João Gonçalo Lopes

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	<title>João Gonçalo Lopes</title>
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	<pubDate>Thu, 31 Jul 2025 12:46:29 +0000</pubDate>
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		<pubDate>Thu, 12 Oct 2017 15:55:11 +0000</pubDate>

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		<title>Dentro da Cabeça</title>
				
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		<pubDate>Tue, 29 Jul 2025 11:04:39 +0000</pubDate>

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Dentro da CabeçaMinho, 2025


PT

Destinado a famílias com crianças com mais de 3 anos, Dentro da Cabeça é um espetáculo que convida a explorar, através da dança, o complexo 
universo da cabeça, das emoções, dos sentidos e da imaginação. Uma 
viagem de dois personagens pelo espaço interior da cabeça e por tudo o 
que ele contêm de insondável. &#38;nbsp;A cenografia pretendeu subtrair elementos materiais e dar destaque ao espaço invisível sugerído pelos 
protagonistas e pelo 
movimento no espaço. Os mundos que se sucedem ao longo da peça tornam-se produto de uma co-construção da imaginação, numa cumplicidade próxima entre performers e espectadores.O dispositivo cénico centrado na peça de um tapete de pêlo oval de 7x4 
metros, é uma tentativa de reduzir ao máximo os referenciais 
construtívos, condensando em si as sugestões de sentidos, espaços e 
transformações no tempo. A sua textura de pêlo começa no
 início do espectáculo por ser lisa (penteada) e vai sendo alterada ao 
longo do tempo pelo movimento dos performers mudando de expressão e 
textura. A passagem do tempo e a sequência dos espaços que compõem a 
viagem ao interior da cabeça é também acentuada pela mudança da luz. Com
 os focos direccionados ao tapete este vai mudando de cor e tom criando 
um espectro diverso de atmosferas e espacialidades ao longo de toda a 
peça. &#38;nbsp;A delimitação do chão é também uma forma de construir a 
relação com/entre as pessoas à sua volta. Rodeando-se primeiro ao seu 
nível com almofadas do mesmo tecido e numa segunda fila com cadeiras. 
Esta segunda linha mais alta permite fechar e conter o espaço de forma 
intimista (como uma taça). 
ENAimed at families with children over the age of 3, Dentro da Cabeça
 is a show that invites you to explore, through dance, the complex 
universe of the head, emotions, senses and imagination. A journey of two
 characters through the inner space of the head and all that it contains
 that is unattainable. &#38;nbsp;The set design sought to remove material
 elements and highlight the invisible space suggested by the 
protagonists and their movement. The different worlds that unfold 
throughout the play become the product of a co-construction of the 
imagination, in a close complicity between performers and spectators.The
 scenic device centred on the play, a 7x4 metre oval fur rug, condenses 
within itself the suggestions of senses, spaces and transformations in 
time. Its fur texture starts out smooth (combed) at the beginning of the
 show and is altered over time by the movement of the performers, 
changing its expression and texture. The passage of time and the 
sequence of spaces that make up the journey into the mind are also 
accentuated by the changing light. With the spotlights directed at the 
rug, it changes colour and tone, creating a diverse spectrum of 
atmospheres and spatialities throughout the piece. &#38;nbsp;The
 delimitation of the floor is also a way of building a relationship 
with/between the people around it. First surrounding it at its level 
with cushions made of the same fabric and then with chairs in a second 
row. This second, higher row allows the space to be closed and contained
 in an intimate way (like a bowl).


Créditos:Direção: Márcia Lança
Criação e perfomance: Leonor Mendes e Vi Lattaque
Performance no LU.CA:Leonor Mendes e Lucas Damiani
Apoio à dramaturgia: Inês Gonçalves
Acompanhamento desenhado: Dagô R.
Cenografia: João Gonçalo Lopes
Desenho de luz: Ana Luísa Novais e Naiana Padial (criação), Leticia Skrycky (acompanhamento e mentoria), Gabriela Claveria (escrita sobre o projeto lumínico), matéria leve (colaboração)
Criação musical: Ana Madureira e Vahan Kerovpyan
Preparação de corpo: Vanessa Garcia
Audiodescrição: Sara Anjo
Consultoria de audiodescrição: Inês Gonçalves
Publicação: Dagô R. e Márcia Lança
Residências de criação: PISCINA, Estúdios Victor Córdon, Forum Dança e O Rumo do Fumo
Direção de produção: Andrei Bessa
Coprodução LU.CA - Teatro Luís de Camões e Comédias do Minho
Apoio: Câmara Municipal de Lisboa e Polo Cultural Gaivotas
Produção: VAGAR


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		<title>Assembleia do Desejar</title>
				
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		<pubDate>Thu, 31 Jul 2025 12:46:29 +0000</pubDate>

