Carlos Noronha FeioSelected Portfolio and CV

2017

Carlos Noronha Feio has a diverse practice that includes actions,performance, video, drawing, painting, photography, rug worksand installation. He consumes, manipulates, juxtaposes andperforms or re-sites media as research into cultural, local andglobal identity. Noronha Feio frequently adopts culturallysignificant images, locations and symbols as a form of creativeinterference with meaning, and demonstrates the almost arbitrarynature in which cultural significance is adopted or interpreted.

close encounters and parallel subjectivities

touch my lips with your lips -- as you do on earth…

we have different work to worry about

Vessels III

Above:Native People of the Pacific World: dispositif XVI

Oil and gouache on printed Hahnemu hle Monet canvas 161 x 130 cm, 2013Right: Still from discursive foundations of sunsight, Gif File ,2016

blue plain pierced by striking red continuum ( and adelicate apparition by a friend)

Time speeds up or slows down. Beneath a Perspex umbrella-like structuresound is disorientating. Only prior knowledge tells me the source of thissound, national anthems obscured by an accelerated tempo. CarlosNoronha Feio’s exhibition at narrative projects – discursive foundations ofsunsight – builds on his ongoing preoccupation with questions of nation,nationalism and identity. Preconceptions of belonging and not belonging –whether imagined through historical, geographical, social, cultural,political or ideological discourses and fields of inquiry – are deliberatelyundone. I encounter objects, images and sounds displaced from the pointsin space and time to which they are imagined to belong. Noronha Feiostages visual, sonic and associative worlds where time and space aremalleable and porous as he journeys backwards and forwards, a kind oftime-traveller, across space and time.

Extract of exhibition text by Yvette Greslé

subtle movements of promised plausible encounters

Oil, oil pastel, watercolour on linen, 52 x 38.5 x 3.5 cm, 2016

discursive foundations of sunsightat narrative projects, London

Above and previous page: Installation view

Top Left: discursive foundations of sunsight, Gif file in tablet, 2016

Bottom left: Vessels VIII, oil pastel, pastel, watercolours, pencil, spray paint, on

paper. 290 x 153 cm, 2015

bathed by the bright light of the sunsetat 3+1 Arte Contemporânea, Lisbon

The paintings and drawings presented for the exhibition are a further

exploration of themes from the series Native People of the Pacific

world. The artists personal dialogues with history are revealed in

compositions using digitally printed black and white photographs

marked with layers of painted lines and forms representing dispositifs

to embellish and subvert the image beneath, and in doing so, question

the subject revealing the tensions present in its construction.

These compositions oscillate between a seemingly idealistic framework

and what is fundamentally abstract painting, causing conflicting

dichotomies and inviting the viewer to question the subjects as an

evolving contemporary discourse — while often becoming distracted by

the painted shapes which are seemingly absent of meaning.

Informed by events in history it becomes evident that the figures

depicted are unable to escape their contexts, even if momentarily they

appear able to do so. Such is the case with the manner in which the

applied paint attempts to lead/ misguide the eye, by covering or

exposing the image below, it is as though there is some connection

between the two, the photographic background and the paint allowing

one to determine the parallels between them.

Within the constructed artifice of the works it seems one is lead to

ponder the dual relationships present in the pieces, while considering

them under the banner of being bathed by the bright light of the

sunset.

Mailout text.

Press release by Antonio Grulli available on request.

Native People of the Pacific World: dispositif XXXIX

Oil, oil pastel, pigment, gouache and spray on Hahnemühle Monet printed canvas andwood, 164 x 133 cm. 2015Photo: João Ferro Martins

This and previous two pages: Installation view

Wild flowersat Focal Point Gallery, South-End-on-Sea

Image stills from Gif file Wild flowers, 2015

Sky Scorpion at Art Marbella with narrative projectsSky Scorpion (Power)Tapete de Arraiolos in wool ,2 x 2.36 meters, 2015

Native People of the Pacific World: dispositif XXVOil and gouache on printed Hahnemühle Monet canvas75 x 52.5 cm, 2014

Native People of the Pacific World: dispositif XXIVOil and gouache on printed Hahnemühle Monet canvas72.5 x 52 cm, 2014

