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    • Rua do Raio, 175
      4710-923 BRAGA
      PORTUGAL

    • +351 253 116 620
      info@zet.gallery

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

"No Minho, não há aldeia melhor do que a minha!"

This project intended to challenge artists to perform artistic residences and interventions that would start from imminently rural/village contexts, in the 24 municipalities of Minho. The artistic interventions should be embodied in public space artworks that reflect a reading of the visual and sonic memories of the places. The artworks that resulted from this set of interventions resignified the places, discovered and revealed old and new identities and launched a new look over an immense place where we all fit and where it will always be difficult to define what is rural and what is urban. zet gallery was responsible for the artistic coordination and communication of this project, curated by Helena Mendes Pereira, which runs from January to September 2022.
12.03.2022.
The traditional dances and songs are part of the multiple identities of what it is to be from Minho, with differences between the Alto and Baixo Minho, differences between each municipality and locality, related to the harvests and to the working and festivity habits that were sought after in what concerns the memory of the end of the 19th, century and the beginning of the 20th century. The groups dedicated to ethnography and folklore are, in general, important, not only for the History they keep in their practice but also for the playful and positive dynamism they make in the communities they operate. The Monção municipality’s Folklore Groups are an example of this, doing work of recognised merit. Pedro Figueiredo was challenged to dive into the dances and songs of these groups, to capture, for the metal sculpture, with proportions greater than the human scale, a pair movement in which the identity essence of the place and its memory keepers is identified. The sculptural intervention will now bring the identity represented by the various Folkloric Groups to one of the most emblematic places of the town of Monção, seeking to integrate itself in the municipality’s plan for art in public space and, above all, challenging the many who visit Monção to discover its villages, its rurality and authenticity and the much it tells us about this Minho of sounds, landscapes and contrasts.
12.03.2022.
The traditional dances and songs are part of the multiple identities of what it is to be from Minho, with differences between the Alto and Baixo Minho, differences between each municipality and locality, related to the harvests and to the working and festivity habits that were sought after in what concerns the memory of the end of the 19th, century and the beginning of the 20th century. The groups dedicated to ethnography and folklore are, in general, important, not only for the History they keep in their practice but also for the playful and positive dynamism they make in the communities they operate. The Monção municipality’s Folklore Groups are an example of this, doing work of recognised merit. Pedro Figueiredo was challenged to dive into the dances and songs of these groups, to capture, for the metal sculpture, with proportions greater than the human scale, a pair movement in which the identity essence of the place and its memory keepers is identified. The sculptural intervention will now bring the identity represented by the various Folkloric Groups to one of the most emblematic places of the town of Monção, seeking to integrate itself in the municipality’s plan for art in public space and, above all, challenging the many who visit Monção to discover its villages, its rurality and authenticity and the much it tells us about this Minho of sounds, landscapes and contrasts.
Pedro Figueiredo | Merufe e Centro Histórico MONÇÃO | "Corpo de Dança"
12.03.2022. The traditional dances and songs a...
16.03.2022
This sculpture, designed for the Tibães Monastery, is a proposal for a reading of the place and its identities and memories. The work assumes itself as a natural element, which operates as a mirror of its surroundings, reflecting “the thick tree” near it and also the shape of the “forked tree” behind it, as well as “the small trunks” growing on the left side, combined in a sculpture-shell that is the memory of its surroundings in this space-time. CONSTRUCTO NATURAL (natural construct) forms a new body and this body, having more or less a human scale, assumes the relationship with the retreat space and the monastery, reminiscent of the monks who founded the Tibães complex. A monk, standing there, looking after all the natural elements of the space, referencing/ invoking and honouring them.
16.03.2022
This sculpture, designed for the Tibães Monastery, is a proposal for a reading of the place and its identities and memories. The work assumes itself as a natural element, which operates as a mirror of its surroundings, reflecting “the thick tree” near it and also the shape of the “forked tree” behind it, as well as “the small trunks” growing on the left side, combined in a sculpture-shell that is the memory of its surroundings in this space-time. CONSTRUCTO NATURAL (natural construct) forms a new body and this body, having more or less a human scale, assumes the relationship with the retreat space and the monastery, reminiscent of the monks who founded the Tibães complex. A monk, standing there, looking after all the natural elements of the space, referencing/ invoking and honouring them.
