Happy #Wednesdaywalk to all of you guys and many thanks to the both hosts of this amazing Wednesday event, our beloved 
Today I present you my sunday walk in the 'Museu Colecção Berardo' in Lisbon, close to Belem. All Photos were taken with my Huawei P30. Date: November 26th, 2022.
The Adress is:
Museu Coleção Berardo
Praça do Império
1449-003 Lisboa, Portugal
I marked it via #pinmapple so you guys can find it more easy.
source for more informations
Opening times
The Museum is open every day from 10 a.m. to 7 p.m., (last entry at 6:30 p.m.)
On Saturday you have even free entry 💕🤗💯
the outside Area
Lets start with the outside areas, I will present the #photos exactly in the way I was walking. So you will have the same view like I had. Step by step guys. Lets get it on.
Yes, to all #streetart fans, Bordalo II has one of his #Artworks here. I will post about it soon, I made some close-ups when I was downstairs. So stay up-to-date. The whole area is a wonderful place.
Even the entrance aka garden is a beautiful place. Some people just sit around here and enjoying a beautiful sunny day. Imagine, we have nearly December and its still warm. Amazing isn't it?
Now let's walk into the museum. Are you ready? Ok, here we gooooo...
Entrance Hall/ Floor 1
Here we all will start when we arrive.
Also here you can get your ticket for the museum visit and also the museum store is located here. I think it even has a back garden, but I didn't go there. The total area is about 600 square meters, and you also have free Wi-Fi internet access briefly noted.
Here you get you tickets
Here is the museums shop
The stairways to an artfully heaven.... Wooouupwoooup.
Floor 2
This is the floor where we will start today.
Please forgive me if I don't write sooooo much to every Photography. I like to let the impressions speak by itself. Also you have around 300 photos here (which took hours to upload) I will give as much as possible on infos and my own feedback if I think its necessary. 🤗💕✨ It can happen that you have questions, so if this is the case, feel free to ask me in a comment please. But now enough, lets start our walk in the 2nd Floor.
About this Museum
The Museu Coleção Berardo is simply brilliant and a "place to be" for all art lovers. It is said to be a museological reference place here in Lisbon, where you can simply admire the best of modern and contemporary art. And it is. Not only is the whole building an architectural masterpiece in my eyes, but also an incredibly beautiful place for art.
In this museum you can see the permanent presentation of the Berardo collection as well as the numerous temporary exhibitions of artists from different cultural backgrounds.
Right in front of the museum is an urban masterpiece by my favorite street artist Bordalo II.
I would recommend every visitor to really take a whole day for the museum, because it is enormous and the various impressions have to be processed by the mind. It is best to come in the morning and start on the top floor. Take a lunch break, where you can let the impressions sink in and then visit the other floors. But this is only a recommendation from my side. You will eventually know why... This is my biggest post of pictures so far. There are about 320 photos which are waiting for you. And yes, I have already sorted out, there were first 500...so sit back, get as always a tea or coffee and something tasty as a snack.
The Museu Coleção Berardo truly offers an enormous, extensive program of activities. This also for all age groups - no matter if big or small, young or old. There is something for everyone, such as tours of the exhibitions, but also various workshops for families.
The museum is also home to big names in art such as Marcel Duchamp, Pablo Picasso, my favorite surrealist artist, the great Salvador Dalí, but also Andy Warhol, Francis Bacon, Maria Helena Vieira da Helena Silva and Helena Almeida are just a few names you will see there.
That alone was floor 2...hope you can imagine how biiiig this museum is. Till now we have around 220 Photos and impressions. Lets move on...
Floor 0
Now we will go down, down, down... Floor 1 was the entrance, we will go to floor 0 now..
This area will get freaky, my thought was. And I wad right. You will see what I mean.
Nearly the first pictures showed more or less sexual stuff... The following ones will get more deeper into the psychology of the human mind, so I felt this artworks here. Some art was sooo freaky, I thought I was in an 80th horror movie or something like that.
The skin is a surface equivalent to a support for drawing or painting; skin reveals just as much as it conceals, as is the case on the surface of the paintings in this survey exhibition of Miguel Telles da Gama.
The exhibition does not seek to be a summary of the artist’s career but instead presents itself as a new work, built from a series of fragments of his earlier work, following and making use of what already exists, based on the principle that everything has already been invented, but at the same time fully aware that not everything has been said—that is, from among the countless images, words, and colours, there is a great deal still to say.The exhibition is built from parts of earlier work; each piece on display randomly connects fragments of stories with no end, images from the world of graphic art, as well as photography and cinema, which are never complete, at times covered in coloured pastes and words that give or transform the meaning.
Miguel Telles da Gama has been exhibiting since his 1990 Arremessos [Throws] exhibition, in Galeria Novo Século, which was devised in partnership with Paulo Abreu, a filmmaker who also collaborated on Debaixo da Pele [Under the Skin]. The works selected for this exhibition are from the end of the last century—the oldest a painting from 1997, Reserva de Caça [Hunting Reserve], which gave rise to the image processing that emerged in 2003 in the exhibition Fragmentos, Cernes e o Meu Cão [Fragments, Cores, and My Dog].
Chronology is secondary: the exhibition route begins with Azul Profundo [Deep Blue], 2014, continuing with more recent pieces—70 ex-votos por uma vida sexualmente animada [70 ex-votos for a lively sex life], 2021—before charging into a labyrinthine space where the words of Lou Reed can be heard, in Vanishing Act, 2016, reaching a dizzying centre filled with empty pieces of armour in Lux in Tenebris, 2018, passing through the infinite permutability of the graphic images with which the artist experimented between 2003 and 2004, attempting a narrative with paintings in Emotional Rescue, 2007, and confronting Perrault’s Contes, in the red masses of Passing Through the Red, 2013, with a cast of characters in search of an author in Encenações [Stagings], made between 1999 and 2003.