Oikonomia: A Matter of Trustat Museu Nacional de arte Contemporânea - Museu do Chiado, Lisbon

From the Press Release:

In countries such as Portugal and the United Kingdom it is possible to buy and sell public debt on the primary market. This act by individual citizens, when practised on a large scale, can have a bearing on the national economy as the purchase or sale of government debt securities by individuals affects the national treasury. Buying demonstrates a position of support and solidarity with the government, while selling represents the opposite. In this sense, this actions translates an “economic vote” — a form of direct democracy, with strong political tones, employable even by foreign citizens without the right to an electoral vote.

The centrepiece of this exhibition is a 13 metres long by 1 metre high silk scarf com-posed of symbols associated with government debt sale websites in Portugal and the United Kingdom. From Portugal come the horseman on horseback (the brand logo of CTT, the post office network which sells treasury bonds and postal savings certificates), the wind rose (from the IGCP, the agency in charge of the treasury bonds and public debt issuer),and the red and green columns (from the Portuguese government website). From England come the horse-chestnut in its husk, the drums, the brick wall and a video still (from NS&I, an executive agency of the Chancellor of the Exchequer). Supplementing this symbols are various words, expressions and phrases: “vendo”, “sell”, “compro”, “buy”; the word “voto” (“vote”) and the ex-pression “voto directo” (“direct vote”), both with and without the new Portuguese or-thographic reform, creating a reference in this manner to the evolution of language; “#transnacional” (“transnational”) and “#economical blackmail” allude to possible examples of key words to be used as connections within social networks such as Twit-ter and Instagram; the sentence “Por baixo de toda e qualquer construção existirá sempre uma paisagem” (“Under each and any construction there will always be a landscape.”) is also present.

Utterly dynamic, the composing landscape encompasses symbols and images multi-plied to create waves whose meanings intersect with the haphazardly handwritten words across the space of the scarf. The dynamism of the composition is accentua-ted by the interplay of colours and gradations dominated by red, blue, green and yellow, placed over a white background.

All the Anthems: All the national anthems in the world from countries recognized by at least one other.Lhng]�phkd�_hk�]bk^\mbhgZe�li^Zd^k%�+)��%�+)*.

ScoreArtist alternative currency collection scanned and printed into loose A4 pieces of paper, 2015

Next Page: Por baixo de toda e qualquer construção existirá sempre uma paisagem (Under each and any construction there will always be a landscape)Digitally printed silk scarf with hand stiched hems, 12.6 m x 1.3 m, 2015

Native People of the Pacific World: dispositif XXIXOil and gouache on printed Hahnemühle Monet canvas130 x 161 cm, 2015

Accumulation, Displacement, Deletion, Rearrangement and Insistenceat narrative gallery, London

From the Press Release:

Mabl�^qab[bmbhg�\hgln]^kl�\kbmb\Ze�hnmehhdl�mhpZk]l��Z�lrlm^f��Zl�Z�eZk`^�\hg\^imnZe�lmkn\mnk^'�Ma^�k^eZmbhglabi�pbma��Z�lrlm^f��lmZkml�pbma�\kbmb\Ze�challenge and an attempt to break it down to locate the artists own po-lbmbhg� pbmabg� bm'� Ma^� k^lnembg`� kn[[e^� h_� f^Zgbg`l� \hglmkn\ml� ma^� Zkmblml��own story, building new historical and conceptual connections. With a degree of radical nihilism and self-irony they artist scrutinise issues such as the politics of representation, decolonisation and the true essence of post colonialism, as well as the role major cultural institutions play in the expansion of global capital.

Left: Native People of the Pacific World: dispositif XVIOil and gouache on printed Hahnemühle Monet canvas130 x 90 cm, 2013

The Flag : Instruction Manual #2with Daria Kirsanova and Sohrab Kashani at Sazmanab Platform for Contemporary Art, Tehran

Conceived by Carlos Noronha Feio the work is a multimedia performan-ce conducted via Internet that also includes an actual physical action/performance in the gallery space.

