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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.
02.07.2022
The sculpture of the Portuguese Cattle Dog is expressed through the interpretation of reality, the synthesis of the animal, the breed, peculiar anatomy, and the lightness of the mastiff. The surfaces are soft, and the curved lines penetrate the space, without aggression, so that they exhibit a vibration. It is, therefore, integrated into a natural environment, in the mountainous soil, because even without pastoralism, the Dog will be there, merging with the landscape, standing out, becoming visible, so that the values that allow us to transcend our experience as humans are evoked.
02.07.2022
The sculpture of the Portuguese Cattle Dog is expressed through the interpretation of reality, the synthesis of the animal, the breed, peculiar anatomy, and the lightness of the mastiff. The surfaces are soft, and the curved lines penetrate the space, without aggression, so that they exhibit a vibration. It is, therefore, integrated into a natural environment, in the mountainous soil, because even without pastoralism, the Dog will be there, merging with the landscape, standing out, becoming visible, so that the values that allow us to transcend our experience as humans are evoked.
Albano Martins | Castro Laboreiro | MELGAÇO | "O Cão de Castro Laboreiro"
02.07.2022 The sculpture of the Portuguese Cat...
02.07.2022
In the context of the Ways of St. James, which passes through the village of Cerdal and also goes through the interior of the Fort of Valença, the author Dinis Ribeiro emphasizes an entire troubled path that we must take towards the Cathedral of Santiago, just like our life’s journey: Stones along the Way and in the artistic path of the artist Dinis Ribeiro, there will always be Stones along the Way. The work uses granite, which is then intervened with enamel paint.
02.07.2022
In the context of the Ways of St. James, which passes through the village of Cerdal and also goes through the interior of the Fort of Valença, the author Dinis Ribeiro emphasizes an entire troubled path that we must take towards the Cathedral of Santiago, just like our life’s journey: Stones along the Way and in the artistic path of the artist Dinis Ribeiro, there will always be Stones along the Way. The work uses granite, which is then intervened with enamel paint.
Dinis Ribeiro | Cerdal e Encosta de São Sebastião | VALENÇA | "Pedras do Caminho"
02.07.2022 In the context of the Ways of St. J...
14.07.2022
Inspired by the Carnival of Vilarinho, the work tries to transport to the wall the sounds and the sensations experienced in it. The sound and the energy of the drums, which echo through the parish as the procession goes through the streets, have great prominence in the work because it is in their sound that all the energy and contagious vibration of the Carnival of Vilarinho is generated. In the centre is a representation of a Careto, known as little devils during Carnival, as they are the kings of pranks and mischief, and the sound of the drums is also a warning of their arrival.
14.07.2022
Inspired by the Carnival of Vilarinho, the work tries to transport to the wall the sounds and the sensations experienced in it. The sound and the energy of the drums, which echo through the parish as the procession goes through the streets, have great prominence in the work because it is in their sound that all the energy and contagious vibration of the Carnival of Vilarinho is generated. In the centre is a representation of a Careto, known as little devils during Carnival, as they are the kings of pranks and mischief, and the sound of the drums is also a warning of their arrival.
BEK | Vilarinho | MONDIM DE BASTO | "The Carnival"
14.07.2022 Inspired by the Carnival of Vilarin...
15.07.2022
D’Argas is an installation of 6 pieces, composed of - rebar iron, sheet iron, wood from old furniture, cement, acrylic paint, epoxy resin, and led lighting tape. The rebars, similar to those in civil construction, are used to support the six central decks. Its construction/deconstruction initially had, as a motto, the representation of what would be a lithium stone, with the six pieces closing in on themselves in the shape of a rock. With the evolution of the work process and consequent deconstruction, this initial formation expanded and opened up into a kind of six sentinels. The six pieces are intended to evoke the strength of those who fought and stood up for the conservation of their land. They are six “relics” (certainly forged) that embody in themselves a story of determined and resilient people - the fragility of the old worked woods and the strength of the cement that unites them. Lithium prospecting in Portugal is a reality. The Serra D’Arga (mountain) was one of the eight sites proposed for exploration. Fortunately, thanks to popular strength, it was possible to halt the advance of lithium exploration in Serra D’Arga. This work has its main focus on the celebration and evocation of the strength of the population of Alto Minho. It aims to mark the resilience and willpower that the people of Alto Minho lent to this cause, warning of all the very serious problems that lithium mining would bring to the territory. It is also intended to be a reminder and a wake-up call, as it is important not to let the reason for such acts fall into oblivion. The last week of the artistic residence is marked by the presence of Rolando Ferreira (sound designer), who, together with Luís Canário Rocha, collected testimonies from the population and sounds coming from the Serra D’Arga, with the aim of creating a soundtrack that will be an integral part of the installation and which people will have access to by reading a QR code.
