CORRESPONDENCES links a programme of nine exhibitions, presented in Portugal, Spain, Germany and Malta, to an International Colloquium [Unknown Recipient] held at Casa das Artes, Oporto. 

A letter excerpt included in Jacques Derrida’s LA CARTE POSTALE (1980) is taken as a reference for the CORRESPONDENCES project. 

In this fragment, dated June 5 1977, Derrida says: “What I like most about postcards is that we do not know what is in front and what is back, here or there, near or far, Plato or Socrates, face or reverse. Nor what is more important - the image or the text or, within the text, the message, the caption or the address.” 
The postcard is taken as producer of subjectivity, process and life experience, itself an agencement of CORRESPONDENCES, attempting not only to explore its linguistic, grammatical and rhetorical character, but also the use value it can acquire when integrated within a chain of possible situations. A metaphor for equality, with no face or reverse, here or there, image or text, the postcard exists in this traffic of sent, received, registered, circumvented, returned, stolen, lost, anonymous, confidential, inviolable correspondence. 

CORRESPONDENCES also refers to connection, communication, relation, path, journey, route, complementariness, reciprocity. Multiple forms, multiple uses, setting ambivalences in motion, breaking with directions, departure and arrival, beginning and end, artwork and space, signified and signifier. 

Assuming that it becomes imperative to force language, to break it, to disfigure it, to force concepts to say something else, this project adopts the postcard as an open letter, with no secrets, no face or reverse, a figure operating in speech, in a movement against the origin, establishing the conditions of its impossibility.

(I) CAAA – Centro para os Assuntos da Arte e da Arquitectura | Guimarães; (II) Casa das Artes | Oporto; (III) Museu das Comunicações | Lisbon; (IV) Galeria NovaOgiva | Óbidos; (V) SALA X | Pontevedra; (VI) Museu de Faro | Faro; (VII) Galeria Escudeiros | Beja [2014-16]; and, within the scope of DGArtes - Portuguese Ministry of Culture internationalization of the arts funding > (VIII) Rosalux | Berlin [23.03 until 21.04.2017]; (IX) Malta Contemporary Art | La Valletta [23.06 until 30.07.2017]. 

Curator of the projects A FEW REASON FOR A NON_DISMISSIVE ART [2014-15], CORRESPONDENCES [2016-17] and HORS-SERIE [2017], recently preselected for the Bienal Internacional de Arte Contemporáneo de América Del Sur, Buenos Aires. PhD in Philosophy. Assistant professor at ESAP, Oporto, where se teaches Aesthetics in the fields of Visual and Performing Arts. Principal Investigator of the Art and Critical Studies Research Group, Arnaldo Araújo Research Centre, Oporto. Research Areas: Philosophy and Aesthetics; Criticism and Contemporary Art; Art, Politics and Power; Art and Subjectivation Modes. Organized talks, Cycles of Conferences on Contemporary Art and Criticism in several institutions. Moderated the Line of Aesthetics of the Oporto European Capital of Culture – 2001. 

Filmmaker graduated from La Femis, Paris. Degree from Paris University III, Sorbonne. Selected for the Cannes Film Festival – Cinéfondation section, with Gaia (2004) and for Cinema du Réel, with Circa Me (2002). Directed films in collaboration, such as A Cultura do Capital (2003) or Travelling 70'-76' (2007) and also the video-installation A Colher (2010). Between 2005 and 2013 she collaborated with Serralves Museum. PhD student with FCT scholarship for research on cinema produced during the portuguese revolution. 

Master in Fine Arts, School of Creative Media, City University of Hong Kong. Degree in Fine Arts, ESAP. Exhibited in several institutions, among which: Artsonje Center, Seoul; Witte de With, Rotterdam; Independent Curators, New York; Saatchi Gallery, London; C.o.C.A., Torun; Sharjah Art Foundation, UAE; Ullens Center of Contemporary Art, Beijing; MAC Lyon; Videospace, Budapest; Garage CCC, Moscow; SESC S. Paulo; Hong Kong Museum of Art. Oriente Foundation (2006-08) and Calouste Gulbenkian Foundation scholarships (2012). 

