BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Centro Cultural de Belém Foundation - ECPv5.16.4//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
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
BEGIN:VTIMEZONE
TZID:Europe/Lisbon
BEGIN:DAYLIGHT
TZOFFSETFROM:+0000
TZOFFSETTO:+0100
TZNAME:WEST
DTSTART:20260329T010000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:+0100
TZOFFSETTO:+0000
TZNAME:WET
DTSTART:20261025T010000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260314T110000
DTEND;TZID=Europe/Lisbon:20260714T100000
DTSTAMP:20260412T175531
CREATED:20231024T115520Z
LAST-MODIFIED:20260323T122144Z
UID:273471-1773486000-1784023200@www.ccb.pt
SUMMARY:Activities for Families
DESCRIPTION:
URL:https://www.ccb.pt/en/evento/activities-for-families/2026-03-14/
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:20260401T100000
DTEND;TZID=Europe/Lisbon:20260426T183000
DTSTAMP:20260412T175531
CREATED:20251114T143115Z
LAST-MODIFIED:20260316T094103Z
UID:260445-1775037600-1777228200@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:20260412T100000
DTEND;TZID=Europe/Lisbon:20260412T190000
DTSTAMP:20260412T175531
CREATED:20200305T214128Z
LAST-MODIFIED:20200305T214128Z
UID:270206-1775988000-1776020400@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/2026-04-12/
LOCATION:Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260412T100000
DTEND;TZID=Europe/Lisbon:20260412T183000
DTSTAMP:20260412T175531
CREATED:20241122T094618Z
LAST-MODIFIED:20260309T173817Z
UID:267356-1775988000-1776018600@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◾ Sunday\, march 15\, may 3 and 31 at 11:00 a.m.\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\nSaturday\, 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/2026-04-12/
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:20260412T100000
DTEND;TZID=Europe/Lisbon:20260412T183000
DTSTAMP:20260412T175531
CREATED:20251114T143022Z
LAST-MODIFIED:20260323T120314Z
UID:267361-1775988000-1776018600@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◾ Sunday\, april 12 and may 10\, at 11:00am\nFree admission\, subject to prior registration to the email address 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\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/2026-04-12/
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:20260417T200000
DTEND;TZID=Europe/Lisbon:20260417T210000
DTSTAMP:20260412T175531
CREATED:20250912T082428Z
LAST-MODIFIED:20260410T165129Z
UID:265252-1776456000-1776459600@www.ccb.pt
SUMMARY:Tahiti! – PREMIERE
DESCRIPTION:Tahiti! is a double bill of the opera Trouble in Tahiti (1952)\, by Leonard Bernstein\, and Pacific Pleasures (2016–17)\, by Alannah Marie Halay\, with a libretto by Jorge Balça.\nPacific Pleasures will have its national premiere with this production. \nSet in a residential suburb like so many others\, Tahiti! tells the story of a young couple\, Sam and Dinah\, who discover that everything they thought they wanted has not made them happy. They still have to find their own Tahiti. \nThis production uses a variety of dramatic strategies and tools\, such as physical theatre and puppetry which\, in collaboration with MAC/CCB\, are inspired by the work of Paula Rego. Tahiti! imagines a life for the two main characters before Bernstein’s opera\, which opens with an argument. How did Sam and Dinah become so unhappy? To what extent had their lives already been mapped out before they began living them? And how much control do they really have over their own lives? \n  \nPre-concert talk by Jorge Balça at 7:30 pm.