João Dias | Mosteiro de Tibães | BRAGA | "Constructo Natural"
16.03.2022 This sculpture, designed for the Ti...
25.04.2022
The people of Póvoa do Lanhoso inherited from the sharpness of the slab, which marks its geography, the strength and perseverance that we also recognise in the personalities that are the heritage of the land. The symbolism of the slab lies in the courage of Maria da Fonte as in the talent of its goldsmiths and craftsmen. The challenge set to Mariana Mizarela was to intervene in a neighbour’s staircase that unites two worlds in that place. The artist worked with the colours of the Póvoa do Lanhoso flag which, coincidentally, are also the colours of the Ukrainian flag and on the 25th of April 2022, with Europe at war, we also celebrate the importance of Freedom. With gold on blue a constellation is drawn, a sky on the ground, which unites the various symbols of that place. The intervention went beyond the sinuosity of the staircase and its execution deserved the collaboration of the local community that now has a new place for meeting and peace.
25.04.2022
The people of Póvoa do Lanhoso inherited from the sharpness of the slab, which marks its geography, the strength and perseverance that we also recognise in the personalities that are the heritage of the land. The symbolism of the slab lies in the courage of Maria da Fonte as in the talent of its goldsmiths and craftsmen. The challenge set to Mariana Mizarela was to intervene in a neighbour’s staircase that unites two worlds in that place. The artist worked with the colours of the Póvoa do Lanhoso flag which, coincidentally, are also the colours of the Ukrainian flag and on the 25th of April 2022, with Europe at war, we also celebrate the importance of Freedom. With gold on blue a constellation is drawn, a sky on the ground, which unites the various symbols of that place. The intervention went beyond the sinuosity of the staircase and its execution deserved the collaboration of the local community that now has a new place for meeting and peace.
Mariana Mizarela | PÓVOA DE LANHOSO | As Escadas da Portela e do Alto da Bela
25.04.2022 The people of Póvoa do Lanhoso inhe...
01.05.2022
Amares has sought to highlight its different identities and endogenous resources through art in public spaces and the dissemination of its heritage. Wine and, above all, the vineyard workers are the essence of this reference of the territory Alberto Vieira is a sculptor capable of interpreting the themes linked to the communities with poetry and message, through a clean language and perfect execution of the materials. This work intends to be a eulogy, and, above all, an allegory of the conviviality provided by agricultural work and of the celebration that has always been made of the cycles of the earth and nature.
01.05.2022
Amares has sought to highlight its different identities and endogenous resources through art in public spaces and the dissemination of its heritage. Wine and, above all, the vineyard workers are the essence of this reference of the territory Alberto Vieira is a sculptor capable of interpreting the themes linked to the communities with poetry and message, through a clean language and perfect execution of the materials. This work intends to be a eulogy, and, above all, an allegory of the conviviality provided by agricultural work and of the celebration that has always been made of the cycles of the earth and nature.
Alberto Vieira | AMARES | "Vinho Cru"
01.05.2022 Amares has sought to highlight its ...
16.05.2022
The starting point for the artist’s proposal was the natural and patrimonial characteristics of the Aldeia de Pontido. The intervention intends to enhance the poetry of the place, of intact nature, with the presence of an oak forest and heritage with traditional granite architecture. The artist understands sculpture as a pattern that establishes a sign and marks the place, creating a symbolic space that can be discovered. He sought an artistic solution through simple and lapidary forms, in the elementary function of a sculpture: to organise space through the presence and absence of matter. The sculpture enters into dialogue with its surroundings: it opens new perspectives so that the viewer can discover the particularities of the place. Nature and art enter into a symbiotic relationship. ROSA DOS VENTOS (compass rose) combines the two predominant materials of the village: granite and oak. The sculpture is always the result of a mental and physical act, but always respecting the nature of the matter.
16.05.2022
The starting point for the artist’s proposal was the natural and patrimonial characteristics of the Aldeia de Pontido. The intervention intends to enhance the poetry of the place, of intact nature, with the presence of an oak forest and heritage with traditional granite architecture. The artist understands sculpture as a pattern that establishes a sign and marks the place, creating a symbolic space that can be discovered. He sought an artistic solution through simple and lapidary forms, in the elementary function of a sculpture: to organise space through the presence and absence of matter. The sculpture enters into dialogue with its surroundings: it opens new perspectives so that the viewer can discover the particularities of the place. Nature and art enter into a symbiotic relationship. ROSA DOS VENTOS (compass rose) combines the two predominant materials of the village: granite and oak. The sculpture is always the result of a mental and physical act, but always respecting the nature of the matter.