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&#60;img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/31d9a4ef38d634fbd31fb71ecead2ea13b7c5d1724a7302d9e61017bbaf933a5/PREPARATIVOS-DESEJAR8JUN-4.jpg" data-mid="241174861" border="0"  src="https://freight.cargo.site/w/1000/i/31d9a4ef38d634fbd31fb71ecead2ea13b7c5d1724a7302d9e61017bbaf933a5/PREPARATIVOS-DESEJAR8JUN-4.jpg" /&#62;


Assembleia do DesejarBraga, 2025


PT

A convite do movimento Desejar e da Braga 25 o colectivo Til esteve desde Novembro de 2024 a Junho de 2025 a colaborar com a assembleia do Desejar para pensar o que iria tornar-se um espaço de encontro e reflexão instalado no espaço público durante o festival Desejar.


Durante os primeiros meses o Coletivo Til&#38;nbsp; escutou, perguntou e desafiou a
 Assembleia do Desejar, e um conjunto de outras comunidades de Braga, partilhando ideias, ensaiando protótipos e promovendo um espaço de experimentação e diálogo 
na cidade.Construída em 
conjunto, a estrutura da Assembleia do Desejar foi-se concretizando como algo instável, cambiável na sua forma e em contínua evolução. Esse lugar seria também um espaço para a divulgação e comunicação na cidade através de cartazes. Durante o festival este lugar co-construído foi o ponto de encontro durante toda esta semana adquirindo diferentes formas e formatos consoante o evento.Se uma assembleia vive do encontro de desejos individuais, diversos e 
contraditórios, essa assembleia não será possível sem um desejo de 
pertença, uma condição de confiança para a partilha e para o confronto. A
 assembleia que buscamos é então um espaço em que se confia, apesar de tudo, 
no desconhecido e no divergente, em que a dúvida é partilhada e vivida 
em conjunto.

ENAt the invitation of the Desejar movement and Braga 25, the Colectivo Til collaborated with the Assembleia do Desejar from November 2024 to June 2025 to conceive what would become a space for meeting and reflection installed in the public space during the Desejar festival.

During the first few months, the team listened, asked questions, and challenged the Assembleia do Desejar and a number of other communities in Braga, sharing ideas, testing prototypes, and promoting a space for experimentation and dialogue in the city. 

Built together, the structure of the Desejar assembly took shape as something changeable in form and constantly evolving. This place would also be a platform for dissemination and communication in the city through posters. During the festival, this co-constructed place was the meeting point throughout the week, taking on different forms and formats depending on the event. 

If an assembly thrives on the meeting of individual, diverse, and 
contradictory desires, that assembly will not be possible without a desire to belong, a condition of trust for sharing and confrontation. The assembly we seek is therefore a space in which, despite everything, we trust the unknown and the divergent, in which doubt is shared and experienced together.


Créditos:Criação: Coletivo Til: João Gonçalo Lopes, Diogo Monteiro, Patrick 
Hubmann, Luísa Capalbo

Com participação de: Assembleia do Desejar, Academia Sénior de Braga, 
Need Cooperativa e cidadãs e cidadãos de Braga&#38;nbsp;
Gestão financeira: 
Paredes Meias CRLApoio à produção e mediação: Simone Almeida, Ana Bragança
Encomenda: Desejar - Movimento de artes e lugares comuns, Braga 25
Apoio: Cãmara Municipal de Braga

Parcerias: Mercado Municipal de Braga, Leroy Merlin Braga, Robbialac, 
José Luís Pinheiro Coelho - Armazéns de Têxteis.


</description>
		
	</item>
		
		
	<item>
		<title>Kabaal Orkest</title>
				
		<link>https://joaogoncalolopes.pt/Kabaal-Orkest</link>

		<pubDate>Wed, 30 Jul 2025 09:47:40 +0000</pubDate>

		<dc:creator>João Gonçalo Lopes</dc:creator>

		<guid isPermaLink="true">https://joaogoncalolopes.pt/Kabaal-Orkest</guid>

		<description>
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Kabaal OrkestKortrijk, Belgium 2025


PT
Kabaal Orkest foi o resultado de uma residência de duas semanas em 
Wildernis - uma ilha no coração de Kortrijk, Bélgica - onde a Wildebras 
atualmente opera um parque dedicado ao brincar livre. Durante a 
residência, juntamente com outros membros da rede Constructlab, o nosso 
objetivo era trabalhar com crianças e vizinhos na criação de instalações
 temporárias, ao mesmo tempo em que apoiávamos o projeto de longo para a
 ilha.


A Kabaal Orkest é um parque infantil móvel para explorar o som.Todos nós somos um pouco barulhentos e a Kabaal Orkest oferece a 
capacidade e o acesso para explorar e produzir o ruído livremente. Ela 
convida as crianças a manipular, descobrir e criar experiências sonoras 
usando brinquedos eletrónicos hackeados, mecanismos analógicos e 
superfícies ressonantes.


