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X-WR-CALNAME:Centro Cultural de Belém Foundation
X-ORIGINAL-URL:https://www.ccb.pt/en/
X-WR-CALDESC:Events for Centro Cultural de Belém Foundation
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TZID:Europe/Lisbon
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TZNAME:WEST
DTSTART:20260329T010000
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DTSTART:20261025T010000
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BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260509T110000
DTEND;TZID=Europe/Lisbon:20260908T110000
DTSTAMP:20260529T200102
CREATED:20231024T115520Z
LAST-MODIFIED:20260518T080736Z
UID:271212-1778324400-1788865200@www.ccb.pt
SUMMARY:Activities for Families
DESCRIPTION:
URL:https://www.ccb.pt/en/evento/activities-for-families/2026-05-09/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Ativities,Families,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2023/10/atividadesparafamiliasmuseu.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260517T110000
DTEND;TZID=Europe/Lisbon:20260916T110000
DTSTAMP:20260529T200102
CREATED:20231024T115520Z
LAST-MODIFIED:20260518T080748Z
UID:281270-1779015600-1789556400@www.ccb.pt
SUMMARY:Activities for Families
DESCRIPTION:
URL:https://www.ccb.pt/en/evento/activities-for-families/2026-05-17/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Ativities,Families,MAC/CCB
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260524T110000
DTEND;TZID=Europe/Lisbon:20260923T110000
DTSTAMP:20260529T200102
CREATED:20231024T115520Z
LAST-MODIFIED:20260518T080751Z
UID:281271-1779620400-1790161200@www.ccb.pt
SUMMARY:Activities for Families
DESCRIPTION:
URL:https://www.ccb.pt/en/evento/activities-for-families/2026-05-24/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Ativities,Families,MAC/CCB
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260524T110000
DTEND;TZID=Europe/Lisbon:20260531T110000
DTSTAMP:20260529T200102
CREATED:20250731T160224Z
LAST-MODIFIED:20260520T160427Z
UID:265278-1779620400-1780225200@www.ccb.pt
SUMMARY:Constitution - Premiere
DESCRIPTION:Theatre  \nWhat are we made of? As human beings and as a society? How does the way we organize ourselves collectively inspire and disrupt our personal relationships? And how is a country constituted?\nMoving between the personal and the political\, this performance departs from the Constitution of the Portuguese Republic\, in force since 1976. Taking the form of an assembly\, the work invites the audience to undertake a journey through different chapters of the constitutional text\, encouraging an engagement with the poetic dimension of its words. \n  \nProject created within the framework of the partnership between Centro Cultural de Belém/Fábrica das Artes and the Assembleia da República. \n  \nPhoto ©Assembleia da República\nIllustration from Mantraste\, Voltas e Reviravoltas (2nd volume of the Mission: Democracy Collection)
URL:https://www.ccb.pt/en/evento/a-constituicao/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Conferences and Talks,Fábrica das Artes,Families,Performances,Theatre
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/05/Missao-Democracia_A-Constituicao_creditoMantraste-scaled-e1748960403470.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T080000
DTEND;TZID=Europe/Lisbon:20261028T170000
DTSTAMP:20260529T200102
CREATED:20250128T121840Z
LAST-MODIFIED:20250922T160107Z
UID:213352-1780128000-1793206800@www.ccb.pt
SUMMARY:Guided Tours to the Centro Cultural de Belém Building
DESCRIPTION:The Centro Cultural de Belém was designed to be a small city within a big city\, Lisbon. Where this building is located and what its relationship is with the surrounding environment\, who designed it\, how it was built and for what purpose\, its materials\, its architecture\, and even what some of the plants in its gardens are. These are some facts that we can discover in these guided tours. Created for schools (general public and university) or for organized groups\, they reveal the history of this building through a route that crosses it\, passing through its three modules: module 1 (Congress and Conference Centre)\, module 2 (Performing Arts Centre) and module 3 (MAC/CCB).
