Porto is an ever-inspiring and creative city. But Campanhã area is certainly not the first that comes to a cultural wanderer’s mind. Yet, there is a gem there that I only recently discovered.
A short film festival was my pretext to finally visit Espaço Mira and Mira Forum, two adjacent former warehouses that now work as artistic spaces. One is primarily an art gallery, the other is multi-functional and has a commercial component (offers a possibility to rent the space for book presentations or exhibitions – we all have bills to pay, after all).
I arrived a bit ahead of projection time, knowing that Mira pursues more than one initiative at a time and curious to peek into the exhibition spaces. What a warm welcome we had by Manuela Monteiro, who lead the visitors throughout the ongoing exhibitions! Together with João Lafuente, she created Mira three years ago, in October 2013. They uncovered the potential of the row of abandoned warehouses in Rua de Miraflor, that even played a part in their families history. Former storage spaces for coal and wine were converted into spaces of culture with a lot of respect and sensibility.
One of the current exhibitions in Mira lead me to learn important facts about the cultural landscape of Algarve and the threat of complete eradication it has been exposed to because of the aggressive oil extraction initiatives. The initiatives have been stopped for now, but drawing attention to the problem is of huge importance. With its engagement, Mira gives hope that art may be able to save the world!
Last but not the least, the Mira experience inspired me to share a (holiday) thought: all we need is less.
Porto has a very special photographer: Luís Ferreira Alves is dedicated to capturing Porto’s spirit through its architectural heritage. As much as to the city’s historical landmarks, his architectural photography focuses to the more contemporary built legacy created by protagonists of the Porto School of Architecture.
They actually seem to be the reason why Luís Ferreira Alves dedicated to the architectural photography in the early 1980s, after some soul searching in the area of experimental film and amateur photography. At that time, he helped out a friend who needed photos of his project for an exhibition, and after it was presented at the Faculty of Architecture, interest was raised among architects and commissions followed. Alves then made a risky move: he abandoned his permanent job to dedicate completely to architectural photography.
It turned out the right choice.
Now we know him best through beautiful photos capturing his city and its heritage, like the ones that embellish the recently reissued luxury album Sentimento do Porto. But there is one more curiosity about this author: he specializes in exposing the process of heritage transformation through photographing restoration works. These are far beyond the documents testifying of the works done in the project dossiers, they make one rethink heritage and see it more clearly as a living thing, with a potential to change and adapt to the present times.
This gives visibility to the hidden layers of the monuments’ and the city’s history that often remain inaccessible and overlooked, and (here I borrow the spot-on expression of Pedro Bandeira), helps demystifying heritage that comprises a significant part of our surroundings and daily lives.
My “discovery” of Luís Ferreira Alves comes just on time to share the news of an exhibition that is about to be open in Porto: “Nasoni – Regressos” is about the restoration works on the city’s symbol – the Clérigos church. The opening is on April 21st, 2016, in MMIPO (Museu da Misericórdia do Porto). No need to mention the name of the author!
Details on the exhibition are here.