Marisa Ferreira Studio

Exhibition "DO LADO MAIS VISIVEL DAS IMAGENS" at Centro de Arte Contemporânea de Coimbra (CACC), curated by José Maçãs de Carvalho (Curator of CACC) and Daniel Madeira 💫
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The exhibition presents artworks from the Colecção de Arte Contemporânea do Estado (located at CACC) & the Norlinda and José Lima Collection
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📍Rua do Arco Almedina 11, 3000-179 Coimbra, Portugal
🗓 30.04.2024-23.06.2024
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1-3. Guided tour led by exhibition curators José Maçãs de Carvalho (Curator of CACC) and Daniel Madeira
4. With Norlinda and José Lima ❤️
5. Journalist Catarina Dias Ribeiro interviews exhibition curators for "Ensaio - Artes e Cultura", RTP3, on view April 3rd 2024 📸
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Featured Artists:
Ana Cardoso, Andy Denzler, Diogo Pimentão, Fernando Calhau, João Louro, José Bechara, José Pedro Croft, Joaquim Bravo, Lygia Pape, Marisa Ferreira, Nuno Sousa Vieira, Pedro Cabrita Reis, Pedro Tudela, Rafael Canogar, Robert Barry, Sandra Baía
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The exhibition includes my piece "Stratigraphy and (de)sedimentary series #1" (2022) from the Norlinda and José Lima Collection.
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Some images from our activities for SPACES OF COALESCENCE at curated by Ludovica Fales 💫
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📍41 Rue du Faubourg Saint-Martin, 75010 Paris
🗓 16.03.2024-31.03.2024
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1. Talk "Toxic Environments - the spaces of interaction between bodies, extraction and toxicity", between curator and researcher Georgia Perkins and myself, Saturday March 30th @thewindowparis
2. Artist talk "Parallel Urbanisms " by Jaspar Joseph-Lester
3. Workshop "Tlaloc / Contadero" by Carmen Mariscal
4. Spaces of transcendence / Tea ceremony by Osman Yousefzada
5. Mixing Water and Wine: A Phenomenology by Ahuvia Kahane & James Bradburne
6. Walk "In an attempt to exhaust a place in Paris" by Simon King & Susanne Prinz/ , March 31st
7 & 8. Photos from the exhibition opening on March 16th.
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Photos by , &
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All details at
https://www.imageouverte.com/
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Featured Artists & Researchers:









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Opening on March 30th "DO LADO MAIS VISIVEL DAS IMAGENS" at Centro de Arte Contemporânea de Coimbra (CACC), curated by José Maçãs de Carvalho (Curator of CACC) and Daniel Madeira 💫
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📍Rua do Arco Almedina 11, 3000-179 Coimbra, Portugal
🗓 30.04.2024-23.06.2024
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"O conjunto de obras apresentadas encontra-se numa linha que começa com o suprematismo e o abstracionismo e se prolonga até ao minimalismo.
O mundo externo é reduzido à mais ínfima expressão criando-se um tempo e um modo próprio intrínseco ao ato criativo, projetado na obra. Falamos também da possibilidade de um regresso à imagem primordial, à imagem como experiência emocional. Será assim que as obras nesta exposição se apresentam: vêm de um lugar onde a imagem original foi banida, afirmam o seu desassombro e exigem do visitante a generosidade de um olhar límpido e acolhedor.
A exposição conta com obras da Coleção de Arte Contemporânea do Estado (em depósito no CACC) e da Coleção Norlinda e José Lima reafirmando a importância das coleções privadas e colocando-as em relação com a CACC."
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Featured Artists:
Ana Cardoso, Andy Denzler, Diogo Pimentão, Fernando Calhau, João Louro, José Bechara, José Pedro Croft, Joaquim Bravo, Lygia Pape, Marisa Ferreira, Nuno Sousa Vieira, Pedro Cabrita Reis, Pedro Tudela, Rafael Canogar, Robert Barry, Sandra Baía
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The exhibition includes my piece "Stratigraphy and (de)sedimentary series #1" (2022) from the Norlinda and José Lima Collection. (Featured in the image)
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REVIEW of "Perceptions and Movements" exhibition in .art by Claudia Handem 💫
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PERCEPTIONS AND MOVEMENTS
Curated by Constança Babo
Until March 9th
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Web | https://www.artecapital.net/exposicao-811-colectiva-percepcoes-e-movimentos
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“Movements and Perceptions”
Curated by Constança Babo | .pb
until March 9th
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Expanded Series (Blue), Powder coated aluminum, mirror acrylic glass, 120x120x25cm, 2024
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Drawing from the seminal art exhibition “Primary Structures” curated by Kynaston McShine and held at the Jewish Museum in 1966, Marisa Ferreira´s new artworks from the “Expanded series” (2017-) present her ongoing investigation on “ruin waste” (Edensor, 2005) capacity to trace urban transformation.

