This is the largest and most valuable drawing collection ever assembled by a Portuguese school. In total, around 250 pieces belonging to the collection of the Faculty of Fine Arts of the University of Porto (FBAUP), some of which were specially acquired for this purpose, will be exhibited in the college’s galleries and rooms at the MNSR. The proposal is to make known, through drawing, the entire history of thought and establish a timeline for artistic education in the undefeated city.

The exhibition is divided into 3 sections, divided between MNSR and FBAUP. The MNSR hosts the third nucleus and is made up of more than 150 donated works from the 20th and 21st centuries. All the artists represented are linked to the Porto School of Fine Arts, such as Júlio Resende, Fernando Lanhas, Siza Vieira and Nadir Afonso. This exhibition concludes the centenary celebrations of the University of Porto.

This exhibition was part of the Millennium BCP Shared Art initiative. It brought together 13 tapestries from the Manufatura de Tapeçarias de Portalegre based on works by renowned Portuguese artists, such as Almada Negreiros, António Charrua, Costa Pinheiro, Cruzeiro Seixas, Graça Morais, José Guimarães, Júlio Pomar, Júlio Resende, Lourdes Castro, Maria Helena Vieira da Silva and Nadir Afonso belonging to the Millennium BCP art collection. The exhibition opened in Luxembourg, at the headquarters of the European Investment Bank.

The David Usborne collection, a collection created at the flea market and other street markets, testifies to the ancestral taste for collecting. Bringing together artifacts as diverse as tweezers and clamps, rotary machines, knives, agricultural instruments or surgical utensils, Usborne appears attentive and sensitive to the way in which Man has always been in search of unity between beauty and functionality.

The exhibition presents around 250 artefacts in 9 major categories, which correspond to the main actions and needs of Man, such as hitting, grabbing, cutting, shaping, spreading, protecting. Side by side, there are artisanal tools and industrially manufactured utensils, completely different in their technical formulation, but very similar in terms of their use and shape. Nothing is extra or superfluous.

Patrícia Garrido brought together furniture from different sources, such as the António Arroio Secondary School, the houses of unknown people and her parents’ apartment where she herself grew up. He sawed all the furniture into pieces of more or less identical size, glued them with Pattex glue and formed compact cubes weighing hundreds of kilos, one for each source. The artist transformed each set with the identity of whoever used it and sought to reflect the memories that each piece would have.

From a work that covers more than 70 years of activity by Ventura Porfírio, a relatively small set of drawings were chosen, all close in time, produced during a period of intense activity by the artist, between 1958 and 1967.

This drawing territory seeks to show the variety and unity of work based on long practice and a desire to experiment. Between speed and delay, between form and the boundaries of the formless, between similarity and contrast, these 13 drawings invite us on a journey that is both real and imaginary in that territory always full of surprises and new things that is the design.

The 50th anniversary of the Arrábida Bridge was the pretext for a retrospective of the representation of bridges in Portuguese art, featuring great names in 19th and 20th century painting. An exhibition co-organized by the Faculty of Engineering of the University of Porto, Faculty of Fine Arts of the University of Porto and MNSR, bringing together works by 64 of the main Portuguese artists of the 19th, 20th and 21st centuries, selected by Manuel Matos Fernandes and Bernardo Pinto de Almeida.

Among the various facets of Rafael Bordalo Pinheiro’s artistic activity, one of the highlights is the design of a silver plate made up of 300 pieces for the 3rd Viscount of São João da Pesqueira, Luís Maria de Sousa Vahia Rebelo de Morais.

The execution took place between 1900 and 1904, under the direction of master goldsmith Guilherme Soares, head of the Casa Reis & Filhos workshops in Porto, with the collaboration of Bordalo Pinheiro in monitoring the work.

The Manuelina Plate is exhibited to the public for the first time by Casa Reis & Filhos in 1904. The exhibition is held in the context of the IV Congress Silver in Iberoamerica, organized by the Universidade Católica Portuguesa – Escola das Artes.

This itinerant exhibition featuring contemporary Polish graphic arts was curated by artist, Halina Chrostowska (1929-1990) and organised by the Ministry of Culture and Art of the People’s Republic of Poland. The exhibition included a total of 212 prints, using a wide variety of techniques, made by 36 Polish artists between 1956 and 1980.

The exhibition now presented was born from an initiative carried out by a group of former students of António Cardoso and aims to be a tribute to his art: an art that is fully realized in the reinvention of a humanism that resists and subsists, when It does not grow stronger in its own adversity.

This exhibition is the result of a proposal from the Portuguese Camélia Association, which has been generously contributing for some years to the maintenance of the centenary Jardim das Camélias at Palácio dos Carrancas, where the MNSR is located.