A máquina incentiva a escuta como forma de imaginar novas imagens 
sonoras e não visuais. É um convite para tornar o irreconhecível 
reconhecível e o reconhecível irreconhecível, para encontrar fascínio no
 mundano e no cotidiano e para esbater as fronteiras entre som e música.


A máquina 
tem um exterior e um interior. O som viaja em ambas as direções: de 
dentro para fora e de fora para dentro. As crianças comunicam-se através
 do som, reconhecem-se através do som e brincam através do som. A Kabaal
 Orkest torna-se um espaço de imaginação e descoberta partilhadas — uma 
orquestra lúdica de materiais, movimentos e ruídos.


O processo 
de desenho e construção foi prático e colaborativo, baseado na 
experimentação, no pensamento coletivo e num fluxo criativo partilhado.&#38;nbsp;
Por fim, a 
escola local foi convidada a ir à ilha para brincar e experimentar, o 
que acabou por se transformar num desfile barulhento e festivo nas ruas 
de Kortrijk, reivindicando o direito ao brincar livre.


EN

The KABAAL ORKEST Machine is a movable playground to explore sound. Everyone is a bit noisy—and the KABAAL ORKEST Machine offers the capacity and access to explore and produce sound freely. It invites children to manipulate, discover, and create sonic experiences using hacked electronic toys, analog mechanisms, and resonant surfaces.

The machine encourages listening as a way of seeing—creating new images by hearing, not looking. It’s an invitation to make the unrecognisable recognisable and the recognisable unrecognizable, to find fascination in the mundane and everyday, and to blur the lines between sound and music.

The machine has an outside and an inside. Sound travels in both directions: from the inside out, and the outside in. Children communicate through sound, perceive through sound, and play through sound. The KABALL ORKEST Machine becomes a space of shared imagination and discovery—a playful orchestra of materials, movements, and noise.

The KABAAL ORKEST Machine was created during a two-week residency at Wildernis—a children’s free play island in Kortrijk, Belgium, run by the association Wildebras. The aim of the residency was to get to know the place and its community, and to contribute a lasting project to support the space. The process was hands-on and collaborative—rooted in experimentation, collective thinking, and a shared creative flow.

Créditos:
Projecto Geral: Wildernis Invites


Promotor: Paredes Meias Crl, Constructlab Belgium


Construção e Desenho: Sophie Netzer, Mariana Sardon, Patrick Hubmann, João Gonçalo Lopes, Diogo Monteiro


Mediação: Jan Stricker, Constructlab Belgium


Financiamento: Culture Moves Europe


Fotografia: Arthur Bed, João Gonçalo Lopes, Mariana Sardon, Diogo Monteiro


</description>
		
	</item>
		
		
	<item>
		<title>Guião 2.0</title>
				
		<link>https://joaogoncalolopes.pt/Guiao-2-0</link>

		<pubDate>Thu, 31 Jul 2025 12:44:53 +0000</pubDate>

		<dc:creator>João Gonçalo Lopes</dc:creator>

		<guid isPermaLink="true">https://joaogoncalolopes.pt/Guiao-2-0</guid>

		<description>


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&#60;img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/712dbaa74ecabe40aebfa379b63f4fcbbf9a17db59c7194570b1610458098074/Guio-2__8.jpg" data-mid="237993186" border="0"  src="https://freight.cargo.site/w/1000/i/712dbaa74ecabe40aebfa379b63f4fcbbf9a17db59c7194570b1610458098074/Guio-2__8.jpg" /&#62;


Guião 2.0Marinha Grande, 2025


PT
Este projecto nasce na continuação do Guião 1.0 como tentativa de dar corpo aos encontros e reflexões com a comunidade de trabalhadoras/es do vidro manual da Marinha Grande. 


Indo ao encontro da ideia de um “Museu Vivo” que todos pareciam querer sem que a sua forma fosse definida ou consensual, juntámos trabalhadores e ex-trabalhadores do vidro nas oficinas do Cencal para criar e ensaiar formas e possibilidades de transmissão de um legado alojado no corpo, entre o colectivo e individual.
Numa semana, com os fornos ligados, dois processos aconteceram paralelamente. Um que propôs que cada um criasse peças de vidro numa relação com esse legado, na qual as ferramentas antigas encontradas nas fábricas entraram como mediadoras desse diálogo com o passado. O segundo consistiu na colecção de palavras específicas do trabalho manual do vidro na tentativa de definir cada uma delas e reuni-las num glossário.

No “Glossário Incompleto do Vidro Manual” as palavras agrupam-se em cinco categorias: gestos, espaços, ferramentas, pessoas e matéria.
 

