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:20260725T100000
DTEND;TZID=Europe/Lisbon:20260725T183000
DTSTAMP:20260725T112730
CREATED:20241122T094618Z
LAST-MODIFIED:20241122T094618Z
UID:289516-1784973600-1785004200@www.ccb.pt
SUMMARY:An Atlantic Drift
DESCRIPTION:An Atlantic Drift charts and unravels paths through the arts of the 20th century\, specifically the period from 1909 to 1977\, seeking to disrupt preconceived notions and established canons by bringing together references and artistic forms that are usually kept apart. The exhibition follows an erratic chronology\, marked by digressions and temporal leaps\, thereby revealing connections and confrontations between the European and American shores to suggest potential relationships and drifts often overlooked or absent from art history. \nThe Atlantic\, particularly from the mid-20th century onward\, becomes a crucial space for transits and exiles\, fostering new geopolitical affinities that have shaped modern subjectivities with repercussions that persist to this day. As a reinstallation of the permanent collection\, An Atlantic Drift presents a selection of Portuguese and international artists spanning painting\, sculpture\, drawing\, installation\, and graphic arts\, mapping out art as part of world history and portraying modernity as a multifaceted eruption of social\, artistic\, and technological transformations. \nFrom Pablo Picasso to Amadeo de Souza-Cardoso\, Lourdes Castro to Marcel Duchamp\, Andy Warhol to Wifredo Lam\, Maria Helena Vieira da Silva to Joaquín Torres-García\, Jackson Pollock to Malangatana\, and Lucio Fontana to Ana Hatherly—a total of around 160 artists—the exhibition unfolds in chapters that reveal the complexities of historical and artistic developments in the 20th century. This period\, marked by two World Wars in Europe and their aftermath\, as well as the revolutionary and decolonisation processes of the 1970s\, is also seen as a time of transformation that invites rethinking through new narratives. \nAs a permanently evolving permanent exhibition\, An Atlantic Drift offers a unique presentation of the collections on loan to MAC/CCB—mainly the Berardo Collection\, but also the Holma/Ellipse Collection\, the Teixeira de Freitas Collection\, and the Portuguese State Contemporary Art Collection. Nonetheless\, it also incorporates loans from collections in Portugal\, allowing for reimagining the place of Portuguese art within 20th-century artistic developments. \n  \nCurated by Nuria Enguita (Artistic Director at MAC/CCB) and Marta Mestre (curator at MAC/CCB)\nScientific advisor: Mariana Pinto dos Santos \n  \nGuided exhibition tours \n  \n◾ Sunday\, May 31\, at 11:00am | With Portuguese Sign Language interpretation\nFree participation with prior registration at servico.educativo.museu@ccb.pt \n  \n◾ Cross-cutting\, Tour in English\nAn Atlantic Drift. The Arts of the 20th Century Based on the Berardo Collection + May I Help You? Posso Ajudar? Arts and Artists from the 1970s Onwards\nSunday\, may 31 and june 13\, at 3:00pm\nFree participation with prior registration at servico.educativo.museu@ccb.pt \, and purchase of a museum entry ticket.
URL:https://www.ccb.pt/en/evento/an-atlantic-drift-20th-century-art-from-the-berardo-collection/2026-07-25/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,MAC/CCB
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260725T100000
DTEND;TZID=Europe/Lisbon:20260725T183000
DTSTAMP:20260725T112730
CREATED:20251114T142855Z
LAST-MODIFIED:20260605T103759Z
UID:282169-1784973600-1785004200@www.ccb.pt
SUMMARY:Multiple Eyes
DESCRIPTION:In an era when screens shape our perception of reality and algorithms dictate our preferences\, the works of these artists—fusing the sensory\, the symbolic\, the ancestral\, and the spiritual with the popular\, the carnivalesque\, the magical\, and the abject—propose an alternative: storytelling as an intimate\, porous\, and polyphonic practice. Multiple Eyes brings together three artists from different generations who understand narrative practice as a collaborative and political space. The exhibition invites audiences to view otherness not as threat but as an opportunity for learning\, reflection\, and co-creating knowledge. Challenging singular and binary narratives\, and reclaiming storytelling from systems of control\, these works demonstrate how art can open spaces for dialogue\, empathy\, and the recognition of diverse ways of knowing and imagining the present. \n  \nCurators Nuria Enguita\, Rafael Barber Cortell \n  \nGuided tours \n◾ Sunday\, May 24 and July 5\, at 11:00am\nFree participation with prior registration at servico.educativo.museu@ccb.pt \n 
URL:https://www.ccb.pt/en/evento/exhibition-multiple-eyes/2026-07-25/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,MAC/CCB
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260725T100000
DTEND;TZID=Europe/Lisbon:20260725T183000
DTSTAMP:20260725T112730
CREATED:20251114T142943Z
LAST-MODIFIED:20260512T085355Z
UID:282167-1784973600-1785004200@www.ccb.pt
SUMMARY:José Pedro Croft
