https://fernandafragateiro.com Fernanda Fragateiro Fri, 09 Oct 2026 10:35:49 +0000 https://fernandafragateiro.com en https://fernandafragateiro.com/Exhibitions Thu, 12 Jan 2023 12:02:25 +0000 Fernanda Fragateiro https://fernandafragateiro.com/Exhibitions Exhibitions https://fernandafragateiro.com/Public-Works Tue, 17 Jan 2023 22:57:11 +0000 Fernanda Fragateiro https://fernandafragateiro.com/Public-Works Public Works https://fernandafragateiro.com/Books Mon, 16 Jan 2023 15:06:11 +0000 Fernanda Fragateiro https://fernandafragateiro.com/Books Books <img width="1960" height="1960" width_o="1960" height_o="1960" data-src="https://freight.cargo.site/t/original/i/3451ac6d507c5a0da95b9a0df25150f27a95e00b3422dfdaf0d839cdebf4554b/MaterialsLab.png" data-mid="166974234" border="0" alt="Materials Lab, 2022" data-caption="Materials Lab, 2022" src="https://freight.cargo.site/w/1000/i/3451ac6d507c5a0da95b9a0df25150f27a95e00b3422dfdaf0d839cdebf4554b/MaterialsLab.png" /> <img width="1960" height="1960" width_o="1960" height_o="1960" data-src="https://freight.cargo.site/t/original/i/d21c1b32e61d1a4db2a2e834152645e0439898e550406f05282cf869871e351d/A-paisagem-e.png" data-mid="166974235" border="0" alt="A Paisagem &eacute;, 2018" data-caption="A Paisagem é, 2018" src="https://freight.cargo.site/w/1000/i/d21c1b32e61d1a4db2a2e834152645e0439898e550406f05282cf869871e351d/A-paisagem-e.png" /> <img width="1960" height="1960" width_o="1960" height_o="1960" data-src="https://freight.cargo.site/t/original/i/5f1aa598d8b2b0e2ba1936623bfae7a7a77559842a6d8b8137676c035310eb20/LetterForAni.png" data-mid="166974233" border="0" alt="letter, for Anni, 2017" data-caption="letter, for Anni, 2017" src="https://freight.cargo.site/w/1000/i/5f1aa598d8b2b0e2ba1936623bfae7a7a77559842a6d8b8137676c035310eb20/LetterForAni.png" /> <img width="1960" height="1960" width_o="1960" height_o="1960" data-src="https://freight.cargo.site/t/original/i/fe45390791b6deb3b3d7bb4ff9b9cfb1a10368aab71c52ac66dc6dcdd93eb9cd/R9F6PB.png" data-mid="166974232" border="0" alt="R9F6PBRANCO" data-caption="R9F6PBRANCO" src="https://freight.cargo.site/w/1000/i/fe45390791b6deb3b3d7bb4ff9b9cfb1a10368aab71c52ac66dc6dcdd93eb9cd/R9F6PB.png" /> <img width="1960" height="1960" width_o="1960" height_o="1960" data-src="https://freight.cargo.site/t/original/i/80aabe32fdf25695449c9b2feee4088d8972dc95b35b74ca2e63d777372c2bb0/AreservaCoisas.png" data-mid="166974231" border="0" alt="A Reserva das Coisas no seu Estado Latente" data-caption="A Reserva das Coisas no seu Estado Latente" src="https://freight.cargo.site/w/1000/i/80aabe32fdf25695449c9b2feee4088d8972dc95b35b74ca2e63d777372c2bb0/AreservaCoisas.png" /> <img width="1960" height="1960" width_o="1960" height_o="1960" data-src="https://freight.cargo.site/t/original/i/d7d3b866fe5d4cf8dd9059899013f104cc341748ea59bebd22d5a3a90d2593cc/BILDRAUM.png" data-mid="166974230" border="0" alt="Bildraum, 2010" data-caption="Bildraum, 2010" src="https://freight.cargo.site/w/1000/i/d7d3b866fe5d4cf8dd9059899013f104cc341748ea59bebd22d5a3a90d2593cc/BILDRAUM.png" /> <img width="1960" height="1960" width_o="1960" height_o="1960" data-src="https://freight.cargo.site/t/original/i/8a90bcf1fe7b8ba22ecf863951a15eb5ffb432d37c6b0936e3a7f3a932753e82/osArquivos.png" data-mid="166974229" border="0" alt="Fernanda Fragateiro: dos arquivos, &agrave; mat&eacute;ria, &agrave; constru&ccedil;&atilde;o, 2018" data-caption="Fernanda Fragateiro: dos arquivos, à matéria, à construção, 2018" src="https://freight.cargo.site/w/1000/i/8a90bcf1fe7b8ba22ecf863951a15eb5ffb432d37c6b0936e3a7f3a932753e82/osArquivos.png" /> <img width="1960" height="1960" width_o="1960" height_o="1960" data-src="https://freight.cargo.site/t/original/i/af5599e47a5c45a381a6230b68944ee0fcf9a5d4b7e516194e2497d13d0d8911/Construir-e-Destruir.png" data-mid="174718407" border="0" alt="construir &eacute; destruir &eacute; construir, 2009" data-caption="construir é destruir é construir, 