Phd in Visual Arts, Vigo University. Exhibited at Fundación Gonzalo Torrente Ballester; CCAI, Gijón; CAJ, Madrid; Casaborne, Málaga; Galería Atlántica, A Coruña; Galería Metro, Vigo; Galería Sargadelos, Pontevedra; Museu Univ. Alicante, at Latinarte, Madrid and at Muestra de jóvenes artistas europeos, org. A.I.C.A. - Asociación Internacional de Críticos de Arte. Diputación de Ourense Fine Arts Prize, 2008; Artists’Scholarship, Diputación de Pontevedra, 2010. Art and Critical Studies researcher at CEAA and teacher at ESAP, both in Oporto. 

PhD and Advanced Visual Arts Program in Visual Arts (FBAP/UVIGO); Degree in Fine Arts (ESAP); Independent Visual Arts Program (MAUMAUS). Sculpture + Photography (AR.CO) and Video (CAM_CALOUSTE GULBENKIAN FOUNDATION) programs. Participated in Gasthof, Frankfurt, org. ICA, Moscow; Protoacademy, Edinburgh; Städelschule, Frankfurt; Kulturni Centar, Belgrade; Landproject, Chiang Mai; Manifesta, Amsterdam; Go to Frisco, org. South. Exposure; NoD-Roxy Gallery, Prague; ZDB Gallery, Lisbon; Portuguese Center of Photography, Oporto, among other institutions. Selected for the portuguese representation of CPLP biennial. 

Master’s Degree in Contemporary Artistic Practices, FBAUP. She presented her projects in Portugal, Spain, United Kingdom, USA, Brazil, Mexico, Argentina and Austrália. She collaborated in several film projects. Her work was awarded at the Chicago Experimental Film and Vídeo Festival, Curitiba Internacional Festival, São Paulo Super 8 Festival, Iberian Expression Film and Photography Festival. International Prize and Audience Award at the Dresdner Schmalfilmtage. She was part of the feature films jury at the 17th Luso-Brazilian Film Festival. 

Off-Site Project Venue: 
24/5 St Ursula Street Valletta Malta

Opening Hours:
Wednesday - Saturday 10:00 - 14:00


Cleveland Indian
Cyprien Gaillard

White Rocks Complex, Malta


Plurality of meaning in heritage and culture: the Maltese experience

A collaboration between the Foundation for Architecture and the Arts in Malta and the Mediterranean (FAAMM) and the Malta Contemporary Art Foundation (MCA)

A workshop as part of the MCA Public Arts Program and imbedded in the Mediterranean Summer Program – Malta 2010, organised by FAAMM

In his Foreword to “Modern Architecture and the Mediterranean”, Barry Bergdoll observes that the “Waves of Mediterraneanism have lapped at the development of modern architecture since the Enlightenment, reshaping its contours..., discourses, or practices.”

The influence of the Mediterranean on our perception and our conscious and subconscious mind has never ceased, whether in modernism, or in post-modernism and it is still as present as ever.

This Workshop aims to encourage an organic understanding of the remains of the past in order to project them seamlessly into the Future.

The last two centuries have witnessed the evolution of a discourse on the values of the past and on our understanding of its remains, and a relentless quest for the meaning of heritage. Since the eighteenth century, a debate on the subject of heritage conservation has been occupying the forefront of architectural thought together with, indeed almost as a reaction to, the obsession with innovation and experimentation underpinning the spirit of Modernity.

Contrasting schools of thought stemming from different cultural backgrounds have for centuries been disputing the most appropriate approach to heritage and have reached a consensus verging on dogma. It is only quite recently that these rules of conservation have begun to disentangle themselves from their assumed universality to wonder into the unexplored territory of cultural relativism.

Malta, a tiny rock in the Mediterranean dense with cultural heritage reaching back 5000 years, remained distant from the mainstream flow of ideas guiding and informing the evolution of conservation theory. As it so often did in other disciplines, not least among them Architecture, it married a complex mix of practices and beliefs, some local, others imported, to create its own special brand of restoration that carries meanings that are much less exclusive than those elaborated on the continent.
Malta can thus serve as a case study of how a specific location and special history can help to understand new ways of conceiving the multifarious meanings of Heritage and our relationship with it.
This workshop, will be held at Fort Manoel, an eighteenth century military structure on an island in one of Valletta’s harbours. Two artists, Douglas White and Owen Bullet, will, together with the students, explore ways to interact with this heritage site, its current state, its history and undefined future as well as with its projection to the outside; discovering ways to communicate and translate the historic fabric and the ghosts of a “war machine” of the past in the Now.
Since the site is a historic complex which is currently the subject of a restoration program, students will at the same time gain an insight into the practical aspects of an ongoing conservation project whilst discovering new vistas towards the subject through artistic and creative reflection.

Project Support