15.07.2022
D’Argas is an installation of 6 pieces, composed of - rebar iron, sheet iron, wood from old furniture, cement, acrylic paint, epoxy resin, and led lighting tape. The rebars, similar to those in civil construction, are used to support the six central decks. Its construction/deconstruction initially had, as a motto, the representation of what would be a lithium stone, with the six pieces closing in on themselves in the shape of a rock. With the evolution of the work process and consequent deconstruction, this initial formation expanded and opened up into a kind of six sentinels. The six pieces are intended to evoke the strength of those who fought and stood up for the conservation of their land. They are six “relics” (certainly forged) that embody in themselves a story of determined and resilient people - the fragility of the old worked woods and the strength of the cement that unites them. Lithium prospecting in Portugal is a reality. The Serra D’Arga (mountain) was one of the eight sites proposed for exploration. Fortunately, thanks to popular strength, it was possible to halt the advance of lithium exploration in Serra D’Arga. This work has its main focus on the celebration and evocation of the strength of the population of Alto Minho. It aims to mark the resilience and willpower that the people of Alto Minho lent to this cause, warning of all the very serious problems that lithium mining would bring to the territory. It is also intended to be a reminder and a wake-up call, as it is important not to let the reason for such acts fall into oblivion. The last week of the artistic residence is marked by the presence of Rolando Ferreira (sound designer), who, together with Luís Canário Rocha, collected testimonies from the population and sounds coming from the Serra D’Arga, with the aim of creating a soundtrack that will be an integral part of the installation and which people will have access to by reading a QR code.
Luís Canário Rocha | Covas | VILA NOVA DE CERVEIRA | "D’Argas"
15.07.2022 D’Argas is an installation of 6 pie...
05.08.2022
During the artistic residence in Vieira do Minho and, in particular, in the village of Campos, Elizabeth Leite visited the place and stopped to listen to the precious silence. The images, which make up this artwork, are of the land and the people whose relationship with nature is strong. Painting is made of these encounters, it is an anchor. “We hear the stories, we recognise in the looks that see us the will to stare at life, perhaps reach for eternity. They preserve what they have built”, in the artist’s words and adds that “in these dwellings the smell of cattle is familiar. Around here hovers the warmth of fresh broth made in iron pots on the fire. We know about the tradition of bread on the table and some hidden. They’re homes. They do not hide their work, their simplicity, their frailties, their longing, their ignorance, or their fate of growing old. Alone, they remain standing. I wonder what force is driving them? They continue in a gentle dialogue with the land. They leave an inheritance as if it were a small treasure (now unimportant). It’s the traditions! Repeated gestures seemingly in disuse. They remember with tenderness the mother, the father, and the children who grew up and left the land. The sacrifice of the days of this era. What we see here are real people, without disguises, without time for conversations of the urban world, distant places that threaten the party of other times. The ancestral tasks remain the hard and heavy work that the hands and the curvature of the body bear witness to. The legs are heavy. They await the blessed holidays of those who work far away and those who wait for company. Sunday now and then is not enough, it’s reassuring. One wants the house full.” On this wall there are, thus, faces of some women and men from Vieira do Minho that the painting eternalises, and keeps.
