Mira

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.

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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!

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Last but not the least, the Mira experience inspired me to share a (holiday) thought: all we need is less.

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Sensing Spaces. (just ended)

Too bad we need the UK visas, otherwise I would not miss the Sensing Spaces exhibition that just ended in the Royal Academy of Arts in London.

The idea was to call seven architects/teams to make installations taking around 23 000 square feet of their interiors, and “reimagine architecture” by addressing not only the eyes of the visitors, but also by emphasizing olfactory or haptic properties of the exhibits. Engaging visitors went also in the direction of giving them opportunity for a creative experience – by letting them finish an installation (weaving colourful plastic straws in the white space of Diébédo Francis Kéré).

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One of the installations (Chilean architects Pezo von Ellrichshausen) was in a particularly strong relation with the exhibition space: it brought visitors high up to the ceiling of the hall, the closest possible to the gilded details of its decoration, that would otherwise not be experienced.

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Among the great seven from all around the world, two Portuguese architects were invited to participate! Siza and Souto de Moura, the Pritzker prize winners, were present with their works. Souto de Moura was exploring heritage and meanings through creating concrete copies of the door cases and juxtaposing them with the originals. And Siza…from what I saw on the photos, it was something in the museum yard, and the information available said that it was “beautiful” 🙂

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The architect’s own explanation, though, cleared things up: the installation was about “the birth of column”.

Some wonderful links:

https://www.royalacademy.org.uk/exhibition/4 (a bit about the exhibition)

http://www.archdaily.com/475585/siza-souto-de-moura-kuma-reflect-on-their-sensing-spaces-exhibitions/

(Siza talks)