DESCRIPTION:Prints\, drawings\, and reliefs interact with a group of sculptures that occupy the longitudinal axis of the exhibition space. These are the reflections\, enclaves\, and deviations of José Pedro Croft\, one of Portugal’s most acclaimed artists\, presented on Floor 0 of MAC/CCB. The selection for this solo exhibition reflects the artist’s ongoing exploration of body\, scale\, space\, and architecture\, as well as the subtle thresholds between plane and three-dimensionality. The show unfolds along two interlinked lines: on the one hand\, the dialogue between graphic processes\, constructive tradition\, and architectural elements; on the other\, a sculptural rigour that invites the viewer into a slow\, perceptive experience that resists the acceleration of our times. \n  \nCurator Luiz Camillo Osorio \n  \nVisit to the exhibition \n  \n◾ Sunday\, 17 May at 4:00pm\nJosé Pedro Croft guides us through the Reflections\, Enclaves\, Deviations of his work\nFree admission\, subject to prior registration to the email address servico.educativo.museu@ccb.pt \n  \n◾ Sunday\, 17 May and 28 June\, at 11:00am\nFree admission\, subject to prior registration to the email address servico.educativo.museu@ccb.pt
URL:https://www.ccb.pt/en/evento/exhibition-jose-pedro-croft/2026-07-25/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Exhibitions,MAC/CCB
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260725T100000
DTEND;TZID=Europe/Lisbon:20260725T183000
DTSTAMP:20260725T112730
CREATED:20251114T143022Z
LAST-MODIFIED:20260527T101934Z
UID:282171-1784973600-1785004200@www.ccb.pt
SUMMARY:May I Help You? Posso ajudar?
DESCRIPTION:The everyday question “May I help you?” was used by Andrea Fraser in a performance that addressed the complex institutional relationships within the art world. The same question may also be turned towards the museum itself: what kind of help is actually being offered\, and what kind of connection can still be expected in an era of increasing fragmentation\, dissonance and impermanence? The exhibition draws on five decades of artistic production\, from the 1970s to today\, and features works by ninety artists—including Ad Minoliti (in the museum’s main hall)\, Alberto Carneiro\, Carla Filipe\, Doris Salcedo\, Helena Almeida\, Gabriel Abrantes\, Gilbert & George\, Jeff Koons\, Júlia Ventura\, Kara Walker\, and Richard Serra\, among many others. The works are drawn from collections on long-term loan to the MAC/CCB (the Berardo Collection\, the State Contemporary Art Collection\, and the Teixeira de Freitas Collection)\, and are complemented by new commissions from Portuguese artists. \n  \nCurators Nuria Enguita and Marta Mestre\nCuratorial Adviser Raphael Fonseca (Denver Art Museum) \n  \nThe exhibition “MAY I HELP YOU? POSSO AJUDAR?” Arts and Artists from the 1970s Onwards\, inspired by Andrea Fraser’s performance of the same name\, explores the diversity of representations\, presences\, and narratives within the artistic field\, questioning the idea of a single\, linear direction in art history. Through dialogues between works spanning the last five decades\, the exhibition examines what artists are and do\, and the social roles they imagine for themselves. From the ruptures that redefined art in the 1970s to the accelerated digitalisation of the present\, it highlights a range of heterogeneous formats\, functions\, and intensities. \nNuria Enguita\nCurator of the exhibition and artistic director of MAC/CCB \n  \nArtists: \nGabriel Abrantes\, Helena Almeida\, Giovanni Anselmo\, Robert Barry\, Taysir Batniji\, Lothar Baumgarten\, Bernd & Hilla Becher\, Sara Bichão\, Irma Blank\, Alighiero Boetti\, Christian Boltanski\, Olaf Breuning\, Daniel Buren\, Alberto Carneiro\, Gabriel Chaile\, Adriano Costa\, Jim Dine\, Jimmie Durham\, Carla Filipe\, Fischli & Weiss\, Dan Flavin\, Fernanda Fragateiro\, Andrea Fraser\, Gilbert & George\, Simryn Gill\, Fernanda Gomes\, Félix González-Torres\, Dan Graham\, Hans Haacke\, David Hammons\, Ana Hatherly\, Mona Hatoum\, Kiluanji Kia Henda\, Thomas Hirschhorn\, Jenny Holzer\, Rebecca Horn\, Sanja Iveković\, Ana Jotta\, Donald Judd\, Mike Kelley\, Yazan Khalili\, Jeff Koons\, Joseph Kosuth\, Jannis Kounellis\, Barbara Kruger\, Louise Lawler\, Sol LeWitt\, Glenn Ligon\, João Marçal\, Agnes Martin\, Cildo Meireles\, Mario Merz\, Ad Minoliti\, Matt Mullican\, Bruce Nauman\, Senga Nengudi\, Chris Ofili\, Gabriel Orozco\, Damián Ortega\, Pino Pascali\, Silvestre Pestana\, Raymond Pettibon\, Antonio Pichillá\, Sandra Poulson\, Robert Rauschenberg\, Doris Salcedo\, Alan Saret\, Julião Sarmento\, Allan Sekula\, Richard Serra\, Jim Shaw\, Susana Solano\, Haim Steinbach\, Frank Stella\, Wolfgang Tillmans\, Rosemarie Trockel\, João Pedro Vale + Nuno Alexandre Ferreira\, Júlia Ventura\, Vídeo nas Aldeias\, Kara Walker\, Franz West\, Yonamine\, Bruno Zhu. \n  \n  \n Visit to the exhibition\n \n◾ Cross-cutting\, Tour in English\nAn Atlantic Drift. The arts of the 20th century based on the Berardo Collection + May I Help You? Posso ajudar? Arts and Artists from the 1970s Onwards\nSunday\, may 31 and 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/2026-07-25/
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:20260725T200000
DTEND;TZID=Europe/Lisbon:20260725T210000
DTSTAMP:20260725T112730
CREATED:20260624T081104Z
LAST-MODIFIED:20260701T101328Z
UID:293511-1785009600-1785013200@www.ccb.pt
SUMMARY:Millennium Festival ao Largo 2026