URL:https://www.ccb.pt/en/evento/guided-tours-to-the-centro-cultural-de-belem-building/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Ativities,MAC/CCB,School
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2020/03/visitasguiadasCCB©ritacarmo-7-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T080000
DTEND;TZID=Europe/Lisbon:20260816T170000
DTSTAMP:20260529T200102
CREATED:20250630T105102Z
LAST-MODIFIED:20260227T131113Z
UID:238770-1780128000-1786899600@www.ccb.pt
SUMMARY:James Webb There’s No Place Called Home (Belém\, Lisbon)
DESCRIPTION:tuuui trrrrrrrrrrrrrrrrr\, by James Webb (1975\, Kimberley\, South Africa)\, operates as two chapters in the same story—There’s No Place Called Home (Belém\, Lisbon) (2025) and Learning from Birds (2025). Most stories have\, at least\, a main character\, a setting\, and a time. The main character of this story is the song of a Woodland Kingfisher (Halcyon senegalensis)\, native to African regions south of the Sahara. The setting from which the birdsong can be heard is a magnolia located in the gardens of the MAC/CCB — Museu de Arte Contemporânea e Centro de Arquitetura (Museum of Contemporary Art and Architecture Centre)\, in Belém\, Lisbon. The other setting of the story is the space of Radio-Gallery Antecâmara\, in the Bairro das Colónias (Colonies’ Neighbourhood)\, in Lisbon\, from which the same bird calls can be heard. The time of the story is now\, 2025\, as well as the colonial times that remain in the public spaces of today. \nThere’s No Place Called Home (Belém\, Lisbon) (2025) is the latest iteration of the series There’s No Place Called Home (2004–). An ongoing intervention with twenty years of existence and approximately sixty unique versions\, it always follows the same methodology: once a tree is selected\, the song of a foreign bird—one that would never be found in that location—is chosen to be broadcast from audio speakers concealed in that tree. Birds and trees have a symbiotic relationship\, where each benefit from the other: birds help disperse seeds\, contributing to tree reproduction and biodiversity; trees\, in turn\, provide birds with shelter\, nesting sites\, and food (Faustino et al\, 2024). The species of trees that can be found everywhere in the planet are deeply rooted in colonial legacies. In (dis)placing a foreign birdsong in a tree\, James Webb is highlighting these colonial legacies. \nEuropean countries have extracted resources from their natural environments as a way of showing their imperial power\, for economic profit\, as well as for aesthetic reasons\, to showcase “exotic” plants in environments where they would never grow. At the same time\, European plants were intentionally introduced into colonised regions mostly for food production and survival\, but also for “aesthetic and nostalgic reasons” (Crosby\, 2004 in Lenzner et al\, 2022:1724). After colonialism\, the reorganisation of global trade intensified and accelerated the introduction of alien species worldwide (Lenzner et al\, 2022:1723).The extraction and displacement of trees disrupt these natural ecosystems\, impacting bird and tree populations\, and ultimately humans: when a tree is placed in a foreign location\, it will attract other species of birds\, which in turn will respond differently to the environment. \nThe birdsong in the Lisbon iteration of There’s No Place Called Home is planted in two settings charged with colonial legacies. The neighbourhood of Belém\, where MAC/CCB is located\, is filled with monuments celebrating the colonial and imperial times of Portugal: Praça do Império (Imperial Square); Belém Tower; Jerónimos Monastery; Monument to the Discoveries; Belém Palace; and the Monument to the Overseas Fighters. In turn\, the practices of colonialism embedded in the landscape are visible not only in the species of plants that can be found in all public parts of these monuments but also in the Tropical Botanical Gardens (formerly named Colonial Gardens)\, with more than 600 foreign species. On the website\, the description of the Gardens reads: “With a strong educational vocation\, with a view to exploring former colonies\, especially in Africa\, [the Garden] was considered an indispensable basis for teaching because a live example is essential for the demonstration to be rigorously scientific and educational” (2025). The use of the term “exploring” in the contexts of colonialism and imperialism is telling. \nThe second chapter of James Webb’s project\, at Radio-Gallery Antecâmara\, is situated in the former Bairro das Colónias (Colonies’ Neighbourhood)\, composed of streets named Angola\, Guiné\, Príncipe Island\, S. Tomé Island\, Macao\, Mozambique\, Timor\, and Zaire\, after former Portuguese colonies. Both urban sites represent an idealised Portuguese national identity after the end of the colonial empire. As Ana Balona de Oliveira reminds\, these sites echo “the grand narrative of the so-called discoveries continues to deny the violent histories and memories of slavery and colonialism. This denialist narrative … remains deeply embedded in celebratory monuments\, many of which were built under the aegis of the Estado Novo dictatorial regime (1926–74)\, while others have been erected much more recently” (2022:229). \nThe incongruous vocalisations of the Woodland Kingfisher are transmitted into Radio-Gallery Antecâmara via an online camera through which they meet the recorded sounds of the natural environment where this species would normally be found. Somehow\, in this room\, the foreign bird is put back into its habitat. Webb does not intend this to be a seamless transition; he is calling attention to the glitch. Birds are a source of inspiration for humans\, possibly because they symbolise\, above all\, freedom\, which is something that both humans and non-humans have been deprived of beyond colonial times. Today\, the area where Radio-Gallery Antecâmara is located is inhabited by more than 45% of the international residents of Lisbon. This neighbourhood has been historically portrayed as a territory of migrants\, associated with crime and poverty\, a portrait that segregates and marginalises its inhabitants. As such\, it embodies the colonial processes that continue to marginalise diasporic communities today\, with the ongoing and growing gentrification processes. Inside the gallery\, the Woodland Kingfisher becomes a sonorous metaphor for Willem Flusser’s notion of freedom\, which he sees possible through the homelessness of the migrant (2003). As the title of James Webb’s series says\, “There’s no place called home.” \nAccompanying the recordings\, Learning