The conceptual core of this project is constructed utilizing the protest action Lava la bandera (Wash the flag) by Colectivo Sociedad Civil, but it is also rooted in the proposal by the socialist American politician Norman Thomas who called for an alternative to the burning of the flag during the Vietnam War, a silent (non violent) protest - a washing of the flag.

The project presents a matrix, modular flexible conceptual construction that can be shaped according to specific concerns relevant to the place where it is performed. This unusual structure operates on multiple layers of meaning and references. The most obvious reading would be to look at the project in light of the notions of authority and authorship. Yet, it is much broader in its critique. The use of Internet here, for example, is an attempt to construct multiple layers of detachment and separation within the cyber space. This action aims to create a distance, a conceptual de-tachment from the actual geographical locations of either participant of the action/performance. Through this abstraction Noronha Feio seeks mh� mkZgl\^g]� p^ee&dghpg� ihlm&\hehgbZe� ma^hkr� \hg\^iml� h_� �\^gmk^�� Zg]��i^kbia^kr��h_�\nemnkZe�ikh]n\mbhg'�

Matter of TrustB�ehhd^]�bg�fr�pZee^m�Zg]�Zee�B�\hne]�Ûg]�pZl�iZi^k%�ieZlmb\%�f^mZe%�\eZr%�mbg, silk, leather, veneer, gold, silver, bronze, wool, salt, perspex, polyester, cotton, nickel, wood, propaganda, lost ideologies, nationalisms, localisms, globalisms, wishes, trust, rust...

Carlos Noronha Feio has been building a collection of alternative cur-rencies for several years. Many pieces in the collection are not in fact legal tender, yet they function as a means of payment in their mutual ac-ceptance by exchanging parties. There are examples of how currency, widely distributed and unavoidable in everyday life, was used as a po-werful form of propaganda with depictions of political power and aspi-rations printed on them. This can be seen in some of the Notgelds, which translated means emergency currency. Thousands of these were produ-ced in Germany, Austria and many other countries after the widespread destruction of World War 1.

GhkhgaZ�?^bh�l�lbed�l\Zk_l�Zk^�ma^�gZmnkZe�]^o^ehif^gm�h_�ma^�\hee^\-tion, they answer, complement and propose new forms of dealing with systematic issues related to capital, democracy and personal freedom.

Art 4 debt 4 global citizenry: Silk Scarf as bond I Art 4 debt 4 global citizenry: Silk Scarf as bond VI Printed Silk, 80 x 80 cm, 2013 Printed Silk, 120 x 100 cm, 2013

Press Release

A word prevenient from Latin, from the same family as Universal, Universim avoids the problematics attributed to Universalism by assuming the space for uncertainty and error.

A quasi-contradiction: Generally, of universal character.A doubt: generally.And a question: Universal? Not always, but usually ...

This empty space, left floating around, is the same space that is found lacking within the mostly fixed, documented ideas utilized to define us: where are you _khf8�&�B�f�Ihkmn`n^l^4�pa^k^�p^k^�rhn�[hkg8�&�Ebl[hg4�aZ��Ihkmn`n^l^�'''�&�r^l%�B�pZl�[hkg�bg�Ihkmn`Ze4�[nm�rhn�k^�[ehg]^��&�r^l�B�dghp�'''4�Zk^g��m�ma^�Ihkmn`n^l^�Zee�[khpg%�Zefhlm�:kZ[8�&�B�f�ghm4�[nm�bm�bl�kZk^��Rhn�fnlm�aZo^�_hk^b`g�_Zfber�8�&�r^l�B�]h4�h_�\hnkl^%�rhn�\hne]�ghm�[^�*))�i^k\^gm�Ihkmn`n^l^��'''�pa^k^�_khf'''�England? Norway? - my parents were born in Angola, my paternal grandmother in Cape Verde as well as several previous generations from her side of the family. Fr�iZm^kgZe�`kZg]_Zma^k�'''�B�f�ghm�lnk^%�B�mabgd�Ebl[hg�hk�:e^gjn^k'�Fr�fZm^kgZe�grandfather is from Felgueiras, but he descends from a North-African Jewish fami-ly. My maternal grandmother is Portuguese, but her grandfather was Sardinian. ;nm�r^Za%�B�f�Ihkmn`n^l^%�Zm�e^Zlm�maZm�l�paZm�fr�iZllihkm�lZrl%�Ihkmn`Ze�bl�hg^�of the countries that speak my mother tongue (which is not the one I utilize the most nowadays), it is the country whose history was instilled in me while growing up, before I started to watch Hollywood movies and films from other places. This is where I have most of my immediate family, not taking into account my sister who l ives in London and her twin who lives in Brussels, or my straight-cousins in Brazil, or even some further relatives who are spread throughout the world. But yes, I have Portuguese passport, and grew up as a Portuguese, I was constructed Zl�Z�Ihkmn`n^l^'�Cnlm�Zl�ma^�GZmbhgZe�IZgma^hg�l�[nbe]bg`�maZm�aZl�ZepZrl�[^^g�a symbol of the geo-political region that today is Portugal ... that has never been a representation of other peoples inhabiting colonial Portugal .... that has never been a representation of the non-Portuguese portuguese people ... because it sym-bolizes the simplicity that is read when saying: National.