05.08.2022
During the artistic residence in Vieira do Minho and, in particular, in the village of Campos, Elizabeth Leite visited the place and stopped to listen to the precious silence. The images, which make up this artwork, are of the land and the people whose relationship with nature is strong. Painting is made of these encounters, it is an anchor. “We hear the stories, we recognise in the looks that see us the will to stare at life, perhaps reach for eternity. They preserve what they have built”, in the artist’s words and adds that “in these dwellings the smell of cattle is familiar. Around here hovers the warmth of fresh broth made in iron pots on the fire. We know about the tradition of bread on the table and some hidden. They’re homes. They do not hide their work, their simplicity, their frailties, their longing, their ignorance, or their fate of growing old. Alone, they remain standing. I wonder what force is driving them? They continue in a gentle dialogue with the land. They leave an inheritance as if it were a small treasure (now unimportant). It’s the traditions! Repeated gestures seemingly in disuse. They remember with tenderness the mother, the father, and the children who grew up and left the land. The sacrifice of the days of this era. What we see here are real people, without disguises, without time for conversations of the urban world, distant places that threaten the party of other times. The ancestral tasks remain the hard and heavy work that the hands and the curvature of the body bear witness to. The legs are heavy. They await the blessed holidays of those who work far away and those who wait for company. Sunday now and then is not enough, it’s reassuring. One wants the house full.” On this wall there are, thus, faces of some women and men from Vieira do Minho that the painting eternalises, and keeps.
Elizabeth Leite | Adega Cooperativa | VIEIRA DO MINHO | "Uma Aldeia em Férias"
05.08.2022 During the artistic residence in Vi...
13.08.2022 
Within the framework of expressionist language and gesture, Juan Domingues’ painting is a performative and contact act. The exposed narrative is a consequence of the adaptation of the dialogues with the local community, the Maritime Museum of Esposende and the Fishermen’s Association and is part of a pyramid composition composed of 3 acts. First, we have the representation of Saint Peter, patron saint of fishermen with chromatic values symbolising sunrise. Then, the poetic representation of the “haggler” with the child on her lap holding a catraia de Esposende (ship), in order to represent and honour the historical past of the region, as much as the future generations. This was an old childhood tradition, which is worth remembering. We also have the action of the fishing activity, portraying the struggling fishermen, noting the interior of the boat with the fishermen pulling nets and ropes, intensifying the action with the boat tilted representing the danger and effort of the profession. Finally, Juan Domingues came into contact with a 19th century topographic survey which served as a background, and which will be represented as a map of Esposende to the left of Saint Peter’s and behind the woman with the child on her lap.
13.08.2022 
Within the framework of expressionist language and gesture, Juan Domingues’ painting is a performative and contact act. The exposed narrative is a consequence of the adaptation of the dialogues with the local community, the Maritime Museum of Esposende and the Fishermen’s Association and is part of a pyramid composition composed of 3 acts. First, we have the representation of Saint Peter, patron saint of fishermen with chromatic values symbolising sunrise. Then, the poetic representation of the “haggler” with the child on her lap holding a catraia de Esposende (ship), in order to represent and honour the historical past of the region, as much as the future generations. This was an old childhood tradition, which is worth remembering. We also have the action of the fishing activity, portraying the struggling fishermen, noting the interior of the boat with the fishermen pulling nets and ropes, intensifying the action with the boat tilted representing the danger and effort of the profession. Finally, Juan Domingues came into contact with a 19th century topographic survey which served as a background, and which will be represented as a map of Esposende to the left of Saint Peter’s and behind the woman with the child on her lap.
Juan Domingues | ESPOSENDE | "Continuum"
13.08.2022 Within the framework of expression...
13.08.2022
In Marinhas, Juan Domingues intended to create a double-sided painting, representative of the history and stories, in the feminine, of the toil of the mills. On one side, based on a photographic survey of the first half of the 20th century, of the people and the activity of the mills in this region, the artist translates the imagery found into a drawing that harmonises stain and line. It ends up defining itself as anything poetic like the line or the strokes over time. In contrast, the interior wall of the support, addresses the current reality, having recurred to women of different generations who have worn the costumes of the folklore of Marinhas. The artist focused on the faces and hands looking for the interaction between them in the composition, in the form of silent dialogue.
13.08.2022
In Marinhas, Juan Domingues intended to create a double-sided painting, representative of the history and stories, in the feminine, of the toil of the mills. On one side, based on a photographic survey of the first half of the 20th century, of the people and the activity of the mills in this region, the artist translates the imagery found into a drawing that harmonises stain and line. It ends up defining itself as anything poetic like the line or the strokes over time. In contrast, the interior wall of the support, addresses the current reality, having recurred to women of different generations who have worn the costumes of the folklore of Marinhas. The artist focused on the faces and hands looking for the interaction between them in the composition, in the form of silent dialogue.