A realização dos dois processos em simultâneo e no mesmo espaço, permitiu reforçar a ligação entre um léxico de palavras e as vivências expecíficas em volta da transformação do vidro. Nesta linguagem comum e incompleta, reforçam-se os laços e forças do colectivo, transmitem-se experiências, procuram-se os seus novos caminhos e sentidos.&#38;nbsp;
ENThis project is a continuation of Guião 1.0, an attempt to give shape to the meetings and reflections with the community of glass workers in Marinha Grande. 

In line with the idea of a ‘Living Museum’ that everyone seemed to want without its form being defined or agreed upon, we brought together the former and current glass workers in the Cencal workshops to create and rehearse ways and possibilities of transmitting a legacy that is ingraved between the collective and the individual body.

In one week, with the furnaces lit, two processes took place in parallel. One proposed that each person create glass new pieces in relation to the legacy of the past, in which the old tools found in the factories served as mediators of this dialogue. The second consisted of collecting specific words related to manual glasswork in an attempt to write down their definition and compile them into a glossary.

In the ‘Incomplete Glossary of Manual Glassmaking,’ the words are grouped into five categories: gestures, spaces, tools, people, and materials.


Carrying out the two processes simultaneously and in the same space reinforced the connection between a lexicon of words and specific experiences surrounding glass transformation. In this common and incomplete language, the bonds and strengths of the collective are reinforced, experiences are transmitted, and new paths and meanings are sought. 


&#38;nbsp;

Créditos:
Concepção: João Gonçalo Lopes e Márcia LançaPromotor:Casa da Cultura - Teatro Stephens da Marinha GrandeProdução Executiva: Andreia SousaFotografia: Mariana Figueiredo, João Gonçalo Lopes, Márcia Lança
Participantes: Vânia Colaço, Joana Silva, Carlos Franco, António Pedro, Etelvina Rosa, 
Aires Rodrigues, Fernando Colaço, Olinda Colaço, José Rosa, Dorinda 
Silva, António Esteves, António Bispo, Alfredo Poeiras, Rita Barata, 
Almiro Morgado, Nelson Figueiredo, Arlindo Francisco, Nelson Couto, José
 Nascimento.Agradecimentos: Carlos Veríssimo, Ana Carvalho, Sebastião Mota, Miguel Afonso, Jorge 
Custódio, Julio Folia, Adriano Mesquita, Mário Macatrão, Francisco 
Ribeiro, Catarina Morgado, José Medeiros, Fernando Esperança.


</description>
		
	</item>
		
		
	<item>
		<title>Plateau Blo</title>
				
		<link>https://joaogoncalolopes.pt/Plateau-Blo</link>

		<pubDate>Mon, 18 Nov 2024 17:07:46 +0000</pubDate>

		<dc:creator>João Gonçalo Lopes</dc:creator>

		<guid isPermaLink="true">https://joaogoncalolopes.pt/Plateau-Blo</guid>

		<description>


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&#60;img width="5619" height="3751" width_o="5619" height_o="3751" data-src="https://freight.cargo.site/t/original/i/9958f3acb4fbedd2d6d392a6b50ab60ac8953ed21f30ac2a74e4bc43a668ab10/Plateau-Blo_Joo-Gonalo-Lopes_11.jpg" data-mid="222257832" border="0"  src="https://freight.cargo.site/w/1000/i/9958f3acb4fbedd2d6d392a6b50ab60ac8953ed21f30ac2a74e4bc43a668ab10/Plateau-Blo_Joo-Gonalo-Lopes_11.jpg" /&#62;
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Plateau BloGmunden, Austria 2024


Arriving in Gmunden in the first days of autumn, 
the lake and the mountains are changing their face. The city, after the 
summer visitors departure, is now calm and introspective.
 The
 private boats that once filled the water with leisure scenes are now in
 land, suspended by metal structures and covered in waterproof tarps and
 tight elastics, ready for the winter hibernation. In the period of one 
week the leafs go from green to yellow, brown, red. The lake wakes up 
every day with a different motion and colour tones, and every day 
different masses of vapour hang over the water, filtering the sunlight, 
while the mountains slowly fade in and out on the background. Autumn
 season and its changing bodies seem to be proposing different relations
 towards the water, 

beyond the domesticated and privatised docks of the Traumsee shores.