Universim calls upon itself the beyond-borders, the beyond constr uction-of-nation, race or other factor used to define constructed concepts of difference. Universim calls upon itself the idea of an almost universal, an almost identical.

Universim is an exercise, a generalization in itself. One word that says that nothing is unquestionable a nd that everything can change or be changed, at any time, anywhere, in any being. Universim allows constraints and as such it is simpler than the supposed simplicity of concepts, commonly and wildly employed in the name of he Universal, which aims at being absolute.

But yes, I am Portuguese, although during the month of September the Pantheon that represents me is transnational.

Hear the soundwork athttp://carlosnoronhafeio.co.uk/WORK-Pantheon.htm

Universim: generally, of universal applicationExhibition at the Portuguese national Pantheon 2013

Press Release

For the first time on display at Carlos Carvalho, Carlos Noronha Feio will present three series of recent works, which help him to ^qiehk^�jn^lmbhgl�Z[hnm�m^kkbmhkr%�kZ\^�Zg]�[hk]^kl'��IeZgm�Eb_^�h_�ma^�IZ\b_b\�Phke]��ZiikhikbZm^l�oblnZe�^__^\ml�h_�bfZ`^l�h_�gn\e^-ar explosion converting them into compositions that make up a mixture of vegetable and floral shapes.

��GZmbo^�I^hie^�h_�ma^�IZ\b_b\�Phke]��\k^Zm^l�mph�eZr^kl�h_�]b__^-rent contexts in which color and trace lines are combined with iahmhl�h_��gZmbo^��i^hie^�h_�ma^�IZ\b_b\'�Ma^�^qab[bmbhg�Zelh�ik^-l^gml� Z� lhng]� bglmZeeZmbhg� �� =h� _ng]h� ]h� fZk� iZ\²_b\h� g«h� l^�i^k\^[bZf�Zl�]b_^k^g­Zl���maZm�lahpl�Z�k^eZmbhglabi�[^mp^^g�ma^�first two series. The sound of the Pacific here unites different con-ceptual preoccupations and historical concerns analyzed in these bodies of work. We may say that one of the common traces between these three series is a practice of appropriation of images with a strong histo-rical significance and identity in order to build on these and with these, a new discourse and a new thought.

Native People of the Pacific World: dispositif IIIOil and gouache on printed Hahnemühle Monet canvas, 110 x 90 cm, 2013

Flat-Pack Native and Other Pacific ConstructionsCarlos Carvalho AC, Lisbon 2013

Por mais que andasse à volta com flat-packs e chaves universais, a única constante era o som do mar

Composed of 3 pieces, each one with: Z1 Screws, radio, pen-drive, Viroc, plastic bag. 2013 Each module with an individual sound of the sea: Waiheke Island ( New Zeland), Dili (Timor), Rodeo Beach (San Francisco)

Plant Life of the Pacific World: figure 205 Manihot esculentaDigital collage printed on hahnemuhle photo rag 500gsm paper.American walnut frame, 29.5 x 36 cm. 2012

Plant Life of the Pacific World

The works from Plant Life of the Pacific World series are delicate flower and plant forms assembled from collaged photographs of nuclear explo-sions. Sometimes inescapably obvious in terms of their source material, other times so alluringly graceful that it is only when one gets up close does one realize the violence from which these images are constructed.