from Birds (2025)\, displayed on one of the walls of the gallery\, consists of a collection of photographs\, quotes\, poems\, songs\, drawings\, and other bits of inspiration drawn from how we live with and learn from birds. These sampled and remixed materials translate James Webb’s curiosity and profound approach to sourcing and collecting not only sounds but also images\, texts\, and most notably questions from different disciplinary areas and sources\, reminiscent of the research methods of social scientists but also with the strangeness of mystics. \nThe vast repertoire of birdsong and their settings in the series There’s No Place Called Home invokes complex interconnections between human and non-human species as well as between different times and places. Our ancestors observed birds to divine changing weather\, tune into their calls as safety alarms against predators in the area\, and—like us—project their fantasies of flight and freedom onto them. Rather than Rachel Carson’s vision of a silent world without birdsong and diversity of species (1962)\,the poetic and political messages contained in There’s No Place Called Home leaves us wondering about the coexistence of past and present as well as of humans and non-humans\, and how such coexistence may help us speculate pluralistic futures. \nText and curation by Luísa Santos\nProject in collaboration with Galeria Antecâmara
URL:https://www.ccb.pt/en/evento/james-webb-theres-no-place-called-home/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Ativities,Installation,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/06/instalacao-artistica-de-james-webb_edited.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T100000
DTEND;TZID=Europe/Lisbon:20260530T180000
DTSTAMP:20260529T200102
CREATED:20240722T093123Z
LAST-MODIFIED:20251007T100233Z
UID:184602-1780135200-1780164000@www.ccb.pt
SUMMARY:Vanishing Intimacies. Surrounding Nan Goldin
DESCRIPTION:The exhibition Vanishing Intimacies: Surrounding Nan Goldin brings together 66 works by 36 artists\, primarily from the Holma/Ellipse Collection\, with additional contributions from the Berardo Collection\, Teixeira de Freitas Collection\, CACE\, and Casa das Histórias\, as well as the Galeria Filomena Soares. Showcasing a variety of media including painting\, sculpture\, photography\, and video\, the exhibition invites the public to view intimacy as a shared and evolving experience. \nVanishing Intimacies presents intimacy as the art of living and narrating life\, unfolding through habits\, desires\, and affections that shape our inner condition through their tensions\, imbalances\, and inclinations. Departing from notions of identity\, the intimacy here is not an act of isolation\, but an authentic expression of being\, both flexible and open to the surrounding world. \nDrawing on Nan Goldin’s work as a starting point\, the exhibition explores diverse themes linked to intimacy\, from the expressive practices of female artists challenging patriarchal norms to the introspective shifts of late 19th-century art that culminate in the surrealist and psychoanalytic tensions between self and other. Intimacy thus becomes a political act\, transforming the private into a collective experience\, shaping the shared reality we inhabit. \n 
URL:https://www.ccb.pt/en/evento/vanishing-intimacies-surrounding-nan-goldin/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2024/07/Nan-Goldin-L-CCB-e1721640630522.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T100000
DTEND;TZID=Europe/Lisbon:20260530T183000
DTSTAMP:20260529T200102
CREATED:20241122T094618Z
LAST-MODIFIED:20260527T102304Z
UID:273315-1780135200-1780165800@www.ccb.pt
SUMMARY:An Atlantic Drift
DESCRIPTION:An Atlantic Drift charts and unravels paths through the arts of the 20th century\, specifically the period from 1909 to 1977\, seeking to disrupt preconceived notions and established canons by bringing together references and artistic forms that are usually kept apart. The exhibition follows an erratic chronology\, marked by digressions and temporal leaps\, thereby revealing connections and confrontations between the European and American shores to suggest potential relationships and drifts often overlooked or absent from art history. \nThe Atlantic\, particularly from the mid-20th century onward\, becomes a crucial space for transits and exiles\, fostering new geopolitical affinities that have shaped modern subjectivities with repercussions that persist to this day. As a reinstallation of the permanent collection\, An Atlantic Drift presents a selection of Portuguese and international artists spanning painting\, sculpture\, drawing\, installation\, and graphic arts\, mapping out art as part of world history and portraying modernity as a multifaceted eruption of social\, artistic\, and technological transformations. \nFrom Pablo Picasso to Amadeo de Souza-Cardoso\, Lourdes Castro to Marcel Duchamp\, Andy Warhol to Wifredo Lam\, Maria Helena Vieira da Silva to Joaquín Torres-García\, Jackson Pollock to Malangatana\, and Lucio Fontana to Ana Hatherly—a total of around 160 artists—the exhibition unfolds in chapters that reveal the complexities of historical and artistic developments in the 20th century. This period\, marked by two World Wars in Europe and their aftermath\, as well as the revolutionary and decolonisation processes of the 1970s\, is also seen as a time of transformation that invites rethinking through new narratives. \nAs a permanently evolving permanent exhibition\, An Atlantic Drift offers a unique presentation of the collections on loan to MAC/CCB—mainly the Berardo Collection\, but also the Holma/Ellipse Collection\, the Teixeira de Freitas Collection\, and the Portuguese State Contemporary Art Collection. Nonetheless\, it also incorporates loans from collections in Portugal\, allowing for reimagining the place of Portuguese art within 20th-century artistic developments. \n  \nCurated by Nuria Enguita (Artistic Director at MAC/CCB) and Marta Mestre (curator at MAC/CCB)\nScientific advisor: Mariana Pinto dos Santos \n  \nGuided exhibition tours \n  \n◾ Sunday\, May 31\, at 11:00am | With Portuguese Sign Language interpretation\nFree participation with prior registration at servico.educativo.museu@ccb.pt \n  \n◾ Cross-cutting\, Tour in English\nAn Atlantic Drift. The Arts of the 20th Century Based on the Berardo Collection + May I Help You? Posso Ajudar? Arts and Artists from the 1970s Onwards\nSunday\, may 31 and june 13\, at 3:00pm\nFree participation with prior registration at servico.educativo.museu@ccb.pt \, and purchase of a museum entry ticket.