URL:https://www.ccb.pt/en/evento/tahiti-premiere/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Music,Opera,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/09/2000x940_1081_ensaio-geral_-trouble-in-Tahiti_Lagos-2026_brunosimao_.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260418T100000
DTEND;TZID=Europe/Lisbon:20260418T130000
DTSTAMP:20260412T175531
CREATED:20251209T131519Z
LAST-MODIFIED:20260225T094944Z
UID:270250-1776506400-1776517200@www.ccb.pt
SUMMARY:Revisiting\, Experimenting & Learning
DESCRIPTION:As part of the new proposals from the Education and Mediation Department\, we present a series of short courses dedicated to exploring significant moments and contexts in the history of modern and contemporary art. Designed as spaces for learning and reflection\, these in-person courses offer a close engagement with the museum’s collections and exhibitions\, inviting participants to revisit works\, artists\, an movements that shaped the development of 20th- and 21st-century art. Understanding an artist’s work involves not only grasping their ideas but also observing how those ideas take material form. Learning also means experimenting; and by connecting theoretical knowledge to practice\, we discover that making is a powerful way of understanding. Following an artist’s creative process through hands-on experimentation thus becomes a privileged pathway into learning. \nLasting six or nine hours\, these courses offer a focused and accessible training experience\, combining historical perspectives with direct encounters with artworks. This new strand of the Educational Programme strengthens the MAC/ CCB’s commitment to promoting knowledge\, critical thinking\, enjoyment\, and experimentation\, affirming the museum as a space for lifelong learning. \n  \nCristina Gameiro\nHead of Education and Mediation\, MAC/CCB
URL:https://www.ccb.pt/en/evento/revisiting-experimenting-learning/2026-04-18/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Ativities,Families,MAC/CCB,Mediation projects,School
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260418T160000
DTEND;TZID=Europe/Lisbon:20260418T170000
DTSTAMP:20260412T175531
CREATED:20250403T141348Z
LAST-MODIFIED:20260330T082435Z
UID:271543-1776528000-1776531600@www.ccb.pt
SUMMARY:Public Programme
DESCRIPTION:
URL:https://www.ccb.pt/en/evento/public-programme-mac-ccb/2026-04-18/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Architecture Center,Ativities,MAC/CCB
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260419T110000
DTEND;TZID=Europe/Lisbon:20260419T120000
DTSTAMP:20260412T175531
CREATED:20250912T165746Z
LAST-MODIFIED:20260323T111732Z
UID:265257-1776596400-1776600000@www.ccb.pt
SUMMARY:The Story of the Little Tailor by Tibor Harsányi
DESCRIPTION:Renowned for the quality of its performances and its ease in navigating music of different styles and eras\, ars ad hoc presents its debut at the Centro Cultural de Belém in its eighth season. The ensemble performs  Esercizio di Pazzia II by Francesco Filidei\, alongside The Story of the Little Tailor (1939)\, a work for instrumental octet by Hungarian composer Tibor Harsányi (1898–1954)\, inspired by the Brothers Grimm tale The Valiant Little Tailor. \n  \nConcert Commentary by Susana Henriques
URL:https://www.ccb.pt/en/evento/the-story-of-the-little-tailor-by-tibor-harsanyi/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Mediation projects,Music,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/09/2000x940_ArsAdHoc.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260423T080000
DTEND;TZID=Europe/Lisbon:20260426T170000
DTSTAMP:20260412T175531
CREATED:20250912T093649Z
LAST-MODIFIED:20260327T115642Z
UID:265260-1776931200-1777222800@www.ccb.pt
SUMMARY:The Choir – Mission: Democracy
DESCRIPTION:Multidisciplinary Concert \nMusic is Democracy: word\, dialogue\, and freedom. Inspired by the book collection Missão: Democracia and its themes\, Beatriz Pessoa creates original songs that explore different styles and musical textures\, revealing how music reflects diverse ways of thinking. \nThe songs are shared with the audience beforehand\, forming during the concert what she calls «The Choir of Citizens». The performance transforms the theatre into an assembly\, where music\, musicians\, and audience connect in a democratic dynamic. Everyone gathers in this musical plenary to conclude that\, after all\, the best thing is to preserve a space for exchanging ideas and listening to others. \nProject created within the partnership between Centro Cultural de Belém / Fábrica das Artes and the Assembly of the Republic. \n  \nVoice\, Composition\, and Creation Beatriz Pessoa\nBass\, Guitar\, and Music Production Gustavo Almeida\nMusical