Juan Domingues | Marinhas | ESPOSENDE | "Moleirinhas"
13.08.2022 In Marinhas, Juan Domingues intende...
19.08.2022
The artistic intervention, consisting of 8 pieces, was designed for the Park of Assureira - Gerês Literary Centre, in the parish of Vilar da Veiga. The artist took as her starting point the literature and the bench used by the writer Ramalho Ortigão, who used to frequent the park, having created elements regarding the fauna and flora of the territory. In this sense, Liliana Velho created a circuit that includes 8 points, one of them being the so-called “Bench of Ramalho”, the place where the author of “As Farpas” used to sit. The goats, the lizard and the eagle reflect the diversity of the fauna and the lily of the flora. Water, an element that marks the identity of the place, is the theme of one of the concrete tables thought out and designed by the artist, who also sculpted a female figure reading, on the second table, symbolising the message of Terras de Bouro as a place of culture and nature.
19.08.2022
The artistic intervention, consisting of 8 pieces, was designed for the Park of Assureira - Gerês Literary Centre, in the parish of Vilar da Veiga. The artist took as her starting point the literature and the bench used by the writer Ramalho Ortigão, who used to frequent the park, having created elements regarding the fauna and flora of the territory. In this sense, Liliana Velho created a circuit that includes 8 points, one of them being the so-called “Bench of Ramalho”, the place where the author of “As Farpas” used to sit. The goats, the lizard and the eagle reflect the diversity of the fauna and the lily of the flora. Water, an element that marks the identity of the place, is the theme of one of the concrete tables thought out and designed by the artist, who also sculpted a female figure reading, on the second table, symbolising the message of Terras de Bouro as a place of culture and nature.
Liliana Velho | Parque da Assureira - Centro Literário do Gerês | TERRAS DE BOURO | "Caminho entre Montes"
19.08.2022 The artistic intervention, consisti...
03.09.2022
Miguel Neves Oliveira is an interpreter of nature and an inventor of beautiful shapes. When challenged to think of a piece of art for a space between the Sanctuary of Our Lady of Peneda and the grandeur and natural beauty of the mountain, the artist was enchanted by the vestiges of a tree and thought of returning it to the place. Miguel Neves Oliveira works in the small and medium format with the uniqueness of the endogenous material. He knows the secrets of wood and its tricks. In the public space, in his approach to metal, he tries to translate the same lightness, making a drawing in the air. The impressiveness of the object is contrasted with its transparency and brings to the place the effect of the contemporary sacred: the vision of the artists and their will to reach for the heavens.
03.09.2022
Miguel Neves Oliveira is an interpreter of nature and an inventor of beautiful shapes. When challenged to think of a piece of art for a space between the Sanctuary of Our Lady of Peneda and the grandeur and natural beauty of the mountain, the artist was enchanted by the vestiges of a tree and thought of returning it to the place. Miguel Neves Oliveira works in the small and medium format with the uniqueness of the endogenous material. He knows the secrets of wood and its tricks. In the public space, in his approach to metal, he tries to translate the same lightness, making a drawing in the air. The impressiveness of the object is contrasted with its transparency and brings to the place the effect of the contemporary sacred: the vision of the artists and their will to reach for the heavens.
Miguel Neves Oliveira | Santuário de Nossa Senhora da Peneda | ARCOS DE VALDEVEZ | "A Árvore"
03.09.2022 Miguel Neves Oliveira is an interpr...
10.09.2022
Liliana Velho was in artistic residence at the Barcelos Ceramics Museum. The artistic intervention portrays a potter at work, who builds small musicians to form a philharmonic band, one of several themes of the Barcelos figurine. While she is working, she is distracted by the musician playing the flute and cannot resist smiling at him. At the same worktable, another action takes place. Confusion arises with the invasion of naughty little creatures, the Devils, who amuse themselves by stealing the musicians’ instruments and making them lose their composure. The setting is a kind of magical realism where stories are imagined among the different figures of the Barcelos figurative, an interweaving of reality with fantasy, trying to portray a small part of the ceramic craft and pay homage to the local craftsmen, the themes and traditions of Barcelos.