Each collage in this series has been classified in accordance with Ame-kb\Zg� [hmZgblm� >'� ='� F^kkbee�l� [hhd� _khf� pab\a� ma^� ^qab[bmbhg� mZd^l� bml�gZf^'�Hkb`bgZeer�in[ebla^]�_hk�fbebmZkr�nl^�bg�*2-.%�ma^�[hhd�l�]kr�\eZl-sification of flora is transformed by Noronha Feio into an explosive re-velry of intense, amoebic forms. Plant Life of the Pacific World defuses one of the most recognizable symbols of destruction, horror and power to create a sumptuous taxonomy combining the nuclear mutations of ihineZk�_b\mbhg%�ma^�^ohenmbhgZkr�fnmZmbhgl�h_�=Zkpbg�l�@ZeZiZ`hl�Zg]�an imagined botany of Bikini Atoll, whose use as nuclear testing grounds _heehp^]�ma^�[hhd�l�in[eb\Zmbhg'

Plant Life of the Pacific World: figure 86 Rafflesia arnoldiDigital collage printed on hahnemuhle photo rag 500gsm paper.American walnut frame, 29.5 x 36 cm. 2012

Plant Life of the Pacific World, exhibition view at IMT Gallery

Plant Life of the Pacific World: figure 91 Hoya imbricataDigital collage printed on hahnemuhle photo rag 500gsm paper.American walnut frame, 29.5 x 36 cm. 2012

Native People of the Pacific World: dispositif VOil and gouache on printed Hahnemühle Monet canvas, 76 x 50 cm, 2013

Rockets Up and DownDown and Up (Good News)Tapete de Arraiolos in wool ,1.94 x 1.1 meters, 2008

Bm�l�Z�g^p�phke]�Exhibition at Museu da Luz

Quoting from The Generative Power of Conflicts: Interculturalism, Postco-ehgbZeblf�Zg]�ma^��Mabk]�pZr��[r�?kZg\^l\h�L\Zl\bZfZ\\abZ'

...Which intellectual and political position might one consider in order to\aZee^g`^�ma^�]hfbgZgm�]bl\hnkl^l�h_��bgm^k\nemnkZeblf��Zg]��ihlm&\hehgbZ-eblf�8Furthermore, what strategies, within different fields are possible in order mh�Zohb]�ma^�mkZi�h_�`eh[ZeblZmbhg%�Zg]�h_�paZm�B�pbee�\Zee�Z��k^mnkg�mh�ma^�\hehgbZe�8...I have to confess that an affirmative reply to both answers posited above is certainly not possible due to the complexity of this topic and to the current over-produced material in the subject. So I will make an attempt to think about a particular practice that the artist Carlos Noronha Feio is developing as an attempt to respond to nationalism, populism, glo-[ZeblZmbhg%�Zg]�mh�ma^�PZk&Phke]'�?hk�abl�lheh�ik^l^gmZmbhg3�Bm�l�Z�g^p�phke]���Zm�Fnl^n�]Z�Ens�bg�ma^�obeeZ`^�h_�Ens�Fhnk«h�!:e^gm^ch%�Ihkmn-gal) he started by printing these questions in the press release: “What if a new world will come?”, and “What if one can imagine a different world where categories of nationhood and ethnicity are challenged in _Zohnk�h_��ngbo^klZe�kb`aml��Zg]��^jnZebmr�8�'�;r�ma^l^�bgbmbZe�lmZm^f^gml�the artist immediately took the topic into another realm: the one of ima-gination and maybe even of fiction. ...What makes this imagination powerful is not its opposition to reality but its capacityto stay within the reality and to use art as embedded within it. Even though I am not quite sure about the position that the artist is taking, and ^o^g� mahn`a� bm� l^^fl� mh� f^� fhk^� bg� _Zohnk� h_� �bgm^k\nemnkZeblf�üZ� ]bl-\hnkl^�mhpZk]�pab\a�B�ehhd�Zm�pbma�lnlib\bhg%�ü\^kmZbger�ma^k^�bl�Z�fhk^�interesting meaning to what the artist is doing. This meaning residesprecisely in questioning post-colonialism and ethnic identity. By clearly showing the polarized positions that one might take as a unified set of al-ternatives the artist discloses the contradictions and paradoxes that both positions contain. Exposing oneself to the critique of the Other: be it as Zg�Zn]b^g\^%�Zl�Z�ma^hkblm%�hk�Z�]hfbgZgm�]bl\hnkl^�pbmabg�Z\Z]^fbZ%�ü�pabe^�Zelh��l^e_&\kbmb\blbg`��hg^l�hpg�ihlbmbhg� makhn`a� mZdbg`� bm%� bl�paZm�makes in my perspective, the work of Carlos Noronha Feio powerful.