Volker Schnüttgen | Aldeia do Pontido | FAFE | "Rosa dos Ventos"
16.05.2022 The starting point for the artist’s...
03.06.2022
PENTEFUSO refers to the act of combing, carding, and guiding threads, like the comb on the loom. The work evokes the ancestral technological aura of textile production that still lives on in the parish of Bucos in Cabeceiras de Basto, by the hands of the Women of Bucos from the Casa de Lã (House of Wool).
The work materialized in blown glass in scale, makes the observer emerge in a field of references and fertile concepts that are nourished in rural spaces, connected with the agricultural work and its times that mark a rhythm linked to nature; connected with the feminine, caring; with the relationship of women and what is around them. PENTEFUSO speaks of movement, of flow, between ludra wool and spun wool, refined, made cloth, ennobled and valued. Like the rotation of the spindle the blown glass reminds us that we are in constant rotation, in constant motion.
At the formal level and away from the work we are in a movement of a horizontal whole, however when we approach the work, it contains us, just as the loom contains us when we are weaving, however here the observer is invited to a journey in a vertical direction. This allusion to verticality and flow remains from the formal sense of the pipe organ of the Monastery of Refojos, which emanates a sacred sound into space, which shapes the space of the sacred; however, it is within each one that this meeting takes place.
03.06.2022
PENTEFUSO refers to the act of combing, carding, and guiding threads, like the comb on the loom. The work evokes the ancestral technological aura of textile production that still lives on in the parish of Bucos in Cabeceiras de Basto, by the hands of the Women of Bucos from the Casa de Lã (House of Wool).
The work materialized in blown glass in scale, makes the observer emerge in a field of references and fertile concepts that are nourished in rural spaces, connected with the agricultural work and its times that mark a rhythm linked to nature; connected with the feminine, caring; with the relationship of women and what is around them. PENTEFUSO speaks of movement, of flow, between ludra wool and spun wool, refined, made cloth, ennobled and valued. Like the rotation of the spindle the blown glass reminds us that we are in constant rotation, in constant motion.
At the formal level and away from the work we are in a movement of a horizontal whole, however when we approach the work, it contains us, just as the loom contains us when we are weaving, however here the observer is invited to a journey in a vertical direction. This allusion to verticality and flow remains from the formal sense of the pipe organ of the Monastery of Refojos, which emanates a sacred sound into space, which shapes the space of the sacred; however, it is within each one that this meeting takes place.
Patrícia Oliveira | Bucos e Parque Urbano de Refojos | CABECEIRAS DE BASTO | "Pentefuso"
03.06.2022 PENTEFUSO refers to the act of comb...
04.06.2022
In the challenge of making an artwork, starting from the contact with the natural beauties of Ponte da Barca and with its biodiversity, Teresa TAF dived into the mysteries and pigments of the Yellow Mountain, whose essence she tried to reflect in the present intervention. About his chosen venue, she wrote to us: “We pass through here and do not remain. Places like this, are not our permanent home, yet our passage - brief and ephemeral - can leave indelible marks of intense beauty.”
Over the last few years, the artist has been working on the potential, for drawing and painting, pigments from nature and the everyday life of plants and endogenous resources. In this place, she leaves us pieces of the affections she created here.
04.06.2022
In the challenge of making an artwork, starting from the contact with the natural beauties of Ponte da Barca and with its biodiversity, Teresa TAF dived into the mysteries and pigments of the Yellow Mountain, whose essence she tried to reflect in the present intervention. About his chosen venue, she wrote to us: “We pass through here and do not remain. Places like this, are not our permanent home, yet our passage - brief and ephemeral - can leave indelible marks of intense beauty.”
Over the last few years, the artist has been working on the potential, for drawing and painting, pigments from nature and the everyday life of plants and endogenous resources. In this place, she leaves us pieces of the affections she created here.
Teresa TAF | Serra Amarela e Centro Urbano | PONTE DA BARCA | "Colheitas no Tempo (Revelar gestos de amor)"
04.06.2022 In the challenge of making an artwo...
17.06.2022
For the renovated Cultural Winery of Vila Verde, Pedro Figueiredo thought about the figure of Bacchus and his iconography. Looking at the implementation area of the artwork, we see Bacchus, God of Wine and excess, at the top. He seems to have passed through the stones that once formed the walls of the old Vila Verde Winery. Suspended, he carries with him, forms from the past, but also the vision of contemporary sculpture. The earthenware bowl, which he is holding in his right hand, reminds us of the Vila Verde tradition. In his left hand he carries a wicker basket full of grapes, which later give rise to the famous Nectar of the Gods. Bacchus invites us to the festivities that lie in wait under his watchful eye.
