The Foundation for the Circular Economy (FCE) organizes a new meeting, on the 22nd of June, in the Circle of the Fine Arts, in Madrid,

The encounter will discuss the situation of Iberic Peninsula in the new package of circular economy. One of the speakers confirmed for this occasion, from the Portuguese delegation, is Fernando Leite, CEO of LIPOR.
Since the new Circular Economy package was presented by the European Commission in December 2015, Spain and Portugal, like other European countries, began to migrate to the new economic model. However, during this transition, both countries still have certain unresolved issues, which add to the more recent ones that are a real challenge and are at the center of the current European debate in the field of circular economy.
In this fifth edition of the meeting point, the FCE demonstrate with the help of some local Spanish administrations that it is possible to implement appropriate local policies in terms of material resources, products and waste that increase social participation and can raise reuse rates and recycled material. That it is also possible to apply a tax that is coherent, transparent and proportionate to the environmental objectives intended to encourage cooperation between citizens and small businesses and does not penalize those who contribute adequately to the management of waste produced by local government.
The Foundation for Circular Economy also intend to address another of the pending issues in Spain and Portugal, for example the development of waste statistics. How to interpret the annual statistics on waste management published by Eurostat? What are the points of divergence and why? How could they be corrected?
In the circular economy, there are three issues that deserve to be the subject of an essential debate at the moment. The first relates to the interactions between EU policies in terms of chemicals, products and waste. How to reconcile increasingly demanding environmental recycling targets with the development of REACH legislation? Should REACH be used to ban certain chemicals in secondary materials? What measures can be taken to ensure a circular "no toxic" economy?
The second, in relation to the Communication from the European Commission on the role of waste-to-energy transformation in the circular economy of 26th of January 2017. What conclusions can be drawn? What form of energy recovery should currently be a priority in Spain and Portugal? And what for the island territories?

Finally, the fight against littering, or waste scanning. What can be done to stop the flow of land-based waste that reaches the sea? How to act to cover the environmental and economic costs of combating littering? What is the applicable liability regime? How far has innovation come from correcting the problem? What can be done in terms of education and citizenship?

The Foundation for the Circular Economy is a private foundation, of Iberian scope and supranational projection, formed by a patronage composed of old high posts of autonomic administrations with a territorial and political balance. This institution collaborates with the world-wide personalities and experts, public administrations, private entities and social agents. The FCE works on tasks related to circular economy, sustainability, resource use and the environment. At present, it is the undisputed leader in knowledge about these sectors of activity, extending its work of environmental excellence to Portugal, Spain, the rest of Europe, the Mediterranean basin, Latin America and the island territories of the planet.

http://economiacircular.org/

Fórum de Artes Performativas Independentes

Teatro Nacional São João
12-13 de Junho de 2017

As artes performativas em Portugal encontram-se numa encruzilhada: há novos modelos de apoios às artes em preparação; as condições de acesso, apresentação e circulação das artes sofrem alterações significativas; há novos artistas que surgem no panorama português, mas também muitas indefinições quanto ao seu estatuto e condições de trabalho.

No seguimento das Jornadas de Teatro que aconteceram em 2016, no Teatro Nacional D. Maria II, as principais organizações representativas do setor das artes performativas realizam novas jornadas no âmbito do Festival Internacional de Teatro de Expressão Ibérica, nos dias 12 e 13 de Junho, no Teatro Nacional São João, a fim de proporcionar um fórum onde todos os artistas, criadores e envolvidos nos campos das Artes Performativas se possam encontrar e debater estes e outros problemas que afetam o setor.

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"Nó" is the title and single that presents the first EP of this national band, that although it existed for 10 years, only in 2106 decided to bet on its acoustic sonority with Portuguese roots, but that also harbors musical influences of the world.
The album "Nó" has many themes with the classic guitar, some of the songs are quite long, with almost seven minutes of duration. When you composed the themes for these albums, do you start by building the melodies?
Tiago Correia: Yes, we have a kind of premise that is everything is acoustic. The essence and origin of the band consisted of two people with the classic guitar, with the voices and a harmonica and when we started to involve more elements, we did not want to "fall" in the electronics, nor to use electric guitars, because we have always believed at least in our music. At the time there was no such boom of bands singing in Portuguese, our songs should work in this simplicity, that is, they should close in on themselves by the melody and the classic accompaniment. So, instead of being thinking about a subject, at a certain time putting a battery, or there is a part of double bass, no, the focus is always on the melody, the lyrics and what we wanted to convey.