There are always more worlds beyond the new ones (birth and fertility; wheels of destiny; power; good news)Tapete de Arraiolos in wool ,3 x 1.8 meters, 2011

Exhibition view, Rug: 3, 2, 1,0 A A and away 1,2, (birth and fertility; wheels of destiny; power; good news)Tapete de Arraiolos in wool, 5 x 6 metros, 2009

Exhibition view, artist rug, Arraiolos rug, Afghan war rug, books, video with interview to local weavers and historians.

:�Fhglm^k�l�A^Zkm

Version 1: sound work for OfficeSIM.com

http://officesim.com/projects/a-monster-s-heart

:�Fhglm^k�l�A^ZkmVersion 2

At Ve.Sch - Verein für Raum und Form in der bildenden Kunst.Neons, leather string, Lp player, speakers, vynil with sound work, smoke machine. 2013

Trying to reach point zeroExhibitions ar Galeria Nuno Centeno, Centro Cultural Helio Oiticcica, Carpe Diem Arte e Pesquisa

Trying to reach point zero2 hours 8 minutes 25 seconds video performancePlywood, neon , video projection, 2009

2011 Radio Arts Space, Selected by Milica Pekic´, S'KUC gallery, Ljubljana, Slovenia (CarlosNoronha Feio & Ergo Phizmiz)2011 Image Wars, curated by Miguel Amado, Abrons Art Centre, New York2011 - Longe daqui, aqui mesmo, by Fábio Morais and Marilá Dardot, 29 Bienal de São Paulo, SãoPaulo2011 - IMT at Banner repeater, Banner Repeater, London2010 – Da outra margem do Atlântico: alguns exemplos da fotografia e do vídeo português,curated by Paulo Reis, Centro de Artes Helio Oiticica, Rio de Janeiro2010 - Opções e Futuros, Espaço Fundação PLMJ, Lisbon2009 - Lá Fora, curated by João Pinharanda and co-organized with Museu da Presidencia,Fundação EDP, Lisbon2009 - Está a morrer e não quer ver, curated by José Maia, Espaço Campanhã Porto2008 - New Video Art from Europe, Blow de la Barra/111 (37 Heneage St), London2008 – Work in progress, (with Vera Santos and Martinha Maia) Presentation of Interdisciplinaryand technological Performance Art, Brooklyn College at Programa Criatividade, FundaçãoCalouste Gulbenkian, Lisbon

Publications

2013 10, 9, 8, 7, 6, 5, 4, 3, 2, 1. THE THIRD WAY. IT’S A NEW WORLD! , Museu da Luz & .02013 Nature Morte: Contemporary Artists Reinvigorate the Still Life Tradition, Thames &Hudson2012 What is an Artist Book?, The Modern Language Experimen2011 The Art of not Making: The New Artist Artisan Relationship, Thames & Hudson2009 A A and away, Carlos Noronha Feio, Transition Editions, London

Selected Collections

APT — Artist Pension TrustCAC Málaga, Málaga, SpainCollection Arquivo Historico Wanda Svevo, São Paulo Biennial Foundation (artist book), BrazilColeção de Arte Fundação EDP - MAAT, Lisbon, PortugalColeção Norlinda e José Lima, São João da Madeira, PortugalFundação PLMJ, Lisbon, PortugalImago Mundi — Benetton Foundation, ItalyNavikula Artis, Saint Petersburg, RussiaMAR-Museu de Arte do Rio, Rio de Janeiro, BrazilMuseu Nacional de Arte Contemporânea — Museu do Chiado, PortugalMuseu Nogueira da Silva, Braga, PortugalSaatchi Collection, London, UKPrivate collections

