Paintings, installations and videos are some of the media that build the creative universe of Luísa Jacinto.

Born in Lisbon, in 1984, Luísa Jacinto has always observed the world differently and has always been interested in exploring new forms of human communication and behaviour. Moved by a passion for the visual representations of the world, she studied Painting –Fine Arts at Faculdade de Belas-Artes da Universidade de Lisboa. A constant need and eagerness to learn more, led her to London, where, in 2009, she was awarded a MA in Fine Art from the Byam Shaw School of Art, Central Saint Martins.

Art and culture witness each society and each period, helping us to grasp and acknowledge the world in which we live. Artists can be seen as observers or critics of society and, instinctively, they make people aware of reality while giving a different point of view, sometimes in forms of proposals for new visions or perspectives.

For Luísa Jacinto, the process of producing a work implies a deep research on images she has witnessed in her daily life, in what becomes a method to understand the human condition. With such methodology, she investigates, on the one hand, the connection between human beings and, on the other hand, the connection between human beings and the world surrounding them. In a practice marked by different rhythms – from small to large scale – she creates a poetic depth through cinematographic images.

Her work has been regularly shown since 2007 and is present in several private and institutional collections. Hermostrecent solo exhibitions include Aninstantofthis (Galería Silvestre, Madrid, 2016) and Basta um só dia (Museu Carlos Machado, Ponta Delgada, 2012), curatedby João Miguel Fernandes Jorge.

Amongsther collective exhibitions are Pontos Colaterais (Coleção de Arte Arquipélago, S. Miguel, 2015), curated by João Silvério, and 17 ingredients – Measures of Autonomy (Studio One, London, 2009), curated by Shama Khanna and Blanche Craig.


Miguel Palma was born in 1964 in Lisbon, where he lives and works. Eclectic in media and abundant in contradictions, Palma’s oeuvre explores themes as diverse as notions of power, ecology, infancy, and the relation between humankind and the machine in the context of modern society. In fact, it is technology that is common ground to the generality of Palma’s work. One might say that his work is characterised by a simultaneous absence of humanity and fullness of it, since technology is, by definition, a human creation. Works like Electronic Human Scale (2016) and Carbon 14(1994) are representative not only of this paradox, but also of Palma’s attachment to technological products.

Palma is also a collector, which is crucial to his creative process. Throughout his work, he maintains a meticulous fascination with the materials by him collected and used, and places a great emphasis on technique and manufacture. Besides cars, planes, trains and their parts, the artist also uses other materials to recreate these human inventions. In this sense, some of Palma’s works can be considered an ode to inventiveness as witnessed in works like Device (1993),Holiday (2010) and1:1:250 (2003).

Similarly relevant for the creation of Palma’s universes is the technique of the objettrouvé popularised by the artist Marcel Duchamp, that impliesthe construction of meaning by means of reappropriation and resignification of the objects utilised. A perfect example of such is Palma’s work literally constituted by one million escudos, approximately five thousand euros, inside an iron safe, which is part of MNAC –National Museum of Contemporary Art’s collection (A million escudos inside a safe, 1994).

However, even though admittedly he is best known for sculptural installations of monumental dimensions, it is important to mention that Palma’s work does not extinguish itself with them. His projects equally include drawings, videos, performances and books. Works like the video Untitled(2003), the collection of 44 drawings Rescue Games (2008)and Ariete Project (2005), in which the artist went on a 30-day road trip in Europe on a vehicle altered by himself, are representative of the diversity of Palma’s creative manifestations.


João Biscainho (1979, Portalegre) lives and works in Lisbon. Graduated in 2006 from the Faculdade de Belas Artes, Universidade de Lisboa, Portugal, with a degree in Visual Arts – Painting, Biscainho was awardedan MA in Museology from the Faculdade de Ciências Sociais e Humanas, Universidade Nova de Lisboa in 2012.

In 2002, Biscainho took part in his first collective exhibition,Young Visual Artists – Portalegre,and in 2006, he participated in Accrochage 01/06_New Generation.

In 2007, Biscainho showed his work individually in White Shadows at Galeria Lugar Comum/ Fábrica da Pólvora and 2Stages at Portalegre Performing Arts Centre (CAEP). In the same year he was awarded two prizes and an artist in residency programme: Visual Arts Prize Jovens Criadores and Video Prize Jovens Criadores; Art Residence Programme Lisbon – Budapest, organised by the Municipality of Lisbon.

In 2008, his work was exhibited for the first time in London at The Griffin Gallery in the collective exhibition Regular Artist Film Screening – Another Roadside Attraction Gallery. Later that year, he participated in three collective exhibitions: Pólvora Muse at Fábrica da Pólvora, in Oeiras; Lust&Luxuria – The Red Velvet Curtain Cult at the Whitechapel Art Gallery, in London, and That is Me – Self-portraits by Contemporary Artists at Fundação Carmona e Costa, in Lisbon.