In this city where Camellias or Japanese trees, as they are often referred to, have such a strong presence, it has particular meaning to make this presentation of art objects and curiosities that intend to relate the collections of the MNSR and some individuals with the strong presence of the motif of camellia in art and culture in Portugal.

In his 50 years of artistic activity, Jorge de Oliveira participated, in the first line and in the first hour, in all the significant changes of his generation, always in a unique way and the result of an individualism and an independence that resulted in oblivion. generalization of his figure and his work from the 1960s onwards. The anthological exhibition – repeating, in a unique space, the exhibition organized in 2013 at the Chiado Museum and the Arpad Szenes Vieira da Silva Foundation – aims to repair a long oblivion by bringing his work back to the present day.

Created in 1980, the collective of Árvore’s members has become one of the Cooperative’s most emblematic events, where countless artists, established and emerging, and countless works of art in their most varied expressions have passed. This year the exhibition takes place at MNSR.

The exhibition presents works on 15×15 cm tiles, which reproduce the sensations that a group of artists experienced when visiting the Peneda Gerês National Park, artistically characterizing the flora, fauna and ethnography of the only National Park in the country.

The exhibition is promoted by ATAHCA – Local Development Association, in partnership with the MNSR, the Hospital de Magalhães Lemos and the host entities in the municipalities of Vila Verde, Braga, Terras de Bouro and Barcelos.

Sculptor, jeweler and object creator Ana Fernandes exhibits for the first time at MNSR some of her pieces inspired by everyday elements that the artist collected throughout her life. The artist composes pieces of sculpture that reflect an atmosphere of affections and places, ensuring that their previous utilitarian function is not lost during the process. Abstract combinations function as memory echoes that interact in the present. The pieces, created from materials such as steel, aluminum, galvanized sheet metal or steel mesh, subvert the content of the work and elevate the everyday object to an artistic and museum object, similar to the Duchampian work that influences it.

Collective exhibition at MNSR, result of artistic residencies at Fábrica de Cerâmica S. Bernardo – Alcobaça with the artists: Albuquerque Mendes, Beatriz Sanchez Horta Correia, Bela Silva, Catarina Branco, Carolina Paz, Estela Sokol, Fábio Carvalho, Gabriela Machado, Graça Pereira Coutinho, Isaque Pinheiro, Jorge Abade, Luís Nobre, Maria Pia Oliveira, Sofia Castro and Susana Clemente Piteira.

Naturalist painting exhibition with 50 works by more than 15 authors who left a mark on Portuguese art. Painting outdoors and capturing outside light were some of the challenges faced by naturalist painters who maintained a commitment to ethnography, as they favored scenes from popular life, habits from village life, riverside or seascapes.

This is a polynuclear exhibition, which is on display in 4 spaces associated with D. Pedro or the Siege of Porto: the Serra do Pilar Monastery, the Porto Military Museum, the MNSR and the Lapa Church. After 180 years, We remember the figure of the so-called Soldier King and the circumstances that led to this special connection to the city, in 4 places that symbolize his daily life and the aforementioned military episode.

This exhibition comes as part of an internship project at the Faculty of Arts of the University of Porto, by master’s student Carlos Furtado.

António Drumond, Carlos Valente Eduardo Martinho, João Menéres, João Paulo Sotto Mayor, Joaquim Soares, J Viana Basto, J C Matias Serra, Manuel Magalhães, Miguel Louro, Óscar Saraiva and Ricardo Fonseca were the 12 members of the AFP (former Porto Photographic Association) who organised this exhibition.

Like many other photographers who were associated with AFP, they continue to photograph with their own cultural stamp, created in the heart of their shared apprenticeship. The images presented, having photographic art as their common denominator, aim to show the AFP’s contemporary expressions as well as current aesthetic interpretations, proving that ideas do not grow old.

This exhibition takes place within the scope of the second edition of the Outro Prisma photography competition and is part of the celebrations of World Architecture Day. The jury for this edition, responsible for selecting the 49 best photographs, was made up of Bernardino Castro, Director of the Portuguese Center for Photography, by photographers José Campos and Inês D’Orey and architects Pedro da Rocha Vinagreiro and Renato Costa, representing the Order of Architects Northern Regional Section (OASRN) and published the winning photograph on the opening day.

The MNSR hosts the exhibition commemorating the 30th anniversary of the creation of the Instituto Politécnico do Porto (IPP), with works of great interest for the knowledge of contemporary artistic activity, opportunely brought together by the IPP to form part of its collection.

This exhibition takes as its starting point Lígia Afonso’s doctoral research on Portuguese representation at the São Paulo Biennale, since its 1st edition, in 1951.

The Portuguese works and artists presented offer an overview of the art produced in Portugal since the beginning of the 20th century, built in real time, every 2 years, and determined by the institutional, critical and artistic voices that were asserting themselves at each moment and time. .