Source: https://en.museuberardo.pt/exhibitions/miguel-telles-da-gama-under-skin
This was really nice and wonderful art to see. Let's continue to check more on this floor and discover other artworks.
Wow, this floor was interesting, some art was just amazing marvelous, some was deep meaning to think about. Now lets go to the next floor down... This now gets more freeeaaaky.... Wait and see what I mean.
Floor - 1
Bringing together a significant set of works that marked his career and whose selection is the fruit of a close collaboration between the artist and the exhibition curator Catherine David, Abstracto, Branco, Tóxico e Volátil (also the title of one of his works from 1997) is the first major exhibition of Julião Sarmento since his death.
This was a project which Sarmento fought to realise with extraordinary commitment, with the exhibition layout and the arrangement of the works in the rooms finalised a mere two months prior to his passing. For Julião, the installation of his works in space was an integral part of what he exhibited, since he considered the relationship established between the work, the space that surrounds it, and the spectator to be of vital importance.
Abstracto, Branco, Tóxico e Volátil is an exhibition in which Julião feels very present and in which we are moved not only by the sensuality of his textures and the complexity of his compositions, but also by the enormous plastic and theoretical sophistication of these enigmatic, delicate, perverse images.
His works present no conclusions, theses, or hypotheses. They do not ask questions nor give answers; rather, they propose that we enter into their game between concealment and revelation, and that we construct our own stories.
Julião Sarmento was born in Lisbon on 4 May 1948. He attended the Architecture and Painting courses at ESBAL (Lisbon’s School of Fine Arts) between 1967 and 1974. He was one of the most internationally recognised Portuguese artists, having developed an artistic career that was immensely coherent, rich, and intense.
Constantly renewing himself and closely connected with the artistic practices of his day, from post-pop to the present, he employed a diverse range of methods and techniques, including photography, painting, collage, drawing, sculpture, performance, and film, to establish a concise vocabulary of ambiguous images.
The artist was strongly influenced by the culture of English-speaking countries and the themes and images of literature and film, which fre- quently appear in his works in the form of quotes and montages. His work has a performative and theatrical dimension, which accumulates through the constant evocation of timeless themes and representations—such as women, sexuality, transgression, memory, duality, home, the word— which operate as structural axes of his work.
His career started during the 1970s, or more precisely in 1974, when he began to use photography not as a means of representation but rather to capture, enumerate, and enact situations, to focus on the details. His paintings confront fragments and images of glamour and violence with the written word, which appears as a way of searching for the ambivalence of things, as a game of meanings between what is shown and what is hidden. This fragmentary dimension that Julião Sarmento explored throughout his career became progressively simpler and more refined during the 1980s and 1990s, when his painting became more contained, more minimal.
It was during the 1980s that Julião Sarmento made his name as a painter, in connection with what was referred to as the “return to painting,” which launched his international career and led him to participate in the documenta exhibitions in Kassel in 1982 and 1987. The period of his White Paintings, dominated by graphite drawing on a white background and in which the female figure is represented with great restraint and subtlety, coincides with his full national recognition as an artist when he represented Portugal at the 46th Venice Biennale in 1997. Equally relevant were his collaborations with Atom Egoyan at the 48th Venice Biennale in 2001, and with John Baldessari and Lawrence Weiner on a film made in 2004.
His work has been the subject of countless exhibitions at major national and international institutions, and many historians and art critics have taken an interest in and written about his works, including Germano Celant, Alexandre Melo, Nancy Spector, Delfim Sardo, Hubertus Gabner, James Lingwood, Adrian Searle, and Louise Neri.
Source: https://en.museuberardo.pt/exhibitions/juliao-sarmento-abstracto-branco-toxico-e-volatil
This room I liked much. Whatt was freaky to me were the weird Mannequins standing around.
They had even acoustic artworks. Yes, Floor - 1 had some speakers standing around with speakers. Some had just some noises, some had disturbing messages like from hellraiser or any old trashy horror movie. Lol
This Artwork has some acoustics. I could define it. It was just a noisy sound without speaking.
Here this ones were more beautiful again. Get me right, I like critical artworks too and here were a lot of this style. But the creepy ones... Phew, was hard to me.
Again some freaky mannequins. Damn, I don't like mannequins at all.
Here you see the freaky speakers. I was standing here for 10 minutes. Damn, this fucked up my mind. I even can't repeat all the messages. But it was something like:
"no symbols, no pictures... Manipulation... Blabla" after that I finally was overwhelmed and my mind needed some rest to let all this informations sink deeper. Pheeew.
This styles looked more 'friendly', not soooo dark lime some other artworks. So my mind could light up again.
I have to say, the last floor gave me the rest. I went back to the floor 1, to the entrance to get out. I needed fresh air and sunlight. I needed to think about all this impressions and just sit for a while. Imagine til now I was walking for 3 or 4 hours nonstop through the museum.
So lets the outside area from other perspectives.
The sunlight gave me new power again. As you can see, the whole area and building is incredibly big. Big and beautiful, I am not an architect but in my point of view, the architecture is super beautiful. Has an oriental flair.
Hope you guys liked my #Wednesdaywalk today.
Feel free to leave a comment.
Check out all of my NFT Art here:
https://nftshowroom.com/akida/gallery