The Expanded series evokes Ferreira’s memories of walking in abandoned industrial buildings in the Ave region, in the north of Portugal. The series explores its architectural elements (ceilings) through serial and geometric forms juxtaposed in a mathematical progression to create an illusion of spatial depth, also accentuated by the reflective mirror surfaces that recall the sensory aspects of the fragmented ruins (sense of mystery, subversive potential) while also making the observer aware of their perception shift as he/ she/ they move through space.

These experimental approaches to form, materiality, and structure express Marisa’s early interest in the creative potential of colour and the everyday, in industrial materials, techniques, and processes of industrial fabrication, in actively redefining the relationship between painting and sculpture, form and content, time and space, and in the viewer’s engagement with the artwork, while stepping into a realm where art intertwines with themes of memory, place, and identity.
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The exhibition includes works by Diogo Pimentão, Angelika Huber, Carlos Mensil, Isaque Pinheiro, David Magán, Lia Chaia, Roland Fischer, Marisa Ferreira. Curated by .pb
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Photo by Galeria Presença/ Carlos Ramos
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Rua Miguel Lombarda 570, Porto - Portugal
Opening hours:
Tuesday-Saturday from 3-7pm
Welcome until March 9th 2024
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More info:

Installation views:
“Movements and Perceptions”
Curated by Constança Babo | .pb
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MARISA FERREIRA | ANGELIKA HUBE | LIA CHAIA | DIOGO PIMENTÃO | ISAQUE PINHEIRO | DAVID MAGAN | CARLOS MENSIL | ROLAND FISCHER
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“The exhibition Perceptions and Movements emerges (...) from the intention of summoning and, to some degree, reactivating the territories of action and expression developed and shared by op art and kinetic art. However, the historical temporality as much as the formal, visual, and plastic particularities of the two artistic movements are recognized. Therefore, although this curatorial project adopts them both as a starting point and as a background, it is not limited to their specificities. Rather, it proposes and develops a broad and current discourse and approach.
Conceived as a group exhibition, it features artists who use different colours, shapes, materialities, volumes, geometries, sound, film, and mechanical processes. From Galeria Presença, the artists Diogo Pimentão, Isaque Pinheiro, Lia Chaia and Marisa Ferreira, and three others invited, Carlos Mensil, Angelika Huber and David Magán.
The works of these artists form an exhibition that although being hybrid, seeks to be revealed and received as a unified configuration in which objects dialogue, encounter, and confront each other. From here, the aim is to create equally multiple aesthetic experiences, in an articulated, cohesive, and lively cadence.“ by Constança Babo
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Constança Babo (Porto, 1992) is an art critic, regularly publishing on ArteCapital.net and Umbigo Magazine. Has a PhD in Media Art and Communication from Universidade Lusófona, a master's in Artistic Studies - Art Theory and Critic, from Faculdade de Belas Artes da University of Porto, and a degree in Visual Arts – Photography, from Escola Superior Artística do Porto.
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Artworks featured by:
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📸 Galeria Presença/ Carlos Campos
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More info:

www.marisa-ferreira.com

Installation views:
“Movements and Perceptions”
Curated by Constança Babo | .pb
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MARISA FERREIRA | ANGELIKA HUBE | LIA CHAIA | DIOGO PIMENTÃO | ISAQUE PINHEIRO | DAVID MAGAN | CARLOS MENSIL | ROLAND FISCHER
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“Our perception results in objects, and the object, once constituted,
appears as the reason for all the experiences we have had or may have."
Merleau-Ponty, Phénoménologie de la perception, 1945
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"Perception and movement determine the way we experience others, things, space, time. From Merleau-Ponty, perception is our contact with the world and our insertion in it, and it is through the motion of our gaze that objects are accessible to us.
Inscribed in the art sphere, perception and movement, combined and, to some degree, subordinate to each other, influence, transform, and shape the creative and productive, the receptive and aesthetic experience domains. A point of view that comprehends the trajectory of contemporary art tends to lead to op art and kinetic art, the main primordial artistic movements of perceptual challenges and of art in motion.
However, although recognizing the unavoidable centrality of those two references, as well as, especially nowadays, the digital and virtual technologies, equally relevant and preponderant in both visual and motor fields, perception and movement cross all the art sphere. The perceptual stimulus and the optical illusion are triggered by colours, shapes, volumes, overlaps, and juxtapositions, among others, and the movement appears in different ways, sometimes being effective, that is, through an artwork in motion, or occurring on the spectator's side, through an observation and a reception processed through moving the eye and the body.
It is precisely within this framework that the present exhibition lies, motivated by the conviction that art objects that confront optical limits and are either in motion or instigate it in the public, tend to favour, and be conducive to dynamic and stimulating aesthetic experiences.“ by Constança Babo
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Artworks featured by:
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📸 by Galeria Presença/ Carlos Campos

RCA Exhibition "Chasma"
Curated by Naomi Siderfin, David Crawforth, and PGR Curatorial Team

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Cartographic Series: “White Gold” Dreams
Valchromat, Approx 70x122cm, 2024
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Cartographic Series “White Gold” Dreams is a drawing series examining the matrix of power between extractive practices and land exploitation. This ongoing project documents the changing landscapes that are emerging in the future lithium mines of Covas do Barroso, northern Portugal, and presents it through fictional counter maps drawn from drone and aerial imagery. The series seeks to analyze and communicate how the territorial dispossession by powerful national and multinational corporations is being imposed by their assumptions about the environment.
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I am showing new work in the upcoming group exhibition "Chasma" at
Curated by Naomi Siderfin, David Crawforth and PGR Curatorial Team
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February 2th-10th 2024
Beaconsfield
22 Newport Street
London SE11 6AY
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Preview
February 1st 2024, 6-8pm
Welcome! ☺️
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Participant artists and researchers:
Ahaad Alamoudi
Sohaila Baluch
Martin Bonney
Flora Bowden
Hannah Clarkson
Federico Clavarino
Caroline Douglas
Daniel Durnin
Marisa Ferreira
Alexis Pearse Flynn
Xiangyin Gu
Hengzhi Gong
Anju Marie Kasturiraj
Kahyun Lee
Charlie Lee-Potter
Carmen Mariscal
Gabrielle Mowat
Folashade Elizabeth Olukoya
Amy Peace Buzzard
Minna Pöllänen
Damien Roach
Roshana Rubin Mayhew
Linn Phyllis Seeger
Varvara Keidan Shavrova
Chris/Christina Simons
Katrine Skovsgaard
Lika Tarkhan-Mouravi
Messua Wolff
Xiao Yu
Jinya Zhao
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‘Chasma’ might refer either to an abyss or a meteor and seems an apt metaphor for the processes of research.

PhD research is required to add to existing knowledge about a topic: to contribute towards filling the breach. Sometimes the new knowledge acts like a meteor shedding light as it travels out into the public space.

We are delighted to welcome back artist-researchers from the RCA’s School of Arts and Humanities in another exhibition mentored by Beaconsfield. Some students return with new works, and many more have not previously exhibited here. The works in this 2024 exhibition are all further steps in the process of excavating new knowledge – new expressions of the untold and yet unseen.