17.06.2022
For the renovated Cultural Winery of Vila Verde, Pedro Figueiredo thought about the figure of Bacchus and his iconography. Looking at the implementation area of the artwork, we see Bacchus, God of Wine and excess, at the top. He seems to have passed through the stones that once formed the walls of the old Vila Verde Winery. Suspended, he carries with him, forms from the past, but also the vision of contemporary sculpture. The earthenware bowl, which he is holding in his right hand, reminds us of the Vila Verde tradition. In his left hand he carries a wicker basket full of grapes, which later give rise to the famous Nectar of the Gods. Bacchus invites us to the festivities that lie in wait under his watchful eye.
Pedro Figueiredo | Adega Cultural | VILA VERDE | "O Néctar dos Deuses"
17.06.2022 For the renovated Cultural Winery o...
19.06.2022
The Mesa dos Quatro Abades (Table of Four Abbots) is a place for the collective memory of the people of Ponte de Lima, to which the roads of several parishes of this municipality converge. The artist was challenged to intervene in a pre-existing architectural structure, and chose to execute a tile panel. Given its characteristics, the set was divided into three parts.
The part facing the road deals with the issue of institutional cartography, represented by the table, the benches and a sketch of the compass rose. The names of all the parishes appear as if they were interventions in the urban space with mouldings. The whole top part departs from the idea of the traditional tile (15x15cm), despite being painted on a 20x20cm tile. This top is inspired by the carpet tiles that cover part of the facades and panelling of local churches. As it gets lower we move from traditional to contemporary, from excess to simplicity.
In the central part is the figure of Saint Sebastian, a figure that each of the parishes carried in procession to the Mesa dos Quatro Abades (Table of the Four Abbots). The figure of Saint Sebastian is flanked by two angels playing the trumpets, alluding to religious matters. The last part refers to more popular issues, such as pilgrimage and pastoralism.
19.06.2022
The Mesa dos Quatro Abades (Table of Four Abbots) is a place for the collective memory of the people of Ponte de Lima, to which the roads of several parishes of this municipality converge. The artist was challenged to intervene in a pre-existing architectural structure, and chose to execute a tile panel. Given its characteristics, the set was divided into three parts.
The part facing the road deals with the issue of institutional cartography, represented by the table, the benches and a sketch of the compass rose. The names of all the parishes appear as if they were interventions in the urban space with mouldings. The whole top part departs from the idea of the traditional tile (15x15cm), despite being painted on a 20x20cm tile. This top is inspired by the carpet tiles that cover part of the facades and panelling of local churches. As it gets lower we move from traditional to contemporary, from excess to simplicity.
In the central part is the figure of Saint Sebastian, a figure that each of the parishes carried in procession to the Mesa dos Quatro Abades (Table of the Four Abbots). The figure of Saint Sebastian is flanked by two angels playing the trumpets, alluding to religious matters. The last part refers to more popular issues, such as pilgrimage and pastoralism.
Ricardo de Campos | Mesa dos Quatro Abades | PONTE DE LIMA | "Quatro Abades"
19.06.2022 The Mesa dos Quatro Abades (Table o...
23.06.2022
The Battle of São Mamede appears before our collective memory always impregnated with that perfume of the “beginning”. It is, in all its cardinal points, a narrative full of fascination, gravity and symbolism. It was the cornerstone of a story we have been telling for almost 900 years - the beginning of a new path, of a reborn identity. That first step would inaugurate the long journey that has carved our faces as a people. That day was a step toward that story that was yet to be written. Today, it is the preambular memory. Origem (origin), a mural painting that has as its motto the historical event of the Battle of São Mamede, was an attempt to evoke, once again, that initial place. It was, however, a journey not only through the battlefield where the swords of so many men were intertwined but, above all, through the battle that opposed a mother and a son. Which has put into vertigo those bonds as deep as they are primordial. It speaks to us of other origins, too - it looks at that restless rupture, at the face of that man and woman that history has retold a thousand times and tries, only tries, to portray that wound, which would be, for us, the beginning.
23.06.2022
The Battle of São Mamede appears before our collective memory always impregnated with that perfume of the “beginning”. It is, in all its cardinal points, a narrative full of fascination, gravity and symbolism. It was the cornerstone of a story we have been telling for almost 900 years - the beginning of a new path, of a reborn identity. That first step would inaugurate the long journey that has carved our faces as a people. That day was a step toward that story that was yet to be written. Today, it is the preambular memory. Origem (origin), a mural painting that has as its motto the historical event of the Battle of São Mamede, was an attempt to evoke, once again, that initial place. It was, however, a journey not only through the battlefield where the swords of so many men were intertwined but, above all, through the battle that opposed a mother and a son. Which has put into vertigo those bonds as deep as they are primordial. It speaks to us of other origins, too - it looks at that restless rupture, at the face of that man and woman that history has retold a thousand times and tries, only tries, to portray that wound, which would be, for us, the beginning.