DESCRIPTION:From 3 to 25 July\, Millennium Festival ao Largo  is back to transform Lisbon’s summer nights into a grand celebration of classical music\, opera\, and dance. Remaining true to its original spirit of openness and free admission\, the 2026 edition of the Festival will take place at Praça CCB\, next to the entrance to MAC/CCB. \nFor more than three weeks\, Praça CCB will host a programme celebrating some of the most significant expressions of the performing arts\, transforming Lisbon’s evenings into a meeting place between audiences and artistic creation. In this collective celebration\, the Festival once again invites everyone to take part in one of the city’s most iconic cultural events. \nThe Festival venue has a capacity of 950 spectators. For your convenience\, the use of public transport is recommended. \n  \n✨ View the full programme in Portuguese here. The English version will be available soon. \n  \nOn Millennium Festival ao Largo performance days\, the Almedina Bookshop and Coffee Shop at MAC/CCB will remain open until the start of each performance. \n  \n📍 Getting to CCB\n\n• Tram: 15E – Recommended Transport\nOn July 3\, 4\, and 5\, the last 15E tram departs from both ends of the line (Algés and Praça da Figueira) at 1:00 am. Trams run every 20 minutes between 12:00 am and 1:00 am\, with a capacity of up to 350 passengers.\nWe recommend parking in the public car parks at Alcântara or Algés and taking the 15E tram to CCB. \n• Bus: 728\, 714\, 727\, 729 and 751.\n• Train: Cascais Line\, Belém Station. \n 
URL:https://www.ccb.pt/en/evento/millennium-festival-ao-largo-2026/2026-07-25/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Ativities,Dance,Families,Festival,Music,Performances
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260730T080000
DTEND;TZID=Europe/Lisbon:20261016T170000
DTSTAMP:20260725T112730
CREATED:20250630T105102Z
LAST-MODIFIED:20260227T131113Z
UID:238770-1785398400-1792170000@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:20260730T080000
DTEND;TZID=Europe/Lisbon:20261228T170000
DTSTAMP:20260725T112730
CREATED:20250128T121840Z
LAST-MODIFIED:20250922T160107Z
UID:213352-1785398400-1798477200@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:20260730T100000
DTEND;TZID=Europe/Lisbon:20261011T183000
DTSTAMP:20260725T112730
CREATED:20251114T142606Z
LAST-MODIFIED:20260723T095916Z
UID:260511-1785405600-1791743400@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\nSaturday\, 10 October at 3:00pm at the Architecture Centre | Screening 5:00pm \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. Panel to be announced.\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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260730T100000
DTEND;TZID=Europe/Lisbon:20260730T183000
DTSTAMP:20260725T112730
CREATED:20251114T142751Z
LAST-MODIFIED:20260723T144956Z
UID:260503-1785405600-1785436200@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.\nSem alterações: 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 mist of information\, memory\, and oblivion it produces. Sem alterações: 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 mist of information\, memory\, and oblivion it produces. \n  \nCurator Marta Mestre \n  \n◾ Reading and Listening Room\ncadavre exquis / cadáver esquisito / exquisite corpse\nJune 3 to November 1 2026\n \nLocated at the end of the exhibition\, this room hosts regular activations and offers visitors access to bibliographic material and editorial projects related to Frida Orupabo’s referential universe.\nConceived and facilitated by colectivoFACA (Andreia Coutinho and Maribel Mendes Sobreira) and Ícaro Lira  \n  \n◾ Talk | ARTISTIC PRACTICES\, INCLUSION\, AND THE PRODUCTION OF COUNTER-ARCHIVES\nSeptember 19 at 4:00pm\n \nA public conversation exploring the relationship between artistic practices\, inclusion\, participation\, and the production of counter-archives within cultural institutions\, with MANAS Collective — Mutual Support Group. Free participation\, subject to prior booking. \nMANAS: Harm reduction\, artivism\, and the rights of the Manas. Lisbon\, Portugal. From the outset\, MANAS has combined artistic practices with harm-reduction strategies and community health initiatives. Through zine-making workshops\, body-awareness exercises\, storytelling practices\, and collective cooking\, participants have found pathways towards self-expression and political empowerment. At the same time\, harm reduction has remained central to the project’s praxis. At the heart of MANAS lies the principle of “nothing about us without us.” Its mission includes challenging intersectional forms of discrimination based on gender identity\, race\, class\, age\, disability\, and sexual orientation\, whilst building solidarity through a shared political voice. \n  \n Visit to the exhibition \n◾ Saturday\, september 19 \, at 03:00pm\nTour/talk with curator Marta Mestre\nFree participation\, subject to prior registration. \n  \n◾ TOUR/TALK WITH UNA (BLACK UNION FOR THE ARTS)\, COLECTIVOFACA (ANDREIA COUTINHO AND MARIBEL MENDES SOBREIRA)\, AND ÍCARO LIRA\nSunday\, september 20\, at 4.00 pm\nA conversation between colectivoFACA\, Ícaro Lira\, and members of UNA exploring image-making and critical visual practices developed by Black practitioners within the European context\, seeking common ground between Portugal and Norway.