You create the melodies with Antonio Parra.
TC: Yes, initially the melodies were created by the two of us and so there was a joint creation. However, we ended up following our lives, the band has been there for ten years and a lot has been changed, many of the songs are made on guitar, then we create the melody and the arrangements are made by everyone together, it is questioned by everyone, is a kind of layered composition.

Are the melody and the lyrics done in parallel? As you create the sound, do the words come up?
TC: Yes, it has happened with some songs that started with the guitar, but they have been transformed into one another. The lyrics change according to what the music requests and also the melody can be adapted according to the words. We do not create the melody separately, and then we added the lyrics by force. It is a work in tune, there is the need to emphasize certain words, to give more value to one than others, it is all done in the sense of promoting the song as a whole.

So, because of this layered musical process, certainly, over the years and had a lot of time to practice until arriving at this first EP, what governed the choice of themes in "Nó”?
TC: In fact we have more than 30 songs and our concerts are one hour and a half, with 15 songs and five years ago it was like that at the concerts. Over time there were elements that left the band, we stopped for some time, then we came back, but we were only three, it was at this stage that we were working very closely the voices, the choirs and this line of guitars. At the time we were without double bass and drums and we arrived at 2012, 2013 with more than 20 concerts, but never during that time we did not launch anything officially and at some point was bad in terms of opportunities. When we appeared as a band there was no boom in Portuguese music, sung in Portuguese, "Orquestrada", "B Facade", Samuel Úria, "Devil on the Cross", these musicians had not released anything and naturally we written in Portuguese although we had no connection with them, it become fashionable. At the end of nine years we realized that we are 30 years old, practically everyone and our lives have changed, three elements are of the theater, so we always have complicated daily schedule, music was always a parallel activity and then we decided that it could not be so, we realize we did not had songs recorded and we had to release them and make them available to the public. Our themes have already been played by many musicians and we feel at least this responsibility towards the people who have accompanied us during these ten years in giving them the possibility to keep these songs. When we went to "Nó" it was because we did not have the capacity to record an album, so we decided to start with the EP and try in a serious and active way to prepare a record with more than 10 or 11 tracks that is also our story and who you know what else we have to tell. The "Nó" came not so much from being that album, but deciding what songs we were going to work with the new elements that came along, Alex Rodrigues on drums and Aníbal Beirão on bass. We decided to choose 6 songs that made more sense to us, were the most recent songs, sacrificing the songs of the first phase of the band and leaving them for the next opportunity. The idea is to show what our language is now, our potential in composition, this journey in the longest songs, songs that touch us and we think about it a lot, to be a kind of journey from beginning to end, passing through several atmospheres in that there is a journey for that sound.

Why the title "Nó"?
TC: Precisely for this, besides being the single, has to do with the compromise it is metaphor, I do not know if you know the expression to give the knot?

Yes.
TC: And so, it was a metaphor for that, now, we came to stay and to take this project seriously as any other in our lives. It is a kind of commitment with us, with the public and the people who follow us and this time we did not stop to start over again, we came to stay. At the same time is the opposite, the difficulty that was to launch the EP, so many years trying without success, we took this essential step that is to record and enter the musical circuit.

One of the themes has no title, the only time I had seen something like that was in the art exhibitions.
TC: We all almost come from the theater, some are jazz musicians, but it was the last people to get to the project. We see the artistic creation in what ever and we see it in the same way and perhaps for this reason a song for us is a painting, a movie or play. Music has this power in 3 to 4 minutes to reach people, to touch them deeply, as a play in an hour and a half. Music has this power with words, or even few words, to reach people. This untitled it is also a theme that we usually call root, because it is a song that speaks of a woman in the present who is queen of the passion, who is above all things and maybe for that reason we prefer not to put a title.

Because Queen would be to pretentious?
TC: Yes and pompous, because it is something that cannot be named, it would be reductive to call all that feminine power, too diminishing to call it queen. That's why it's called "untitled" is a kind of irony.