Ana Monteiro | Campo da Ataca | GUIMARÃES | "Origem"
23.06.2022 The Battle of São Mamede appears be...
30.06.2022
On Chão da Cota, a well-known slope in Vilares (Bico), an event emerges that intends to confront the perception of space-time inherent to the place. Motivated by the understanding of the Hora de Bico as a sign of resistance to the imposition of a Chronos as a metric of space control, we propose a piece that guides us to a fictionalized reality, between the natural space and the humanized landscape. The intervention appears as a provocation to the perfect rhythm of the place. A limit, a direction, a code, a colour scale that accuses a never equal passage of time.
30.06.2022
On Chão da Cota, a well-known slope in Vilares (Bico), an event emerges that intends to confront the perception of space-time inherent to the place. Motivated by the understanding of the Hora de Bico as a sign of resistance to the imposition of a Chronos as a metric of space control, we propose a piece that guides us to a fictionalized reality, between the natural space and the humanized landscape. The intervention appears as a provocation to the perfect rhythm of the place. A limit, a direction, a code, a colour scale that accuses a never equal passage of time.
FAHR021.3 | Vilares, Bico | PAREDES DE COURA | "Sete de Bico"
30.06.2022 On Chão da Cota, a well-known slope...
01.07.2022
The timeline behind this proposal is the fourth edition of the Vilar de Mouros Festival, taking us back to the 3rd and 4th of August 1968. Dr António Barge had thought of a different programme for this year, adding to the traditional music from the regions of Alto Minho and Galicia, popular intervention music. He pointed out names such as Carlos Paredes and Zeca Afonso, as well as Luiz Goes and Adriano Correia de Oliveira. During the festival, more precisely on the night of August 4th, the Civil Governor of Braga and the General of the GNR (National Republican Guard) were present in the audience, as well as some PIDE (International and State Defense Police) agents in disguise.
António Barge, knowing very well that intervention music was forbidden, put the GNR philharmonic band, a symbol of the Estado Novo, playing until midnight, covering up the 4 artists mentioned and scheduled for the end.
In the last performance, Zeca Afonso paid homage, on stage, to Catarina Eufémia, peasant farmer, and harvester from Alentejo, murdered by gunshot on May 19th, 1958, after having mobilized fourteen other harvesters around a campaign for the right to obtain 4 more escudos for the work performed in the harvest. During this fight, the GNR was called to the place and ended up killing Catarina, who was only 28 years old, with 4 bullets in the back, with a machine gun, at close range. This year, on 19th May 2022, 68 years of Catarina Eufémia’s death were marked and, since this edition of the festival took place in 1968, the intervention marks the anniversary.
01.07.2022
The timeline behind this proposal is the fourth edition of the Vilar de Mouros Festival, taking us back to the 3rd and 4th of August 1968. Dr António Barge had thought of a different programme for this year, adding to the traditional music from the regions of Alto Minho and Galicia, popular intervention music. He pointed out names such as Carlos Paredes and Zeca Afonso, as well as Luiz Goes and Adriano Correia de Oliveira. During the festival, more precisely on the night of August 4th, the Civil Governor of Braga and the General of the GNR (National Republican Guard) were present in the audience, as well as some PIDE (International and State Defense Police) agents in disguise.
António Barge, knowing very well that intervention music was forbidden, put the GNR philharmonic band, a symbol of the Estado Novo, playing until midnight, covering up the 4 artists mentioned and scheduled for the end.
In the last performance, Zeca Afonso paid homage, on stage, to Catarina Eufémia, peasant farmer, and harvester from Alentejo, murdered by gunshot on May 19th, 1958, after having mobilized fourteen other harvesters around a campaign for the right to obtain 4 more escudos for the work performed in the harvest. During this fight, the GNR was called to the place and ended up killing Catarina, who was only 28 years old, with 4 bullets in the back, with a machine gun, at close range. This year, on 19th May 2022, 68 years of Catarina Eufémia’s death were marked and, since this edition of the festival took place in 1968, the intervention marks the anniversary.
Alberto Rodrigues Marques | Vilar de Mouros | CAMINHA | "Sessenta e Oito"
01.07.2022 The timeline behind this proposal i...
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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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