Co-production Beatriz Pessoa\nKeyboards and Backing Vocals Raquel Pimpão\nDrums and Backing Vocals João Lopes Pereira\nSaxophone Tomás Marques\nTrombone Rubén da Luz\nSound Engineer Guilherme Simões\nProduction Cuca Monga\nLighting Technician Miguel Grácio de Carvalho\nAnimation Raquel Reis\nChoir Students from the Cooperativa A Torre – Sara Neves\, Luca Melo\, António Florindo and Carminho Araújo \nProject created within the partnership between Centro Cultural de Belém / Fábrica das Artes and the Assembly of the Republic. \nPhoto: ©Assembleia da República \nIllustration by Madalena Matoso\, Sempre! (Always!) (8th volume of the Mission: Democracy Collection) \nProject created within the partnership between Centro Cultural de Belém / Fábrica das Artes and the Assembly of the Republic
URL:https://www.ccb.pt/en/evento/the-choir-mission-democracy/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Families,Music,Performances,School
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/05/Missao-Democracia_O-Coro_creditoMadalena-Matoso.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260423T190000
DTEND;TZID=Europe/Lisbon:20260423T200000
DTSTAMP:20260412T175531
CREATED:20251020T151436Z
LAST-MODIFIED:20260410T171832Z
UID:246374-1776970800-1776974400@www.ccb.pt
SUMMARY:Tannhäuser by Wagner
DESCRIPTION:Tannhäuser und der Sängerkrieg auf Wartburg – “Tannhäuser and the Song Contest at Wartburg” – is a three-act opera with libretto and music by Richard Wagner\, composed between 1843 and 1845. Its world premiere took place at the Dresden Opera House in 1845\, and it was later presented at the Paris Opera in 1861\, in a French version that incorporated the famous ballet of the first act. In 1875\, Wagner created a third version for the Vienna Opera\, with a translation of the French libretto into German\, among other adaptations. This final version forms the basis of the new production by the National Theatre of São Carlos\, staged by Max Hoehn with musical direction by Graeme Jenkins. \n  \nPre-concert talk by Inês Thomas Almeida.
URL:https://www.ccb.pt/en/evento/tannhauser-by-wagner/2026-04-23/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Music,Opera,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/09/2000x940_TannhauserWagnerBanner_Abril26.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260424T103000
DTEND;TZID=Europe/Lisbon:20260424T130000
DTSTAMP:20260412T175531
CREATED:20251117T171828Z
LAST-MODIFIED:20260211T160107Z
UID:268482-1777026600-1777035600@www.ccb.pt
SUMMARY:Ministery for The Sensible
DESCRIPTION:Perhaps we need to protect\, organize\, and reclaim what makes us Human. We might use social structures to serve dimensions beyond the functional or profitable\, defending what seems dispensable or useless. A Ministery for the Sensible could uphold sensitivity as a path toward Humanity. \nThis project envisions a shared space for encounter and reflection\, empowering a community of cultural participants who\, with art as an ally\, embrace sensibility as a way to build social and political connections. \n  \nCreation & Coordination Sara Franqueira \n  \nThe project will start with two sectors: the Department of the Spectator and the Institute of the Invisible. Both offer scheduled meetings and access to performances throughout the year. If you’re curious and eager to discover the spectator within you\, one of these groups is ready for you. \n 
URL:https://www.ccb.pt/en/evento/ministerio-do-sensivel/2026-04-24/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Mediation projects
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260425T113000
DTEND;TZID=Europe/Lisbon:20260425T123000
DTSTAMP:20260412T175531
CREATED:20250912T093809Z
LAST-MODIFIED:20260325T111210Z
UID:265263-1777116600-1777120200@www.ccb.pt
SUMMARY:Participatory Cultural City
DESCRIPTION:Debates in the Garden / Terrace of the Jorge de Sena Room \nWe invite cultural professionals and specialists in democratic philosophy to lead informal discussion-debates focused on proposals for a more participatory and inclusive cultural democracy. \nWith Dori Nigro (creator\, mediator\, and art educator)\, Elisabete Paiva (cultural programmer)\, Catarina Oliveira (accessibility specialist)\, and Alexis Trindade\, Dina Mendonça\, and Tomás Magalhães Carneiro (facilitators of philosophy with children). \n  \nMeeting Point\nNext to the box office entrance of the auditoriums\, 10 minutes before the start of the talks. \n  \nPhoto ©Assembleia da República \nIllustration by Madalena Matoso\, Sempre! (Always!) (8th volume of the Mission: Democracy Collection) \n  \nProject created within the partnership between Centro Cultural de Belém / Fábrica das Artes and the Assembly of the Republic.
