Thursday, July 18, 2024

On Filho Único's Summer Night
farO presents 


Featuring works by Ernest Gusella, Copper Giloth, MIguel Soares, 
Catherine Biocca, Amy Lockhart, Animal Charm, Bill Etra and Louise Ledeen


a screening programme for a seated audience that challenges the norm by embracing the conventional! 

This programme follows your usual screening routine, where one piece rolls in after another, and mixes it​ with the dull comfort of predictability. 
It features eight short time-based pieces that we love and have seen over and over again, but never found a chance to show.​SO HERE WHAT'S NEW: the line-up of the pieces is set by opening a specially designed CHANCE ​BOOK™️, at random.​ This book also determines that one of the pieces will play again and again between all the others --the perfect sandwich of new and more of the same.

O, the innate pleasure of boredom.


Agora em LISBOA THE BOREDOM LOOP (o ciclo do tédio)
Um programa para um ecrã e um público sentado que desafia a norma com o convencional!

Este programa segue a rotina habitual de um screening, onde uma peça se segue à outra, e mistura-a com o conforto monótono da previsibilidade.
Mostramos oito peças curtas que adoramos e já vimos muitas vezes, mas nunca tivemos oportunidade de mostrar. Então, O QUE HÁ DE NOVO AQUI: o alinhamento das peças é feito a partir de um LIVRO DE PERMUTAÇÕES™️ especial que abrimos aleatoriamente. Este livro determina também que uma das peças se repete entre todas as outras – uma combinação perfeita de novo e mais do mesmo.

Ó, o prazer inato do tédio.

Free admission limited to room capacity. Please RSVP  to book your seat.
Left entrance of Igreja de Santa Isabel Campo de Ourique, Lisboa

Wednesday, July 10, 2024

farO apresenta nas Noites de Verão da Filho Único

K7 do K4


Public rehearsal of the 2nd recording of the English version of 

K4 the BLUE square, a novella by Almada Negreiros

performed and set to sound by Marta Ângela, Nu No and Tropa Macaca

K4  The BLUE square





Four years ago, in Oporto, in the eye of an ill-remembered pandemic, the secret of the blue square, as heard and told by Almada Negreiros, was broadcast to an English-listening audience. The long-(100-year)-awaited English version of "K4 Blue Square” was performed afar by voices in isolation, recorded in solitude under feather duvets and tiled countryside bathrooms, and put together in a cassette tape (K7 in Portuguese).  

This Saturday marks the inaugural unmasked live performance of this sensationist masterpiece, by other bearers of the square tattooed in blue. The performers will channel a vortex of timeless revelations, infra-geometric holograms in a novella of bored aristocrats, sports cars, compulsive dogs and kitsch romance.

With these recordings we aspire to, once and for all, globalize Almada's unceasing spirit and torrent vision.

Eternity does exist, but not so slowly!

We are grateful to Fernando Pessoa and Santa-Rita Pintor for having been the first listeners to the words of The Blue Square! And we can't thank enough Adrian Dannatt, Lotte Allan and Von Calhau for first venturing into the maelstrom of interpreting Almada's text in English.

Free admission limited to room capacity. Please RSVP  to book your seat.
Left entrance of Igreja de Santa Isabel Campo de Ourique, Lisboa

Wednesday, July 3, 2024

farO apresenta nas Noites de Verão da Filho Único

Ernest Gusella, Connecticut Papoose, 1981
Analogue video transferred to digital, colour, sound, 50’

In Ernest’s stepping stones we count the city of Calgary, the motionless secrets of painting at the San Francisco Art Institute and New York City’s vibrant avant-garde scene of the sixties. Among giants and midgets, Gusella rubbed shoulders with grandparents of video-art Woody and Steina Vasulka, Shegeko Kubota and Nam June Paik, igniting a full-blown revolution in art. Since those mythical times he’s been living a double life, dividing his time between running The Social Studies Store with his video artist wife Tomiyo Sasaki, rummaging Southeast Asia fair trade to stock up the store, and keeping art punk with his weekly record issues powered by AI avant-la-lettre.

Gusella views art as an inter-religious summer camp, where traditional boundaries dissolve in audio-visual rituals. Armed with custom electronics and the talent of a mad violinist, he manipulates signals with virtuoso finesse. Drawing inspiration from the First Nation tribes of Dadaists and Surrealists, his work thrives on chaos, aristocratic nonsense, in a “paint me green and call me a pickle!” logic, that seeks to reveal profound truths about life, the universe, and everything else, i.e “Spiritual Advice by the Bullet”.

