R. Joly Braga Santos, Lote F – R/c, 1600-123 Lisboa, Portugal



Carla Cabanas

Born in 1979 in Lisbon, Portugal

Carla Cabanas invokes the imprecision of memory through erasure and erasure of images or text that she encountered and collected that can be from her own private collection, for example, or belonging to Eduardo Portugal's — collection of Lisbon City Archive — Photography that we may find in the series of photos that will be presented in VOLTAshow. The photographic emulsion ripped off — but that accumulates on the plinth or the background of the frame - eliminates information about spaces, contexts and characters. Just as we unintentionally eliminate them from our personal history, until they are nothing but ashes of other times. In the series of works, named Palavra Arquivada, Carla draws a kind of poetics of memory placed on only on the pictures but also on the process, presenting the artworks as a jewelry item.

She lives and works in Lisbon and has exhibited widely in Portugal, Brazil, Spain and China. We have to distinguish the following solo exhibitions A mecânica da ausência, (curated by Sérgio Fazenda Rodrigues, Cooperativa de comunicação e Cultura, Torres Vedras, 2016), Celtis Australis L. (curated by Lourenço Egreja, Carpe Diem Arte e Pesquisa, Lisbon, 2015), Saudades e lagrimas são o unico lenitivo para a grande auzencia (Galeria Carlos Carvalho - Arte Contemporânea, Lisbon, 2014), O álbum desconhecido (2012, Sala do Veado Museu Nacional de História Natural e da Ciência . Lisboa, Portugal), A casa onde nasci e outras histórias (2009, Carlos Carvalho Arte Contemporânea . Lisboa, Portugal).  As far her exhibitions in a group, we have to mention the work in Residentes em Trânsito (curated by Mariana Gaspar and Filipa Oliveira, Fundação Eugénio de Almeida, Évora, 2017), Walking on the Clouds  (curated by Margarida Medeiros, Casa-Museu Medeiros e Almeida, Lisbon), ParisPhoto, Galeria Carlos Carvalho Arte Contemporânea, Paris, France, 2015), Habitar a Colecção (curated by Colectivo de Curadores, Casa Museu Medeiros e Almeida, Lisbon, 2015), Exposição #5 – Encontro entre a paisagem, e a abstracção (curated by Luísa Especial, Espaço BES Arte & Finança . Lisbon, Portugal), Impossible Exchange (Frieze Art Fair . London, Spain), Exposição #1 (Espaço BES Arte & Finança . Lisbon Portugal). Her work can be found in BES art_Colecção Banco Espírito Santo. Lisbon, Portugal, Fundação PLMJ. Lisbon, Portugal, Banque Privée Edmond de Rothschild Europe. Lisbon, Portugal - LPS Collection (Stanislas y Leticia Poniatowski), Marín Gaspar Collection


Anthony Goicolea

Born in 1971 in Atlanta, Georgia, USA

Employing a variety of media, Goicolea explores themes ranging from personal history and identity, to cultural tradition and heritage, to alienation and displacement. His diverse oeuvre encompasses digitally manipulated self-portraits, landscapes, and narrative tableaux executed in a variety of media, including black-and-white and color photography, sculpture and video installations, and multi-layered drawings on Mylar. In recent series, many of the images are devoid of humans, although the landscape reflects an anonymous and increasingly tenuous human presence. In these works, primitive lean-tos and crudely constructed shanties coexist in an uneasy union with the technological vestiges of an industrialized society. The artist has exhibited widely in group and solo exhibitions throughout the United States, Canada, Europe, and Asia—notably at the Museum of Contemporary Photography, Chicago, Illinois; the Corcoran Gallery of Art, Washington, D.C.; the International Center of Photography, New York; Postmasters Gallery, New York; Haunch of Venison Gallery, London, United Kingdom; Galerie Aurel Scheibler, Berlin, Germany; the Groninger Museum, the Netherlands; and the Museo Nacional Centro de Arte Reina Sofia, Madrid, Spain. Alter Ego: A Decade of Work by Anthony Goicolea is the first major traveling museum exhibition devoted solely to his work. Goicolea’s art is held in many public collections, including those of the Whitney Museum of American Art, the Solomon R. Guggenheim Museum, and the Museum of Modern Art, New York; as well as the Yale University Art Collection, New Haven, Connecticut; the North Carolina Museum of Art, Raleigh; and Telfair Museums, Savannah, Georgia. To date, Goicolea’s work has been the subject of four books. It has been featured in ARTnews, Art in America, Art Forum, the New Yorker, the New York Times, the Los Angeles Times, the Chicago Sun-Times, and the Chicago Tribune, among many others. The artist’s grants and awards include a Cintas Fellowship (2006) and the BMW Photo Paris Award (2005) and the Joan Mitchell Fellowship Foundation. Goicolea holds a B.A. in art history, with a minor in romance languages, and a B.F.A. in drawing and painting—both earned at the University of Georgia, Athens, in 1992 and 1994, respectively. He received an M.F.A. in sculpture and photography, from Pratt Institute of Art, New York, in 1997.


