The “most conservative building” Port opened the door to contemporary art – publico

                 

                         
                     

                         
                     

                 

 
 

The Palácio da Bolsa, Porto opened Tuesday the doors to the first exposure resulting from a partnership between the Serralves Foundation and the Porto Commercial Association. This agreement stems from the desire of both institutions to strengthen links with the city and be more open to the public.

The protocol you want the Palácio da Bolsa “pass to have, an itinerant form, exhibits some parts “of the Serralves Museum, explained Nuno Botelho, president of the Porto Commercial Association. Since the beginning of its mandate have been established agreements with other institutions in the city, like the Colosseum or the House of Music. “Such partnerships open the palace doors to the public,” says the president, who also intends to “undo the idea” that the palace is not for the locals. In fact, most visitors (300,000 in 2015) is Portuguese – “Portuguese yes, and portuenses too,” he stressed

The Chairman of the Board of Directors of the Serralves Foundation, Ana Pinho Macedo Silva. wants to make contemporary art collection of “accessible to a wider public” institution, and believes that such partnerships could have a “huge impact”. the show piece gate (gate) is ” the first, to be followed by others, parts of the collection or other exhibitions in Serralves. “

the only part exposed in front of the staircase of the Palace, is the Polish designed by Monika Sosnowska, which last year had their work on display at the Serralves Museum. This piece did not feature at the exhibition, and it is the first time it is presented to the public. Nuno Botelho defines the choice of that piece to the space of the Palace as “bold” since “it is the contrast between the more conservative of the city’s buildings and more modern.”

Suzanne Cotter, director of the Serralves Museum and curator of this exhibition, believes that this piece was the most suitable choice because “space needed a muscular work.” It is a physical construction, heavy, which contrasts violently with the surrounding space, “eclectic architecture,” as defined by the curator. The contrast does not worry Cotter, who believes that “it is important to be able to experience art as a part of our daily lives,” and so it is also important to take it out of the museums.

No plans concrete for what will figure in the palace after the end of the exhibition of the work of Sosnowska, who will be here until September, but there are many for either party ideas, whether collective exhibitions or performances with the Palace of the nineteenth century as a stage.