On Saturday we host a summer night to present one Gusella's seminal works, "Connecticut Papoose”. This odyssey through the subconscious was inspired by literary giants Tzara, Breton and Lautréamont. A long form of short performance, this opera transports through the labyrinthine corridors of the human psyche, challenging perceptions and evoking sub-visceral responses knowing that “an image that is repeated becomes an image that gets repeated in the mind.”

Free admission limited to room capacity. Please RSVP  to book your seat.
Left entrance of Igreja de Santa Isabel Campo de Ourique, Lisboa


Saturday, June 22, 2024

Wednesday 26th  June, 10pm farO presents:

EXERCISES FOR TRUE FRIENDS. Wojciech Bąkowski, 2011

Animated film made with ballpoint pen on paper and video-collage, 14’20’’, sound
Soundtrack featuring magnetic tape noise, text and music performed by the author and other sound effects

After ten sessions at farO, it is plain as day that the transition from Oporto's anarchist salon to the occult parish cinema has been a success. Against our worst fears, our dedicated audience held fast. This is largely due to a close circle of supporting companionship, grown by each session, by sharing or creating artworks, providing research materials, editing our texts, assisting with installation, fetching ice and preparing hearty meals, and helping us out with our poor social media skills by spreading the word. In essence, our friends did it all.

We would like to believe that the strength and solidarity of this community stems from the art we exhibit and the artists we champion. Yet, if true friendship comes also from the sharing of rare unpleasant moments, our choice of dry conceptual work and blinding projections is our most prodigal offering. As once confessed by our longtime master printer, who has never missed a session, our program never resonated with him but the discomfort was an addiction that keeps him coming back for more.

This Wednesday, the 26th, at 10:00 PM, yours truly will present you with a 5-step test for the basic geometry of friendship. Wojciech Bąkowski’s self-playing video game is a maze for observing our behaviour towards animated entities. The lack of control over their predictable fate makes us more empathetic and lowers the expectations of our role in the game, leaving us no option but to surrender to the unfamiliar momentum.

We dedicate this session to true friends who make us want to continue our program.

farO would like to thank Wojciech Bąkowski for the trust. We also extend our gratitude to Zuzanna Hadryś and Michał Lasota from Galeria Stereo, Warsaw, and Gabrielle Giattino from Bureau New York, for their unconditional support.  For those fortunate to be in New York until June 29, don't miss Bąkowski's exhibition at Bureau.

cinema farO, left door of  Santa Isabel Church, Campo de Ourique, Lisboa

Wednesday, May 1, 2024

Sábado, 4 de Maio de 2024

Cinema farO, porta esquerda da Igreja de Santa Isabel, Lisboa


E se considerássemos a monocultura como resultado de uma intensa competição vegetal que leva os humanos, sob a silenciosa influência das plantas, a favorecer o desenvolvimento de certas espécies em detrimento de outras? Do ponto de vista da planta, um campo monocromático de girassóis ou papoilas não seria apenas um produto industrial, mas a expressão de uma aliança milenar em prol da luta botânica. As plantas desempenham um papel determinante no curso da história e, o que consideramos conquistas humanas, podem ser também consideradas vegetais. 

A produção europeia de Dianthus caryophyllus, o cravo, teve dois picos: entre Março e Outubro de 1917 e entre Abril de 1974 e Novembro de 1975 – é curioso que este crescimento coincida com as revoluções russa e portuguesa, que usam ambas a flor vermelha como símbolo.

Em Portugal, diz-se que o cravo apareceu espontaneamente no dia 25 de Abril no snack-bar do Franjinhas, o edifício projectado pelo arquitecto anti-fascista Nuno Teotónio Pereira. Notícias de uma revolta fecharam o estabelecimento da moda, impossibilitando a celebração do seu primeiro aniversário. As flores que nesse dia eram destinadas a clientes especiais foram arrancadas das jarras pelos funcionários e enfiadas no cano das espingardas dos soldados que iam tomando as ruas. Os cravos aliaram-se assim ao movimento dos que lutavam pelo fim da guerra colonial e da ditadura.

Não foi esta a primeira vez que a flor surgiu em Portugal em apoio ao movimento antifascista. Também em 68, no Maio da sua floração, a Europa sentiu um aumento da produção de cravos, acompanhada de manifestações estudantis em Paris. A flor, embora não tenha sido adoptada como símbolo pelos franceses, veio a florescer em Lisboa nesse mês. 