URL:https://www.ccb.pt/en/evento/participatory-cultural-city/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Conferences and Talks,Fábrica das Artes,Families
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/06/Missao-Democracia_Debates_CCP_credito-Madalena-Matoso.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260425T180000
DTEND;TZID=Europe/Lisbon:20260425T193000
DTSTAMP:20260412T175531
CREATED:20250912T093432Z
LAST-MODIFIED:20260407T090542Z
UID:270846-1777140000-1777145400@www.ccb.pt
SUMMARY:Preparing The Choir – Mission: Democracy
DESCRIPTION:The workshop Preparing The Choir – Mission: Democracy serves as a preliminary moment to the performance The Choir – Mission: Democracy\, in which composer Beatriz Pessoa invites the voices of the audience to form the choir that will participate in the songs performed during the concerts taking place on April 23\, 24\, 25\, and 26\, 2026. \n  \nProject created within the partnership between Centro Cultural de Belém / Fábrica das Artes and the Assembly of the Republic. \n  \n©Assembleia da República\nIlustração de Madalena Matoso\, Sempre! (8.º volume da Coleção Missão: Democracia)
URL:https://www.ccb.pt/en/evento/preparacao-do-coro-missao-democracia/2026-04-25/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Fábrica das Artes,Families,School,Workshop
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/05/Missao-Democracia_O-Coro_creditoMadalena-Matoso.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260427T200000
DTEND;TZID=Europe/Lisbon:20260427T210000
DTSTAMP:20260412T175531
CREATED:20250912T091540Z
LAST-MODIFIED:20260324T144536Z
UID:265267-1777320000-1777323600@www.ccb.pt
SUMMARY:The Four Seasons by Vivaldi
DESCRIPTION:Janine Jansen has no reservations about returning time and again to such well-loved works as Vivaldi’s Four Seasons — “After all\,” she says\, “every interpretation is unique.” Audiences at Camerata can expect such a unique performance as the orchestra’s Artistic Partner embarks with the ensemble on an adventurous and evocative journey through the Italian seasons of the early 18th century — a time untouched by today’s climate change. \nThe music magazine Stereoplay described Jansen’s rendering of The Four Seasons as “a completely natural\, breathing flow” of music and violin tone. \nAlongside Vivaldi\, two other towering figures of Italian Baroque violin music take to the stage in a single piece: Geminiani — a contemporary of Vivaldi — reworked a violin sonata by Corelli\, inspired by the spirited Portuguese dance folía into a dazzling Concerto grosso. \nJansen and the Camerata will also showcase the continuing richness of this concert form with a string concerto by the iconic film composer Nino Rota\, alongside a charming concerto combination for string quartet\, string orchestra\, and harpsichord. \n  \nPre-concert talk by Cesário Costa.\n[Exclusive activity for concert ticket holders].
URL:https://www.ccb.pt/en/evento/the-four-seasons-by-vivaldi/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Music,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/07/2000x940_CamerataSalzburg_IGORSTUDIO.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260430T080000
DTEND;TZID=Europe/Lisbon:20260717T170000
DTSTAMP:20260412T175531
CREATED:20250630T105102Z
LAST-MODIFIED:20260227T131113Z
UID:238770-1777536000-1784307600@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:20260430T080000
DTEND;TZID=Europe/Lisbon:20260928T170000
DTSTAMP:20260412T175531
CREATED:20250128T121840Z
LAST-MODIFIED:20250922T160107Z
UID:213352-1777536000-1790614800@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:20260430T100000
DTEND;TZID=Europe/Lisbon:20260430T180000
DTSTAMP:20260412T175531
CREATED:20240722T093123Z
LAST-MODIFIED:20251007T100233Z
UID:184602-1777543200-1777572000@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:20260430T100000
DTEND;TZID=Europe/Lisbon:20260430T183000
DTSTAMP:20260412T175531
CREATED:20241126T102440Z
LAST-MODIFIED:20250908T085607Z
UID:204823-1777543200-1777573800@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:20260430T100000
DTEND;TZID=Europe/Lisbon:20260430T183000
DTSTAMP:20260412T175531
CREATED:20241126T102826Z
LAST-MODIFIED:20260406T142926Z
UID:204872-1777543200-1777573800@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:20260430T100000