2009" src="https://freight.cargo.site/w/1000/i/af5599e47a5c45a381a6230b68944ee0fcf9a5d4b7e516194e2497d13d0d8911/Construir-e-Destruir.png" /> <img width="1960" height="1960" width_o="1960" height_o="1960" data-src="https://freight.cargo.site/t/original/i/1f23d339b7eb2c63592475ce6f2a40c8f9485c97606d9236c679e2d138ef0117/ArTerraAgua_Thumb.png" data-mid="183087923" border="0" alt="ar, terra, &aacute;gua, luz, a&ccedil;o, tempo, 2008" data-caption="ar, terra, água, luz, aço, tempo, 2008" src="https://freight.cargo.site/w/1000/i/1f23d339b7eb2c63592475ce6f2a40c8f9485c97606d9236c679e2d138ef0117/ArTerraAgua_Thumb.png" /> <img width="1960" height="1960" width_o="1960" height_o="1960" data-src="https://freight.cargo.site/t/original/i/ba2c790dfa3f51d73a7879f0a9568c4f20434d4acaaf27cce50564108f36d1f8/caixa-para-guardar-o-vazio.png" data-mid="174763198" border="0" alt="Caixa para guardar o vazio, 2007" data-caption="Caixa para guardar o vazio, 2007" src="https://freight.cargo.site/w/1000/i/ba2c790dfa3f51d73a7879f0a9568c4f20434d4acaaf27cce50564108f36d1f8/caixa-para-guardar-o-vazio.png" /> https://fernandafragateiro.com/Works Tue, 15 Nov 2022 13:07:46 +0000 Fernanda Fragateiro https://fernandafragateiro.com/Works Works&nbsp; https://fernandafragateiro.com/Texts Sat, 03 Dec 2022 16:44:34 +0000 Fernanda Fragateiro https://fernandafragateiro.com/Texts Texts A Cidade Incompleta by Delfim Sardo Ordinary and Luminous&nbsp; by Joaquim Moreno Silence, space and time in the work of Fernanda Fragateiro by George Stolz Fernanda Fragateiro and editing processes by Sara Antónia Matos The Reserve of Things in their Latent State by Adam Budak Emotional Ecology&nbsp;by Delfim Sardo Among the Whiteby Sara Antónia Matos Inventing (reducing and expanding) the landscapeby João Pinharanda Not reading modernism by Anna Altman Prepared Places: Exercises for keeping the void by Paulo Pires do Vale The art of relating: Fernanda Fragateiro in contextby Ruth Rosengarten https://fernandafragateiro.com/News Tue, 15 Nov 2022 13:07:45 +0000 Fernanda Fragateiro https://fernandafragateiro.com/News News Ongoing exhibitions Investigação da Pergunta e do ObjectoNoémia Coutinho e “Uma Escola de Iniciação de Arte”Escola Artística do Conservatório de Música Calouste Gulbenkian, Aveiro8 Oct 2026 — 12 Dec 2026A palavra é o lugar. A constitução da(s) comunidade(s)Assembleia da República, Lisbon23 Jul 2026 — 29 Nov 2026 Turn around. A look at the EDP Foundation Art Collection [Part II]MAAT, Lisbon29 Apr 2026 — 11 Jan 2027 May I Help You? Posso ajudar? Art and Artists from the 1970s Onwards MAC/CCB, LisbonPermanent Exhibition, from 26 Feb 2026 Scheherazade, the Never-ending Collection of CAM Centro de Arte Moderna Gulbenkian, Lisbon 20 Sep 2025 — 20 Sep 2027 Upcoming talks The Folklore Project - Art and Memory: From Vardø 22 Oct 2026, 8:00 p.m.PLMJ Foundation, LisbonArt &amp; Pedagogy&nbsp;Talk with Fernanda Fragateiro, Carlos Bunga and Ainhoa González, moderated by Paulo Pires do Vale,&nbsp;as part of Festa da Escola 11 Oct 2026, 4:00 p.m.Escola do Porto Santo, Porto SantoArtists on Artists Fernanda Fragateiro on Anni and Josef Albers12 Dec 2026, 11:00 a.m. Museu Arpad Szenes Vieira da Silva, Lisbon https://fernandafragateiro.com/About-1 Wed, 21 Jan 2026 12:05:40 +0000 Fernanda Fragateiro https://fernandafragateiro.com/About-1 <img width="1274" height="1245" width_o="1274" height_o="1245" data-src="https://freight.cargo.site/t/original/i/06287e1b50e54efa9c815736fafee21d852088cc48462c30459ba65f4be3e4af/Fernanda-Fragateiro0-retrato.jpg" data-mid="243711742" border="0" data-scale="38" src="https://freight.cargo.site/w/1000/i/06287e1b50e54efa9c815736fafee21d852088cc48462c30459ba65f4be3e4af/Fernanda-Fragateiro0-retrato.jpg" /> Montijo, 1962 — lives and works in Lisbon Fragateiro's projects are characterized by a strong interest in rethinking and probing modernist practices. Her practice involves an archaeological approach to the social, political and aesthetic history of modernism through