmed, the feminist killjoy
04.12.2025
DIT Do It Together. The position of the artist in today’s art world (2019) by Delphine Hesters
Play(The Under)ground
MaisUno +1 presents the Play(The Under)ground project, which provides a creative space for anyone who wants to show their own art in a space that has direct contact with the city's public.
project duration
january- december 2026
january- december 2026
project site
Metro Picoas
Metro Picoas
partner entities
METROCOM | ASTRATEC | LIZ MELCHOR (Curious Monkey)
METROCOM | ASTRATEC | LIZ MELCHOR (Curious Monkey)
curators 2026
artists
Institute of Machine Unlearning | Maria Ilieva | Sibel Koschinksi | Julia Dżbik | Elise Love-McCorkle | Collage Working Club | Villa Karpatia | Júlia Lema Barros | Tiger Noetic | Miranda DÁvila Winter | Antonio José Chaves da Costa | Lisbon Drawing Club | Anna-Maria Görnandt | Boglárka Galsi | Panni Somody | Anna Martincsák | Zachos Siagkas | Vince Szluha | Riddle | SWEEVIL | Iriz World | João Casanova | Oriana Pérez | Johanna Degenstein |
As a continuity of the last two years, the goal of the project space is bringing art in the underground, in order to explore the unique dynamics and challenges of working in unconventional spaces like metro stations.
This is an ongoing open call and projects will be selected according to space availability and relevance of the proposal. You can apply individually or collectively.
For more details and to submit your application
CLICK HERE
— Events
ANTONIO JOSÉ CHAVES DA COSTA
Os Que Vivem Cá Dentro
GROUP EXHIBITION
Mind the Girls
GROUP EXHIBITION
Cheap Pots
MIRANDA DÁVILA WINTER
Arcana
VILLA KARPATIA
M.L.D.S. (Multidimensional Leak Detection System)
ELISE LOVE-McCORCKLE
For Your Ring
READING SESSION
Trying to Get Under the Surface
MAISUNO +1
Still Down Here
JOHANNA DEGENSTEIN
Love > War
VILLA KARPATIA
Madrugada para oito
ORIANA PÉREZ
Open Studio
VILLA KARPATIA
Payment Pending
JOÃO CASANOVA
Esta Exposição Já Não É Esta Exposição
MaisUno +1
“Poets Passing By”
“Poets Passing By”
Part 1
From the 6th to the 19th of April 2024, we embarked on a creative journey by collecting poems, thoughts, and texts from people passing by our space in the metro station. We invited them to express themselves by writing on post-its or contributing to the large paper displayed on our wall.
On the last day of the project, we hosted an inspiring poetry slam, featuring many talented writers who captivated the audience with their poems.
Building on the success and enthusiasm generated by this initiative, we decided to continue our project with an exhibition. From the 18th to the 20th of May, the collective poem created from the contributions we received will be showcased along the works presented on the poetry slam event.
Moreover, our mission to infuse the city with the magic of poetry, will become a reality thanks to the spread of the poems exhibited throughout the city of Lisbon.
From the 6th to the 19th of April 2024, we embarked on a creative journey by collecting poems, thoughts, and texts from people passing by our space in the metro station. We invited them to express themselves by writing on post-its or contributing to the large paper displayed on our wall.
On the last day of the project, we hosted an inspiring poetry slam, featuring many talented writers who captivated the audience with their poems.
Building on the success and enthusiasm generated by this initiative, we decided to continue our project with an exhibition. From the 18th to the 20th of May, the collective poem created from the contributions we received will be showcased along the works presented on the poetry slam event.
Moreover, our mission to infuse the city with the magic of poetry, will become a reality thanks to the spread of the poems exhibited throughout the city of Lisbon.
Photos by: Nicole Sánchez
“Poets Passing By” - the exhibition
Part 2
After the event, the poems collected were exhibited in the Picoas metro space, where people could come and read them.
The various poems were also spread around the city. A map would lead the visitors of the exhibition to discover which corner of the city might’ve hold a poem for them!
After the event, the poems collected were exhibited in the Picoas metro space, where people could come and read them.
The various poems were also spread around the city. A map would lead the visitors of the exhibition to discover which corner of the city might’ve hold a poem for them!
Photos by: Nicole Sánchez