At this moment you are touring the country to present the "Nó", so you play the six songs on the album, plus the 30 songs you mentioned?
TC: No, we already have an alignment of 15 songs, we are figuring out what will be a lot of the next album. We're running a lot to make the band more cohesive and the next record has that same energy.

The next will always have this acoustic melody, do you still have that line?
TC: Yes, we wanted to get out the new songs out here, but we sang a song from 2008 and we can see what the future of the band is, but I did not want to talk out much about the next one because we are presenting the "Nó". We want to show the potentialities of the song, in what way it can be deconstructed without losing its roots, its most essential side is sung poetry. We are also exploring how the song can open and new and also on how to do things. We are always very anxious to look for a new way, to surprise us in some way, to make a song with a stanza, a refrain and a third part is very reductive, we want to go to the roots of Portuguese music, the world but also leave this repetitive mold. We do not try to be commercial in this sense, but we liked that our music is heard by all types of audiences and this is important for us. This is not to say that we are broad in musical terms for everyone to enjoy, we do not think much of it, we want to do something that we like and that is intertwined with our roots and even reflects the influence of the music we have heard since the Radiohead to Maia Andrade, Tom Jobim, is a very big spectrum.

The fact that you were touring and creating songs at the same time for the next album, did it help? Did playing together helped build the melodies?
TC: Yes, completely, because when we recorded the EP and we started the tour there are "Nó" themes that we did not play in the same way. The songs have already evolved, as we are an independent band, we did not have time to stop for a month rehersing and that was one of the limitations. Then the new elements only came in recently, that is, after 20 concerts and have played for so many people, there is a band, we already know what the other will do, we shared a language in a more cohesive way. The oldest elements that are António Parra, me and André Teixeira been already together since 2009 and Alex Rodrigues and Aníbal Beirão only entered in 20015 and now it is impossible to imagine this band in another way. The fact that we have been playing EP themes, new songs and working together has meant that we were always introducing new songs to the concerts, we experimented and there is a difference. The next album will be more cohesive, will have another energy and will be stronger. I think it's impossible not to be like that, so much so that there are themes that I would have liked to have done differently.

That's exactly what I was going to ask you next, you are saying that you picked up some songs and improved them, have you considered releasing them again, making a remix?

TC: I liked that because the themes are always in the process. As we are independent and we do not have a music record label behind pushing to do everything in the same way we have found room to evolve, we will not fail to do it to play in a certain way. So, the songs continue to grow and in that sense we wanted to be recording the themes all to show the evolution, who listen to the concert in 2010, that has songs from "Nó", will like these songs even more or not. On the other hand, these songs are recorded and we have a lot more to record, as a principle we should not repeat it, we want to show others, we will continue to perfect them, but in the future we may find an opportunity to play them again. If there is such a possibility why not? We would like to have the alternative of stopping two or three months, if we were able to do that we would make a super album, or a double. The truth is that we are limited by the time we are in music, so I think our album would be a best off.

After the tour when you are planning to release this second album?
TC: I would like this new album to come out in early 2018. This year we would be presenting "Nó" and we have several concerts scheduled until the end of the year. Autumn is a less productive period in terms of concerts than in summer it would be an ideal time to record and we are trying to arrange the conditions.

But, you do not have a record label yet?
TC: We do not.

Https://lessaintarmand.bandcamp.com/

It is said that an image is worth a thousand words, in this photography book by Miguel Leitão Jardim, the premise is slightly subverted there are 14 photographs that serve as inspiration for several authors. Each of the images suggests a poem, with fewer words, but full of meaning.

What was the starting point for this photo book?
Miguel Leitão Jardim: The starting point was a series of trips in museum spaces. Especially Serralves, in Porto and the Mudas, in Madeira and unlike other works this came from some of these photographs that I made and that motivated me to continue a series that I realized I had, to increase it and to give it life. The framework that emerges is the result of the various authors who were invited to write about the various images that were allied to this project.

Tell me about the pictures. They are mostly black and white.
MLJ: Yes, except for one that has the color element that is the center of the book, has a text too, although it appeared later was very well framed for the idea I had for the central image of the book that is a red chair.

Are black and white images also related to the spaces themselves?
MLJ: Yes, it had to do with the very white spaces, very black and little color. It is the concept of the book and so I thought that here a lot of color would not make sense, with the exception I mentioned.