continuous research with material from archives, documents and objects. Acting in the field of three-dimensionality, challenging the tension between architecture and sculpture, Fernanda Fragateiro's work enhances the relationship with each place, calling the spectator to a performative position. Her minimal sculptural and architectural interventions and installations in unexpected spaces (a monastery, an orphanage, or dilapidated houses) and her subtle changes to existing landscapes reveal buried stories of construction and transformation. Some of her projects are the result of collaborations with architects, landscape architects, artists and performers. Her work has been exhibited in different museums and national and international institutions such as the Bomba Gens Center d'Art (Valence), Galleria Nazionale d'Arte Moderna Contemporanea (Rome), Museu de Miguel Art Urrutia (Bogota), Museu de Arte, Arquitetura e Tecnologia (Lisbon), CaixaForum (Barcelona), Palais des Beaux-Arts (Paris), Carpenter Center for the Visual Arts, Harvard University (Cambridge), The Bronx Museum of the Arts (New York), MUAC Museo Universitario Arte Contemporáneo (Mexico City), Centro Cultural de Belém, (Lisbon), Fundação Serralves (Porto), Fundação Calouste Gulbenkian (Lisbon), Centre de Création Contemporaine Olivier Debré (Tours), among others. Her work is represented in several collections, among which: Colecção Arte Contemporânea do Estado, Portugal; Fundació Per Amor a l'Art, Valence; The Ella Fontanals Cisneros Collection, Miami; Fundación Neme, Bogota; Fundação de Serralves, Porto; Fundação EDP, Lisbon; Fundação Calouste Gulbenkian, Lisbon; Colecção Museu Berardo, Lisbon; Colecção Caixa Geral de Depósitos; Lisbon; Centro Galego de Arte Contemporânea, Santiago de Compostela; Museo Nacional Centro de Arte Reina Sofía, Madrid; Marcelino Botín Foundation, Santander; La Caixa Foundation, Barcelona; Fundación Helga de Alvear, Cáceres. REPRESENTED BY Galeria Elba Benítez, Madrid Galeria Filomena Soares, Lisbon Bienvenu Steinberg &amp; Partner Gallery, New York Irène Laub Gallery, Brussels f.fragateiro@gmail.com ︎&nbsp;@ffragateiro Curriculum VitaeBibliography https://fernandafragateiro.com/Materials-Lab-2014-2023 Tue, 14 Mar 2023 10:25:14 +0000 Fernanda Fragateiro https://fernandafragateiro.com/Materials-Lab-2014-2023 <img width="1549" height="494" width_o="1549" height_o="494" data-src="https://freight.cargo.site/t/original/i/0e13f7e9b7355e38d5d8c456c72571fe175287d91a154668b264b0ca8be14039/Titulo_Transparente.png" data-mid="177871200" border="0" data-scale="64" src="https://freight.cargo.site/w/1000/i/0e13f7e9b7355e38d5d8c456c72571fe175287d91a154668b264b0ca8be14039/Titulo_Transparente.png" /> Materials Lab, 2015–2023 “First of all, artists should break rules. When I did my first Materials Lab in 2015 I was not thinking about documenting my work. I was thinking about how to talk about my work while not using images of the works themselves. Rather, I was showing the whole process of making the artwork: from ideas to research materials to construction materials. But, after all, the decision was mine. What to include, what to add, what to leave behind? I was wondering how to organise several boxes, each box referring to a specific piece containing archival objects and discarded materials of different origin that belonged to processes of research: silk threads, books, book segments, exhibition catalogues, models, text fragments, magazine pages, inkjet prints, notes, drawings, marble, steel, bricks, dirt, dust, among others. I was literally unpacking my artworks not knowing that I was creating another artwork.”In Conversation With Fernanda Fragateiro On The Problem Of The Documentation Of The Contemporary Artwork, by Claudio Zecchi <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/c4d7630c6f75db2468613d4a768ddc6831db6846f33d59a128b121f2d2015ca9/APPLETON_09_light.jpg" data-mid="180785126" border="0" src="https://freight.cargo.site/w/1000/i/c4d7630c6f75db2468613d4a768ddc6831db6846f33d59a128b121f2d2015ca9/APPLETON_09_light.jpg" />title, added 2021 for the {title} work <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/1ff66fb5f319126a12963d817714327776797e2bcfa2a8dbf806f21457c01a8b/APPLETON_02_light.jpg" data-mid="180785187" border="0" src="https://freight.cargo.site/w/1000/i/1ff66fb5f319126a12963d817714327776797e2bcfa2a8dbf806f21457c01a8b/APPLETON_02_light.