Further insights into the research are offered through performative actions - Please see 3rd image to see the scheduled performances.
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Poster designed by Damien Roach
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Web:
https://www.rca.ac.uk/news-and-events/events/chasma/
https://beaconsfield.ltd.uk/projects/chasma/
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"Spaces of otherness #1 and #2", 80x74, photography on paper, oak frame, 2023, exhibited as part of the Research Biennial 2023 group exhibition "Hopscotch" at Copeland Gallery, London , June 22nd-24th with wonderful Phd researchers from across all RCA schools ✨ Curated by Linn Phyllis Seeger 👏
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Drawing from Foucault´s idea of heterotopia, the series "Spaces of otherness" maps temporal traces of the past integrated into the cityscape to discuss how the construction of the colonial "other" is created and maintained in the city's urban fabric.
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A massive thank you to the RCA organizing team and to everyone that came to see the exhibition! ✨ If you haven´t had the opportunity to visit us, please go to the RCA Research Biennial website to check out our research work!
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https://research-biennale.rca.ac.uk/projects/marisa-ferreira-waste-matter-the-im-materiality-of-post-colonial-memory
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https://research-biennale.rca.ac.uk/
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I am pleased to be showing two photographs from my latest project "Spaces of otherness", 2023, in the Research Biennale 2023 "Hopscotch" in great company with many other PhD fellows and artists at Copeland Gallery, London ✨
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The exhibition is from June 22nd to June 24th
Private View from 6-9pm on June 22nd
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The Research Biennale is accompanied by a series of performances, lectures, and workshops along the exhibition. More info:
https://research-biennale.rca.ac.uk/events/research-biennale-2023
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Poster design by ✨

Stratigraphy and (de) sedimentary series #1, 2022, powder-coated stainless steel, acrylic glass.
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Exhibition "Uma terna (e política) contemplação do que vive" [A tender (and political) contemplation of what lives], Norlinda and José Lima Collection curated by Helena Mendes Pereira at Museu Bienal de Cerveira
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My piece is in great company with works from several artists including: Ana Vieira (PT), Andy Warhol (EUA), Ângelo de Sousa (PT), Antoni Tàpies (ES), Bengdt Lindström (SE), Carlos Noronha Feio (PT), Eduardo Chilida (ES), Filipa César (PT), Francisco Vidal (PT), Gerardo Burmester (PT), Jaume Plensa (ES), Joana Vasconcelos (PT), João Gabriel (PT), João Onofre (PT), Mafalda Santos (PT), Nadir Afonso (PT), Pedro Cabrita Reis (PT), Pedro Casqueiro (PT), Santiago Sierra (ES), Sara Bichão (PT), Sol Lewitt (EUA), Sonia Delaunay (UA), Susana Gaudêncio (PT), Susanne S. D. Themlitz (PT)
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From May 13th to September 30th 2023
Tuesday to Friday: 2:00 pm to 6:00 pm
Saturdays: 10:00 am to 1:00 pm and 2:00 pm to 6:00 pm
Closed on Mondays, Sundays and holidays
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More info:


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Many thanks for your support and fantastic feedback on my latest series Uneven Geographies during the five days of ARCO Lisbon! ✨ If you have missed the art fair, check out these images from 's booth presenting my work in great company with works by and
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ARCO Lisboa
May 25th-28th 2023
Cordoaria Nacional

Stand G06
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Marisa Ferreira
Maria Trabulo
Ines D'Orey
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More information:
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Photo credits: Vasco Stocker Vilhena
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Uneven Geographies, acrylic on aluminium, stainless steel, 101 x 85 x 3 cm, 2023

Drawing inspiration from the seminal art exhibition “Shaped Canvas” curated by Lawrence Alloway and held at the Solomon R. Guggennheim Museum in NY in 1964, Marisa Ferreira’s new shaped canvas series “Uneven Geographies” presents her ongoing dialogue surrounding the challenges created by modernization, urbanization and climate change to the ways we experience and livDrawing inspiration from the seminal art exhibition “Shaped Canvas” curated by Lawrence Alloway and held at the Solomon R. Guggennheim Museum in NY in 1964, Marisa Ferreira’s new shaped canvas series “Uneven Geographies” presents her ongoing dialogue surrounding the challenges created by modernization, urbanization and climate change to the ways we experience and live in the city.

