Sondagem emerges from the physical relationship with the space and it’s materiality. Through the reinvention of industrial materials and it’s use, the artist proposes a route exposing the meanings and relations between continuity and immateriality. In this hybrid set, the many sculptures play different roles, organizing and cataloguing soil surveys, architectural columns and fossils. In a direct dialogue with the geometries and materials of the space, Sondagem is an invitation to reflect on the excess production of artificial resources and the consequent depletion of natural resources, absorbing the bodily experience of space and the materiality of the city.

2.294 reflects about the site and it’s relation between permanence and displacement. The coexistence of ōilha’s remaining structure and it’s anaesthetized refurbishment, is an exercise of conflict between the ways of inhabiting the space and the methods of capitalizing it. Inside the intervention, a square meter is removed from the territory and the remaining enclosure assumes itself as a boundary of a space-body. 

Due to its materiality and construction, the artist Miguel Teodoro introduces the instability and precariousness of the structure, promoting a poetic reflection on the fragility and failure of the urban reality itself as a common place.

Chá da Tarde reflects on the presence of the female body. This intervention emerges in the context of the artist's research on the representation of the feminine in public art with the project "Headless Women in Public Art". Mariana Morais questions the exacerbated appropriation of the female body in history of art, using porcelain objets such as cups, vases and teapots to rethink forms of representation.

These objects, normally found, collected and protected, inside our homes, were displaced in the outside, directly on the grass, has an attempt to disassociate the notion of the female body from something potentially modest, fragile and exclusively sexual.

Pintura à Ilha dialogues directly with the viewer’s corporality and the space materiality, where the artist Patrícia Geraldes uses and manipulates natural elements, giving them a new body. In similarity to an uprooting, each spectator can redefine new  meanings and movements to this suspended sculpture.

The artist offers new uses for existing materials, not intervening on site but with local circumstances. The intervention invites us to reflect on the purpose of art and its ephemeral condition, when located in the public space. Pintura à Ilha invites you to immerse in the space and silently inquire about the dyed and suspended fabric.