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/c57b22e203c64ca72e882789637a4940796666b0ee46c370408dbbe460025e1c/APPLETON_03_light.jpg" data-mid="180785134" border="0" src="https://freight.cargo.site/w/1000/i/c57b22e203c64ca72e882789637a4940796666b0ee46c370408dbbe460025e1c/APPLETON_03_light.jpg" /> <img width="1575" height="1181" width_o="1575" height_o="1181" data-src="https://freight.cargo.site/t/original/i/df29d0f2811a7759915cff98d34febd20e24dc47c8afb53a9d3ebbe21164999f/APPLETON_04_light.jpg" data-mid="180785203" border="0" src="https://freight.cargo.site/w/1000/i/df29d0f2811a7759915cff98d34febd20e24dc47c8afb53a9d3ebbe21164999f/APPLETON_04_light.jpg" /> <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/7a380d807353721bdbd7515b8d7e33ac6ad6b08ef974018c43390c11c2c9d8b0/APPLETON_05_light.jpg" data-mid="180785141" border="0" src="https://freight.cargo.site/w/1000/i/7a380d807353721bdbd7515b8d7e33ac6ad6b08ef974018c43390c11c2c9d8b0/APPLETON_05_light.jpg" /> <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/53cb1aba396708cfa46c11c40f4db8b801120a188bf40ae944e92598bdb0d0fc/APPLETON_06_light.jpg" data-mid="180785183" border="0" src="https://freight.cargo.site/w/1000/i/53cb1aba396708cfa46c11c40f4db8b801120a188bf40ae944e92598bdb0d0fc/APPLETON_06_light.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/35d0bfe93a1c2401d9238f0cf7ff7aa06f0c026c4d83302ac1dad7db119b37cb/APPLETON_07_light.jpg" data-mid="180785174" border="0" src="https://freight.cargo.site/w/1000/i/35d0bfe93a1c2401d9238f0cf7ff7aa06f0c026c4d83302ac1dad7db119b37cb/APPLETON_07_light.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/5235e48f668916bc5ba7f721fcab4b6fb6002bc6e5e29e8a5b1830826af7f75d/APPLETON_08_light.jpg" data-mid="180785195" border="0" src="https://freight.cargo.site/w/1000/i/5235e48f668916bc5ba7f721fcab4b6fb6002bc6e5e29e8a5b1830826af7f75d/APPLETON_08_light.jpg" /><img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/c4d7630c6f75db2468613d4a768ddc6831db6846f33d59a128b121f2d2015ca9/APPLETON_09_light.jpg" data-mid="180785126" border="0" src="https://freight.cargo.site/w/1000/i/c4d7630c6f75db2468613d4a768ddc6831db6846f33d59a128b121f2d2015ca9/APPLETON_09_light.jpg" /> <img width="1500" height="2000" width_o="1500" height_o="2000" data-src="https://freight.cargo.site/t/original/i/05b3e7a04828691e5e5f17f9b6e0b773f8ed1836074bea4042c542e87cc3703f/APPLETON_10__light.jpg" data-mid="180785167" border="0" src="https://freight.cargo.site/w/1000/i/05b3e7a04828691e5e5f17f9b6e0b773f8ed1836074bea4042c542e87cc3703f/APPLETON_10__light.jpg" /> <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/9eaffef876d18bf82ed62558bb411f6e5434424cf59b3bb2ec0689e17a0abdaa/APPLETON_11_light.jpg" data-mid="180785118" border="0" src="https://freight.cargo.site/w/1000/i/9eaffef876d18bf82ed62558bb411f6e5434424cf59b3bb2ec0689e17a0abdaa/APPLETON_11_light.jpg" /> “[…] as a lexicon of the artist's references, helping us to understand her generically entitled Materials lab emerges, as a lexicon of the artist's references, helping us to understand her connections to specific places, political struggles and the poetics of social transformation.” “Materials Lab is composed of&nbsp;a wide variety of research materials from the artist’s projects over seven years. Within each box there are materials that relate to specific&nbsp;projects and reveal histories of individuals like Otti Berger or&nbsp;Lygia Clark. However, the artist is not presenting these materials&nbsp;as a ‘code to crack’ in order to reveal previous works or