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- Rua do Raio, 175
  4710-923 BRAGA
  PORTUGAL
- +351 253 116 620
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- © 2025 zet gallery.
  Project by dst group.
  Developed by innovation point.

Braga em Obras

BeO Braga em Obras, an inventory, cataloguing and signage project of artworks in public space in the municipality of Braga, referring to the 20th and 21st centuries.

Refúgio” (Haven) is a habitable sculpture that pursues the artistic and anthropological research carried out in recent years by its author. Starting from an initial practice as an anthropologist, the artist has researched housing conditions on the margins of contemporary cities, on the techniques of self-construction of shacks, havens and slums, whose technologies use materials that are recycled, instead of becoming leftovers or even garbage. This project foresaw the creation of a penetrable sculptural space, a shelter in the public space of the city, which coexists with a thought about alternative ways of living, eco-sustainable. Lorenzo Bordonaro idealized the artwork based on industrial waste from the dstgroup campus, having chosen metals and defined an open and osmotic construction technique for the natural environment. The artwork integrates several species of flora, which are intended to invade the space. Inside there is also a second structure, with red material from the textile, a recurrence of the recent work of Lorenzo Bordonaro. The shape of this haven is based on a reading of two icons of Braga: the cloister of the Monastery of Tibães and the staircase of Bom Jesus, suggested, respectively, in the layout and roof of the structure that it acquires, in the Guadalupe Park, the highest point of the city, the meditative and praising nature of the silence that is of interest here.
The production of this artwork is the result of the first edition of the ART IN PUBLIC SPACE & SUSTAINABILITY Award, promoted by the dst group and zet gallery with the support of IB-S - Institute of Science and Innovation for Bio-Sustainability of the University of Minho - Official. It is given to the Municipality of Braga by the dstgroup and zet gallery.

Refúgio” (Haven) is a habitable sculpture that pursues the artistic and anthropological research carried out in recent years by its author. Starting from an initial practice as an anthropologist, the artist has researched housing conditions on the margins of contemporary cities, on the techniques of self-construction of shacks, havens and slums, whose technologies use materials that are recycled, instead of becoming leftovers or even garbage. This project foresaw the creation of a penetrable sculptural space, a shelter in the public space of the city, which coexists with a thought about alternative ways of living, eco-sustainable. Lorenzo Bordonaro idealized the artwork based on industrial waste from the dstgroup campus, having chosen metals and defined an open and osmotic construction technique for the natural environment. The artwork integrates several species of flora, which are intended to invade the space. Inside there is also a second structure, with red material from the textile, a recurrence of the recent work of Lorenzo Bordonaro. The shape of this haven is based on a reading of two icons of Braga: the cloister of the Monastery of Tibães and the staircase of Bom Jesus, suggested, respectively, in the layout and roof of the structure that it acquires, in the Guadalupe Park, the highest point of the city, the meditative and praising nature of the silence that is of interest here.
The production of this artwork is the result of the first edition of the ART IN PUBLIC SPACE & SUSTAINABILITY Award, promoted by the dst group and zet gallery with the support of IB-S - Institute of Science and Innovation for Bio-Sustainability of the University of Minho - Official. It is given to the Municipality of Braga by the dstgroup and zet gallery.

REFÚGIO, 2020 ; Lorenzo Bordonaro (IT, 1971)

Refúgio” (Haven) is a habitable sculpture that ...

Originally designated as "Estádio 28 de Maio" (May 28th Stadium), in an allusion to the Estado Novo regime that financed it, after the Carnation Revolution, it is now called "Estádio 1º de Maio" (May 1st Stadium). The access to the premises is made through six entrances distributed from a prism tower in which the coat of arms of the Republic is displayed and, on the side, walls are these side panels, in high-relief and bronze by Barata Feyo. Aesthetically and grammatically, they are perfectly contextualised in the spirit of the time with a theme associated with the so-called "National Revolution": the practice of sport and its benefits for youth.

Originally designated as "Estádio 28 de Maio" (May 28th Stadium), in an allusion to the Estado Novo regime that financed it, after the Carnation Revolution, it is now called "Estádio 1º de Maio" (May 1st Stadium). The access to the premises is made through six entrances distributed from a prism tower in which the coat of arms of the Republic is displayed and, on the side, walls are these side panels, in high-relief and bronze by Barata Feyo. Aesthetically and grammatically, they are perfectly contextualised in the spirit of the time with a theme associated with the so-called "National Revolution": the practice of sport and its benefits for youth.