URL:https://www.ccb.pt/en/evento/exhibition-frida-orupabo/2026-07-30/
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/FridaOrupabo_CloudOfConfusion_MACCCB1creditoAntonioJorgeSilva.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260731T110000
DTEND;TZID=Europe/Lisbon:20261130T110000
DTSTAMP:20260725T112730
CREATED:20231024T115520Z
LAST-MODIFIED:20260710T114122Z
UID:271212-1785495600-1796036400@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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260824T103000
DTEND;TZID=Europe/Lisbon:20260824T130000
DTSTAMP:20260725T112730
CREATED:20251117T171828Z
LAST-MODIFIED:20251117T171828Z
UID:287407-1787567400-1787576400@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/2026-08-24/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Mediation projects,Mediation projects
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260911T190000
DTEND;TZID=Europe/Lisbon:20260912T200000
DTSTAMP:20260725T112730
CREATED:20260618T101156Z
LAST-MODIFIED:20260706T114842Z
UID:294155-1789153200-1789243200@www.ccb.pt
SUMMARY:The Disappearing Act
DESCRIPTION:The Disappearing Act is Yinka Esi Graves’ first solo creation. Drawing on her experience as an Afro-Caribbean flamenco dancer\, the artist explores themes of invisibility\, absence\, and representation. On stage\, the figure of La Lala invites audiences into an experience in which camouflage and disappearance become acts of resistance. \nBlending dance\, live music\, text\, and live video\, the performance unfolds as an experimental flamenco work inspired by the tradition of the Ghanaian Concert Party. It features guitarist Raúl Cantizano\, drummer Donna Thompson\, and singer Antonia Fernández\, whose contributions shape an artistic language that moves between flamenco\, jazz\, hip hop\, and improvisation. \nDeveloped through artistic residencies in the United Kingdom\, Spain\, and France\, the work premiered at the 2023 Festival Flamenco de Nîmes and has since been presented at leading festivals and venues including the GREC Festival Barcelona\, the Festival d’Avignon\, Tanz im August in Berlin\, and Chaillot – Théâtre National de la Danse in Paris. In 2024\, it was selected by critic Claire Bishop as one of the ten best performances of the year for Artforum.
URL:https://www.ccb.pt/en/evento/the-disappearing-act/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Dance,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/05/2000x940_TheDisappearingAct.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260911T200000
DTEND;TZID=Europe/Lisbon:20260912T213000
DTSTAMP:20260725T112730
CREATED:20260618T100653Z
LAST-MODIFIED:20260716T135339Z
UID:294630-1789156800-1789248600@www.ccb.pt
SUMMARY:Falsas Histórias Verdadeiras: Uma Pina Colagem
DESCRIPTION:“Grammar is not enough to say everything.”\nManuel António Pina \nAfter its premiere in Porto\, Falsas Histórias Verdadeiras: Uma Pina Colagem toured the country\, passing through Faro and Aveiro\, and now arrives at CCB. \nFalsas Histórias Verdadeiras: Uma Pina Colagem is guided by that “bird in the head\,” drawing on a dramaturgy that embraces all the origins of Pina’s words — theatre\, poetry\, chronicles — and aspires to be for everyone\, giants and little ones alike.\nThe artistic director of Teatro Nacional São João\, Victor Hugo Pontes — a director and choreographer for whom movement intertwined with words is a touchstone — builds an (en)chanted\, acrobatic and composite universe\, set to music by A garota não.\nCelebrating the topsy-turvy world of one of our greatest poets (Camões Prize 2011)\, this performance is rich in humour\, verbal inventiveness and nonsense. It seeks to follow this aim of Pina: “Oh\, to gather the pieces of all books / and un-imagine the world.” \n  \n with audio description on september 11.