Fernando Alvim is one of the most multifaceted communicators at the national level. He owns his own style of interviewing, presenting programs and writing humor that delight the listeners, viewers and readers who have been with him for more than 20 years.

You are a broadcaster, a presenter, a comedian and an entrepreneur, you have a series of facets, which one defines you? Or not?
Fernando Alvim: It has nothing to do with one that defines me better. I am a series of things and not one. There are those who like to do only one, I'm in a lot of them and people ask me how I can do so much? I usually say that is the only way to do each of them, that is, if I had only one facet I might have already gotten bored and gave up. So, I do so much, I'm changing and it's how I live.

How can you manage the time, because you also write everything, when you do a live program prepare yourself before?
FA: No, when I do a live show, I never write. My preparation comes from reading a lot, newspapers and magazines, I read about the people I'm going to interview, but also for me, to feed myself cerebrally. The result of all this makes me have a real interest in knowing about the person in front of me, whom I am interviewing. There is a common mistake in the interviewers who do not listen to what the interviewee is saying, makes them very focused on the questions they are asking and not what the guest says.

Is like it was a barrier?
FA: It's not like there's something stiff about the questions. You know the next question is if I am from Benfica, which is true and it seems that you are not listening to what the person is telling you and you do not ask a question because of this. Now the advantages of a guest realizing that you are aware of what they say are many, first, you show audacity, acumen and you are quick to deal with this question, you automatically generate more respect and possibly more demand for your answers. If you are predictable, without no flame and nothing unexpected, you can make your guest realize that you are not different from the others and you become vulgarized by the look of the person you interview. When people come to interview me and ask me clichés, like, tell us about a remarkable episode in your life? Or in a band, why do they call themselves that? Or what is your sound? This shows that the interviewer does not have the least knowledge about who is interviewing and will not be as respected as he or she could be.

Yes, this is all very good when you have a respondent like you who says a lot of things, or others who give a lot of feedback, but there are minimalists in their speech and so what do you do?
FA: I usually use a tactic that is this, I never blame the referee, I never blame the guest. Why am I the one doing the interview? And not that gentleman who walks down the street? It is not by making the interview easy, both the gentleman who walks down the street, as I could do, interviewing someone like Manuel Luís Goucha is easy, because it is someone who loves to talk, anyone can do it. The difference between any one person and myself is that I will save the hard one, which is why you are there and they pay you at the end of the month, people pay me not to solve an easy problem, but to deal with the difficult, when I have one of those guests that says nothing, it's monosyllabic, I must save the program. I give you an example, a few years ago I interviewed a storyteller, of course I asked him if he could tell us a story, he did not want it and I asked this question five times over the program and five times he said he did not want to tell a story and I had to tell one, the program was remarkable for me because that's what happened. I had to try harder to save this situation that was surreal, because you have a storyteller who does not tell you stories and you have a one-hour program. So, you're going to talk about what? I think I saved the program.

When you finish a program, or even in the air, will you see the feedback you receive?
FA: No, it's very rare. The point is this, I do not want any kind of commentary to interfere with my audacity, courage and go home thinking about what I read yesterday. So, for some years I have not read the good things, not the bad ones.

Do you fix your Wikipedia?
FA: I never went to see it, I do not know how my Wikipedia is, I do not want to know.

Have you ever gone to Google to do a search for your name?
FA: No, I never did, I never went to see it. For me, what people tell me on the street is what interests me. It is not virtuality.

So, what are the key features that a communicator should have?
FA: You must like people, you must know how to communicate with them, more than talk, you should listen, that is the great secret.

Why did you create a publisher just for comedians?
FA: Because it did not exist and I thought it might be a good way to edit books. There were no publishers for humor I thought was a good way to create a different stamp. For me has no meaning, for example, if there is a restaurant that sells tuna and I open one that only has this fish and not another, or I do something that is distinctive, original and clearly something that will accomplish me, otherwise, it is not worth it, though I not very good doing business, so I'm comfortable doing that.

You also helped create a TV channel.
FA: Yes, I am a creative person, nothing passive, I do not expect people to remember me, or invite me to projects, it is I remember myself in the first instance and then I propose these ideas to the people as I create them. I am very dependent on my own ideas, which depend on others to approve them, but they are mine.