URL:https://www.ccb.pt/en/evento/an-atlantic-drift-20th-century-art-from-the-berardo-collection/2026-05-30/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,Exhibitions,MAC/CCB,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/03/Antonio-JorgeSilvaUma-Deriva-Atlantida-L-CCB-4K.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T100000
DTEND;TZID=Europe/Lisbon:20260530T183000
DTSTAMP:20260529T200102
CREATED:20241126T101100Z
LAST-MODIFIED:20260507T122003Z
UID:204828-1780135200-1780165800@www.ccb.pt
SUMMARY:Experiences of the World
DESCRIPTION:Experience involves perception\, imagination\, and memory; it implies desire and relates to action\, practice\, and thought. It is always both individual and collective\, internal and external. Each person experiences the world differently\, in a state of continuous transformation. The world moves—and with it\, everything that inhabits it. \nA museum is also a place of experience\, shaped by its architectural form\, the objects it presents\, and the relationships it establishes with those who inhabit and visit it. Experiences of the World brings together a selection of singular poetic “microcosms” in constant motion and transformation\, challenging our senses to open in multiple directions. From restlessness to wonder\, with moments of irony in between\, the invited artists critically engage our imaginative capacity\, putting our certainties to the test. \nHere\, objects are displaced from their everyday meanings\, out of scale\, in precarious balance\, with unexpected connections\, or altered in their materiality. Environments shift our perception\, testing the limits between physical properties and opposing elements—light and darkness\, sound and silence\, emptiness and presence. Moving and still images awaken imagination and memory. Literary languages and nonlinear writing take on plastic form in space. \nAnn Veronica Janssens\, Belén Uriel\, Eija-Liisa Ahtila\, Ernesto Neto\, Fernando Brito\, Fischli & Weiss\, Gabriel Orozco\, Horácio Frutuoso\, Mattia Denisse\, Mauro Cerqueira\, Mona Hatoum\, and William Kentridge shape this exhibition\, which ultimately speaks of art as experience—critical\, revelatory\, and poetic in its way of thinking about the world. \n 
URL:https://www.ccb.pt/en/evento/experiences-of-the-world/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2024/11/Vista-de-exposicao_AnnVeronicaJanssenscreditoAJS_MAC_CCB.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T100000
DTEND;TZID=Europe/Lisbon:20260530T183000
DTSTAMP:20260529T200102
CREATED:20241126T102440Z
LAST-MODIFIED:20250908T085607Z
UID:204823-1780135200-1780165800@www.ccb.pt
SUMMARY:Interspecies
DESCRIPTION:Interspecies delves into the historic and current desire for humans to understand\, connect with\, and coexist with other species. The exhibition unfolds in three stages: approaching\, cohabiting\, and conspiring. The journey outlines a critical perspective of the modern project and its logics of mass production and universalist progress. At the same time\, it unveils alternatives silenced by this narrative\, rescuing worldviews that predate the encyclopaedic division of knowledge and prioritising relationships over typologies. \nHere\, architecture is celebrated beyond its utilitarian function\, embracing its relational and critical capacities. As materials\, techniques\, and modes of spatial intervention always shape connections between places\, people\, and beings\, architecture’s “users” are understood to include humans\, birds\, plants\, minerals and others. Therefore\, attention is given to the tectonic\, economic\, social\, and ecosystemic variables of architecture. \nInterdisciplinary and interscalar approaches to spatial practice are celebrated. From building materials to video games\, cartographies\, technological gadgets\, poems\, models\, and sculptures\, a diverse range of knowledge and techniques is brought into dialogue. The limitations of the discipline are acknowledged\, as architecture cannot operate in isolation in the face of today’s complex climate and political challenges. \nInterspecies evokes the Romantic spirit insofar as it celebrates subjectivity and imagination\, and values poetic\, artistic\, and philosophical knowledge alongside scientific and technical knowledge. However\, it situates this spirit in the present—a time marked by post-humanist philosophy\, capitalist realism\, and an undeniable climate crisis. Rather than an appreciation of nature from a distance\, it proposes a sense of complicity and camaraderie from within\, embracing a position of interdependence and reciprocity. \n  \nInterspecies Research Studio: Anna Bertmark\, Fernanda Costa\, Valentina Demarchi\, Bernardo Gaeiras\, Mathilde Gouin\, Katerina Iglezaki\, Carlos Pastor\, Mariana Simões. \n  \nInterspecies features two interventions in the Museum gardens\, which will remain on view after the exhibition closes\, until 2 November 2025: one installation for people and birds\, by Studio Ossidiana; and another for people and fish\, created by the Superflex collective in collaboration with KWY.studio.