&#38;nbsp;
During the residence, together with Sophie Netzer and Kerstin
 Reyer, as we work through stormy and sunny days, we realised that if 
everyday we walk by the lake, the lake tells us its state of mind, never
 the same. If everyday we dive into the water, the touch and temperature
 of the lake will affect our body. The state of mind of the landscape 
will be ours too.
 The floating platforms 
should also provide for an experience that endures in time. Maybe what 
we are looking for is a condition of comfort, a garment, a way for the 
individual body to be safe enough to be able to the relate to the other 
bodies: the body of water, the body of land containing the water, the 
body of air shifting according to the temperatures, the collective body 
of people gathering around the space. So it would be about enduring 
time, waiting, struggling at times, but gently slowing down, getting 
closer to the ground like in japanese tea houses, bowing as you enter, 
accommodating the bodies to the shapes and edges like soft sleeves.&#38;nbsp;


 And
 maybe it is also about waiting in the question and not in the answer, 
providing without defining. 
To generate an initial condition which keeps the agency fertile and open to be unfolded by future events.&#38;nbsp;


&#60;img width="1250" height="938" width_o="1250" height_o="938" data-src="https://freight.cargo.site/t/original/i/de8e80ca47d2ba9a09eb8c513b46ca5800605351b0b0bfc16f150375ed28a66b/Plateau-Blo-_-Joo-Gonalo-Lopes-_-Process_1.jpg" data-mid="223480129" border="0"  src="https://freight.cargo.site/w/1000/i/de8e80ca47d2ba9a09eb8c513b46ca5800605351b0b0bfc16f150375ed28a66b/Plateau-Blo-_-Joo-Gonalo-Lopes-_-Process_1.jpg" /&#62;
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&#60;img width="703" height="1250" width_o="703" height_o="1250" data-src="https://freight.cargo.site/t/original/i/d7d850df9f88e247dc6d4f0b169615037622ba63da02516ef0d1bf94f0f179b7/Plateau-Blo-_-Joo-Gonalo-Lopes-_-Process.jpg" data-mid="223480128" border="0"  src="https://freight.cargo.site/w/703/i/d7d850df9f88e247dc6d4f0b169615037622ba63da02516ef0d1bf94f0f179b7/Plateau-Blo-_-Joo-Gonalo-Lopes-_-Process.jpg" /&#62;
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&#60;img width="1250" height="844" width_o="1250" height_o="844" data-src="https://freight.cargo.site/t/original/i/4d394501e81ea64fa41b283c904b857a0ec4fa3e0016245978055ce89d54e655/Plateau-Blo-_-Joo-Gonalo-Lopes-_-Process_6.jpg" data-mid="223480135" border="0"  src="https://freight.cargo.site/w/1000/i/4d394501e81ea64fa41b283c904b857a0ec4fa3e0016245978055ce89d54e655/Plateau-Blo-_-Joo-Gonalo-Lopes-_-Process_6.jpg" /&#62;


Credits:Concept:
João Gonçalo LopesConstruction:João Gonçalo Lopes, Kerstin Reyer, Sophie NetzerProductionKerstin Reyer, Sophie Netzer, Simone BarlianOverall project:
Plateau BloOrganization:Salzkammergut 2024, European Capital of CultureUniversity of Art and Design Linz
Photography:
Elena Jager,&#38;nbsp;Lu Hainy, Lorenz Keiblinger, João Gonçalo Lopes
Thanks to:
Markus Hiesleitner, Guilherme Rodrigues , Pedro Augusto, Li Wang


</description>
		
	</item>
		
		
	<item>
		<title>Máquina das Derivas</title>
				
		<link>https://joaogoncalolopes.pt/Maquina-das-Derivas</link>

		<pubDate>Tue, 29 Jul 2025 13:07:21 +0000</pubDate>

		<dc:creator>João Gonçalo Lopes</dc:creator>

		<guid isPermaLink="true">https://joaogoncalolopes.pt/Maquina-das-Derivas</guid>

		<description>


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Máquina das DerivasBraga, Portugal 2024


PT


A Máquina 
das Derivas é uma intervenção/instigação urbana que nasceu no contexto 
do Movimento Desejar e da Braga 25. Partindo da pergunta de como o 
desejo existe e transforma a cidade, &#38;nbsp;a máquina convida a semear 
essa pulsão que nos move, percorrendo as ruas e praças no seu encalçe e 
respigando os seus frutos e promessas.


Instalada na praça do mercado municipal de Braga, a máquina esteve a 
recolher as histórias e os estados de alma, a coleccionar passos e 
pensamentos, sugerindo formas de caminhar, de olhar, de reparar e de 
agir. Através de jogos que pretendem baralhar os nossos hábitos e 
aprendizagens, propôs-se uma forma de redescobrir da cidade que já se 
pensava conhecer. 


Nos 
primeiros dias reunimos com grupos e associações de pessoas que tendem a
 não ser tidas em conta no desenho e vivência da cidade, propondo-lhes 
que experimentassem a máquina e conversássemos sobre as suas 
experiências.


O
 proprósito dos jogos é gerar bilhetes para estas caminhadas na cidade. 
Cada bilhete é carimbado e depois gerado através de métodos de 
aleatoriedade divididos por quatro estações e parâmetros: 

1-
 número de bilhete, 2- em qual dos sentidos do corpo se focará a 
atenção, 3- que sentimento se busca nesse caminho, 4- qual a direcção de
 partida.