Elementos Escultóricos do Estádio 1º de Maio, 1950 ; Salvador Barata Feyo (AO, 1899-1990)

Originally designated as "Estádio 28 de Maio" (...

The monument, which celebrates the Freedom and Democracy regained with the 25th of April 1974, was designed by sculptor José Rodrigues and the architects João Rapagão and César Fernandes. The huge bronze banner resembles a flag flying in the wind and has a nude woman carved on one end. This banner is supported by a granite wall, where slogans are carved, which in turn rests on a marble mast. The monument also includes the stone wall that blends into the pavement.

The monument, which celebrates the Freedom and Democracy regained with the 25th of April 1974, was designed by sculptor José Rodrigues and the architects João Rapagão and César Fernandes. The huge bronze banner resembles a flag flying in the wind and has a nude woman carved on one end. This banner is supported by a granite wall, where slogans are carved, which in turn rests on a marble mast. The monument also includes the stone wall that blends into the pavement.

MONUMENTO EVOCATIVO AO 25 DE ABRIL, 1993 ; José Rodrigues (AO, 1936-2016), João Rapagão (PT, 1963), César Fernandes (PT, 1979).

The monument, which celebrates the Freedom and ...

Designed by the architect Luís Machado, the monument is the result of the will of a group of Catholics who wanted to pay homage to Nossa Senhora (Our Lady). The base is a chapel in granite with various elements: in the centre, inserted in a glass niche, the image of Santa Maria de Braga (Saint Mary of Braga); to the side, a bronze shield with an inscription; a plaque with another inscription referring to the inaugural act and its mandatories. The monument also includes 16 concrete markers, facing the chapel, with the coats of arms of the municipalities that make up the Archdiocese of Braga.

Designed by the architect Luís Machado, the monument is the result of the will of a group of Catholics who wanted to pay homage to Nossa Senhora (Our Lady). The base is a chapel in granite with various elements: in the centre, inserted in a glass niche, the image of Santa Maria de Braga (Saint Mary of Braga); to the side, a bronze shield with an inscription; a plaque with another inscription referring to the inaugural act and its mandatories. The monument also includes 16 concrete markers, facing the chapel, with the coats of arms of the municipalities that make up the Archdiocese of Braga.

MONUMENTO A SANTA MARIA DE BRAGA, 1995 ; Luís Machado (PT, 1958)

Designed by the architect Luís Machado, the mon...

This sculptural element, in marble, represents a Portuguese guitar, in marble and vertical, and is evocative of one of the symbols of the national musical tradition, despite having been designed by an artist from Galicia (Spain).

This sculptural element, in marble, represents a Portuguese guitar, in marble and vertical, and is evocative of one of the symbols of the national musical tradition, despite having been designed by an artist from Galicia (Spain).

GUITARRA, 1997 ; Remígio da Vila (ES, 1951)

This sculptural element, in marble, represents ...

The current Carandá Market was designed by the architect Eduardo de Souto Moura and built between 1980 and 1984 by the Braga City Hall, which decided for its reconversion. With the debris from the previous building, Souto Moura implemented this sculptural design, using, in particular, the pillars and other ornamental and support structures.

The current Carandá Market was designed by the architect Eduardo de Souto Moura and built between 1980 and 1984 by the Braga City Hall, which decided for its reconversion. With the debris from the previous building, Souto Moura implemented this sculptural design, using, in particular, the pillars and other ornamental and support structures.

DETRITOS, 2011 ; Eduardo Souto Moura (PT, 1952)

The current Carandá Market was designed by the ...

The work is one of four resulting from the 1st dst Sculpture Symposium, promoted by dstgroup. Works by four artists were presented: João Antero, Jorge Pé Curto, Volker Schnüttgen and Victor Ribeiro, being the latter chosen to occupy the public space of the city. Made of grey granite, this tree evokes the beginnings of humanity, knowledge being the path to follow. Structurally, it is characterised by a smooth trunk and a crown with symbolised leaves, branches, and fruit. The base is rectangular and has some reliefs with "fallen leaves".

The work is one of four resulting from the 1st dst Sculpture Symposium, promoted by dstgroup. Works by four artists were presented: João Antero, Jorge Pé Curto, Volker Schnüttgen and Victor Ribeiro, being the latter chosen to occupy the public space of the city. Made of grey granite, this tree evokes the beginnings of humanity, knowledge being the path to follow. Structurally, it is characterised by a smooth trunk and a crown with symbolised leaves, branches, and fruit. The base is rectangular and has some reliefs with "fallen leaves".

ÁRVORE DO CONHECIMENTO, 2008 ; Victor Ribeiro (PT, 1957)

The work is one of four resulting from the 1st ...