How have you been a public personality for several years, on radio and TV, should it be easier to accept the projects you propose? Hence the Q-channel?
FA: It is possible that it is so, it is the natural order of life, the recognition may in the end give us a respectability, but age is not a post, nor will it ever be, you will never hear it from my mouth, now I do not have to prove anything to no one. Life is a continuous test of non-resignation. I realized that with age I became more critical still and less resigned what is an incredible thing, but it is true.

Are you less afraid of being different too?
FA: I was never afraid to be different. No less, no more. Never had. I have always preferred originality to the detriment of more of the same. It's not my whole purpose.

So how do you divide yourself into a thousand and one tasks, you have time to read ...
FA: Yes, I have a life. This is essential.

And you have a social life?
FA: Yes, I do.

Are you a ruled person with your schedules?
FA: I am not, but I know how to create spaces for my life and this is fundamental.

And when do you have time to read, since you read so much?
FA: Look, I read, for example, at night, when I lie down, I read an hour. On Sunday night, I go to the radio and read for five to six hours all the newspapers and take notes about who I want to interview.

And what are you reading at night?
FA: I'm reading a book by Beckett that has three novels, "The Unspeakable," "Molloy," and "Murphy." This writer is sort of a Messi of literature, I like that.

And do you still read newspapers and magazines on paper? Or is it all online?
FA: I usually read many on paper.

Still buy them?
FA: It's not necessary,  in the radio it has all the newspapers and magazines I read, but I buy many magazines, I'm not totally miter, which is not bad.

And do you believe that the paper version will disappear from the media?
FA: I believe that. I think it will not disappear completely, but will suffer a great wear. Nobody wants to read yesterday's news when you're only interested in today's news.

And what advice would you give to a young person who is starting a career in this area of communication where there is so much dispersion and information flows from all sides?
FA: I think it’s going to win the one that invest the most in themselves. You should read, you should be more informed and take courses that make you stronger than others. The idea of having a diploma and thinking that we do not have to study anymore, frankly is an obsolete idea. I think we must study every day, to evolve, to become more competent and better than others, to play a better role.

And be multitasker? Like you are spread out over several areas?
FA: I think polyvalence is important because you are not safe in just one strand. Much more these days, if you fail one valence you have another, I think it is easily understandable.

I have a curiosity, you started on the so-called pirate radio, which no longer exist, but you are not only in this middle, as you do podcast.
FA: I make a podcast that is becoming a reality for me to discover talent in the media without needing anyone, not even a radio to broadcast. It is increasingly difficult to go to a radio with a program that accepts you, this no longer exists and it is good. You can radio on "YouTube", you have the “you tubers” and that makes you dependent on yourself.

And do you recognize any of these new talents that you are listening to in the podcast or on YouTube?
FA: No, I'm always alert about this and there has not yet appeared someone who stood out in the new talents.

Do you think that the Portuguese do not appreciate them?
FA: No, I think there are excellent communicators, I will not say names because I think it would be unfair to someone. We have very good talent, so in the field of humor we have many.

And which of these talents that you like?
FA: We have Salvador Martinha, Bruno Nogueira and Ricardo Araújo Pereira who are not new talents, they are completely settled. These are people who make me laugh a lot.

Do you think that the Portuguese are now more receptive to these means of digital propagation? We are a people that in the beginning of the internet we were not very receptive to the publication of contents.
FA: Of course, nowadays, we see that the most shared and commented videos are those of humor. It is clearly the medium of greater sharing and greater recognition on the internet.

So, you're a fan of YouTube?
FA: I'm not dependent on “YouTube”, in the sense of being a big fan, I'm a consumer, but I do not go there every day.

This is the second edition of this event included in the program of the 25th Festival of Short Films in Vila do Conde.

The history of cinema is already long and centennial. Over the decades, the cinema has lived with a critical discourse about its own condition. Film critics, first rooted in physical publications such as magazines and newspapers, occupied a central place in the construction of a canon on film discourses. Nowadays, the critics is undergoing several changes, mainly by the change of its support, moving from the physical press to the internet, with its democratization, but also with its banalization.
Recognizing the complexity of the new critical paradigm, this workshop meets the need to train and enhance new values of film critics, allowing a dialogue between generations and a platform to develop a critical discussion about the films that are exhibited at Curtas Vila do Conde.
The workshop will be composed of two phases, the first one aimed at learning the different modes of criticism and different models of cinema history through masterclasses and conversations. The second, in tutorial mode, for the accompaniment of the festival and the production of texts. This material produced by the participants will be published on the festival's web platforms, as well as by the press partners. The training will be guided by festival tutors and by national and international press guests. It has a duration of 7 days, including 22h of masterclasses and 24h of tutorials.