Porque a 
máquina não é só contaminadora mas também colectora, depois da sua 
deriva cada pessoa deverá deixar uma pequena bola rosa com o número do 
bilhete no local que o afectou e trazer de volta o bilhete com a 
decrição da sua experiência juntando-a à colecção.


O conjunto 
dos relatos das experiências fala-nos de uma cidade múltipla, subjectiva
 e que se transfigura constantemente pela experiência individual e 
íntima, num diálogo fluído com a cidade construída e desenhada. 


EN
The
 Máquina das Derivas is an urban intervention/provocation that emerged 
in the context of Desejar - Movimento de Artes e Lugares Comuns and 
Braga 25. Starting from the question of how desire exists and transforms
 the city, the machine invites us to sow this impulse that moves us, 
roaming the streets and squares in pursuit of it and gleaning its fruits
 and promises.


Installed in Braga's municipal market square, the machine collected 
stories and moods, gathering steps and thoughts, suggesting ways of 
walking, looking, noticing, and acting. Through games designed to shake 
up our habits and learning, it offered a way to rediscover a city we 
thought we already knew.


In the first days, we met with groups and associations of people who 
tend to be overlooked in the design and experience of the city, inviting
 them to try out the machine and talk to us about their experiences.


The
 purpose of the games is to generate tickets for these walks in the 
city. Each ticket is stamped and then generated using random methods 
divided into four seasons and parameters:1- ticket number, 2- which sense of the body will be the focus of 
attention, 3- what feeling is sought on this path, 4- which direction to
 start from.


Because the machine is not only contaminating but also collecting, after
 its drift each person should leave a small pink sticker with the ticket
 number in the place that affected them and bring back the ticket with a
 description of their experience, adding it to the collection.


The collection of accounts of experiences tells us of a multifaceted, 
subjective city that is constantly transformed by individual and 
intimate experiences, in a fluid dialogue with the city that has been 
built and designed. 


Créditos:Conceito, concepção e construção:&#38;nbsp;
João Gonçalo Lopes, Diogo Monteiro, Luísa Capalbo
Apoio à produção e mediação: Simone Almeida, Ana Bragança
Esquemas gráficos: Diogo Monteiro

Encomenda: Desejar - Movimento de artes e lugares comuns, Braga 25


Apoio: Cãmara Municipal de Braga
Fotografia: Joana Jorge, João Gonçalo Lopes, Diogo Monteiro


</description>
		
	</item>
		
		
	<item>
		<title>Be a bridge, build a mountain</title>
				
		<link>https://joaogoncalolopes.pt/Be-a-bridge-build-a-mountain</link>

		<pubDate>Fri, 22 Nov 2024 15:43:37 +0000</pubDate>

		<dc:creator>João Gonçalo Lopes</dc:creator>

		<guid isPermaLink="true">https://joaogoncalolopes.pt/Be-a-bridge-build-a-mountain</guid>

		<description>


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Be a bridge, build a mountainStavanger, 2024


"Be a bridge, build a mountain" is an urban workshop/dispositive that invites citizens of all ages to collectively explore and intervene in public space. Conecting architecture with performance, it is an invitation to question and transgress the self-imposed and existing rules in the urban space, creating a platform where new hipotesis can be proposed and tested.

In a participatory game, we strive to reclaim the freedom we often see in children playing in the street. In this playful exploration we seek to find an alternative method of investigating a city, as a counterpoint to top-down systems of planning and design. This means creating a situation in which citizens are invited to observe, question and propose new visions to public spaces breacking with protocols and connected to their own different bodies and experiences. 

In a site-based workshop format, in the city of Stavanger, Norway, a group of theatre and architecture students were invited to participate in a choreographic perspective of public space. In a first phase, the focus was on re-focusing attention towards the city and urban life, registering our findings in different ways. 


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Subsequently, a series of modules was created using recycled wood. The intention of the design was to generate a set that had no prescribed uses or references to conventions or habits, thus inviting users to play with it and adapt it to their own imagination, context and needs. 

Through body movement and the manipulation of the objects and materials, the group explored the boundaries between private and public, useful and useless, real and imagined. The results were shared in a public presentation where the objects were paraded along the street, while stopping and interacting with different situations and architectural elements.
In the end, the game became open, while the modules were left to be embraced by the public. This openness gave rise to many surprising forms and uses reinventing the space dedicated to parking cars. Now as it has become part of the street furniture of the art centre, it keeps giving space to many other activations and events. 