URL:https://www.ccb.pt/en/evento/interespecies/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Architecture Center,Exhibitions,MAC/CCB
ATTACH;FMTTYPE=image/png:https://www.ccb.pt/wp-content/uploads/2024/11/img_destaque_website_insterespecies-2000x940-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T100000
DTEND;TZID=Europe/Lisbon:20260530T183000
DTSTAMP:20260529T200102
CREATED:20241126T102707Z
LAST-MODIFIED:20260406T142702Z
UID:204875-1780135200-1780165800@www.ccb.pt
SUMMARY:Avenida 211
DESCRIPTION:Could one imagine a building in one of the most sought-after areas of Lisbon being entirely occupied by artists? Between 2006 and 2014\, such a singularity existed at 211 Avenida da Liberdade—which\, according to those who were its artist-tenants\, curators\, and frequent visitors\, was home to an unrepeatable experiment in the city’s contemporary art scene. \nFor nearly a decade\, the building’s four floors (owned by Banco Espírito Santo\, founded in 1869 and collapsed in 2014) housed several dozen artists\, musicians\, and curatorial projects. Occupation was free and temporary\, providing a degree of autonomy and flexibility beyond institutional models and commercial logics. \nThe story of this vital and vulnerable occupation sheds light on the Portuguese cultural context but also on the cycle of economic and political transformations and crises that swept across Portugal and Europe at the start of the 21st century. The global financial crisis of 2008–2009\, along with the Troika established to implement economic assistance between 2011 and 2014\, had a profound impact on the art scene\, imposing severe cuts that reshaped cultural policy and further worsened housing and working conditions. In the same period\, economic hardship also fuelled the rise of social movements\, sparking protests that passed along Avenida da Liberdade in Lisbon. \nOver the course of a process that culminated in the present “financialisation of cities\,” the very possibility of artistic communities existing at the heart of metropolitan centres was redefined. In this adverse context\, Avenida 211 was like a fold: a space where new forms of action\, knowledge\, and collective experience emerged. By the time it ended\, the city was no longer the same. \nThis exhibition stems from the collection and systematisation of testimonies and materials from the resident artists. Conceived as a “living archive\,” it brings together works and fragments that recall exhibitions\, collaborations\, and specific situations. Its aim is not to reconstruct unique experiences\, but rather to make visible the flows and connections between practices\, languages\, and artists\, as well as collaborations across generations. The network of trust and self-organisation that underpinned this adventure found a crucial partner in António Bolota\, a civil engineer and artist already engaged in non-profit artistic initiatives. \nAt the same time\, this research revealed that the experience of Avenida 211 took place in a period of transition\, even from a technological perspective: from paper to digital. Whilst little material was preserved on paper\, it was equally difficult to recover part of the digital archive\, stored on old hard drives. This\, too\, attests to the spontaneous\, authentic nature of the experience\, free from any intention of self-celebration. \nThe exhibition layout is structured around five possible readings of Avenida 211 that emerged in dialogue with the artists and in the exploration of the material: “A Rear-View Mirror\,” “A Studio of One’s Own\,” “An Echo Chamber\,” “A Lighthouse\,” and “Do-It-Ourselves.” The aim of this organisation is not to present a frozen past\, but rather a living network of experiences\, flows\, and intensities that continues to inspire and question the present. \n  \nThe research was carried out by Giorgia Casara and Sara De Chiara\, whilst the exhibition was curated by Nuria Enguita and Marta Mestre. Architecture by André Maranha\, and design by Sofia Gonçalves. The exhibition was produced by the MAC/CCB team. \n  \n Visit to the exhibition \n◾ Sunday\, January 25\, February 22\, and March 29\, at 11:00 a.m.\nFree admission\, subject to prior registrationto the email address servico.educativo.museu@ccb.pt  \n  \n◾ The Barber Shop presents Acid Communism by Mark Fisher\nSaturday\, March 14\, from 3:30 pm to 6:00 pm\nOne of the curatorial projects that found its home at no. 211 Avenida da Liberdade hosts a session dedicated to Acid Communism by the British thinker and k-punk author Mark Fisher. Curator Margarida Mendes and her guests reflect on forms of ephemeral conviviality and the imagination of alternative conditions for sociopolitical survival. The discussion is followed by a sound performance by Polido. \n  \nConversation in English. \nFree admission with prior registration through the form or servico.educativo.museu@ccb.pt. \n 
URL:https://www.ccb.pt/en/evento/avenida-211/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2024/11/ExpoAvenida211_13creditoAntonioJorgeSsilva_MACCCB-3.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T100000
DTEND;TZID=Europe/Lisbon:20260530T183000
DTSTAMP:20260529T200102
