On View

04.12.2020 - 25.04.2021


Convulsions, hallucinations, burning sensations. The ergot parasite infecting rye plants is known to be the cause of the St. Anthony’s fire disease. In small doses, ergot has traditionally been used by women healers for abortions. However, their knowledge rooted in experience of the land and plants has been eradicated by the progress of patriarchal capitalism, replacing it with obstetrics. Historians today still speculate whether ergotism may have played a role in accusations of witchcraft against women in the Salem crisis in 1692, as well as against Sámi shamans in the Finnmark trials in 1621, and other instances.

Diana Policarpo’s exhibition Nets of Hyphae, curated by Stefanie Hessler (Director of Kunsthall Trondheim), draws speculative connections between ergot fungi networks and women’s health. Her newly commissioned video works, animation, textiles and soundscape create parallels between the fungus cycle, reproductive justice and the expertise of midwives, healers and peasants in precarity and resistance. Homing in on feminist perspectives on psychedelics and working with the transfeminist biohacker Paula Pin, Policarpo draws speculative parallels between ergotism, the suppression of ancestral knowledge and health justice.
Curated by:
Stefanie Hessler

Kunsthall Trondheim

17.12.2020 - 25.04.2021

Uma galeria de histórias

The exhibition Que horas são que horas: uma galeria de histórias is the result of an invitation made by the Galeria Municipal do Porto to three curators to reflect upon the historical landscape of Porto’s art galleries – inscribed between the apparent post-WWII cultural opening and the retraction of the cultural sector after the recent economic crisis. Looking at this time period enables us to understand the many different sides of the civitas, and the transformative complicities that exist between the city’s artists, cultural agents and audiences that shape it.

This retrospective portrait comprises independent exhibitions in bookshops, which explored an alternative professional approach to the art world; it recalls the confrontation with new audiences and civic spaces that only became possible after the 1974 revolution and the celebration of simultaneous inaugurations in galleries in the Rua Miguel Bombarda that followed; finally culminating with the network of alternative venues created to resist the Troika.

Either against the regime or supported by it, in an institutional vacuum or filling up museums, and heir of a conservative social context which had no critical discourse and resisted the inscription of new generations of artists, the historical landscape of Porto’s art galleries is composed by citizenship and commerce, and by art that has both cult value and exchange value: a gallery of stories.
Curated by:
José Maia
Paula Parente Pinto
Paulo Mendes
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