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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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TZOFFSETFROM:+0000
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TZNAME:WEST
DTSTART:20260329T010000
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DTSTART:20261025T010000
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BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260419T110000
DTEND;TZID=Europe/Lisbon:20260819T110000
DTSTAMP:20260505T120641
CREATED:20231024T115520Z
LAST-MODIFIED:20231024T115520Z
UID:281266-1776596400-1787137200@www.ccb.pt
SUMMARY:Activities for Families
DESCRIPTION:
URL:https://www.ccb.pt/en/evento/activities-for-families/2026-04-19/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2023/10/atividadesparafamiliasmuseu.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260503T110000
DTEND;TZID=Europe/Lisbon:20260902T110000
DTSTAMP:20260505T120641
CREATED:20231024T115520Z
LAST-MODIFIED:20231024T115520Z
UID:281267-1777806000-1788346800@www.ccb.pt
SUMMARY:Activities for Families
DESCRIPTION:
URL:https://www.ccb.pt/en/evento/activities-for-families/2026-05-03/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2023/10/atividadesparafamiliasmuseu.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260509T110000
DTEND;TZID=Europe/Lisbon:20260908T110000
DTSTAMP:20260505T120641
CREATED:20231024T115520Z
LAST-MODIFIED:20231024T115520Z
UID:281268-1778324400-1788865200@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
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2023/10/atividadesparafamiliasmuseu.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260509T110000
DTEND;TZID=Europe/Lisbon:20260908T110000
DTSTAMP:20260505T120641
CREATED:20231024T115520Z
LAST-MODIFIED:20260420T081430Z
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:20260505T120641
CREATED:20231024T115520Z
LAST-MODIFIED:20231024T115520Z
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:20260505T120641
CREATED:20231024T115520Z
LAST-MODIFIED:20231024T115520Z
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:20260530T080000
DTEND;TZID=Europe/Lisbon:20261028T170000
DTSTAMP:20260505T120641
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:20260505T120641
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:20260531T110000
DTEND;TZID=Europe/Lisbon:20260930T110000
DTSTAMP:20260505T120641
CREATED:20231024T115520Z
LAST-MODIFIED:20231024T115520Z
UID:281272-1780225200-1790766000@www.ccb.pt
SUMMARY:Activities for Families
DESCRIPTION:
URL:https://www.ccb.pt/en/evento/activities-for-families/2026-05-31/
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:20260704T100000
DTEND;TZID=Europe/Lisbon:20260704T183000
DTSTAMP:20260505T120641
CREATED:20251114T142606Z
LAST-MODIFIED:20260427T135148Z
UID:279453-1783159200-1783189800@www.ccb.pt
SUMMARY:Raw Earth
DESCRIPTION:At a time when the planet’s limits are under increasing strain\, we look to raw earth not as a nostalgic return but as a radical proposition for contemporary architecture in Portugal. The exhibition charts a journey from raw matter to conscious action: from the physical and mineral complexity of soil\, through the cultural and technical knowledge accumulated over centuries\, to the contemporary practices that reclaim earth as a viable\, ethical\, and poetic building material. Starting from the ground beneath our feet as matter\, archive\, and agent\, Raw Earth brings together scientific and historical content\, prototypes\, and contemporary case studies\, as well as collaborative and living installations\, while examining and reusing earth excavated from urban construction sites in Lisbon. The aim is to foster dialogue among professionals\, researchers\, and citizens; to give visibility to a quiet yet significant movement in earthen architecture and construction in Portugal; and to contribute to a broader cultural shift towards more sustainable forms of building. \n  \nCurator Madalena Vidigal \n  \n  \n◾ Conversations around earth: earth in urban contexts\nWednesday\, 17 June\, at 5:00pm at the Architecture Centre\nWhat destiny do we assign to excavated earth in the Portuguese capital? Following on from the “Terras de Lisboa” project\, this conversation establishes connections with international cooperative experiences focused on the valorisation of excavated earth\, placing them in dialogue with the national context. Architects\, builders\, engineers\, and policy-makers examine the logistical\, bureaucratic\, and cultural challenges that hinder circulation and access to this material\, with the aim of exploring viable models for integrating local earth into the construction of the city itself. \nTalk in Portuguese language\, with free admission\, subject to prior registration servico.educativo.museu@ccb.pt. \n  \n◾ From conversation to film\nSaturday\, 20 June\, at 3:30pm: guided tour in Portuguese\, free admission\, subject to prior registration; and at 5:00pm: screening in the MAC/CCB auditorium\nThis double programme begins with a guided visit to the Raw Earth exhibition led by curator Madalena Vidigal and architects Nuno Vasconcelos (DOING) and Tânia Teixeira (CRU). This is followed\, at 5:00 pm\, by a film screening\, also focused on the theme of the ground beneath our feet. \n  \nVisit to the exhibition \n◾ Sunday\, july 19\, 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-raw-earth/2026-07-04/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Architecture Center,Architecture Center,Exhibitions,Exhibitions,MAC/CCB,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/11/10_TerraCruacreditoNunoVasconcelos-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260704T100000