Program
It is an intensive course, in which participants are actively involved in the festival, viewing films and writing texts for publication. The Workshop starts on July 7th and lasts until July 14th, with daily tutorials, movie viewing, participation in debates and a daily masterclass with guests.
Tutors
Daniel Ribas and Paulo Cunha
Guest Speakers
Jorge Mourinha, Javier H. Estrada, Nicole Brenez, João Tabarra, Filipa César, among others.
Topics to be addressed
Techniques of writing and interview, modes of criticism, tendencies of contemporary cinema, experimental cinema, cinematic art.
Registrations
Entries are accepted until- 31.05.2017

Includes Free Pass that gives access to all sessions of the festival, except for exceptions indicated in the program.

This is its 8th official edition, which will be held from May 10th to 21st in the various public and cultural spaces of the neighborhood, in a local partnership of Telheiras and the Town Council of Lumiar, with the support of the Lisbon City Council.

The Telheiras Festival (FesTel) remains a unique landmark in Lisbon for the best reasons, not only for the community's involvement, but also for the number of entities, local actors involved and the philosophy of strengthening neighborhood feeling and identity. FesTel again makes a difference in terms of the balance and plurality of the activities it offers, in this eighth edition, more than 40 actions are planned for local commerce, people from the neighborhood, outside groups and institutions interested in participating and giving more life and culture to Telheiras.

Despite being centered in this neighborhood of the city of Lisbon, it is designed for the whole city and continues to present an eclectic program dedicated to all audiences. During the week the programmed activities are disseminated through the different public spaces and cultural spaces of the neighborhood that host gastronomy and health workshops, thematic debates, children's and parents' time of the tale, theater, health screening initiatives and sports activities and much more. In the movies, the highlight is the screening of the film "Dheepan" about the integration of refugees that achieve the Golden Palm in 2015.

At the weekend, May 19th, 20th and 21st, the party focuses on the garden of Telheiras, near the exit of the Metro. The days are dedicated to the conviviality and leisure with the Junk Fair, where it is promoted the sale of art craft and second hand articles and the local commerce. There will also be holistic and sports activities and a space dedicated to children with inflatables and many surprises. In the evening, enjoy snacks accompanied by concerts starting at 7:00 p.m.

The music will be featured this year, with the presentation of projects ranging from the neighborhood bands, to the most renowned names in the national scene.

Bio Products and Nuno Sanches - Sound exploration project-13/05 - 7:00 p.m.
Waste & The Candyman - The classic rock-17/05 - 21:30.
Torga- Exploration of traditional music- 18/05 - 21:30.
Estraca - Hip hop neighborhood - 19/05 - 19:00.
Minta & The Brook Trout - Presents its new EP "Row" -19/05 - 21:00
Melech Mechaya- They present their new album "Aurora" -20 / 05 - 22:00.

The Telheiras Festival began in 2007 and grew out of the commitment and dynamism of a group of young people who have made a commitment to leverage this movement of approaching realities, people and services. The goal of FesTel is presented as a way of boosting the active participation of the community, stimulating a sense of belonging and identity, reinforcing the ties of neighborhood.

António Soares is considered one of the best illustrators of fashion at the european level by having started to illustrate national designers. He is currently highly demanded globally by the major luxury brands and specialty magazines that order his exquisite and glamorous illustrations.

I know you have a degree in painting from the Porto School of Fine Arts, but how does the fashion illustration come into your life?
António Soares: The opportunity came a few years ago after finishing the course I taught painting classes in an atelier and techniques of illustration of CITEX, the current Modatex and I decide to begin to illustrate Portuguese fashion designers.

But was it at the private level or not?
AS: Yes, it was just an escape, the opportunity arose after an invitation from Nuno Baltazar to illustrate his collection for Moda Lisboa. Then orders began to emerge.

But did you leave the painting?
AS: I continued with the atelier, but at the moment I dedicate myself exclusively to fashion illustration.