CREATED:20241126T102826Z
LAST-MODIFIED:20260406T142926Z
UID:204872-1780135200-1780165800@www.ccb.pt
SUMMARY:Place of Being
DESCRIPTION:In dialogue with Fernanda Fragateiro\, Filipe Feijão\, Mónica de Miranda\, Juan Araujo\, Lourdes Castro and João dos Santos Martins \nPlace of Being: The Burle Marx Legacy takes as its starting point twenty-two landscape projects for public spaces developed over the course of seven decades by Roberto Burle Marx (1909–1994) and his collaborators. Widely considered one of the most innovative landscape designers of the 20th century and a pivotal figure in shaping Brazil’s urban landscape\, Burle Marx is closely associated with the modern imaginary of cities like Brasília and Rio de Janeiro. \nAs a landscape architect with a deep interest in botany\, he expanded knowledge of Brazil’s native flora and identified dozens of endemic species\, while also warning of the urgent need for environmental conservation. His use of these species in landscape projects gave rise to a distinctively modern language that subverted the geometry and order of European gardens. The symbiotic lines and organic forms of his designs also reflect a strong affinity with modern art and architecture. For over forty years\, Burle Marx was a committed advocate for Brazil’s diverse biomes\, especially the Atlantic Forest\, the Amazon\, and the Cerrado. \nBringing together compositional studies\, sketches\, drawings\, photographs\, and press material\, the exhibition unfolds across five thematic sections—”Building the City and Public Space\,” “Aesthetic and Ethical Commitment\,” “Modern Project\,” “Environmental Activism\,” and “Botanical Heritage.” It also enters into dialogue with the work of six artists currently living and working in Portugal: Juan Araujo explores modern architecture\, especially in Brazil and Latin America\, through a critical lens; Filipe Feijão reflects on notions of construction and ruin; Mónica de Miranda draws attention to the “invisible” gardens found on Lisbon’s outskirts; Fernanda Fragateiro emphasises the right to aesthetic experience in public gardens; Lourdes Castro enters into dialogue with the native botanical heritage of Madeira; and João dos Santos Martins explores the relationship between choreography and the garden. In conversation with the exhibition’s five core themes\, each of these artists opens up new perspectives on Burle Marx’s work. \n  \nCurated by Instituto Burle Marx and Museu de Arte Moderna do Rio de Janeiro – Isabela Ono\, Pablo Lafuente\, Beatriz Lemos. Adapted and curated for MAC/CCB by Nuria Enguita\, Marta Mestre. Guest artists Juan Araujo\, Fernanda Fragateiro\, Mónica de Miranda\, Filipe Feijão\, Lourdes Castro\, João dos Santos Martins.\n\nExhibition Design Diogo Passarinho Studio + RAR.STUDIO \nMAC/CCB thanks Michael and Jessica Gailing for their contributions to this project. \n  \n 
URL:https://www.ccb.pt/en/evento/place-of-being-the-burle-marx-legacy/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/11/2BurleMarx_MACCCB_©Fabio-Cunha-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T100000
DTEND;TZID=Europe/Lisbon:20260530T183000
DTSTAMP:20260529T200102
CREATED:20241126T120318Z
LAST-MODIFIED:20260406T143139Z
UID:204889-1780135200-1780165800@www.ccb.pt
SUMMARY:Lighter
DESCRIPTION:More light\, less mass. By 2050 the world population is expected to swell by more than two and a half billion people (UNEP). This will increase the resources required to operate cities\, ameliorate human condition: it is an increase that will augment the material and energy flux of the contemporary city. It is also a unique opportunity to engage with the renewal of urban systems\, architectural production and low carbon\, socially just cities that can augment the biosphere instead. Lighter: more photosynthesis. \nHow to engage? How to innovate? How to imagine agency when the sheer magnitude of human activities have made the material structures we inhabit a self-organising system\, where we are only a component of a complex and turbulent dynamic\, not the main driver? New technologies\, new forms of energy\, new materials\, new systems. Current answers to the difficult questions about how to maintain the habitability of our planet are all logistical\, they accelerate the notions of design and innovation\, they add technology to the technosphere. Yet the steps on how to take contemporary cities towards sustainable pathways are largely known. Yet not engrained and intersected with cultural production. How to make cities lighter? \n  \nCurated by Ann-Sofi Rönnskog & John Palmesino\, Territorial Agency \n  \n 
URL:https://www.ccb.pt/en/evento/lighter-how-heavy-is-a-city-7th-lisbon-architecture-triennale/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Architecture Center,Exhibitions,MAC/CCB
ATTACH;FMTTYPE=image/png:https://www.ccb.pt/wp-content/uploads/2024/11/How-Heavy-is-a-City-—-Lighter.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T100000
DTEND;TZID=Europe/Lisbon:20260530T183000
DTSTAMP:20260529T200102
CREATED:20251114T142855Z
LAST-MODIFIED:20260514T075834Z
UID:273287-1780135200-1780165800@www.ccb.pt
SUMMARY:Multiple Eyes