These experimental approaches to form, material and color express Marisa’s early interest in the expressive potential of colour and the everyday, in actively redefining the relationship between painting and sculpture, form and content, and the viewer's engagement with the artwork, while steping into a realm where artistic expression intertwines with socio-ecological consciousness of the growing inequalities in risk distribution where some social groups are more affected than other by the industrial pollution and climate change. These pieces evoke aerial images of the city landscape and are made up of numerous small "canvases" of single visually striking colours, yet deeply disconcerting effects of pollution, to emphasize emphasizing the complex relationship between art, the city, and the human agency in the geological era of the Anthropocene.

at GaleriaPresenca,
Booth G06 @ FeiraArco

Uneven Geographies, acrylic on aluminium, powder coated stainless steel, 101 x 107,5 x 3 cm, 2023

Drawing inspiration from the seminal art exhibition “Shaped Canvas” curated by Lawrence Alloway and held at the Solomon R. Guggennheim Museum in NY in 1964, Marisa Ferreira’s new shaped canvas series “Uneven Geographies” presents her ongoing dialogue
surrounding the challenges created by modernization, urbanization and climate change to the ways we experience and live in the city.

These experimental approaches to form, material and color express Marisa’s early interest in the expressive potential of colour and the everyday, in actively redefining the relationship between painting and sculpture, form and content, and the viewer's engagement with the artwork, while steping into a realm where artistic expression intertwines with socio-ecological consciousness of the growing inequalities in risk distribution where some social groups are more affected than other by the industrial pollution and climate change. These pieces evoke aerial images of the city landscape and are made up of numerous small "canvases" of single visually striking colours, yet deeply disconcerting effects of pollution, to emphasize the complex relationship between art, the city, and the human agency in the geological era of the Anthropocene.


Booth G06

Uneven Geographies, acrylic on aluminium, stainless steel, 127 x 51 x 3 cm, 2023

Drawing inspiration from the seminal art exhibition “Shaped Canvas” curated by Lawrence Alloway and held at the Solomon R. Guggennheim Museum in NY in 1964, Marisa Ferreira’s new shaped canvas series “Uneven Geographies” presents her ongoing dialogue surrounding the challenges created by modernization, urbanization and climate change to the ways we experience and live in the city.

These experimental approaches to form, material and color express Marisa’s early interest in the expressive potential of colour and the everyday, in actively redefining the relationship between painting and sculpture, form and content, and the viewer's engagement with the artwork, while steping into a realm where artistic expression intertwines with socio-ecological consciousness of the growing inequalities in risk distribution where some social groups are more affected than other by the industrial pollution and climate change. These pieces evoke aerial images of the city landscape and are made up of numerous small "canvases" of single visually striking colours, yet deeply disconcerting effects of pollution, to emphasize emphasizing the complex relationship between art, the city, and the human agency in the geological era of the Anthropocene.

at GaleriaPresenca,
Booth G06 @ FeiraArco

«Tipping Point» (2022)

Commissioned by Ås Kommune for Åshallen
Art Consultant Ebba Bring

Drawing inspiration from “conglo concrete”, a technique developed in the 1960s by Norwegian architect Erling Viksjø and his artist friend Odd Tandberg in which they used natural rocks as aggregate for concrete blocks before cutting them into slabs, “Tipping Point“ celebrates their influential work and purposes a contemporary approach to concrete by using discarded materials as raw material for the artwork. The composition is built after the Fibonacci numerical sequence and explores a diamond shape to celebrate the rich archeological history of the city as a direct reference to the Municipality coat of arms. Its colour palette presents a horizontal diagrammatic combination of blues and reds that show how fast the earth is warming according to research conducted by Professor Ed Hawkins from the University of Reading (UK).

The title of the artwork “Tipping Point“ refers itself to points of no return in the climate change to call all parts of society to be involved in the process of tackling the climate crisis, including sport and sport institutions as man-made global warming continues to increase.

570 x 320 x 12cm
Waste composite, oak, mirror acrylic glass, stainless steel

Many thanks for all of you who followed our seminar digitally or in Skien. An inspiring day full of beautiful presentations and discussions from different fields of knowledge on Waste and Sustainability in the Public Space!