But there are two kinds of illustrations I as far I can perceive.
AS: Yes, I have drawings that are my clients' orders and the illustrations reflect the collections and then I have my personal projects that I present on my Tumblr page.

I noticed that they are very ethereal, but blond women.
AS: Blondes? I do not think so, because the women I paint the mostly from Africa and Asia and I have some men.

Yes, in fact I have noticed thar, but in the more recent illustrations. Also noticed that you use watercolor in detriment of the pastel, or other paints, why?
AS: Yes, because it's easy to carry, I can draw anywhere, not just in my studio. There is another aspect, which is that it is easier to use than pastel, a watercolor illustration takes less time and has another effect.

But how long does one of your illustrations take?
AS: It depends, a single illustration can take an entire night, or just an hour, depending on my state of mind, the kind of details that need to be entered and whether it is a full-body order or not.

But is there a distinction?
AS: Yes, I have two types of projects, the personal, where I draw according to my inspiration and personal taste and the commissions for the clients. The illustrations that are ordered take precedence.

Let us approach the colors, I notice that you use a very restricted pallet, it is basically black and skin color and in others there is an explosion of shades.
AS: In personal projects I use black a lot, it's true. I really like black.
It's because?
AS: I do not know.

And the rest?
AS: The remaining ones that have more color are the commissions. I illustrate according to the specifications of the customers, it is they who decide which pieces that are part of the illustration. When they are private projects, that choice is mine alone.

According to a Spanish fashion magazine, Vanidad, António is one of the top ten illustrators in Europe.
AS: I did not know that, but it has no weight. This is a very competitive world at the professional level because there are a lot of talented people in this area and I always try to maintain a high level of demand for my work in order to continue receiving orders. At this moment it is my profession, I live exclusively on fashion illustrations.

It is a book from the author Mário Lúcio Sousa who won the literary prize Carlos Oliveira of 2009.

I decided to read this book by the fantastic and unusual premise of a brand new testament announced on a small african island reincarnated not by a man
God, but in the human form of a simple woman, believer, pious and black. And as I began to launch into the discovery of this amusing story, as credible, I could not help noticing not only the richness of the vocabulary, but also its clear sonority. And I had not yet reached the end of the reading, intrigued by its musicality, I decided to investigate a little about the author of this work that I admit I did not know and when I checked the small biography on the lapel of the back cover that he is a multiinstrumentist and had already worked with some of great names of the african music, everything made perfect sense. The compass of the narrative obeys a certain rhythm, it is a kind of syllabic melody that imposes a certain speed that is reflected in the way we read this work, does not mean that it is a quick reading, it is not that at all, but the best way of to describe it is using a metaphor ... it's like an ice cream that is relished with delight before the sun completely melts it up. And I rimed unintentionally, I swear, fruit of the inspiration that came from reading this book. Another aspect that attracted me in this "new testament" was its efabulation, a literary aspect that I greatly appreciate and which is in fact very recurrent in african writers. Then it is a very humorous book, if you are not a religious fanatic at least, you can delight your self in its satirical and even sarcastic tone that as it describes in the end it will be a sacred scripture for many readers. Blessed reading.

Dina Pimenta approaches in this exhibition a reflection on the space of the House of the Culture of Santa Cruz, from where a set of fragments of ideas arose that awoke of the senses to the various visions and metaphors that the line produces. A patent exhibit until June 16th.