Artist Mafalda Santos was invited to produce a second iteration of the large panel CARTAS DE S. PAULO produced in 2014 for the biennial. The artist composes a detailed visual chronology where institutions, artists and works are recorded, mapping an entire network of connections and offering an integrated reading of the Portuguese presence at the São Paulo Biennale.

This exhibition is articulated and dialogues with HOW(…) THINGS THAT DON’T EXIST – AN EXHIBITION DEVELOPED FROM THE 31st S PAULO BIENAL, currently on view at the Serralves Museum of Contemporary Art.

This audiovisual exhibition celebrates the 8th Centenary of the Pilgrimage of Saint Francis of Assisi to Santiago de Compostela. It is the result of the journey taken by photographer Manuel Valcárcel and musician Alexandro González through Italy, France, northern Spain and Galicia, following the same route taken by Saint Francis in 1214, from Assisi to Compostela. The 2 young Galician artists took on the role of pilgrims and captured the essence of this unique phenomenon.

Tile in Portugal, due to its abundance and artistic richness, is an internationally recognized symbol. In the first half of the 20th century, the walls of a large number of churches, palaces, public and private buildings, factories, markets or train stations were covered with panels of varied iconography, from landscapes and monuments, to images of peasant and prehistoric life. -industrial. An entire country shaped by this original medium with a long tradition, which finds its sources in photographic copying in its different supports: illustrated books, magazines or postcards.

These iconographic sources are the central motif of the exhibition, which places originals and copies in parallel, with the dual purpose of showing the modern version of the ancient way of working of tile painters – who replaced engravings with photographs –, as should be noted the weight of graphic modernity that marks the entire 20th century.

This exhibition takes place as part of the 2015 Spanish Exhibition.

The United Nations General Assembly, in its session on November 25, 2013, proclaimed 2015 as the International Year of Light and Light-based Technologies (AIL2015). The University of Porto, through the Science Museum, joins this global celebration, with the Lux Mirabilis exhibition. The exhibition includes pieces from the collections of the Science Museum of the University of Porto and other institutions such as the Natural History Museum, the Museum of the Faculty of Engineering and the Ancient Fund of the University of Porto, the Museum of the Instituto Superior de Engenharia do Porto and the MNSR itself, as well as modules that highlight the current importance of light in science, technology and society.

Collective exhibition of artists invited to illustrate traditional tales based on a first systematic collection of Portuguese folk tales, organized by Adolfo Coelho as Os Contos Populares Portugueses, from 1879, or the collection published in 1910 by Consieglieri Pedroso. The pieces in the exhibition reflect the use of various artistic techniques of printing (engraving, woodcut, linoleum), drawing, painting, sculpture and ceramics.

This exhibition appears as a desire to affirm and testify to the sketch, its importance and multidisciplinary impact on the built work and its validation as a fundamental tool in the architect’s creative process.

The exhibition presents, among others, works by professors from the Faculty of Architecture of the University of Porto such as Alexandre Alves Costa, Álvaro Siza, Adalberto Dias, João Pedro Xavier (Vice-Director), Marta Rocha, Sérgio Fernandez and, also, alumni Álvaro Leite Siza Vieira, Camilo Rebelo, Fátima Fernandes, Francisco Vieira de Campos, João Mendes Ribeiro, João Paulo Rapagão, José Paulo dos Santos. The installation also includes works by António Cerejeira Fontes, Henrique Marques, Raúl Hestnes Ferreira, Telmo Castro, Gonçalo Byrne, João Luís Carrilho da Graça, José Mateus, Manuel Aires Mateus.

Recreation of the only exhibition by Amadeo de Souza Cardoso in Portugal, in 1916, initially opened at Jardim Passos Manuel, in Porto, and later at the Liga Naval Portuguesa, in Lisbon.
A century after these exhibitions, the MNSR and the National Museum of Contemporary Art – Museu do Chiado mark the anniversary by bringing together a significant part of the pieces previously exhibited.
The first and only exhibitions in Portugal were also the first and only solo exhibitions he held in his short life. The context was the beginning of the First World War, when Amadeo de Souza-Cardoso returned to Portugal and was already a recognized painter among the avant-garde. Before exhibiting in his country, he had already participated in group exhibitions in Paris, Berlin, New York, Chicago, Boston and London.

The exhibition, curated by Annemarie Jordan Gschwens and Kate Lowe, comes from the National Museum of Ancient Art and opens today at the MNSR, on the eve of International Museum Day. The global city represents the era of Portuguese discoveries, in the 16th century, where the import and sale of merchandise was intense. The exhibition has around 200 pieces and aims to take visitors to discover the Renaissance period in Portugal.