DTEND;TZID=Europe/Lisbon:20260430T183000
DTSTAMP:20260412T175531
CREATED:20241126T120318Z
LAST-MODIFIED:20260406T143139Z
UID:204889-1777543200-1777573800@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:20260430T100000
DTEND;TZID=Europe/Lisbon:20260430T183000
DTSTAMP:20260412T175531
CREATED:20251114T142943Z
LAST-MODIFIED:20260410T133321Z
UID:260473-1777543200-1777573800@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  \nPublic Programme \nVisit and conversation with José Pedro Croft and Luiz Camillo Osório\nSaturday\, may 2\, at 4:00pm Floor 0\nThe artist and curator of this solo exhibition guide us through its reflections\, enclaves\, and deviations. Exploring the boundaries between two- and three-dimensionality\, and addressing themes such as body\, space\, and architecture\, the visit proposes an experience capable of resisting the acceleration of our time. \nFree admission with prior registration. \n  \n Visit to the exhibition \n◾ Sunday\, may 17 and june 28\, 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/2026-04-30/
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/2025/11/5_-JosePedroCroft2025creditoPatKilgore.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260430T100000
DTEND;TZID=Europe/Lisbon:20260430T183000
DTSTAMP:20260412T175531
CREATED:20241126T102707Z
LAST-MODIFIED:20260406T142702Z
UID:204875-1777543200-1777573800@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:20260430T190000
DTEND;TZID=Europe/Lisbon:20260430T200000
DTSTAMP:20260412T175531
CREATED:20250715T082955Z
LAST-MODIFIED:20260407T092310Z
UID:273342-1777575600-1777579200@www.ccb.pt
SUMMARY:The Truth About Lies
DESCRIPTION:Not wanting to be deceived by lies and seeking the truth is the condition in which every human being finds themselves. There is a constant pressure — 24 hours a day\, seven days a week — to escape falsehood and grasp the truth. Typically\, we believe we are on the side of truth and that we speak truthfully. Yet do we not succumb to lies? The contemporary context brings the question of falsehood into focus with almost pandemic intensity. The spread of disinformation — through deepfakes\, algorithms and bots — has become a need that companies such as Cambridge Analytica\, as well as certain states\, have stepped in to fulfil. Disinformation can sway elections and undermine trust in democracy.  This journey of ours explores the intricate relationship between truth\, falsehood and our perception of reality. It examines classical and contemporary philosophical concepts in the complex contexts of both personal and collective life. The effort to understand the effectiveness of lies and the deactivation of truth is not new. It is as ancient as the very emergence of humanity. To overcome the state of denial in which we often find ourselves — especially concerning illusions and self-deceptions — is a necessary condition for the discovery of truth. At times\, we are deceived by lies\, and at other times\, even by truth itself. Yet are we not also responsible for spreading them? And is it not often another who tells us the truths we fail to see in ourselves
URL:https://www.ccb.pt/en/evento/the-truth-about-lies/2026-04-30/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Conferences and Talks
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/07/2000x940_AntoniodeCastroCaeiro_MatildeFieschi.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260502T190000
DTEND;TZID=Europe/Lisbon:20260502T203000
DTSTAMP:20260412T175531
CREATED:20250912T082844Z
LAST-MODIFIED:20260323T110612Z
UID:246377-1777748400-1777753800@www.ccb.pt
SUMMARY:José Manuel Neto
DESCRIPTION:José Manuel Neto is preparing to release his new album\, Madrepérolas. The launch concert brings together some of the musicians with whom he has shared over thirty years of artistic complicity\, as well as special guests who take part in this new record — his second solo work\, following Tons de Lisboa\, released by Museu do Fado Discos. Madrepérolas is a journey through the diversity of languages and possibilities of the Portuguese guitar. From traditional fado to experimentation with other genres\, the concert offers a contemporary perspective on the instrument\, while never breaking the thread that ties it to its identity.