In a cityscape, the game will never repeat itself. Every time different groups, different players, and a different place will emerge.  &#38;nbsp;


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Credits:
Original Concept: João Gonçalo Lopes, Sophie Netzer, Gustavo Ciríaco
Norwegian version:João Gonçalo Lopes and Gustavo Ciríaco
Local collaboration and assistance: Ingrid DahleStudents Participating:
Theatre, communications and interculturality students from University of Stavanger
Design and architecture students from Stavanger Urban FolkehøyskoleStudent coordinators:
Lidia Cangiano, Elise Ruth Robstad
Production:
Benjamin Hickethier, Carlos Correia, Valentina Mariscal
Graphic Design for communication: Benjamin Hickethier
Promotor: FolkegataIn partnership with:
Rogaland Kunstsenter, Stavanger Urban Folkehøyskole, University of Stavanger
Photography: Ingrida Mockutė, Benjamin Hickethier, Christian Schöberle, Gustavo Ciríaco, João Gonçalo Lopes, Ingrid Dahle

</description>
		
	</item>
		
		
	<item>
		<title>Introspectiva João Fiadeiro</title>
				
		<link>https://joaogoncalolopes.pt/Introspectiva-Joao-Fiadeiro</link>

		<pubDate>Thu, 06 Mar 2025 16:40:11 +0000</pubDate>

		<dc:creator>João Gonçalo Lopes</dc:creator>

		<guid isPermaLink="true">https://joaogoncalolopes.pt/Introspectiva-Joao-Fiadeiro</guid>

		<description>
&#38;nbsp;
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IntrospectivaLisboa, 2024


PT
A
 Introspectiva de João Fiadeiro, no Museu de Arte Contemporânea do CCB 
ocupou quatro galerias do museu durante 5 meses, com dispositivos, performances e 
explorações espaciais que estiveram abertas aos visitantes como material
 em "estaleiro" até se consolidarem numa exposição.Entre outros 
estudos, 
desenvolvemos quatro dispositivos espaciais que chamámos de «Espaço 
Preparado», nos quais sete performers improvisaram seguindo o modelo de 
«composição em tempo real» de João Fiadeiro. As abordagens que compõe os
 "Espaços preparados" fazem parte de uma investigação contínua e 
conjunta sobre as propriedades do espaço enquanto organismo sustentado 
na relação e no tempo, cuja qualidade de campo aberto se oferece à 
apropriação e desdobramento.Os materiais utilizados na construção da
 exposição e dos espaços preparados foram quase na totalidade recolhidos nos 
armazéns do MAC/CCB ou em exposições anteriores seguindo uma lógica circularidade e relação com o lugar.&#38;nbsp;

Estes materiais estiveram também disponíveis para serem usados durante as improvisações da “fase estaleiro” num espaço a que chamámos 
“tool-box” (caixa de ferramentas), montada a partir de caixas de transporte de obras de arte 
usadas.


Na construção da exposição “Restos, Rastros e Traços” da segunda fase, procuraram-se formas de 
partilha que trouxessem a “voz interior” dos espaços e dos performers em
 detrimento dos registos videográficos e visuais convencionais. Também na segunda fase, uma das salas foi ocupada pelo dispositivo/instalação “I am (not) here” de João Fiadeiro. Instalação reimaginada para o contexto da galeria, e recriada a partir da reutilização de materiais de 
exposições anteriores e depósitos do museu.


EN
João
 Fiadeiro's Introspectiva, at the CCB's Museum of Contemporary Art, 
occupied four galleries of the museum, with devices, performances and 
spatial explorations that were open to visitors as ‘work in progress’ 
material until they were consolidated into an exhibition.Among 
other studies, we developed four spatial devices that we called 
‘Prepared Space,’ in which seven performers improvised following João 
Fiadeiro's ‘real-time composition’ model. The ethics that make up the 
‘Prepared Spaces’ are part of an ongoing joint investigation into the 
properties of space as an organism sustained in relation and time, whose
 open-field quality lends itself to appropriation and unfolding.The
 materials used in the construction of the exhibition and the prepared 
spaces were almost entirely collected from the MAC/CCB warehouses or 
from previous exhibitions, following a logic of circularity and 
relationship with the place.

These materials were also available for use during improvisations in the ‘construction phase’ in a space we called the ‘toolbox,’ assembled from used art transport boxes.

In constructing the exhibition ‘Restos, Rastros e Traços’ (Remains, Traces and Trails) in the second phase, we sought ways of sharing that would bring out the ‘inner voice’ of the spaces and performers, rather than relying on conventional video and visual recordings. Also in the second phase, one of the rooms was occupied by João Fiadeiro's device/installation ‘I am (not) here’. The installation was reimagined for the gallery context and recreated from the reuse of materials from 
previous exhibitions and museum storage.