URL:https://www.ccb.pt/en/evento/falsas-historias-verdadeiras-uma-pina-colagem/
LOCATION:Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Accessible programme,Dance,Performances,Theatre
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/05/2000x940_VHP.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260911T213000
DTEND;TZID=Europe/Lisbon:20260911T230000
DTSTAMP:20260725T112730
CREATED:20260622T081435Z
LAST-MODIFIED:20260709T151953Z
UID:294627-1789162200-1789167600@www.ccb.pt
SUMMARY:C´est pas là\, C´est par là
DESCRIPTION:C’est Pas Là\, C’est Par Là\, by Compagnie Galmae\, created by Juhyung Lee\, is an interactive work in which audiences are invited to grasp a rope wound around a stone and gradually untangle it by following an elusive pattern. As the threads require participants to move over and under one another\, bodies intersect\, encounters emerge\, and directions are constantly called into question. \nThe installation offers a sensory journey that challenges visitors’ spatial perception and sense of orientation. Through sound\, image\, and interactive devices\, each participant is encouraged to explore\, reinterpret\, and rediscover the space.
URL:https://www.ccb.pt/en/evento/cest-pas-la-cest-par-la/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Installation,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/05/2000x940_LeeJunhung.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260912T100000
DTEND;TZID=Europe/Lisbon:20261205T190000
DTSTAMP:20260725T112730
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260912T140000
DTEND;TZID=Europe/Lisbon:20260912T170000
DTSTAMP:20260725T112730
CREATED:20260618T101400Z
LAST-MODIFIED:20260716T132124Z
UID:294614-1789221600-1789232400@www.ccb.pt
SUMMARY:Please Do Not Touch
DESCRIPTION:Please Do Not Touch is an afrofuturist monologue that explores themes such as the role of museums in colonialism and contemporary globalised societies\, the consequences of cultural looting\, the environmental\, spiritual\, and artistic scars left by Western imperialism\, and questions of representation within cultural institutions—from artists to audiences. \nThe performance raises questions such as: What is art? Who can be an artist? What happens when a culture is silenced and erased? Who gets to see themselves represented in art and culture? Who are museums for? \nA guided tour unconstrained by linear time\, Please Do Not Touch promises to address issues that remain taboo in Portugal and across the Global North. \n  \nAccessibility: Performance with Portuguese Sign Language interpretation on September 12.
URL:https://www.ccb.pt/en/evento/please-do-not-touch/2026-09-12/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Accessible programme,MAC/CCB,Performance,Performances,Theatre
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/06/Please-Do-Not-Touchcredito-diogo-camoes.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260912T150000
DTEND;TZID=Europe/Lisbon:20260912T163000
DTSTAMP:20260725T112730
CREATED:20260126T152758Z
LAST-MODIFIED:20260218T093633Z
UID:268714-1789225200-1789230600@www.ccb.pt
SUMMARY:Shared Museum
DESCRIPTION:At weekends\, MAC/CCB opens its doors to people living with dementia and their families for moments of sharing and discovery through art. \nThese encounters aim to offer inclusive\, meaningful artistic experiences in which artworks become a starting point for dialogue\, the evocation of memories\, imagination\, and expression. Each work contains multiple meanings and possible worlds\, prompting conversations\, emotions\, and sensory experiences that invite active participation—through words\, gesture\, and hands-on making. \nIn a calm and welcoming environment\, these moments foster closeness between participants\, strengthening emotional bonds and creating a space of sharing and serenity. More than museum visits\, they are unique family moments in which time slows down and art becomes a mediator of relationships\, listening\, and presence. \nAn invitation to see\, stay\, feel\, make\, experience\, and share—together\, in the museum.
URL:https://www.ccb.pt/en/evento/museu-em-partilha/2026-09-12/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Accessible programme,Ativities,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/01/Museu-em-partilhamuseumacccb-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260912T150000
DTEND;TZID=Europe/Lisbon:20260912T163000
DTSTAMP:20260725T112730
CREATED:20260710T113755Z
LAST-MODIFIED:20260715T090226Z
UID:294817-1789225200-1789230600@www.ccb.pt
SUMMARY:Cantar Juntos pelo Mundo
DESCRIPTION:Cantar Juntos pelo Mundo invites audiences into a space where voices\, stories\, and cultures come together. On stage\, a collective of eight musicians is joined by guest artists from diverse backgrounds and the Coro Preparatório do Coro Infantil da Universidade de Lisboa\, weaving a musical journey through songs brought by those who have made Portugal their home. Through rhythms\, languages\, and memories\, the concert becomes a place of listening and sharing\, where every voice is heard and every song creates a new encounter. Conceived for families\, it is an invitation to experience music as a bridge between people\, identities\, and worlds.