DESCRIPTION:In an era when screens shape our perception of reality and algorithms dictate our preferences\, the works of these artists—fusing the sensory\, the symbolic\, the ancestral\, and the spiritual with the popular\, the carnivalesque\, the magical\, and the abject—propose an alternative: storytelling as an intimate\, porous\, and polyphonic practice. Multiple Eyes brings together three artists from different generations who understand narrative practice as a collaborative and political space. The exhibition invites audiences to view otherness not as threat but as an opportunity for learning\, reflection\, and co-creating knowledge. Challenging singular and binary narratives\, and reclaiming storytelling from systems of control\, these works demonstrate how art can open spaces for dialogue\, empathy\, and the recognition of diverse ways of knowing and imagining the present. \n  \nCurators Nuria Enguita\, Rafael Barber Cortell \n  \nGuided tours \n◾ Sunday\, May 24 and July 5\, at 11:00am\nFree participation with prior registration at servico.educativo.museu@ccb.pt \n 
URL:https://www.ccb.pt/en/evento/exhibition-multiple-eyes/2026-05-30/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,Exhibitions,MAC/CCB,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/11/OlhosMultiplos7_PatriciaDominguez_LuainaHimid©AntonioJorgeSilva-1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T100000
DTEND;TZID=Europe/Lisbon:20260530T183000
DTSTAMP:20260529T200102
CREATED:20251114T142943Z
LAST-MODIFIED:20260512T085030Z
UID:273295-1780135200-1780165800@www.ccb.pt
SUMMARY:José Pedro Croft
DESCRIPTION:Prints\, drawings\, and reliefs interact with a group of sculptures that occupy the longitudinal axis of the exhibition space. These are the reflections\, enclaves\, and deviations of José Pedro Croft\, one of Portugal’s most acclaimed artists\, presented on Floor 0 of MAC/CCB. The selection for this solo exhibition reflects the artist’s ongoing exploration of body\, scale\, space\, and architecture\, as well as the subtle thresholds between plane and three-dimensionality. The show unfolds along two interlinked lines: on the one hand\, the dialogue between graphic processes\, constructive tradition\, and architectural elements; on the other\, a sculptural rigour that invites the viewer into a slow\, perceptive experience that resists the acceleration of our times. \n  \nCurator Luiz Camillo Osorio \n  \nVisit to the exhibition \n  \n◾ Sunday\, 17 May at 4:00pm\nJosé Pedro Croft guides us through the Reflections\, Enclaves\, Deviations of his work\nFree admission\, subject to prior registration to the email address servico.educativo.museu@ccb.pt \n  \n◾ Sunday\, 17 May and 28 June\, at 11:00am\nFree admission\, subject to prior registration to the email address servico.educativo.museu@ccb.pt
URL:https://www.ccb.pt/en/evento/exhibition-jose-pedro-croft/2026-05-30/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,Exhibitions,MAC/CCB,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/11/credito-2026-Daniel-Malhaao.-Croft-2026.-CCB.-9648.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T100000
DTEND;TZID=Europe/Lisbon:20260530T183000
DTSTAMP:20260529T200102
CREATED:20251114T143022Z
LAST-MODIFIED:20260508T133853Z
UID:273279-1780135200-1780165800@www.ccb.pt
SUMMARY:May I Help You? Posso ajudar?
DESCRIPTION:The everyday question “May I help you?” was used by Andrea Fraser in a performance that addressed the complex institutional relationships within the art world. The same question may also be turned towards the museum itself: what kind of help is actually being offered\, and what kind of connection can still be expected in an era of increasing fragmentation\, dissonance and impermanence? The exhibition draws on five decades of artistic production\, from the 1970s to today\, and features works by ninety artists—including Ad Minoliti (in the museum’s main hall)\, Alberto Carneiro\, Carla Filipe\, Doris Salcedo\, Helena Almeida\, Gabriel Abrantes\, Gilbert & George\, Jeff Koons\, Júlia Ventura\, Kara Walker\, and Richard Serra\, among many others. The works are drawn from collections on long-term loan to the MAC/CCB (the Berardo Collection\, the State Contemporary Art Collection\, and the Teixeira de Freitas Collection)\, and are complemented by new commissions from Portuguese artists. \n  \nCurators Nuria Enguita and Marta Mestre\nCuratorial Adviser Raphael Fonseca (Denver Art Museum) \n  \nThe exhibition “MAY I HELP YOU? POSSO AJUDAR?” Arts and Artists from the 1970s Onwards\, inspired by Andrea Fraser’s performance of the same name\, explores the diversity of representations\, presences\, and narratives within the artistic field\, questioning the idea of a single\, linear direction in art history. Through dialogues between works spanning the last five decades\, the exhibition examines what artists are and do\, and the social roles they imagine for themselves. From the ruptures that redefined art in the 1970s to the accelerated digitalisation of the present\, it highlights a range of heterogeneous formats\, functions\, and intensities. \nNuria Enguita\nCurator of the exhibition and artistic director of MAC/CCB \n  \nArtists: \nGabriel Abrantes\, Helena Almeida\, Giovanni