Special thanks to our panelist’s

Thomas Hylland Eriksen, Professor at Faculty of Social Antropology, UiO
Stella Ioannou, Creative Director of and Founding Director of Lacuna
Thor Kamfiord, Director of Sustainable Development at Norner
Marisa Ferreira, Artist and Phd Candidate
Hilder Tødal, Telemark Art Center
G**o Honningdal, Skien municipality
Håvard Nymoen Johansen, Skien municipality
Kristine K. Wessel,

The seminar was organised by Kulturbyrået Mesén , Skien Kommune v/ in collaboration with

Thanks to Ingrid Økland and Tina Skedsmo for a wonderful program and Skien Kommune for the hospitality

" Everything is connected " by is now complete at

The piece invokes David Brewster's 1817 invention “kaleidoscope” to explore the idea of "multiplicity”. Drawing from installation art from the 1970s, the artwork is created by combining small scale repeated forms made on stainless steel and mirror glass organised by the Fibonacci numerical grid.

The work makes reference to Marisa´s architectural surroundings and walks in the city and invokes the Bauhaus's spirit expressed through a continuous experiment of colour, form and material to investigate how colour is experienced in the urban environment and the ways in which we perceive colour, not only how we see or understand the world, but what colour is and how it affects and transforms the way we see and know the world?

(Photos by: Brad Dickson and Carlos Campos)

Currently Galeria Presença]] 🌟

Posted • Galeria Presença]] [ON VIEW]

“O Legado” Galeria Presença]]. This group show features Mafalda Santos, Lia Chaia, Vasco Araújo, Pedro Casqueiro, Diana Geiroto, Marisa Ferreira, Inês D’Orey, Maria Trabulo and Noé Sendas.

On show until November 5th.

“In the Black Fantastic” 👏👏gallery
curated by

“Marisa’s art encompasses here her investigation, both objective and subjective, of lithium. Her sculptures present a fascinating dichotomy as she aims to show us the impact of lithium mineral extraction, whether in a destructive way with both nature and humans, and the positive ways in which it can be recycled and used again as a sustainable longterm solution.(…) These works encompass our senses: inspired by drilling jars and mining rotors, they emerge from the crust of the earth, yet also look like rockets, ready to take the viewer to the next levels. The visitor looks at the same time at the skies above, and our future, whilst observing our past, and the consequences of our actions, on the ground. These powerful sculptures demonstrate the artist’s skills in quiet contemplation and powerful calls to action, as they seem to float out of the soil they were inspired from. Noting that only 9% of the global industrial waste is recycled, with much of it sent to previous colonies, Marisa’s sculptural emblems are strong reminders of the ecological crisis we are facing, but also harbingers of hope.” By artist and art historian
in “Notes of a Journey. On Matter, Exttactivism & Displacement” ✨

Marisa’s art encompasses here her investigation, both objective and subjective, of lithium. Her sculptures present a fascinating dichotomy as she aims to show us the impact of lithium mineral extraction, whether in a destructive way with both nature and humans, and the positive ways in which it can be recycled and used again as a sustainable longterm solution.(…) These works encompass our senses: inspired by drilling jars and mining rotors, they emerge from the crust of the earth, yet also look like rockets, ready to take the viewer to the next levels. The visitor looks at the same time at the skies above, and our future, whilst observing our past, and the consequences of our actions, on the ground. These powerful sculptures demonstrate the artist’s skills in quiet contemplation and powerful calls to action, as they seem to float out of the soil they were inspired from. Noting that only 9% of the global industrial waste is recycled, with much of it sent to previous colonies, Marisa’s sculptural emblems are strong reminders of the ecological crisis we are facing, but also harbingers of hope.” By artist and art historian
in “Notes of a Journey. On Matter, Exttactivism & Displacement” ✨

“Dust from the earth crust”, composite with mining waste, steel, 2022
“Marisa’s art encompasses here her investigation, both objective and subjective, of lithium. Her sculptures present a fascinating dichotomy as she aims to show us the impact of lithium mineral extraction, whether in a destructive way with both nature and humans, and the positive ways in which it can be recycled and used again as a sustainable longterm solution.(…) Noting that only 9% of the global industrial waste is recycled, with much of it sent to previous colonies, Marisa’s sculptural emblems are strong reminders of the ecological crisis we are facing, but also harbingers of hope.” By artist and art historian
in “Notes of a Journey. On Matter, Exttactivism & Displacement” ✨