URL:https://www.ccb.pt/en/evento/cantar-juntos-pelo-mundo-3/2026-09-12/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Fábrica das Artes,Families,Music,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/05/Cartaz-CJPM_horizontal.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260912T160000
DTEND;TZID=Europe/Lisbon:20260912T170000
DTSTAMP:20260725T112730
CREATED:20260622T102520Z
LAST-MODIFIED:20260709T140502Z
UID:294609-1789228800-1789232400@www.ccb.pt
SUMMARY:Talk and tour with curator Cindy Sissokho
DESCRIPTION:Cindy Sissokho is a curator\, cultural producer\, art consultant\, and writer with a particular interest in anti-colonial\, social\, and political practices in the fields of art and culture. In this guided tour\, Sissokho brings the practices of Lubaina Himid and Frida Orupabo into dialogue. A central figure in the British Black Arts Movement\, Himid has devoted her work to recovering histories and presences erased from official narratives. Orupabo\, meanwhile\, works with photographic archives and images found online\, exploring questions of race\, gender\, memory\, and representation through collage and montage. The tour offers an opportunity to reflect on how both artists reimagine the image as a space of resistance\, repair\, and critical imagination. \n  \nPhoto: Ivo Meco  Jardins Mac-ccb (c) jafuno
URL:https://www.ccb.pt/en/evento/visita-conversa-com-a-curadora-cindy-sissokho/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Ativities,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/06/45-Ivo-Meco-_Jardins-Mac-ccbcreditojafuno-1-1-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260912T170000
DTEND;TZID=Europe/Lisbon:20260912T180000
DTSTAMP:20260725T112730
CREATED:20260618T101620Z
LAST-MODIFIED:20260716T133849Z
UID:294605-1789232400-1789236000@www.ccb.pt
SUMMARY:Da Gare do Oriente para o Centro Cultural de Belém — Krump Session
DESCRIPTION:Krump is a performative practice that functions as a ritual of liberation\, acceptance\, and resistance\, in which the body becomes a space for expression and transformation.\nOriginating within Black and Latino communities in Los Angeles in the late 1990s\, krump emerged as a response to structural violence\, gang conflict\, and police repression\, particularly in the area of Compton. Rooted in a sociopolitical context marked by racism and economic inequality\, this dance style developed into a raw\, intense\, and deeply expressive form of movement.\nMore than a dance\, krump is a collective space where energy\, emotion\, and community converge\, inviting audiences into a visceral\, participatory experience with a powerful ritual dimension.
URL:https://www.ccb.pt/en/evento/da-gare-do-oriente-para-o-centro-cultural-de-belem-krump-session/2026-09-12/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Ativities,Dance,MAC/CCB,Performance,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/05/KRUMP-.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260912T213000
DTEND;TZID=Europe/Lisbon:20260912T223000
DTSTAMP:20260725T112730
CREATED:20260710T112128Z
LAST-MODIFIED:20260710T112211Z
UID:284282-1789248600-1789252200@www.ccb.pt
SUMMARY:Di/STRAUSS Technique
DESCRIPTION:Di/STRAUSS Technique is a participatory music and dance performance conceived to stimulate the audience’s spirit\, vocal courage\, physical freedom\, and sense of desire. \nDrawing inspiration from the music of Johann Strauss II\, the “Waltz King”\, Ivo Dimchev composes ten songs of a therapeutic nature and creates playful choreographies that explore the psychophysical well-being of the contemporary individual. Themes such as sexual autonomy\, emotional resilience\, financial anxiety\, self-love\, and divine absurdity are explored through music\, movement\, and audience interaction. \nThe performance unfolds as a collective ritual of joy and irreverence\, blending queer humour with operatic kitsch. \nEquipped with cotton bags filled with ribbons\, fans\, pom-poms\, and other objects\, spectators become active participants: they sing\, move\, laugh\, confess\, and reclaim their own voices. \n  \nPerformed in English with English surtitles. \nWarning: This performance contains alcohol consumption and explicit/strong language.
URL:https://www.ccb.pt/en/evento/di-strauss-technique/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Performance,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/05/2000x940_DiSTRAUSS.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260913T170000
DTEND;TZID=Europe/Lisbon:20260913T180000
DTSTAMP:20260725T112730
CREATED:20260618T072359Z
LAST-MODIFIED:20260709T133320Z
UID:294602-1789318800-1789322400@www.ccb.pt
SUMMARY:Amor Sin Pena – Língua e Memória na Música Ibérica do Século XVI
DESCRIPTION:The third instalment of Noa Noa’s Língua project\, Amor Sin Pena inaugurates a new series of dialogues between Iberian languages\, proposing an intimate encounter between Portuguese and Castilian\, where word and sound converge in a shared territory of resonances\, tensions\, and affinities. \nDrawing on the Iberian repertoire of the sixteenth and seventeenth centuries—between courtly tradition and popular heritage—the programme explores songbooks and other musical sources that bear witness to the circulation of forms\, themes\, and sensibilities across the Iberian Peninsula. Voice and instruments create a space for listening in which the two languages reflect\, influence\, and transform one another.