merely an exposé of a working process. Fragateiro presents a new kind of map that provides insight into her working processes and the&nbsp;worlds she explores. Materials Lab is a cartographic process that&nbsp;enables the artist and the viewer to see new connections, in time, space and history.” <img width="1960" height="1960" width_o="1960" height_o="1960" data-src="https://freight.cargo.site/t/original/i/3451ac6d507c5a0da95b9a0df25150f27a95e00b3422dfdaf0d839cdebf4554b/MaterialsLab.png" data-mid="171578468" border="0" data-scale="63" alt="Materials Lab, 2020" data-caption="Materials Lab, 2020" src="https://freight.cargo.site/w/1000/i/3451ac6d507c5a0da95b9a0df25150f27a95e00b3422dfdaf0d839cdebf4554b/MaterialsLab.png" /> Materials Lab, 2022 https://fernandafragateiro.com/uma-escola-e-uma-floresta-e-uma-escola Fri, 09 Oct 2026 10:35:49 +0000 Fernanda Fragateiro https://fernandafragateiro.com/uma-escola-e-uma-floresta-e-uma-escola uma escola é uma floresta é uma escola Solo exhibition, Porta33 / Escola do Porto Santo, Porto Santo, 2026 <img width="5208" height="3472" width_o="5208" height_o="3472" data-src="https://freight.cargo.site/t/original/i/bd3d0f5cc5bd2cce117f6416a24ac8969d5aeb58093af03a3ef00a2b48a3830f/20260723_0449_.jpg" data-mid="253091566" border="0" src="https://freight.cargo.site/w/1000/i/bd3d0f5cc5bd2cce117f6416a24ac8969d5aeb58093af03a3ef00a2b48a3830f/20260723_0449_.jpg" /><img width="6087" height="4058" width_o="6087" height_o="4058" data-src="https://freight.cargo.site/t/original/i/6bd0f0af5ab651c0a095a925b0b70e1192fc2d46e464d4c70f2f967334c4e716/20260723_0314-edited.jpg" data-mid="253091745" border="0" src="https://freight.cargo.site/w/1000/i/6bd0f0af5ab651c0a095a925b0b70e1192fc2d46e464d4c70f2f967334c4e716/20260723_0314-edited.jpg" /><img width="6207" height="4140" width_o="6207" height_o="4140" data-src="https://freight.cargo.site/t/original/i/8c8e7c74bf431256ee7109b9a2808644fc17cd289f5b18cd6d9557d2a31e99b0/20260723_0318.jpg" data-mid="253091754" border="0" src="https://freight.cargo.site/w/1000/i/8c8e7c74bf431256ee7109b9a2808644fc17cd289f5b18cd6d9557d2a31e99b0/20260723_0318.jpg" /><img width="6186" height="4124" width_o="6186" height_o="4124" data-src="https://freight.cargo.site/t/original/i/f7077cd7e771c85a0f46b7bd01bfb06e6057e279ed7242a1d2177bab110e7d3d/20260623_0080.jpg" data-mid="253091567" border="0" src="https://freight.cargo.site/w/1000/i/f7077cd7e771c85a0f46b7bd01bfb06e6057e279ed7242a1d2177bab110e7d3d/20260623_0080.jpg" /><img width="3202" height="4803" width_o="3202" height_o="4803" data-src="https://freight.cargo.site/t/original/i/960cc7660e555e4c5e684da8597dd9f3814d6ec018b910a46ca5514a1d2c3a41/20260723_0363.jpg" data-mid="253091755" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/960cc7660e555e4c5e684da8597dd9f3814d6ec018b910a46ca5514a1d2c3a41/20260723_0363.jpg" /><img width="3858" height="5787" width_o="3858" height_o="5787" data-src="https://freight.cargo.site/t/original/i/c5ec07959384c0d5cbb39ba76d62b2b113b2ecf7645d741421b8083d3cae8ff2/20260723_0359.jpg" data-mid="253091764" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/c5ec07959384c0d5cbb39ba76d62b2b113b2ecf7645d741421b8083d3cae8ff2/20260723_0359.jpg" /> uma escola é uma floresta é uma escola, 2026 Raffia panels,&nbsp;galvanised steel / approx. 250 x 200 cm each The tip of the palm tree’s spiny stem is crowned by a deep bluish-green sea of fan-shaped leaves, like the ocean that carried its seeds to Porto Santo. Although they appear fragile, these leaves have helped withstand many droughts. Droughts that arrive with the air sharpened by the salt of the sea, eroding time and matter and returning the island’s worn soil to the depths of the sea. These same leaves, now in the hands of Maria Amélia Melim, joined with those of Fernanda Fragateiro, point to another aridity – invisible – created by oblivion, which numbs even the island’s air and causes leaves, hands and thoughts to vanish within it. In Macaronesia, in