The monument was erected by the Ukrainian community living in Braga to pay tribute to the ones killed in the protests, which took place in the emblematic Maidan square in Kyiv, for the independence of the country and demanding that President Viktor Yanukovich (b.1950) submit to Brussels the request for entry into the European Union. The unveiling ceremony was attended by Archpriest Dimitriy Tkachuk, the religious head of the Orthodox Church of Ukraine and the monument, representing a marble candle, displays a carved Russian Orthodox cross on top.

The monument was erected by the Ukrainian community living in Braga to pay tribute to the ones killed in the protests, which took place in the emblematic Maidan square in Kyiv, for the independence of the country and demanding that President Viktor Yanukovich (b.1950) submit to Brussels the request for entry into the European Union. The unveiling ceremony was attended by Archpriest Dimitriy Tkachuk, the religious head of the Orthodox Church of Ukraine and the monument, representing a marble candle, displays a carved Russian Orthodox cross on top.

MONUMENTO AOS HERÓIS UCRANIANOS, 2016 ; Fernando Jorge (PT)

The monument was erected by the Ukrainian commu...

São João Baptista (Saint John the Baptist) is the most popular and most celebrated saint in Braga and, for eight centuries, has been a reason for communion and celebration, being a mark of the territory's identity.
The image, by the artist Alberto Vieira, represents the Saint, in granite, wearing a tunic and holding in one hand the cross with the stainless steel pennant, with a Latin inscription which means "Behold the Lamb of God"; in the other hand he holds the conch shell; and at his feet he has a sheep lying down. It seats, equally, in a granite pedestal.

São João Baptista (Saint John the Baptist) is the most popular and most celebrated saint in Braga and, for eight centuries, has been a reason for communion and celebration, being a mark of the territory's identity.
The image, by the artist Alberto Vieira, represents the Saint, in granite, wearing a tunic and holding in one hand the cross with the stainless steel pennant, with a Latin inscription which means "Behold the Lamb of God"; in the other hand he holds the conch shell; and at his feet he has a sheep lying down. It seats, equally, in a granite pedestal.

SÃO JOÃO BAPTISTA, 2018 ; Alberto Vieira (PT, 1956)

São João Baptista (Saint John the Baptist) is t...

Completely renovated between 2010/2011 with architectural design by Sérgio Borges and Miguel Castro and landscape architecture by architect Carlos Arantes. The inner part of the park is characterised by dense vegetation, gardens, and a large artificial lake. The outer part, the oldest, is associated with the festivities of São João (St. John) and grew around the São João Chapel. In this space we can find several sculptural elements from some of Braga's monuments that were demolished, such as the Convent and Church of Remédios and the Municipal Market. Walking through the enclosure we find the stones that belonged to the Convent of Remédios that were placed here, serving today as benches and tables; the columns were used with the pinnacles to embellish the park; the column that served to support the Senhor da Saúde (Lord of Health), that D. Diogo de Sousa ordered to be placed near the Cathedral, as well as the image of the Senhor da Saúde (Lord of Health), in coloured stone that was placed on the altar in the Chapel of São João da Ponte; the sculpture, popularly known as the DIABO MANQUINHO (LIMPING DEVIL), that belonged to D. José Bragança Palace. José de Bragança Palace, which seems to represent a jester; various chapiters, Corinthian and Baroque, which would have been attached to walls and serve as ornamentation for the elevation where the jester is, and others are scattered about; four rough sculptures that belonged to the façade of the demolished church of Remédios, representing images of SÃO FRANCISCO, QUEEN SANTA ISABEL DE PORTUGAL, QUEEN SANTA ISABEL DA HUNGRIA and another sculpture that seems to be either SANTA MARTA or SANTA MARIA MADALENA; a cross commissioned by the City Hall, in memory of the hospital for the infirm that D. Frei Bartolomeu dos Mártires; a Roman pool, made in the early years of the republic; the barred gate, which belonged to the old Public Garden; the stone arch, which was in the old Braga Fish Market.