Créditos:

Direção artística:
João Fiadeiro

Direção de produção:Marta Moreira

Assistência de direção:Bibi Dória

Conceito de curadoria: 
João Fiadeiro

Espaço:
João Gonçalo Lopes e Leticia Skrycky

Documentação:
Bibi Dória e Lucas Damiani


Assistência audiovisual:
Gaspar F. Nascimento
Performers: 
João Fiadeiro, Márcia Lança, Andrei Bessa, Leonor Mendes, Jorgette Dumby, Vi Lattaque e Bruno Brandolino
Artista foco: 
Márcia Lança
Desenho de espaço expositivo:
João Gonçalo Lopes

Construção:
Paredes Meias, CRL&#38;nbsp;

Iluminação:
Leticia Skrycky
Co-produção: 
CCB + MAC CCB

Projeto Financiado por República Portuguesa – Cultura / Direção-Geral das Artes

Apoios: 
Câmara Municipal de Lisboa - Polo Cultural das Gaivotas &#124; Boavista - Loja Lisboa Cultura; Ricochete Filmes; Editora Ghost/David-Alexandre Guéniot; Editora Caixa Alta e Stolen Books; Culturgest. 


Agradecimentos: 
Rui Xavier, João Nunes, Carolina Caramelo, Adriana Bolito, Bruno Gonçalves, Victor Gonçalves, Maria Xavier, Vasco Nunes, Patrick Hubmann, Noah Leijssen, Gustavo Sumpta, David-Alexandre Guéniot, Pedro Augusto, Rita Carvalho.


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	<item>
		<title>Guião</title>
				
		<link>https://joaogoncalolopes.pt/Guiao</link>

		<pubDate>Mon, 16 Dec 2024 16:27:14 +0000</pubDate>

		<dc:creator>João Gonçalo Lopes</dc:creator>

		<guid isPermaLink="true">https://joaogoncalolopes.pt/Guiao</guid>

		<description>


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GuiãoMarinha Grande, 2024


A convite da Casa da Cultura - Teatro Stephens da Marinha Grande, estivémos em contacto com os espaços das antigas e novas fábricas do vidro, com as comunidades de vidreiros e ex-vidreiros e com os seus objectos e ferramentas de trabalho, para reflectir sobre este legado e os seus futuros.O caminho e a escuta revelou uma cidade que nasceu do vidro e onde ele continua a ser lugar colectivo de pertença, de debate, de questões e de afectividades muito para além da mera produção.

A partir dos contactos e reflexões iniciais decidimos então organizar três encontros no centro de formação CENCAL da Marinha Grande, junto dos fornos onde o vidro se mantém quente e se molda, com um grupo de pessoas que estiveram e estão envolvidas de diferentes maneiras no processo de produção do vidro.
 Ali se desenvolveram conversas à volta de uma grande mesa preenchida por comida e por objectos e ferramentas encontrados em fábricas abandonadas e que estão associados ao corpo e aos gestos desse fazer.


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Na mesa estiveram também 6 cartazes. Cada um deles começou com uma palavra diferente escrita ao centro, sobre a qual discutimos e conversámos, registando à sua volta as ideias e as perguntas que foram surgindo, como um mapa.
MANUAL, 

CORPO,


DESOBEDIÊNCIA,


FIM, 
HISTÓRIAS,


COLECTIVO


As palavras procuram pôr em evidência e questionar dimensões diferentes da indústria do vidro manual. Cada palavra colocada e considerada a partir desse lugar do fazer, do manusear e do saborear, pensando que, tal como o vidro, ela se vai moldando e transformando enquanto atravessa o passado, o presente e o futuro. 
Estas palavras - as perguntas, as histórias e os léxicos que elas convocam - serão depois colocadas em Mupis da cidade e partilhadas enquanto territórios de pensamento. Para que, este estado de questionamento e herança partilhada possa ser alargado e fazer parte de uma construção colectiva a muitas mais mãos.


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Créditos:

Concepção: 
João Gonçalo Lopes e Márcia Lança
Promotor:
Casa da Cultura - Teatro Stephens da Marinha Grande
Produção Executiva: 
Andreia Sousa
Fotografia: 
Mariana Figueiredo, João Gonçalo Lopes, Márcia Lança

Participantes: 
Vânia Colaço, Joana Silva, Carlos Franco, António Pedro, Etelvina Rosa, Aires Rodrigues, Fernando Colaço, Olinda Colaço, José Rosa, Dorinda Silva, António Esteves, António Bispo, Alfredo Poeiras, Rita Barata, Almiro Morgado, Nelson Figueiredo, Arlindo Francisco, Nelson Couto, José Nascimento.
Agradecimentos: 
Carlos Veríssimo, Ana Carvalho, Sebastião Mota, Miguel Afonso, Jorge Custódio, Julio Folia, Adriano Mesquita, Mário Macatrão, Francisco Ribeiro, Catarina Morgado, José Medeiros, Fernando Esperança.


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