URL:https://www.ccb.pt/en/evento/amor-sin-pena-lingua-e-memoria-na-musica-iberica-do-seculo-xvi/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Music,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/05/2000x940_NoaNoa.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260915T100000
DTEND;TZID=Europe/Lisbon:20261129T183000
DTSTAMP:20260725T112730
CREATED:20260724T083529Z
LAST-MODIFIED:20260724T112115Z
UID:296232-1789466400-1795977000@www.ccb.pt
SUMMARY: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-obras-convidadas/
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
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260919T160000
DTEND;TZID=Europe/Lisbon:20260919T170000
DTSTAMP:20260725T112730
CREATED:20260723T141147Z
LAST-MODIFIED:20260724T113825Z
UID:296038-1789833600-1789837200@www.ccb.pt
SUMMARY:TALK | ARTISTIC PRACTICES\, INCLUSION\, AND THE PRODUCTION OF COUNTER-ARCHIVES
DESCRIPTION:A public conversation exploring the relationship between artistic practices\, inclusion\, participation\, and the production of counter-archives within cultural institutions\, with MANAS Collective — Mutual Support Group. \nMANAS: Harm reduction\, artivism\, and the rights of the Manas. Lisbon\, Portugal. From the outset\, MANAS has combined artistic practices with harm-reduction strategies and community health initiatives. Through zine-making workshops\, body-awareness exercises\, storytelling practices\, and collective cooking\, participants have found pathways towards self-expression and political empowerment. At the same time\, harm reduction has remained central to the project’s praxis. At the heart of MANAS lies the principle of “nothing about us without us.” Its mission includes challenging intersectional forms of discrimination based on gender identity\, race\, class\, age\, disability\, and sexual orientation\, whilst building solidarity through a shared political voice.. \n  \nFree participation\, subject to prior booking for servico.educativo.museu@ccb.pt \nDuration: 1 hour 30 minutes. Maximum: 25 participants (adults).
URL:https://www.ccb.pt/en/evento/talk-artistic-practices-inclusion-and-the-production-of-counter-archives/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Ativities,Conferences and Talks,MAC/CCB
ATTACH;FMTTYPE=image/png:https://www.ccb.pt/wp-content/uploads/2026/07/divulgacaoCREDITONicole-SanchEz-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260919T190000
DTEND;TZID=Europe/Lisbon:20260919T200000
DTSTAMP:20260725T112730
CREATED:20260618T100941Z
LAST-MODIFIED:20260709T114639Z
UID:294597-1789844400-1789848000@www.ccb.pt
SUMMARY:The Dog Days Are Over 2.0
DESCRIPTION:Created by Jan Martens in 2014 and restaged in 2025 with a new cast\, THE DOG DAYS ARE OVER has become one of the Belgian choreographer’s most iconic works\, following an extensive international tour of more than one hundred performances. Inspired by photographer Philippe Halsman’s assertion that the act of jumping causes the social mask to fall away\, revealing a person’s true identity\, the piece uses the jump as both a choreographic and human device. \nOn stage\, eight dancers take on a rigorous\, mathematical\, and intensely demanding choreography built around continuous sequences of jumps performed in apparent unison. Through repetition\, exhaustion\, and physical endurance\, the performers strive to maintain precision and synchronisation\, yet inevitably reveal vulnerability\, effort\, and individuality. \nThrough its radical form and the physical intensity it demands of its performers\, the piece questions the relationship between art and entertainment\, as well as the audience’s gaze upon the suffering and exposure of bodies on stage. More than a decade after its premiere\, the question posed by Jan Martens remains as relevant as ever: to what extent does the spectator consume physical exertion as spectacle?
URL:https://www.ccb.pt/en/evento/the-dog-days-are-over-2-0/2026-09-19/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Dance,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/05/2000x940_TheDogDaysAreOver-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260924T200000
DTEND;TZID=Europe/Lisbon:20260924T210000
DTSTAMP:20260725T112730
CREATED:20260618T082500Z
LAST-MODIFIED:20260709T111433Z
UID:294587-1790280000-1790283600@www.ccb.pt
SUMMARY:Woyzeck
DESCRIPTION:Georg Büchner died in 1837 at the age of twenty-three\, leaving Woyzeck\, one of the plays that heralded modern theatre\, unfinished. Fragmentary and incomplete\, it remains open to countless interpretations. This is the auéééu collective’s version: a performance inspired by Büchner’s celebrated character—victim and anti-hero\, proletarian and madman\, a “poor devil” burdened by a world undergoing rapid transformation—and by the tableaux vivants of Sergei Parajanov’s film The Colour of Pomegranates (1969). \nIn collaboration with filmmaker Manuela Viegas\, sculptor Fernando Roussado\, illustrator Filipe Andrade\, and lighting designer Daniel Worm d’Assumpção\, auéééu creates on stage “a scientific laboratory where humanoid machines obey an artificial order of intelligence that is not governed by ethical values.” Within this dystopian environment\, these figures “operate exclusively in the name of progress.” \n“And what lies behind all this?” asks Woyzeck. Perhaps the answer can be found in this performance.