10.09.2022
Liliana Velho was in artistic residence at the Barcelos Ceramics Museum. The artistic intervention portrays a potter at work, who builds small musicians to form a philharmonic band, one of several themes of the Barcelos figurine. While she is working, she is distracted by the musician playing the flute and cannot resist smiling at him. At the same worktable, another action takes place. Confusion arises with the invasion of naughty little creatures, the Devils, who amuse themselves by stealing the musicians’ instruments and making them lose their composure. The setting is a kind of magical realism where stories are imagined among the different figures of the Barcelos figurative, an interweaving of reality with fantasy, trying to portray a small part of the ceramic craft and pay homage to the local craftsmen, the themes and traditions of Barcelos.
Liliana Velho | Museu de Olaria | BARCELOS | "A Oleira"
10.09.2022 Liliana Velho was in artistic resid...
11.09.2022
The artistic intervention for the headquarters building of GRECANE (Recreational Group of Castelo do Neiva), using plastic ink on the wall, intends to celebrate and reflect the activity of this association, founded in 1975, linked to the preservation and celebration of traditions, costumes, dances and songs of Castelo do Neiva. Through its folkloric group, newspaper and various activities, Grecane promotes the heritage of this seaside region, where there is a very strong agricultural and maritime linked to fishing, agriculture and especially the harvesting of sargassum.
In this intervention, the combination of different simple geometric shapes contributes to the construction of images that allude to this local culture: the sea, the sargassum, the patterns of the traditional costume, the branqueta (costume used in the harvesting of sargassum) and working tools such as the scythe, in addition to the rhythms and the chromatic palette that aims to mirror the changing tones of the sky.
11.09.2022
The artistic intervention for the headquarters building of GRECANE (Recreational Group of Castelo do Neiva), using plastic ink on the wall, intends to celebrate and reflect the activity of this association, founded in 1975, linked to the preservation and celebration of traditions, costumes, dances and songs of Castelo do Neiva. Through its folkloric group, newspaper and various activities, Grecane promotes the heritage of this seaside region, where there is a very strong agricultural and maritime linked to fishing, agriculture and especially the harvesting of sargassum.
In this intervention, the combination of different simple geometric shapes contributes to the construction of images that allude to this local culture: the sea, the sargassum, the patterns of the traditional costume, the branqueta (costume used in the harvesting of sargassum) and working tools such as the scythe, in addition to the rhythms and the chromatic palette that aims to mirror the changing tones of the sky.
Mafalda Santos | Sede do GRECANE, Castelo do Neiva | VIANA DO CASTELO | "Terra e Mar"
11.09.2022 The artistic intervention for the h...
17.09.2022
The search for bridges and connections in the definition of new centralities leads to an encounter with and recognition of the Other and is affirmed in the poetics of the territories as something eccentric - a centre of several centres. Paisagem Excêntrica invokes a notion of community that expands in the rhizome and seeks roots outside itself without thereby forgetting its past and its traditions. Incorporating the idea of landscape as a geographical, social and cultural concept, this sculpture is based on the combination of 5 topographical drawings - a reference to the 5 parishes of Vizela - obtained within a radius of 5 km around this Park. Its form, between the organic and geometric, instigates movement around it and through it, offering the dynamism of different points of view that carry within them the history and future of Vizela, expressing, as characteristic of the land itself and its communities, the balance between the industrial and the natural in the imagining and building of new mental and emotional territories.
17.09.2022
The search for bridges and connections in the definition of new centralities leads to an encounter with and recognition of the Other and is affirmed in the poetics of the territories as something eccentric - a centre of several centres. Paisagem Excêntrica invokes a notion of community that expands in the rhizome and seeks roots outside itself without thereby forgetting its past and its traditions. Incorporating the idea of landscape as a geographical, social and cultural concept, this sculpture is based on the combination of 5 topographical drawings - a reference to the 5 parishes of Vizela - obtained within a radius of 5 km around this Park. Its form, between the organic and geometric, instigates movement around it and through it, offering the dynamism of different points of view that carry within them the history and future of Vizela, expressing, as characteristic of the land itself and its communities, the balance between the industrial and the natural in the imagining and building of new mental and emotional territories.
Ana Almeida Pinto | Zona Ribeirinha | VIZELA | "Paisagem Excêntrica"
17.09.2022 The search for bridges and connecti...
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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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