Em abril de 1968, um grupo de amigos viajava de Mini pela Europa quando o choque da morte de Martin Luther King Jr. os fez desviar para Paris para se juntarem a uma homenagem. Assassinar um vencedor do Nobel da Paz. PORQUÊ? Indignados, Maria Antónia Pacheco, Joaquim Osório e os irmãos Moita, Manuel e Maria da Conceição, de volta a Lisboa, pediram ao pároco progressista de Santa Isabel para replicar o tributo sob o protectorado da igreja. Organizaram um colóquio com a projeção do filme “A Marcha” de James Blue que imortalizou o sonho de Luther King. No folheto do evento pediam aos que viessem que trouxessem consigo uma flor porque “POR CADA FLOR ESTRANGULADA MILHÕES DE SEMENTES A FLORIR”, uma tirada pré-maoista de um poema de João Apolinário, escrito no início dos anos cinquenta numa cela em Peniche.

A 4 de maio, uma multidão concentrou-se no largo da igreja para assistir ao filme de flor ao peito. Mas as portas do cinema paroquial não chegaram a abrir. Coagido pela Polícia Internacional e de Defesa do Estado (PIDE), o Padre Armindo Duarte pediu às pessoas que se dispersassem. Proibir o colóquio quando este filme era apresentado regularmente em escolas e catequeses? PORQUÊ?
Indiferente, a polícia cercou e esmagou indiscriminadamente flores e pessoas. Este incidente foi mais uma faísca para a revolta que levou activistas democratas católicos e não católicos à desobediência civil e a acções não-violentas de protesto, como a vigília na Capela do Rato ou o ciclo de conferências “Lusitânia, Quo Vadis?”, fundamentais para a queda do regime.

Este sábado, novamente 4 de maio, 56 anos depois à mesma hora, tentamos uma vez mais exibir “A Marcha” no cinema da igreja de Santa Isabel, sede do farO e sob o signo da flor, vamos VER, OUVIR e FALAR em liberdade. No ano do jubileu da Revolução dos Cravos – marcado pelo avanço da extrema direita, dos regimes totalitários e pelo terror das bombas – a verdade, a justiça e a liberdade continuam a ser valores definitiva e irremediavelmente subversivos. PORQUÊ? Partilhamos do credo que a verdade desarmada terá a última palavra sobre a realidade (Martin Luther King Jr., do seu obituário, 1968).



Saturday, May 4th, 2024

Cinema farO, left door of Santa Isabel church, Lisboa


What if we were to consider monoculture the result of an intense plant competition that leads humans, under silent vegetable influence, to favor the development of certain species over others? From the plant’s point of view, a monochromatic field of sunflowers or poppies would not only be an industrial product, but the expression of a millennia-old alliance in service of the botanical struggle. Plants play a determinant role in the course of history and human feats could as well be seen as vegetable triumphs. 

The European production of Dianthus caryophyllus, the carnation, had two peaks: between March and October 1917, and between April 1974 and November 1975 – it is curious that this growth would coincide with the Russian and Portuguese revolutions, both of which wear the red flower as a symbol.

In Portugal, it is said that the carnation appeared spontaneously on April 25th at a snack bar in Franjinhas, the building designed by the anti-fascist architect Nuno Teotónio Pereira. Word of a revolt shut the establishment, preventing the celebration of its first anniversary. The flowers intended that day for special customers were pulled from the jars by the staff and stuck in the barrels of the soldiers who took to the streets. The carnations joined battle with those who fought for the end of colonial war and dictatorship.

This was not the first time the flower sprung in Portugal in support of the anti-fascist movement. Also in 68, in the May of its florescence, Europe experienced an increase in the production of carnations, accompanied by student demonstrations in Paris. The flower, although not adopted as a symbol by the French, bloomed in Lisbon later that month.

In April 1968, a group of Portuguese friends was traveling through Europe by Mini when the shock of the death of Martin Luther King Jr. made them turn to Paris to join a tribute. To murder a Nobel Peace Prize winner. WHY? Outraged, Maria Antónia Pacheco, Joaquim Osório, and the Moita siblings, Manuel and Maria da Conceição, back in Lisbon, asked the progressive priest of the parish of Santa Isabel to replicate the tribute under the Church’s protection. They organized a conference with the screening of James Blue’s film “The March” that immortalized Luther King’s dream. In the flyer of the event, they asked those who came to bring a flower because “FOR EVERY CRUSHED FLOWER, MILLIONS OF SEEDS WILL BLOOM,” a pre-Maoist line from a poem by João Apolinário, written in the early 1950s in a cell in the jail of Peniche.

On May 4th, a crowd gathered in the church square to watch the film with a flower on their chests. The doors of the parish cinema never opened. Coerced by the International and State Defense Police (PIDE), Father Armindo Duarte, in his liturgical gown, politely asked people to disperse. WHY? Repress this gathering when the film was regularly shown in primary and Sunday schools. Indifferent, the police surrounded and crushed flowers and people alike. This incident was another spark for revolt, engaging Catholic and non-Catholic democratic activists in actions of non-violent protest and civil disobedience, such as the wake in Capela do Rato or the cycle of conferences “Lusitânia, Quo Vadis?”, fundamental for the downfall of the regime.

