Exhibition curated by Marta Duarte
Casa da Dona Laura
Rua do Salitre, 113
Lisbon, Portugal
20–24 June 2026
Press
Teresa Rasquilha, Brotéria, Aug./Sept. 2026
Exhibition review
Evidências brings together images produced since 2022 from gestures of collection, accumulation, and transformation: a visual, almost archaeological, archive where obsessions and fascinations are revealed.
Starting from the practice of collecting traces and fragments of the outside world, the artist explores the tensions with the inner world in her first solo exhibition.
Between the documentary and the dreamlike, the photographs presented transform remnants and signs of existence into emotional and autobiographical objects, revealing a process of self-knowledge, transformation, and (re)construction of the self.
Memorabilia is an ongoing body of work built entirely from objects belonging to my personal collection gathered through walking, travelling and everyday encounters. These objects have revealed or shaped my obsessions and fascinations over time. Many of them are strange or unusual objects that may only be meaningful or interesting to me. Some are even repellent or unsettling, yet they fascinate me because they seem to speak of something beyond themselves. Within Memorabilia, I remove these objects from their original context and from their function, allowing them to become something else through the photographic process. I work with deliberately rudimentary and direct techniques. I place the objects in a mirror, creating a relationship between the object, its reflection and its photographic image, producing a moment of ambiguity.
Belonging to Memento series and to my collection, this animal's body is a recurring figure in my work, appearing across different images and objects as a persistent presence. Often associated with decay, death and what is discarded, it also carries a sense of survival, adaptation and persistence.
In nos bons lugares há sempre vento, this recurring figure appears dead, yet strangely alive within the reflection of the sky. The mirror displaces the animal from the earthly space it inhabits, while changing light continuously transforms its presence. It becomes suspended between states: body and image, death and persistence, disappearance and transcendence. The wind eventually carries it out of the frame, transforming the image of death into a movement towards elsewhere.
The work continues an ongoing encounter with the rat as a figure through which I approach death not as an end, but as a transformation into something.
A young woman searches for traces of herself through a prehistoric monument swallowed by urban space.
Driven by déjà vu, she returns to a place she grew up in, repeating gestures of observation, collection and revelation.
The film explores photography as an archaeological gesture and the relationship between memory, territory and identity.
Title déjà vu
Year 2026
Duration [10'44'']
In association with KINO-DOC
Screenings
Câmpulung Film Fest
,
Romania, August 2026.
Nome de Guerra and Coordenadas da Sede are performance and video projects made with a group of elderly people in a day centre on the periphery of Lisbon through community practices.
Within social theatre and pedagogical art exercises, we built these performances drawing on what emerged from the laboratories. We explored topics like identity, rebellion, belonging, personal history, heritage, ancient rituals, desire, etc.
The group collectively chose their objectives, stories and desires and shaped the final performance together. The laboratories have propose a space in which older people are not treated solely as recipients of care or memory, but as active creators, performers and agents within contemporary society.
Video
2024
In Nome de Guerra we worked mainly about Identity. It was one of the results of some of the exercises from our laboratories as part of research for the final project: Coordenadas da Sede.
The project centres on the idea of the gestural name. As we grow older, we may lose our voice, literally or metaphorically, become reduced to names and roles imposed upon us, or even forget about them. Yet our histories, desires and passions remain. Each participant created a gestural name based on their own name, former profession, physical characteristics, passions or wishes.
The gestural name becomes a «name of war»: an act of affirmation and resistance, a way of reclaiming a voice and asserting a presence in a world that increasingly struggles to communicate with, or listen to, older people.
In the video, each participant presents themselves through Portuguese Sign Language and their selfcreated gestural name.
Video
2025
Coordenadas da Sede was the final product of our laboratory. Rather than working from a predetermined script, the participants shaped the project together through one year, deciding what they wanted to express and how they wanted to embody it.
The group chose desire as the central theme. We chose flowers as a metaphore for ourselves. With each participant becoming a flower, we created a collective landscape in which the flowers move in search of what they long for. They dance, laugh, cry, run and reach towards their desires: to kill their thirst.
Thirst becomes both a physical and metaphorical condition: the urgency of a flower seeking water mirrors the human impulse towards what we lack, desire or dream of. Water, shared between the flowers, becomes an image of community : something that cannot belong to one alone, but through which each can continue to exist and share.
Direction Cíntia Ferreira
In association with Santa Casa da Misericórdia da Amadora and Teatro de Identidades
Cíntia Ferreira (Lisbon, 1999) is a multidisciplinary artist working across photography, sculpture, film and performance.
Her practice explores memory, identity, territory and the archive through processes of collection, observation and reconstruction.
Her work often approaches photography as an archaeological gesture, investigating fragments, traces and vestiges as forms of personal and collective memory.
2026 — Evidências, Casa da Dona Laura, Lisbon
2026 — déjà vu, Câmpulung Film Fest, Romania
Teresa Rasquilha, review of Evidências, Brotéria — Revista Brotéria, Aug./Sept. 2026