the archipelago of the Fortunate Isles, palm trees are a living memory, an immense material canvas that gives rise to moving plant and human bodies, to the breeze, to the shade, to braided palm-leaf strands dancing amidst the fingers of craftswomen. Movements that place a number of questions posed by the artist centre-stage: What does it mean to learn from a place and from the living matter that shapes it? Where does the line between creations arising from craftsmanship and those of art become imperceptible? Could the school – a Forest School – be an oasis in the face of the alienation of the times we live in, against forced distances and oblivion? On the table lies the project uma escola é uma floresta é uma escola, which Fernanda has just sent me. In it, the word cantina (canteen), inscribed within a work of collective creation – something that always raises conflicts and questions about the work of art and its authorship – stands out once again. The project proposes an ephemeral artistic intervention through a community-based process involving the beneficiaries of CACI (Centro de Atividades e Capacitação para a Inclusão/Centre for Activities and Training for Inclusion) and the CRESCER association, who are creating the panels with Fernanda Fragateiro. They are joined by the craftswomen Maria Amélia and Otília Melim, with their palm leaf braid measuring over seven metres, in a place that had been disused for some time and has now been reclaimed for culture: the former Porto Santo Primary School. In the preliminary sketches for uma escola é uma floresta é uma escola, palm-leaves and raffia join hands, arranged in a grid pattern from large panels composed of countless strands of unravelled fibres that play with the space. Geometry – as present in Chorão Ramalho’s architecture and in Fernanda Fragateiro’s drawing – now incorporates the breath of plants. A material dialogue redefines the reading of space, opening up new lines within it and, in the process, adding another layer of perspectives: in some regions of Africa, such as Angola, Congo and Gabon, these plant fibres, woven into cloth (to which the panels may refer), served as currency – the Libongo – in the 16th and 17th centuries. Among the Portuguese artist’s most recent projects is É uma escultura, a collaboration with the studio SIA arquitectura + André Gonçalves. In this project, and in anticipation of the installation in the canteen of the former Primary School, we recall the process of working with CRESCER, which involved the construction of a welcoming and light-filled canopy made by people in vulnerable situations: a large panel of woven raffia that welcomes us into a restaurant whose mission is to promote social inclusion and access to work. Thinking and acting together, in continuity with other matters – as Fernanda Fragateiro proposes in projects linked to food and learning – keeps an artistic practice that is attuned to the times in which we live alive; a practice that understands creation within a form of dwelling and through a necessarily plural way of doing: an inhabiting with. -Alfredo Puente Photos: Carolina Vieira / Hélder Folgado https://fernandafragateiro.com/Investigacao-da-Pergunta-e-do-Objecto-2026 Fri, 24 Apr 2026 10:38:12 +0000 Fernanda Fragateiro https://fernandafragateiro.com/Investigacao-da-Pergunta-e-do-Objecto-2026 Investigação da Pergunta e do Objecto Noémia Coutinho e “Uma Escola de Iniciação de Arte” Solo exhibition, CAAA, Guimarães, 2026 Curated by Paula Pinto <img width="4275" height="2845" width_o="4275" height_o="2845" data-src="https://freight.cargo.site/t/original/i/0adeb6f117aa493379116917a7533a09d36e735dcb0faf0220263678868b6b24/DSC_8618-copy-edited.jpg" data-mid="247561621" border="0" src="https://freight.cargo.site/w/1000/i/0adeb6f117aa493379116917a7533a09d36e735dcb0faf0220263678868b6b24/DSC_8618-copy-edited.jpg" /><img