URL:https://www.ccb.pt/en/evento/jose-manuel-neto/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Fado,Music,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/09/2000x940_2maio2026_ritacarmo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260505T200000
DTEND;TZID=Europe/Lisbon:20260505T210000
DTSTAMP:20260412T175531
CREATED:20260410T090053Z
LAST-MODIFIED:20260409T132420Z
UID:279901-1778011200-1778014800@www.ccb.pt
SUMMARY:Metropolitana Big Band
DESCRIPTION:The big band format\, although strongly associated with North American musical traditions—particularly jazz—brings together unique characteristics that have enabled it to encompass a wide range of musical styles and currents. From a crossover perspective\, the range of repertoires it can reach is vast\, and this musical diversity is one of the most valued aspects in contemporary music education\, reflected in pedagogical projects at schools across the world\, particularly in Europe. \nIt is within this context that the Metropolitana Big Band project emerges\, with two main objectives: to provide students with the experience of working on repertoires that differ from those established in curricular programs\, and to enrich students’ development as individuals through contact with this diversity. In the current academic year\, Metropolitana Big Band is one of the offerings included in the training plan of the Escola Profissional da Metropolitana courses. \n  \n  \n  \n 
URL:https://www.ccb.pt/en/evento/metropolitana-big-band/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Music,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/04/2000x940_oml_bigband_MarceloAlbuquerque-_Metropolitana.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260508T080000
DTEND;TZID=Europe/Lisbon:20260510T170000
DTSTAMP:20260412T175531
CREATED:20260330T145003Z
LAST-MODIFIED:20260331T161755Z
UID:279102-1778227200-1778432400@www.ccb.pt
SUMMARY:Around Miles Davis and Coltrane
DESCRIPTION:Celebrating the music and legacy of Miles Davis and John Coltrane\, whose birth centenaries fall in 2026\, is to celebrate and evoke universes that left a profound mark and exerted an enormous influence on virtually every current of jazz and music as a whole. \nIn these days\, we will celebrate the legacy of both artists through a program that also brings together other musical proposals which\, in their differences\, affirm creative freedom and the universality of jazz. \n  \nIllustration © André Carrilho \n  \n\n3-day pass (all concerts) – 75€  ⇒ BUY\n\n\nChão Maior (8 may at 8:00pm)\nNew Birth of the Cool –  Carlos Azevedo Ensemble (9 may at 3:00pm)\nBela-Nafa (9 may at 5:00pm)\nMiles Ahead – Orquestra do Hot Clube com Ralph Alessi  (9 may at 8:00pm)\nKind of Blue – Ensemble do Hot Clube with comentários by Pedro Moreira (10 may at 12:00pm)\nFor the beauty of the Gesture – Quodlibet Quintet  (10 may às 4:00pm)\nJohn O’Gallagher Trio (10 may at 8:00pm)\n\n  \n 
URL:https://www.ccb.pt/en/evento/around-miles-davis-and-coltrane/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Jazz,Music,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/03/2000x940_milesdavisjohncoltrane_AndreCarrilho.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260508T200000
DTEND;TZID=Europe/Lisbon:20260508T213000
DTSTAMP:20260412T175531
CREATED:20260330T132340Z
LAST-MODIFIED:20260407T160237Z
UID:279177-1778270400-1778275800@www.ccb.pt
SUMMARY:Chão Maior
DESCRIPTION:Chão Maior is a band formed in 2019\, composed of Yaw Tembe\, Norberto Lobo\, Ricardo Martins\, Leonor Arnaut\, and João Almeida. The musicians come from diverse backgrounds ranging from rock to jazz and from folk to marching bands. These elements are explored here in a transparent manner\, aiming to create a horizontal and communal space where composition and improvisation coexist\, drawing closer to the social systems embedded in Sun Ra’s music\, Eddie Gale’s Ghetto Music\, Ornette Coleman’s harmolodics\, and the ecstatic atmospheres of Alice Coltrane. \nWith two original albums\, Drawing Circles (2021) and Snakes & Thunder (2025)\, they open the celebrations of the centenary of Miles Davis and John Coltrane at CCB. \n  \n ⇒ This concert is part of the 100 Years of Miles and Coltrane  \n  \n ⇒  3-day pass (all concerts) – 75€  ⇒ BUY \n\nChão Maior (8 may at 8:00pm)\nNew Birth of the Cool –  Carlos Azevedo Ensemble (9 may at 3:00pm)\nBela-Nafa (9 may at 5:00pm)\nMiles Ahead – Orquestra do Hot Clube com Ralph Alessi  (9 may at 8:00pm)\nKind of Blue – Ensemble do Hot Clube with comentários by Pedro Moreira (10 may at 12:00pm)\nFor the beauty of the Gesture – Quodlibet Quintet  (10 may às 4:00pm)\nJohn O’Gallagher Trio (10 may at 8:00pm)\n\n 