DTEND;TZID=Europe/Lisbon:20260704T183000
DTSTAMP:20260505T120641
CREATED:20251114T142751Z
LAST-MODIFIED:20260504T110723Z
UID:279460-1783159200-1783189800@www.ccb.pt
SUMMARY:Frida Orupabo
DESCRIPTION:In her first solo exhibition in Portugal\, Frida Orupabo revisits the vast image archive she has been assembling on her Instagram account: a collection comprising material from colonial archives\, ethnographic photographs\, family portraits\, pop culture icons\, and digital fragments. For the artist\, this archive lays bare the tensions between intimacy and violence\, establishing a critical and emotional space. Inspired by digital flow\, the exhibition emphasises the “abyss” of images—their strangeness and their dispersed reverberations. In dialogue with the architecture of MAC/CCB\, the show unfolds as a linear sequence of eight moments\, echoing the continuous sliding between screens that defines our digital experience. Its title evokes both the digital cloud where images and data are stored\, and the fog of information\, memory\, and oblivion. \nCurator Marta Mestre \n  \n◾ Conversation in the clouds\nWednesday\, june 3 at 7.00 pm in the MAC/CCB Auditorium\nPrior to the opening of Cloud of Confusion\,artist Frida Orupabo joins curators Nuria Enguita and Marta Mestre for a conversation\, in English.\nFree participation\, subject to seat availability.\n\n \n  \n Visit to the exhibition \n◾ Sunday\, june 21 and  july 12\, 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-frida-orupabo/2026-07-04/
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/2025/11/11_FridaOrupabocreditoBonniersKonsthall.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260704T100000
DTEND;TZID=Europe/Lisbon:20260704T183000
DTSTAMP:20260505T120641
CREATED:20251114T142855Z
LAST-MODIFIED:20260504T113647Z
UID:279457-1783159200-1783189800@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◾ Sunday\, May 31\, at 11:00am | With Portuguese Sign Language interpretation\nFree participation with prior registration at servico.educativo.museu@ccb.pt
URL:https://www.ccb.pt/en/evento/exhibition-multiple-eyes/2026-07-04/
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/2025/11/9_PatriciaDominguez_creditoImagenSubliminal.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260704T100000
DTEND;TZID=Europe/Lisbon:20260704T183000
DTSTAMP:20260505T120641
CREATED:20251114T142943Z
LAST-MODIFIED:20260504T114826Z
UID:279455-1783159200-1783189800@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  \n Visit to the exhibition \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/2026-07-04/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,Exhibitions,MAC/CCB,MAC/CCB
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260704T100000
DTEND;TZID=Europe/Lisbon:20260704T183000
DTSTAMP:20260505T120641
CREATED:20251114T143022Z
LAST-MODIFIED:20260413T091205Z
UID:279458-1783159200-1783189800@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\nSaturday\, june 13\, 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/2026-07-04/
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:20260704T190000
DTEND;TZID=Europe/Lisbon:20260704T200000
DTSTAMP:20260505T120641
CREATED:20251124T145649Z
LAST-MODIFIED:20260429T094007Z
UID:279450-1783191600-1783195200@www.ccb.pt
SUMMARY:A TRIAL
DESCRIPTION:Thomas Stockmann\, a doctor at a spa in a small town whose economy depends on thermal tourism\, discovers serious contamination in the local waters. He decides to make his findings public\, and the clash between moral duty and economic interests leads the community to brand him “An Enemy of the People.” \nNearly 150 years have passed since Henrik Ibsen wrote this play\, yet its themes have never been more relevant—ecology\, the complex relationship between politics and science\, the role of the press\, fake news\, and discourses oscillating between “freedom of expression” and threats to democracy are now central issues. \nIt was from the desire to bring a public debate on these themes to the stage that the collaboration between Christiane Jatahy and Wagner Moura emerged. \nHowever\, A Trial is not an adaptation of An Enemy of the People\, but an original text that transforms the theatre into a courtroom. A courtroom in which the play’s main characters revisit past events to once again pose the question: is Thomas Stockmann truly an enemy of the people? Do his actions and words represent a threat to democracy? This time\, however\, it is the audience who will judge—and decide.
URL:https://www.ccb.pt/en/evento/um-julgamento/2026-07-04/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Performances,Theatre
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/11/Foto-Caio-Lirio_creditocaiolirio-Todos-os-Direitos-Reservados-021A7653-3.jpg
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