For more information contact:Ekatherina Iragui or Eleonore Senlis at Galerie Iragui, contact@iragui.com

All images © Carlos Noronha Feio www.carlosnoronhafeio.co.uk

Carlos Noronha Feio (1981)

Selected Solo Shows and Projects2016 as you do on earth, Galerie Iragui, Moscow2016 discursive foundations of sunsight, narrative projects, London2015 bathed by the bright light of the sunset, 3+1 Arte Contemporânea, Lisbon2015 Oikonomia: A Matter of Trust, National Museum of Contemporary Art Lisbon (MNAC- -Museudo Chiado), Lisbon2014 Matter of Trust, Small Collections Room, Nottingham Contemporary, Nottingham2013 A Monster’s Heart, Ve.Sch - Verein fu r Raum und Form in der bildenden Kunst, Vienna2013 Universim : geralmente, de aplicac a o Universal, Portuguese National Pantheon, Lisbon,PT2013 The Flag: Instruction Manual #2, with Daria Kirsanova and Sohrab Kashani, SazmanabPlatform for Contemporary Art, Tehran2013 Flat-pack Natives and Other Pacific Constructions, Carlos Carvalho AC, Lisbon2013 It’s a new world! / E um mundo novo! Museu da Luz, Luz, Alentejo2013 A Monster’s Heart, Officesim.com2012 Plant Life of the Pacific World, IMT Gallery, London2011 Instruction Manual Number One: Washing the Flags, Dienstag Abend at Ve.Sch - Verein ,fu r Raum und Form in der bildenden Kunst, Vienna2011 Snow wall, will you show me the way to restart it all?, Milton Keynes Gallery, MK2011 Trying to reach Point Zero, Carpe diem Arte e Pesquisa, Lisbon2009 To reach point zero/tentando alcanc ar o ponto zero, Galeria Nuno Centeno , Porto2008 Estac a o de exportac a o (OPO), Galeria Nuno Centeno, Porto2008 3 actions for a constricted/contrived confrontation, NCCA - National Centre forContemporary Art - Moscow,2008 3 actions for a constricted/contrived confrontation, Navicula Artis, St.Petersburg

Selected Group Shows2016 Secret European Studio, curated by Paul Carey-Kent, ARTHOUSE1, London2016 PERIPLOS / Arte portugués de hoy, CAC Málaga, Málaga2015 Graphics Interchange Format: 25 Years of Focal Point Gallery, Focal Point Gallery, Southendon Sea2015 10 Premio Amadeu de Souza-Cardoso, Museu Municipal Amadeu de Souza-Cardoso, Portugal2015 balls, One Nest Stand, NEST, The Hague2015 Everywhere is the same sky_Uma perspetiva de paisagem na Coleção Norlinda e José Lima,Centro de Cultura Contemporânea de Castelo Branco2015 Mostyn Open 19, Mostyn, Llandudno, Walles, UK2014 AFA, Off site project by 63rd-77th STEPS, Bari2014 A Union of Voices, Horatio Jr., London2014 Dienstag Abend Intervention at ArtReview Magazine April Issue pp 96-102, London2013 Accumulation, Displacement, Deletion, Rearrangement, and Insistence, Narrative Projects,London, UK (3 person show)2013 The Art of Not Making, curated by Michael Petry, Hå gamle prestegard, Nærbø, Norway2013 This This Monster This Things, Organized by Giorgio Sadotti, Ikon Gallery, Birmingham2013 Imprinting the Social, Galerija Simulaker, Novo Mesto, Slovenia2013 Disruption, Royal College of Art Upper Gulbenkian Gallery, London2012 You Are Now Entering_________ , Curated by Miguel Amado, CCA Londonderry~Derry,Northern Ireland2012 This This Monster This Things, Organized by Giorgio Sadotti, Focal Point Gallery, Southend-on-Sea