Long-term exhibition where we can see archaeological remains from interventions in various parts of the city, dated in the majority of the century. XII. In addition to these materials inside the Islamic Nucleus, visitors will be able to observe a section of the Islamic wall that protected the citadel, visit the famous “Vaso de Tavira” and watch a video on the city’s Islamic history. Location: Tavira Municipal Museum | Islamic Nucleus Monday to Friday: 09:30 – 16:30, Saturday: 09:30 – 12:30
Designed for all audiences, the exhibition allows the learning of the multiple dimensions of this heritage and its pedagogical exploitation by schools, in the areas of human health and nutrition. It results from the preparatory work for the Transnational Candidacy of the Mediterranean Diet to Intangible Cultural Heritage of Humanity, presented to UNESCO in March 2012, for which Tavira was chosen as the representative community of Portugal. This Candidacy involves not only our country, but also Spain, Italy, Greece, Cyprus, Croatia and Morocco in sharing a common civilizational heritage. Location: Tavira Municipal Museum | Gallery’s Palace | Monday to Friday: 09:30 – 16:30, Saturday: 09:30 – 12:30
The Order of Christ was created in 1319, by order of King D. Dinis, after the extinction, by Pope Clement V, of the Order of the Templars, one of the most famous Military Orders of Cavalry, founded in 1118, in the aftermath of the 1st Crusade. With a decisive role in the Reconquest period, in the military activity against the Moors and in the settlement of the territory, the Order of the Templars was also the owner of a vast patrimony that, by right, belonged to the Holy See, a fact that threatened the sovereignty of the king. With the pretext of defending the Algarve coast from attacks by pirates and Maghrebian pirates, D. Dinis manages to decree the creation of the new religious-military order. The 1st headquarters of the Order of Christ was then the Castro Marim Castle, with one of the most solid defensive systems in the entire Kingdom of the Algarve and located on the maritime border with Morocco and in the vicinity of the Islamic community of Granada. “Castro Marim, First Seat of the Order of Christ” is an exhibition approved under the Interreg Spain-Portugal Program 2014-2020, supported by the European Union, co-financed 75% by the […]
Using its own methods of torture, the Catholic Inquisition was responsible for thousands of deaths and barbaric acts against human integrity, which only served to cause excruciating pain and atrocious suffering to those who did not profess their faith. Throughout the exhibition you can find several replicas used to punish the condemned and that convey to us a little of the horrors committed in the dark period of the inquisition. * This exhibition was approved under the Interreg Spain-Portugal 2014-2020 program, supported by the European Union, 75% co-financed by the ERDF | project 0131_FOURTOURS_5_E.
“WE ARE ALL THE COLORS” by the German ceramist and sculptor Hein Semke (1899-1995), will open on May 15th, the new cycle of temporary exhibitions at the Museum of Portimão, marking its 13th anniversary and also the Week of Interculturality. The exhibition reveals a set of works of painting, drawing, monotype, sculpture and woodcut of an enormous chromatic diversity, carried out by the artist in Portugal, between 1963 and 1976, previously selected from the collection of one thousand six hundred and seventy-two works Hein Semke’s original works, resulting from the exceptional and generous donation of Teresa Balté, to the Museum of Portimão. The multifaceted, experimental and colorful way of treating the face, body and human figure, especially the female, are the central theme of this new exhibition curated by José Gameiro, who also shows us the creative spontaneity and capacity for expression , humor, the pleasure of experimenting and challenging that accompanies the whole work of Hein Semke. Source: https://www.vivaportimao.pt/a-nao-perder/e-ainda/2201-somos-todas-as-cores-do-hein-semke
On the 9th of July, in the Municipal Museum of Tavira – Nucleo Islâmico, the exhibition “From Triana to Tavira. Sevillian ceramics from the 14th to 17th centuries”, which aims to make known the commercial relations between both cities.
Open until November 14 in the Temporary and Temporary Exhibitions Room and part of the “MAR” Project of the Algarve Museum Network (RMA), “Ouvir o Oceano” intends to draw attention and convey a strong message to the need to protect beauty and the purity of the oceans, preventing their degradation, in particular through discharges of polluting waste and plastic packaging, as well as through poaching. In a region strongly linked to maritime culture such as Portimão and Algarve, BJ Boulter’s warning makes perfect sense, as the materials in question represent a real threat to the extinction of many species of fish, crustaceans, mammals, turtles and reefs, for the pollution they cause. “Listening to the ocean is urgent!” Artist, designer and film producer, Barbara grew up in Tanzania and Uganda, having received her education in Kenya and London. The artist arrived in the Algarve in 1962, when her British parents acquired “Residencial Pinguim”, in Praia da Rocha. Through his paintings and sculptures, BJ Boulter recalls “the need not only to think, but also to act every day to save the ocean, preventing its contamination.” This exhibition project, following her sculpture “The Waste of a Dolphin” presented in 2019 on the riverside, […]
On the next 31st of July, at 6 pm, the Municipal Museum of Faro opens the exhibition “1907-1914: the first golden era of French cinema in the collection of posters of the Municipal Museum of Faro”. Bringing together 33 rare posters, the exhibition aims to offer a look at the Gallic cinematographic production, at a time when it reached world hegemony, and allows visitors to appreciate the work of some of the greatest illustrators of the time. These posters, collected in the main theaters of Lisbon and Porto by the artist and collector Joaquim António Viegas, are part of an extensive collection with more than 300 copies, including 141 French, Italian, Scandinavian and North American cinema posters. This collection, previously exhibited in a larger version at the Cordoaria Nacional and also at the Faro Municipal Museum, is currently in the process of being classified for the National Treasury, as it is a set of international prestige, with some unique examples from the beginnings. of the cinema. Her study will also be presented on the opening day, in a work that is due to the exhaustive investigation of Adelaide Ginga, Marta Mestre and Jean-Louis Capitaine, and which has the seal of […]
Opening on September 21, at 6:00 pm Praça do Mar Gallery in Quarteira Patent from September 21st to November 6th Schedule: Tuesday to Saturday from 9:30 am to 1:00 pm and from 2:30 pm to 5:30 pm Source: http://www.cm-loule.pt/pt/agenda/22014/exposicao-“pela-paz-contra-as-armas-nucleares”.aspx
Rita Damásio, 33 years old, born in Olhão. During the first confinement, only with the escape of strolling through the salt marshes of her land, she found in the painting a comforting and fascinating refuge. This exhibition of acrylic painting on canvas portrays precisely this discovery. “Refuge” The calm, complexity and irreverence of the salt marsh landscapes. Where the blue of the sky, the green of the vegetation and the yellow of the pastures contrast with the pink of the salt flats. A combination of elements that overflows with colors and walks a path of beauty. A haven of good vibes during an apocalyptic period.
#almostpainting From the photographic register between everyday life, the pictorial look and poetic possibilities. The images captured in an almost stumble in the surrounding reality, arise from observation and questioning of the visual field, whose framing distances them from the referent, transforming them into something, sometimes indistinct, abstract. The photographic medium is subject to a subversion by the look, which expands the senses of color, texture, shadow, reflection, pattern, matter. The reality that, contained in the stability of a square, transcends the photographic condition of the records is decontextualized and recreated.