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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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DTSTART:20260329T010000
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DTSTART:20261025T010000
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DTSTART:20270328T010000
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DTSTART;TZID=Europe/Lisbon:20260830T080000
DTEND;TZID=Europe/Lisbon:20270128T170000
DTSTAMP:20260829T232203
CREATED:20250128T121840Z
LAST-MODIFIED:20250922T160107Z
UID:213352-1788076800-1801155600@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
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BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260831T080000
DTEND;TZID=Europe/Lisbon:20261117T170000
DTSTAMP:20260829T232203
CREATED:20250630T105102Z
LAST-MODIFIED:20260227T131113Z
UID:238770-1788163200-1794934800@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
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DTSTART;TZID=Europe/Lisbon:20260831T100000
DTEND;TZID=Europe/Lisbon:20261112T183000
DTSTAMP:20260829T232203
CREATED:20251114T142606Z
LAST-MODIFIED:20260818T113226Z
UID:260511-1788170400-1794508200@www.ccb.pt
SUMMARY:Terra Crua
DESCRIPTION:At a time of mounting pressure on the planet’s limits\, we look to raw earth not as a nostalgic return\, but as a natural\, local\, and readily available resource. The exhibition moves from matter to action: from the physical and mineral complexity of soil to accumulated knowledge\, and on to practices that reclaim earth as a viable\, ethical\, and poetic building material. Beginning with the ground beneath our feet\, it invites visitors to rediscover raw earth as matter\, archive\, and agent within contemporary architecture in Portugal. Bringing together scientific and historical material\, prototypes\, and case studies\, as well as collaborative experiments analysing and reusing excavated soil from construction sites across Lisbon\, the exhibition reveals its performance and potential as a circular resource\, while opening up new possibilities for its role in shaping the city. \n  \nCurator Madalena Vidigal \n\nPublic Programme \n  \n◾ Conversations around earth: earth in projection\nSaturday\, September 26  at 3:00pm\nArchitecture Centre  \nWhat is the future of earth construction? This conversation explores how the education of future generations\, technological innovation\, legislation\, and standardisation intersect in the transformation of the sector. Representatives from academia and industry will discuss how curricula\, emerging production methods\, and technical standards shape professional practice and industrial development\, identifying shared opportunities and responsibilities in preparing professionals capable of advancing earth construction in a critical\, creative\, ethical\, and responsible manner. Speakers to be announced. Free admission\, subject to prior booking. \nFree entry\, subject to prior registration  \n  \n◾ Film screening Toucher Terre (68´\, 2024)\nSaturday\, September 26 at 5:00pm in the MAC/CCB Auditorium\nFree entry\, subject to venue capacity \n  \n◾ Conversation around earth: earth continuity\nSunday\, 11 October at 2:00pm at the Architecture Centre | Screening 5:00pm at the Museum Auditorium \nWhat legacies do we inherit from earth-based architecture and construction\, and how do they shape the way we build and think about this material today? This conversation revisits the technical\, cultural\, and community-based legacies that have enabled the persistence and renewal of earth-building knowledge. \n  \n“Les nouveaux habits de la terre” (49´)\nRealização \nProdução Lieurac (França)/Nanook (Portugal)\, 2004 \n  \nFree entry\, subject to prior registration \n  \nGuided tour of the exhibition \n◾ Sunday\, 4 October\, 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-terra-crua/
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/TerraCrua2_MACCCBB_creditoTiagoCasanova.jpg
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DTSTART;TZID=Europe/Lisbon:20260831T110000
DTEND;TZID=Europe/Lisbon:20261231T110000
DTSTAMP:20260829T232203
CREATED:20231024T115520Z
LAST-MODIFIED:20260710T114122Z
UID:271212-1788174000-1798714800@www.ccb.pt
SUMMARY:Activities for Families
DESCRIPTION:
URL:https://www.ccb.pt/en/evento/activities-for-families/
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/2023/10/132-ARTISTA-PLASTICO-POR-UM-DIA-MACcreditoJafuno.jpg
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DTSTART;TZID=Europe/Lisbon:20260912T100000
DTEND;TZID=Europe/Lisbon:20261205T190000
DTSTAMP:20260829T232203
CREATED:20200305T214128Z
LAST-MODIFIED:20260713T093631Z
UID:6334-1789207200-1796497200@www.ccb.pt
SUMMARY:CCB Market
DESCRIPTION:The CCB Market — Show\, See and Do — takes place on the first Sunday of each month. From gastronomy to nature\, from offers for children to contemporary crafts\, we invite Portuguese brands and projects to show their work at the CCB. There will be workshops\, show cookings and dance classes at the end of the day. We challenge the public to participate. \n  \n\n\n\n 
URL:https://www.ccb.pt/en/evento/mercado-ccb/
LOCATION:Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2021/04/2000x940_MercadoSET26.jpg
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DTSTART;TZID=Europe/Lisbon:20260915T100000
DTEND;TZID=Europe/Lisbon:20261129T183000
DTSTAMP:20260829T232203
CREATED:20260724T083529Z
LAST-MODIFIED:20260825T083212Z
UID:296232-1789466400-1795977000@www.ccb.pt
SUMMARY:Mostra Espanha 2026: Guest Works
DESCRIPTION:Every other year\, the opening of Mostra Espanha is marked by a “Guest Work.” In 2026\, however\, the concept becomes plural with the presentation of two works by Maruja Mallo. Both are closely aligned with this edition’s theme\, “Spain in Motion: Diversity and Sustainable Futures\,” and with three of its key strands: art\, culture\, oceans\, and sustainability; art\, ecology\, and climate change; and art\, culture\, borders\, and ruralities. Basuras (1930) and Naturaleza viva (1943) represent two distinct moments in the work of the avant-garde artist\, taking us on a journey from the grey outskirts of pre-war Madrid to the vibrant colours of the Chilean coast at Valparaíso during her years of exile in the Americas.
URL:https://www.ccb.pt/en/evento/mostra-espanha-2026-guest-works/
LOCATION:Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/07/Maruja-Mallo-Basuras-1930.-Coleccion-Centro-de-Arte-Fundacion-Maria-Jose-Jove-credito-VEGAP.jpg
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