width="1200" height="1500" width_o="1200" height_o="1500" data-src="https://freight.cargo.site/t/original/i/9e9333dae90d982102f0426c92739338a51523a8cd792032202b4dd0d4132743/DSC_8623-copy-edited2.jpg" data-mid="247564463" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/9e9333dae90d982102f0426c92739338a51523a8cd792032202b4dd0d4132743/DSC_8623-copy-edited2.jpg" /><img width="4480" height="5600" width_o="4480" height_o="5600" data-src="https://freight.cargo.site/t/original/i/d69548a6d5c9cf2544e4e710cce374979c253cd5cf8300541a3775d74cdd7b8d/1G6A8273.jpg" data-mid="247564470" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/d69548a6d5c9cf2544e4e710cce374979c253cd5cf8300541a3775d74cdd7b8d/1G6A8273.jpg" /><img width="4334" height="2918" width_o="4334" height_o="2918" data-src="https://freight.cargo.site/t/original/i/531b1a23b1f29e9159614efc9abb1a5f930475152796443f9a93b3f0b497e05a/DSC_8614-copy-edited.jpg" data-mid="247561637" border="0" src="https://freight.cargo.site/w/1000/i/531b1a23b1f29e9159614efc9abb1a5f930475152796443f9a93b3f0b497e05a/DSC_8614-copy-edited.jpg" /><img width="3592" height="2390" width_o="3592" height_o="2390" data-src="https://freight.cargo.site/t/original/i/daf83f6337e361f642583ee13a7b45985129af0993be421d3cb8fb1bbef25b88/DSC_8619-copy-edited.jpg" data-mid="247561631" border="0" src="https://freight.cargo.site/w/1000/i/daf83f6337e361f642583ee13a7b45985129af0993be421d3cb8fb1bbef25b88/DSC_8619-copy-edited.jpg" /><img width="4302" height="5377" width_o="4302" height_o="5377" data-src="https://freight.cargo.site/t/original/i/cdfdaf43e2c47fd423e60c8b2218210bbd43635b57cecbdcf0321f18cbbb5ac0/1G6A8269.jpg" data-mid="247564724" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/cdfdaf43e2c47fd423e60c8b2218210bbd43635b57cecbdcf0321f18cbbb5ac0/1G6A8269.jpg" /><img width="4480" height="5600" width_o="4480" height_o="5600" data-src="https://freight.cargo.site/t/original/i/fb8b222e6c6565a5c2e98d5e024ad47e0ec9457f3bf89d9a3c33a5a326c63a01/1G6A8265.jpg" data-mid="247564474" border="0" data-scale="50" src="https://freight.cargo.site/w/1000/i/fb8b222e6c6565a5c2e98d5e024ad47e0ec9457f3bf89d9a3c33a5a326c63a01/1G6A8265.jpg" /><img width="3876" height="2611" width_o="3876" height_o="2611" data-src="https://freight.cargo.site/t/original/i/37f032c164546cb8ae2034020601dd8dc9608a25fbb38ef878c790aa46a73619/DSC_8630-copy-edited.jpg" data-mid="247562024" border="0" src="https://freight.cargo.site/w/1000/i/37f032c164546cb8ae2034020601dd8dc9608a25fbb38ef878c790aa46a73619/DSC_8630-copy-edited.jpg" /><img width="4412" height="2943" width_o="4412" height_o="2943" data-src="https://freight.cargo.site/t/original/i/86ec74efff111931fcaf3ebe3d6d519d792a2790607d79373dfe3ab1dc75d8ca/DSC_8632-copy-edited.jpg" data-mid="247562327" border="0" src="https://freight.cargo.site/w/1000/i/86ec74efff111931fcaf3ebe3d6d519d792a2790607d79373dfe3ab1dc75d8ca/DSC_8632-copy-edited.jpg" /><img width="6720" height="4480" width_o="6720" height_o="4480" data-src="https://freight.cargo.site/t/original/i/335b3da66ed5d334c00babbf4e7635b0ea2f420136f9c0fb8f0734a8e2cea4b5/1G6A8277.jpg" data-mid="247564784" border="0" src="https://freight.cargo.site/w/1000/i/335b3da66ed5d334c00babbf4e7635b0ea2f420136f9c0fb8f0734a8e2cea4b5/1G6A8277.jpg" /> Investigação da Pergunta e do Objecto constitui-se como uma oportunidade para estudar e recriar a singularidade da obra de Noémia Coutinho, através do olhar, pensamento e criação de Fernanda Fragateiro. A atenção social, política e estética que caracteriza o trabalho de Fernanda Fragateiro, torna esta oportunidade dupla e complementar: amplia o seu campo artístico, associando-o a um exemplo singular da arquitetura portuguesa da segunda metade do séc. XX, e proporciona visibilidade a uma arquiteta que continua a ser amplamente desconhecida.São variados os exemplos de obras que Fragateiro criou a partir de arquitetas do séc. XX como Alison Smithson, Charlotte Perriand, Denise Scott Brown, Eileen Grey, Lilly Reich, Lina Bo Bardi ou Lotte Stam-Beese, que só numa história mais interseccional, foram