Why the title? And what was the guiding thread for this exhibition?
Dina Pimenta: It is a transverse title to everything that is an area of sensibilities, could even come out of the arts and we could even travel to other areas like poetry, even in literature and music things work in a model close to this. But here I brought an intention, it is an open project for me also and for those who come to visit, because being a plastic artist I always wonder about everything, what I am doing and in what place? What I am? What moves me to do things? So this is the place of equation, of meditation, of managing ideas, or a space to sounds and feelings. When I think about ideas and the senses I am not only fully equating them, I feel like I have a sixth sense, not literally, but I try. Of course plastic artists use vision, what they see, but I think it's not just that. We are educated from the moment we are born to interpret what we see, throughout our life, around us, after we feel and see everything around us, we are visual people, we are also with our eyes closed, we reflect on things and we do not see them. For example, I am a teacher, in geometry class I put my students to look at the spaces, it is a representation system that is rigorous, goes to the paper where there is an equation and has a mathematical result. At the same time I am doing a palpable, completely subjective work on one point transcribing a straight line, then moving it to a plane, creating a surface and still not talking about the visual arts, we are talking about a discipline that Is rigorous of the scientific method and has a system of representation. As I am trained in arts, in painting and sculpture, I mix both things and I always bring these two strands behind me. In my professional area I ended up being a teacher and it was an enrichment, but always leaving space for my art and what I wanted to do. And I thought I had to be side by side, I've always been available for both, and the space is created to do so. We cannot leave aside what we have taught, or we learn and there are always things that stay with us, we apprehend a visual message and move on to an understanding that is the plastic expression and what is the area of painting, from the technical aspect to the symbolism and we are going by acquiring these understandings because they are part of our growth, the maturing of ideas grows within us. When I come to this exhibition I bring a life that I have lived, is not totally equated, there are new ideas and these works show where the ideas go where they take me. I also bring themes that I like the public to interpret and people who enjoy space pass through these experiences, each one according to its scale, because some need more time than others, there are people who see it soon and others recognize slowly. I also go through a metaphor where I go through the forms and the lines by which I express myself, because I have already expressed myself in another way, I went through a moment where I painted with more colors, another period in which there was no color because I understood that the surfaces were colors All in black was the empty and in white the color, I saw that colored.

In temporal terms, you said that there are several phases, what are you talking about?
DP: This exhibition is just an ideal project for this space.

For how long?
DP: Three months.

Always with the line as a backdrop?
DP: Not worried about the line you see, but rather the line of ideas that move me to other results. Let's say it's structuring, a little emotional, then there's the drawing that's my line to express what I want to do now and I play with it. There is an expression that mentions and contextualizes the work. It also approaches the senses.

In these works there is sculpture.
DP: Yes, sculpture works let's say modeling, which is done with parts that have been linked to my professional area. Over time we have to register a lot of what we do, each class has a dossier, documents that record the work and I have to make an evaluation that is difficult, but I have to keep them because I scribble a lot in them. And in this place of storing things I created a facility that I call a "mutant visit", it is a gift that I give to the visitors, I wish that it be recognized by some people and that they question me to perceive it a little. Then there is another sculpture I drew in 2010 as an object for this place. But when I come to this space, its surrounding area and questioning myself about it, I am going to pick up a subject that troubled me and that represents me that I call "strong saudade."

Addressing the drawing, you said were always drawing throughout your life, what kind of lines did you use for this exhibition? Did you paint with pencil?
DP: I rarely use pencils. I drawi with ink, or with a pen that slides fast, I got rid of the graphite and used it for a long time and I'm proud of it. Now I use a pen with graphite tone, but as a rule I draw the ink directly.

And is there a unifying line to this whole exhibition?
DP: I do not know if I bring the potential that the line has, let's say it's body, substance and expressiveness, I bring it a little and if I had developed that potential it would be even better, but I always wonder if I could do something else.

Are any of these drawings emblematic of the whole universe you had in mind for this exhibition?
DP: I bring one theme from my professional area, it's about people who grew up, who accompanied me and who are now my equals, are my peers. They are great figures, poets, are greater than me in the way of thinking and I am proud of it. Then there are people who have come across me in this life line as well and huge people who maybe understand me or not. I represent all this by metaphors and maybe used all this to represent people and things.
And the interpretation remains for who "reads" these works?
DP: I leave it to people's discretion, there will be one that they will find as a joke, but I hope they do not feel hurt, I like to laugh, play and I do not want to hurt them. The potential that my area allows me and the potential that comes from it, the artist must be free and have that freedom. You may be listening or clutching your concerns on the likes and dislikes, whether it's good or bad, but if we're conditioned we do not produce anything. We are tied up and this should not be reflected in our work, I think metaphors are made with a lot of affection.

The artist cannot be limited? Today we live in a politically correct society that covers almost every area and not just art.
DP: I honestly do not mean to offend anyone, I do not feel comfortable hurting people, I avoid it, but there were phases where I felt, like being the voice of others, or ideas, but this is something I do carefully. I do not like to always hurt, I think if we want to communicate we are solving things, my work makes people question, it is my soldier side.