Art shatters Porto’s everyday life

Contemporaneity has given more independence and autonomy to the creation of artistic projects and platforms. The bond between exhibitions and the institutional constraints of museums and galleries is no longer dominant, opening up space for dialogs between other venues and works of art. In this sense, an exhibition in a station or warehouse is as valid as a museum one. Through the intended discourse and environments, the artist and curator look for more convenient spaces, beyond any standard or rule.

Michael von Hafe Pérez finds in the stations of Porto Metro shelter for artists and their productions. He tries to articulate art’s confrontation with everyday life, with the city’s heritage, giving at the same time visibility to the artist’s perspective on the world around him/her. Deprived of media outlets, this is a contribution to give voice and place for art and artists. According to the curator, “the voice of art does not solve problems, does not feed political, ethical or social solutions, but presents itself as the possible discourse for a specific and unique look on the world”.

Ver as Vozes dos artistas (organized by Saco Azul and Maus Hábitos) can be seen until 22 September in several stations of the Porto Metro system (Aliados, Campo 24 de agosto, Casa da Música, Combatentes, Heroísmo, Marquês e Trindade), and relies on the work of artists of several nationalities, in particular, Adriano Costa, André Sousa, Andreas Fogarasi, António Olaio, Cabelo, Cristina Lucas, Cristina Mateus, Daniel Barroca, Eduardo Matos, Fernando José Pereira, Fernando Sánchez Castillo, Francisco Queirós, Franck Scurti, Grazia Toderi, Gilberto Zorio, Graham Gussin, Hugo Canoilas, Ian Waelder, Ignasi Aballí, Isabel Carvalho, Ivan Grilo, José Damasceno, Julião Sarmento, Livia Flores, Marinella Senatore, Mark Manders, Mauro Cerqueira, Melik Ohanian, Miguel Palma, Muntadas, Pedro Cabrita Reis, Pedro Tudela, Ricardo Basbaum, Rigo 23, Rui Moreira, Sónia Neves, Teresa Henriques, Vera Mota, Von Calhau!, Yorgos Sapountzis.

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