URL:https://www.ccb.pt/en/evento/chao-maior/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Jazz,Music,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/03/2000x940_chaomaior_DR.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260509T080000
DTEND;TZID=Europe/Lisbon:20260509T170000
DTSTAMP:20260412T175531
CREATED:20250912T093924Z
LAST-MODIFIED:20260325T112346Z
UID:265270-1778313600-1778346000@www.ccb.pt
SUMMARY:Mission: Democratic and Literary Literacy in Schools
DESCRIPTION:Ongoing Workshop \nThe editorial project of the Mission: Democracy collection\, by the Assembleia da República\, consisting of 12 themes\, makes available to younger citizens up-to-date and graphically appealing publications. They form a kind of journey through essential concepts that it is important today to consolidate among children and young people. \nStarting from the link between arts education and the quality of democracy\, in this workshop we aim to think collectively about how these books help strengthen the desire to participate in democratic life and highlight civic awareness within the educational community. \nProject created within the framework of the partnership Centro Cultural de Belém/Fábrica das Artes and Assembleia da República. \n  \nConception and Direction Dora Batalim SottoMayor and Sara Ludovico \nPhoto©Assembleia da República\nIllustration by Bernardo P. Carvalho\, Menina República’s Best Friend (1st volume of the Mission: Democracy Collection)
URL:https://www.ccb.pt/en/evento/missao-literacia-democratica-e-literaria-nas-escolas/2026-05-09/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Ativities,Fábrica das Artes,Families,Formação
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/05/missao-literacia-democraticaMD_Oficina-SDcreditoMantraste.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260509T140000
DTEND;TZID=Europe/Lisbon:20260509T150000
DTSTAMP:20260412T175531
CREATED:20260330T132830Z
LAST-MODIFIED:20260331T161338Z
UID:279209-1778335200-1778338800@www.ccb.pt
SUMMARY:Ensemble de Jazz da Escola Superior de Música de Lisboa
DESCRIPTION:The Ensemble de Jazz da Escola Superior de Música de Lisboa\, made up of young musicians from ESML’s Jazz programme\, presents a programme dedicated to the final phase of Miles Davis’s career\, focusing on music from the albums Decoy\, Tutu\, and Amandla. This repertoire\, marking the trumpeter’s last major aesthetic reinvention\, blends jazz\, funk\, and electronic production in a sophisticated and deeply contemporary sound world. Some of the pieces revisited here were also part of the programme of Miles Davis’s final concert in Portugal\, in 1991. \n  \n ⇒ This concert is part of the 100 Years of Miles and Coltrane  \n  \nIllustration © André Carrilho \n  \n ⇒  3-day pass (all concerts) – 75€  ⇒ BUY \n\nChão Maior (8 may at 8:00pm)\nNew Birth of the Cool –  Carlos Azevedo Ensemble (9 may at 3:00pm)\nBela-Nafa (9 may at 5:00pm)\nMiles Ahead – Orquestra do Hot Clube com Ralph Alessi  (9 may at 8:00pm)\nKind of Blue – Ensemble do Hot Clube with comentários by Pedro Moreira (10 may at 12:00pm)\nFor the beauty of the Gesture – Quodlibet Quintet  (10 may às 4:00pm)\nJohn O’Gallagher Trio (10 may at 8:00pm)
URL:https://www.ccb.pt/en/evento/ensemble-de-jazz-da-escola-superior-de-musica-de-lisboa-2/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2025–26 Season,Jazz,Music,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/03/2000x940_milesdavisjohncoltrane_AndreCarrilho.jpg
END:VEVENT
END:VCALENDAR