URL:https://www.ccb.pt/en/evento/woyzeck/2026-09-24/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Performances,Theatre
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/05/2000x940_Woyzeck.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260926T150000
DTEND;TZID=Europe/Lisbon:20260926T190000
DTSTAMP:20260725T112730
CREATED:20250403T141348Z
LAST-MODIFIED:20260723T142941Z
UID:294352-1790434800-1790449200@www.ccb.pt
SUMMARY:Public Programme
DESCRIPTION:
URL:https://www.ccb.pt/en/evento/public-programme-mac-ccb/2026-09-26/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Architecture Center,Ativities,MAC/CCB
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/04/DiaMuseus3102┬®RitaCarmo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20260927T170000
DTEND;TZID=Europe/Lisbon:20260927T183000
DTSTAMP:20260725T112730
CREATED:20260609T090038Z
LAST-MODIFIED:20260709T111614Z
UID:294575-1790528400-1790533800@www.ccb.pt
SUMMARY:Beethoven’s Symphony No. 5
DESCRIPTION:They call it the “Fate” Symphony: Beethoven’s Fifth Symphony is a monument of the Western collective imagination. It represents an individual consciousness determined to confront the greatest adversities in defence of its ideals. It invites reflection on paths entangled in subjectivity\, yet powerfully seductive. It is a personal experience with universal aspirations\, projected simultaneously onto the individual and Humanity as a whole. In this programme\, it is paired with the expressive paradoxes of Pinho Vargas and with two other works which\, by master and pupil alike\, converge in the intimate and eloquent voice of the cello. Saint-Saëns’s Cello Concerto No. 2 and Fauré’s Élégie are entrusted to the charisma of Steven Isserlis\, an eclectic and celebrated musician — in every sense of the word. \n  \nPre-concert talk by Rui Campos Leitão at 4:30 pm. \n  \nEl Corte Inglés supports the CCB’s Classical Music Mediation Programme.         
URL:https://www.ccb.pt/en/evento/sinfonia-n-o-5-de-beethoven/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:2026-27 Season,Music,Performances
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2026/05/2000x940_OMLSteven-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20261008T200000
DTEND;TZID=Europe/Lisbon:20261008T210000
DTSTAMP:20260725T112730
CREATED:20260325T155938Z
LAST-MODIFIED:20260716T100906Z
UID:278848-1791489600-1791493200@www.ccb.pt
SUMMARY:Mike Stern Band
DESCRIPTION:One of the great jazz guitarists of his generation\, Mike Stern has the unique ability to play with the elegance and lyricism of Jim Hall\, the pulsating swing of Wes Montgomery\, and the turbulent\, saturated attack of Jimi Hendrix. Elements of these influences from seminal works can be heard in his playing across the 18 recordings he has released as a leader\, as well as in his acclaimed work as a sideman for Miles Davis\, Billy Cobham\, the Brecker Brothers\, Jaco Pastorius\, Steps Ahead\, David Sanborn\, Blood\, Sweat & Tears\, Joe Henderson\, and the band Four Generations of Miles. \nMike Stern invites us to experience a performance accompanied by a stellar band\, featuring Leni Stern on guitar\, named one of the “50 Sensational Guitarists of All Time” in Guitar Player magazine’s 50th anniversary edition in 2017; the remarkable saxophonist Bob Franceschini; on bass\, he invites Chris Minh Doky\, a world-renowned bassist; and on drums\, the incomparable Dennis Chambers. \n 
URL:https://www.ccb.pt/en/evento/mike-stern-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/2026/03/mike_stern_1920x1080_NOINFO-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=Europe/Lisbon:20261017T100000
DTEND;TZID=Europe/Lisbon:20261017T130000
DTSTAMP:20260725T112730
CREATED:20260723T114624Z
LAST-MODIFIED:20260724T115046Z
UID:296000-1792231200-1792242000@www.ccb.pt
SUMMARY:Course An Atlantic Journey through Modern Art
DESCRIPTION:What possibilities does telling the story of modern art from an Atlantic perspective offer us? Guided by the idea of deviation\, this course brings into the discussion artists\, journeys and intersections that are rarely covered in textbooks but which the exhibition “An Atlantic Drift. The Arts of the 20th Century Based on the Berardo Collection” allows us to explore. Challenging the notion of a single interpretation and championing multiple possibilities for exploration\, the course is delivered in person\, comprising six guided sessions held between the exhibition space and the auditorium. \n  \nCoordination Cristina Gameiro\nConceived and led by Fabrícia Valente \n 
URL:https://www.ccb.pt/en/evento/course-an-atlantic-journey-through-modern-art/2026-10-17/
LOCATION:Centro Cultural de Belém\, Praça do Império\, Lisboa\, Lisboa\, 1449-003\, Portugal
CATEGORIES:Ativities,MAC/CCB,Mediation projects
ATTACH;FMTTYPE=image/jpeg:https://www.ccb.pt/wp-content/uploads/2025/03/Antonio-JorgeSilvaUma-Deriva-Atlantida-L-CCB-4K.jpg
END:VEVENT
END:VCALENDAR