Mónica de Miranda

Born in 1977 in Oporto, Portugal

Mónica is an artist and researcher. Her work is based on themes of urban archaeology and personal geographies. She questions cultural boundaries by affirming that a place have not just physical or definitive location it can also be a place of imagination, thought and feelings - it is always a constructed territory. She works with video, video installations and photography and exhibits regularly and internationally since 2004. Mónica has a visual art degree from Camberwell College of arts (London, 1998); a Master’s degree in art and education at the Institute of Education (London, 2000) and a PhD in visual art from the University of Middlesex (London, 2014). She has received the support from the Foundation for Science and Technology. She is currently developing her research project: Post- archive at CEC (Centre of Comparative Studies, University of Lisbon) .

Mónica is one of the founders of the artistic project of residences Triangle Network in Portugal and the founder of the Project Hangar (Center of artistic research in Lisbon, 2014). She was nominated for Novo Banco Photo prize and exhibited at Museu Berardo ( Lisbon, 2016). Mónica was also nominated for Prix Piclet Photo Award (2016). Her solo exhibitions include: ” Arrivals and departures” (Palácio D. Manuel, Évora, 2016), “Hotel Globo” (Museu Nacional de arte contemporânea do Chiado, Lisbon, 2015) “Arquipélago” (Galeria Carlos Carvalho , Lisbon, 2014), “Erosion” (Appleton Square, Lisbon, 2013), “An Ocean Between Us” (Plataforma Revólver, Lisbon, 2012); “Novas Geografias” (198 Gallery, London / Plataforma Revólver, Lisbon / Imagem HF, Amsterdam, 2008).

Her collective exhibitions include:“Contemporary African Art and Aesthetics of Translations” Dakar biennial (Dakar, 2016); “Telling Time” (Rencontres de Bamako Biennale Africaine de la Photographie 10 éme edition, Bamako, 2015); “Ilha de São Jorge” (14th Biennial of Architecture of Veneza, 2014); “Line Trap” (Bienal de São Tomé e Principe, 2013); “An Ocean Between Us” (Paris Foto, Paris / Arco, Madrid, 2013); “Do silêncio ao outro Hino” (Centro Cultural Português, Mindelo, Praia, Cape Verde 2012 ); “Once upon a time” (Carpe Diem, Lisbon, 2012); “L’Art est un sport de combat” (Musée des Beaux Arts de Calais, France, 2011); “This location” (Mojo Gallery, Dubai, 2010); “Mundos Locais” (Centro Cultural de Lagos / Allgarve, Lagos, 2008); “Do you hear me ” (Estado do Mundo, Fundação Calouste Gulbenkian, Lisbon, 2008); “United Nations” (Singapore Fringe Festival, Singapore, 2007). Her work is represented in private and public collections.

Carla Cabanas, Palavra Arquivada (Archived Word series), 2014-2017, laser cutting on inkjet print, variable dimensions
Carla Cabanas, Palavra Arquivada (Archived Word series), 2014-2017, laser cutting on inkjet print, variable dimensions
Anthony Goicolea, Monument, 2011, C-print on Di-Bond with non-glare UV Plexi laminate face mount, 127 x 178 cm (50 x 70 in.)
Anthony Goicolea, Ocean, 2011, C-print on Di-Bond with non-glare UV Plexi laminate face mount, 127 x 178 cm (50 x 70 in.)
Mónica de Miranda, City scape (Air-line series), 2016, Inkjet print on cotton paper, 75 x 450 cm
Mónica de Miranda, Break-line, 2016, Inkjet print on cotton paper, 60 x 280 cm