Anselmo\, Robert Barry\, Taysir Batniji\, Lothar Baumgarten\, Bernd & Hilla Becher\, Sara Bichão\, Irma Blank\, Alighiero Boetti\, Christian Boltanski\, Olaf Breuning\, Daniel Buren\, Alberto Carneiro\, Gabriel Chaile\, Adriano Costa\, Jim Dine\, Jimmie Durham\, Carla Filipe\, Fischli & Weiss\, Dan Flavin\, Fernanda Fragateiro\, Andrea Fraser\, Gilbert & George\, Simryn Gill\, Fernanda Gomes\, Félix González-Torres\, Dan Graham\, Hans Haacke\, David Hammons\, Ana Hatherly\, Mona Hatoum\, Kiluanji Kia Henda\, Thomas Hirschhorn\, Jenny Holzer\, Rebecca Horn\, Sanja Iveković\, Ana Jotta\, Donald Judd\, Mike Kelley\, Yazan Khalili\, Jeff Koons\, Joseph Kosuth\, Jannis Kounellis\, Barbara Kruger\, Louise Lawler\, Sol LeWitt\, Glenn Ligon\, João Marçal\, Agnes Martin\, Cildo Meireles\, Mario Merz\, Ad Minoliti\, Matt Mullican\, Bruce Nauman\, Senga Nengudi\, Chris Ofili\, Gabriel Orozco\, Damián Ortega\, Pino Pascali\, Silvestre Pestana\, Raymond Pettibon\, Antonio Pichillá\, Sandra Poulson\, Robert Rauschenberg\, Doris Salcedo\, Alan Saret\, Julião Sarmento\, Allan Sekula\, Richard Serra\, Jim Shaw\, Susana Solano\, Haim Steinbach\, Frank Stella\, Wolfgang Tillmans\, Rosemarie Trockel\, João Pedro Vale + Nuno Alexandre Ferreira\, Júlia Ventura\, Vídeo nas Aldeias\, Kara Walker\, Franz West\, Yonamine\, Bruno Zhu. \n  \n  \n Visit to the exhibition\n \n◾ Cross-cutting\, Tour in English\nAn Atlantic Drift. The arts of the 20th century based on the Berardo Collection + May I Help You? Posso ajudar? Arts and Artists from the 1970s Onwards\nSunday\, may 31\, at 3:00pm\nFree participation with prior registration at servico.educativo.museu@ccb.pt \, and purchase of a museum entry ticket. \n  \n 
URL:https://www.ccb.pt/en/evento/exhibition-may-i-help-you-posso-ajudar/2026-05-30/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,Exhibitions,MAC/CCB,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/11/May-I-Help-You_MAC_CCB2-creditoAntonioJorgeSilva-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T100000
DTEND;TZID=Europe/Lisbon:20260530T183000
DTSTAMP:20260529T200102
CREATED:20251114T143115Z
LAST-MODIFIED:20260316T094103Z
UID:260445-1780135200-1780165800@www.ccb.pt
SUMMARY:Living in Portugal
DESCRIPTION:Architecture as a political gesture; as the expression of rupture; as the persistence of memory. These are the three guiding principles that underpin a new perspective on the Habitar Portugal project\, in the lineage of the National Architecture Exhibitions initiated in the 1980s by the then Associação dos Arquitectos Portugueses. For the seventh edition\, one hundred architectural works were selected\, covering a wide range of programmes and scales\, and representing both national and international contexts (including Portuguese-built works abroad). This significant and valuable survey offers not only a panoramic view of the final quarter of the 20th century and the first of the 21st\, but also seeks to project the future of Portuguese contemporary architecture—and\, by extension\, the country’s social\, economic and territorial development in the world. \n  \nCurators Alexandra Saraiva\, Célia Gomes\, and Rui Leão\nIn partnership with the Ordem dos Arquitectos \n  \n  \n Visit to the exhibition
URL:https://www.ccb.pt/en/evento/exhibition-lliving-in-portugal/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Architecture Center,Exhibitions,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/11/Hotel-e-Casino-do-Funchal-de-1976-por-Oscar-Niemeyer-e-Alfredo-Viana-de-Lima-credito-Faculdade-de-Arquitectura-da-Universidade-do-Porto-CDUA.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260530T190000
DTEND;TZID=Europe/Lisbon:20260530T200000
DTSTAMP:20260529T200102
CREATED:20260407T111852Z
LAST-MODIFIED:20260407T160016Z
UID:279618-1780167600-1780171200@www.ccb.pt
SUMMARY:Tempo — National Premiere
DESCRIPTION:FIMFA Lx26 – Festival Internacional de Marionetas e Formas Animadas \n  \nTempo is a fascinating exploration of time\, its perception\, acceleration\, deceleration\, and the moments when it seems to stop. At its core lies an apparently insignificant event that takes on enormous proportions\, revealing the fragility of life through moments of falling\, stumbling\, and near-accidents.\nThe first collaboration between visual artist and magician Kalle Nio and choreographer Fernando Melo\, Tempo is inspired by a text by Harry Salmenniemi about the strange elasticity of time. It blends movement and hypnotic stage illusions\, where time slows down\, reverses\, and stops\, seemingly flowing against the laws of logic. Gravity disappears and the laws of nature dissolve. Dreamlike and wordless scenes alternate with rhythmic compositions for prepared metronomes\, intensifying the sensation of a journey between dream and reality.\nFernando Melo created a choreography that challenges gravity and time for three exceptional performers: the Slovenian dancer and puppeteer Barbara Kanc\, the Italian dancer Luigi Sardone\, and the Swedish dancer-acrobat Winston Reynolds.
URL:https://www.ccb.pt/en/evento/tempo-fimfa-lx26/2026-05-30/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Performances,Theatre
END:VEVENT
END:VCALENDAR