amplamente reconhecidas pelos seus projetos. Durante muito tempo, estas arquitetas foram olhadas à sombra da colaboração com gabinetes dirigidos por arquitetos ou simplesmente ignoradas por uma história ainda profundamente subserviente ao poder.Pouco conhecida mesmo no meio arquitetónico, a Escola Artística do Conservatório de Música Calouste Gulbenkian (Aveiro) foi recentemente lembrada a propósito da exposição “Sala de Aula, um olhar adolescente” (2022-23).Uma procura de documentação sobre o projeto da Escola Artística do Conservatório de Música Calouste Gulbenkian (Aveiro), construído entre 1967 e 1971, conduz-nos ao gabinete de arquitetura GALP (Porto), de José Carlos Loureiro e Luís Pádua Ramos e ao Concurso para a Obtenção do Diploma de Arquiteto (CODA), de Noémia Coutinho. Foi com o projeto de “Uma Escola de Iniciação de Arte” que Noémia Coutinho defendeu o CODA, avaliado pela Escola Superior de Belas Artes do Porto com a classificação de 20 valores. O documento do CODA permite o acesso a uma reflexão ética, pedagógica e social sobre a determinação da função da escola. O reconhecimento da importante participação de Noémia Coutinho neste projeto, tem permitido descobrir uma linguagem arquitetónica mais preocupada com o "ser-se humano". Noémia Coutinho interroga e reconhece a importância da pergunta na espontaneidade proposta pelo projeto arquitetónico:“Por que se manda uma criança para a escola? (...) A criança não é um recipiente passivo de conhecimentos a preencher; é algo que aprende tanto mais depressa, quanto mais activamente lançado na investigação da pergunta ou do objecto (...)”Interessando-se pelos vazios e contraditórios da história, particularmente pela equidade de género, a obra de Fernanda Fragateiro desenvolve releituras críticas das práticas arquitetónicas desenvolvidas no contexto artístico e cultural do moderno internacional. É neste enquadramento que a artista ativa a experiência desta Escola de Iniciação de Arte, com mais de meio século de existência. Trabalhando sobre as ausências deixadas pelos designados métodos científicos de documentação, envolvendo transversalmente comunidades usuárias marginalizadas da linguagem do projeto e procurando inscrever as suas vozes nos lugares da experiência, Fragateiro mobiliza e empodera o dispositivo da exposição como ferramenta para uma arte mais coletiva.Para esta artista, a interrogação é um campo aberto que não pode deixar de ser reivindicado. A linguagem que Noémia Coutinho utiliza no CODA relaciona-se diretamente com os habitantes do lugar e o espaço mantém-se lá para seu usufruto quotidiano. Em vez de selecionar um espaço onde o nome de Noémia Coutinho fosse inscrito à semelhança dos restantes, Fernanda Fragateiro propõe inscrever uma seleção de frases, retiradas do CODA, em lugares estratégicos, a identificar com a comunidade escolar. A artista evidencia assim um documento em que a voz de Noémia Coutinho está indiscutivelmente inscrita, apesar do peso institucional dos processos burocráticos e do poder estatutário continuarem a servir apenas uma determinada narrativa histórica. Uma dessas frases: “as minhas mãos são minhas”, está igualmente presente e em evidência, na exposição no Centro para os Assuntos da Arte e Arquitectura. Para Guimarães, Fernanda Fragateiro selecionou ainda três elementos: uma secção das vigas de betão armado que desenham e sustentam o hall [hoje designado sala polivalente], o candeeiro de madeira e acrílico desenhado para estas vigas, e um dos candeeiros desenhados para a sala-convívio, que tem por peça central uma lareira com um friso cerâmico de Júlio Resende. Utilizando o mesmo material para todas as peças – contraplacado de choupo –, Fernanda Fragateiro recria estas formas e objetos à escala 1:1, mas sem os replicar, devolvendo-lhes um cunho de maqueta que abre um novo fôlego para uma investigação da pergunta e do objeto. -Paula Pinto [excerpts from the catalogue text] Photos: Fausto / Ivo Rainha —Works