In 2009, he was selected for the XIV Biennial Young Artist Europe and Mediterranean (2009) in Republic of Macedónia, and participated in Junho das Artes 2009 – Identidade e Simulacroat Galeria do Pelourinho, in Óbidos.

In 2010,João Biscainho participated in Iniciativa X 2010 at ArteContempo. He also participated in the two first editions of Cabinet of Curiosities at Galeria Luís Serpa, in 2011 and 2012.

In 2016,Biscainho presented his most recent work, Uncanny River (The Crossing)(2014-2016), at Leal Rios Foundation,and in 2017 he exhibited the same work at SE8 Gallery as part of Future Nothingnessin a solo exhibition in the UK. The exhibition coincided with the launch of a limited edition book on João Biscainho’s work,published by the Mulberry Tree Press.

His work is represented in private and institutional collections such as Leal Rios Foundation, Faculty of Fine Arts, and Safira & Luís Serpa, which are all located in Lisbon, and also in Budapest Galeria in Hungary.


Central to Teresa Braula Reis’ practice is a series of binaries which include: construction and deconstruction, permanence and impermanence,and resistance and submission. Teresa Braula Reis was born in 1990 in Lisbon where she currently lives and works. She graduated in Fine Art at Central Saint Martins College of Art and Design of London, in 2013,where she was awarded a Rector’s Scholarship.In 2012, Teresa Braula Reis obtained a degree in Fine Arts in Painting at the Faculdade de Belas Artes in Lisbon, in the domains of Sculpture and Architecture.This enables her to focus on using construction materials such as concrete, cement and steel. Fascinated by spaces, as well as their meanings and inter-relationships, she has focused on the construction processes through material-oriented experiences, as a way to investigate human behaviour in our times.

Producing impressive solid architectures and compositions, Teresa Braula Reishas composed her work along a fixed line of thought, which has arisen from an innovative site-specific view.

Through the use of construction materials and the residues of what once were buildings and edifices, Teresa Braula Reis investigates and analyses the complex themes of the flow of time, impermanence, durability, and the reliability of the elements that constitute the houses in which we live. In her practice, she highlights the contrast between the ephemeral and the fragility of construction materials that, to her, translate the cycle of life.

Teresa Braula Reis has participated in several collective exhibitions. In the past year, she participated in exhibitions such as: Poetics of Space with Lieux de Memoire (2016) at 3+1 CONTEMPORARY ART Gallery, in Lisbon; Portugal Portuguese, at the Museu Afro Brasil, in São Paulo; and in Questions of Relief, at Galeria Vertical do Silo Auto, in Porto. In 2015, she was nominated for the PrémioNovosArtistasFundação EDP and participated in the Opening Night, at the ChabahYelmani Gallery, in Brussels. Other collective exhibitions include: Mostra.14, at the Central Station, in Lisbon; RESTATE by Art:i:curate, at NEO Bankside, in London; Live In Your Dreams!at St Pancras Church Crypt Gallery, in London.

Teresa Braula Reis is represented by 3+1 CONTEMPORARY ART Gallery and by BAERT Gallery in Los Angeles.


Born in 1975 in Almada, Paula Prates is a Portuguese artist who currently lives and works in Lisbon.Before her graduate studies, she took drawing classes at the Sociedade Nacional de Belas-Artes, whichl ed her to under take a bachelor in Painting at the Faculdade de Belas-Artes, Universidade de Lisboa in 2000. Later she studied Visual Arts at the Central Saint Martins College of Art and Design in London,having been awarded an MA in 2003.Paula Prates’ experience in London gave her a feeling of freedom that influenced her entire work, from the themes that she has chosen to the materials she has been using since then.

Her themes may vary, but all are united by a struggle to show a subjective perception of the world. Even though she has experimented with photography and installations, her work is mainly composed by drawings and paintings, and her most common techniques are Indian ink, graphite pencils and wax crayons.For several years, Paula has been intrigued with the idea of ruin, trying to find different ways to understand and respect it in its different layers of meaning. In the frame of 5/5: 5 artists, 5 project rooms, for the first time, she will present a work which touches on the philosophy of ruin from an individual and human perspective.

During the 1st international Biennial of Montijo (IX Premio Vesperia) in 2008, Paula Prates received a commendation in drawing. She has had several solo exhibitions and has also taken part in numerous group exhibitions in galleries and art spaces in Portugal since the late 1990’s, some of which were site specific installations: White Garden(2010) at Pavilhão 28, Hospital Psiquiátrico de Lisboa or Ensaio sobre a Ruína–parte 2(2012) at Megarim – and in Lisbon. Her exhibitions Clivagem(2011) at GaleriaSopro in Lisbon and Estruturas 1:1are amongst the most relevant exhibitions she has presented so far. Her last exhibition Intrusão took place at MUTE – Plataforma de Arte Contemporânea in Lisbon.

Her work is featured in collections such as PLMJ Foundation Collection, the University of Lisbon Rectory, the Faculdade de Belas-Artes da Universidade de Lisboa and in various private art collections.