Completely renovated between 2010/2011 with architectural design by Sérgio Borges and Miguel Castro and landscape architecture by architect Carlos Arantes. The inner part of the park is characterised by dense vegetation, gardens, and a large artificial lake. The outer part, the oldest, is associated with the festivities of São João (St. John) and grew around the São João Chapel. In this space we can find several sculptural elements from some of Braga's monuments that were demolished, such as the Convent and Church of Remédios and the Municipal Market. Walking through the enclosure we find the stones that belonged to the Convent of Remédios that were placed here, serving today as benches and tables; the columns were used with the pinnacles to embellish the park; the column that served to support the Senhor da Saúde (Lord of Health), that D. Diogo de Sousa ordered to be placed near the Cathedral, as well as the image of the Senhor da Saúde (Lord of Health), in coloured stone that was placed on the altar in the Chapel of São João da Ponte; the sculpture, popularly known as the DIABO MANQUINHO (LIMPING DEVIL), that belonged to D. José Bragança Palace. José de Bragança Palace, which seems to represent a jester; various chapiters, Corinthian and Baroque, which would have been attached to walls and serve as ornamentation for the elevation where the jester is, and others are scattered about; four rough sculptures that belonged to the façade of the demolished church of Remédios, representing images of SÃO FRANCISCO, QUEEN SANTA ISABEL DE PORTUGAL, QUEEN SANTA ISABEL DA HUNGRIA and another sculpture that seems to be either SANTA MARTA or SANTA MARIA MADALENA; a cross commissioned by the City Hall, in memory of the hospital for the infirm that D. Frei Bartolomeu dos Mártires; a Roman pool, made in the early years of the republic; the barred gate, which belonged to the old Public Garden; the stone arch, which was in the old Braga Fish Market.

Elementos Escultóricos do Parque de São João da Ponte

Completely renovated between 2010/2011 with arc...

This is a sculptural intervention, conceived and developed, specifically for the Park of São João de Ponte, in the scope of the Symposium Art & Sustainability, promoted by dstgroup and zet gallery. The work consists of several elements that establish a path of discovery of the park itself: the first, in iron, is in the lake and symbolises two intertwined bodies; then, a ground levelling in the vicinity of the arch; an appropriation of a pre-existing architectural structure that was painted red; and a last element, in iron painted red, which symbolises the female body alone.
The work of this artist, a lecturer at the Faculty of Fine Arts in Porto, is, moreover, very reflective on relational emotions and on women in the space of the ecstasy and pain of love. Her creations have a high poetic sense, nevertheless, in this case, it is an intervention that summons industrial production processes, linking them to the landscape.

This is a sculptural intervention, conceived and developed, specifically for the Park of São João de Ponte, in the scope of the Symposium Art & Sustainability, promoted by dstgroup and zet gallery. The work consists of several elements that establish a path of discovery of the park itself: the first, in iron, is in the lake and symbolises two intertwined bodies; then, a ground levelling in the vicinity of the arch; an appropriation of a pre-existing architectural structure that was painted red; and a last element, in iron painted red, which symbolises the female body alone.
The work of this artist, a lecturer at the Faculty of Fine Arts in Porto, is, moreover, very reflective on relational emotions and on women in the space of the ecstasy and pain of love. Her creations have a high poetic sense, nevertheless, in this case, it is an intervention that summons industrial production processes, linking them to the landscape.

DO TEMPO, NO ESPAÇO, UMA PONTE, UM APELO. CONTIGO OU SEM TI., 2018 ; Rute Rosas (PT, 1972)

This is a sculptural intervention, conceived an...

Julian Opie is one of the biggest names in international contemporary art. Its artworks are immediately recognized by their formal language and the simplicity of the representation of the portraits, figures and landscapes, result of digital alterations. In his works, the stylised treatment of the portraits - painted in solid colours, with thick black outlines for the features - is inspired by art, design and language of Japanese prints, 17th and 18th century portraits, 19th century silhouettes, Roman busts and ancient Egyptian art. "Teresa" was commissioned by dstgroup and zet gallery from the artist and symbolises the daily life of the 21st century woman, always in a hurry and looking for answers of various kinds.

Julian Opie is one of the biggest names in international contemporary art. Its artworks are immediately recognized by their formal language and the simplicity of the representation of the portraits, figures and landscapes, result of digital alterations. In his works, the stylised treatment of the portraits - painted in solid colours, with thick black outlines for the features - is inspired by art, design and language of Japanese prints, 17th and 18th century portraits, 19th century silhouettes, Roman busts and ancient Egyptian art. "Teresa" was commissioned by dstgroup and zet gallery from the artist and symbolises the daily life of the 21st century woman, always in a hurry and looking for answers of various kinds.

TERESA, 2018 ; Julian Opie (UK, 1958)

Julian Opie is one of the biggest names in inte...

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zet gallery, unipessoal, lda. Rua do Raio, 175, 4710-923 BRAGA PORTUGAL

+351 253 116 620 info@zet.gallery NIF | VAT (PT) 513039775

© 2025 zet gallery. Project by dst group. Developed by innovation point.

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