This Saturday, May 4th, 56 years later at the same time, we attempt once again to show “The March” in the cinema of Santa Isabel church, farO’s headquarters, to WATCH, LISTEN and SPEAK in freedom, under the sign of the flower. In the jubilee of the Carnation Revolution – marked by the advance of the far right, totalitarian regimes and by the terror of falling bombs – truth, justice and freedom are definitively and inevitably subversive values. WHY? We commune on the credo that unarmed truth will have the final word on reality (Martin Luther King Jr., from his obituary, 1968).


Rua S. Joaquim nr. 2
Campo de Ourique, Lisboa
Entrada do lado esquerdo da Igreja de Santa Isabel

Monday, March 4, 2024

SATURDAY, 24 February  2024, 10 PM 

farO presents VENUSVILLE 

by  Chris Langdon and Fred Worden, 10', 

16mm film transferred to video, color , mono sound 1973


---------- Forwarded message ---------

De: oporto <>
Date: terça, 20/02/2024 à(s) 17:20
Subject: Convite aos associados da AAVP: farO, 24 de fevereiro, 22h, Lisboa
To: <>

To the Association of Visual Artists in Portugal (AAVP)

(Apologies in advance for writing in English, but it remains the language most spoken by most of our intercontinental peers)

As you know, in 2011 the South of Europe was plagued by Rhynchophorus Ferrugineus, a red horned Asian weevil, that drilled thousands of centennial palm trunks into a greying depression. That same year, Troika, a consortium of Northern European bureaucrats, swarmed the Mediterranean bay and ruled years of austerity to squeeze pennies off of the PIGS of Club-Med, the agent’s pet name for Portugal, Italy, Greece and Spain. In Portugal, the action of these intruders dramatically changed our ecosystem with devastating effects. Fellow artist and founding member of AAVP, Pedro Barateiro, righteously pointed in his essay/performance “Sad Savages” to a correlation between the simultaneous disappearance of palm trees and the financial crisis that hit the country. Barateiro explored these events as metaphors for concrete disaster. As the weevil chewed at the palms silently in the dark, Troika's operation attacked right to the pith our precarious economy, in plain sight. 

The deceased palms might have effaced from the landscape the imported tropical flare of the Phoenix Canariensis’ mane, a symbol of our sad colonial history. But its absence became the landmark of a new era, moved by real estate speculation, unruly tourism and human exploitation. The crisis opened the way for two waves of diaspora on the European West Coast. The first, a party of nawab immigrants looking for sun, salt and fast and easy profits, nomads out of choice who called themselves ex-pats. The second, a less glamorous group, were nomads out of necessity, true expatriates fleeing countries in crisis. By necessity or convenience, they were both agents of change in an arid economic and social environment. Some built and speculated over the vacant spaces of dying trees, others unfruitfully looked for fallen dates. 

To these, we would add a third group that disbanded from their homeland for unclear personal reasons or poetic revenge. Ampersand’s members are part of this kind. Arriving seven or eight years ago, in post-crisis Lisbon, they carried the romantic dream that an Atlantic cliff could be a safe haven for fundamental “research on art at a serious and fair pace”. These voluntary exiles adapted to the adversity of the context, and were, malgré tout, forcibly integrated. Soon they realised, like most of us, that in Portugal palm trees in the sun never bore fruit, so they took to growing potatoes in the dark. 

Their program put together, with light touch and unpredictability, new and all-time favorites like Sylvie Fanchon, Ilene Segalove, David Wojnarowicz, Gabriel Abrantes, Nancy Graves, Artur Varela, Tina Girouard, Sofia Montanha, Zoe Bellof, Ana Jotta &etc. We keep fond memories of Wolfang Stoerchle's penis giving birth to Mickey, Bern Porter's found poems and Pati Hill’s cat piss stains. Their existence generated desire and fed our desire to see more. 

Ampersand’s Lisbon branch is now closing as its founders are forced to emigrate anew. To show our gratitude for the shared adventure of discovery, farO is organising a farewell tribute, on the 24th February at 10 pm, screening Venusville, by Chris Langdon and Fed Worden, a moving picture about movement in film, starring as subject no more no less than the Phoenix Canariensis.

We’d be highly appreciative if you could promote the event among your members, as it’s most certainly of their interest. We also want to take this opportunity to suggest that, given the importance of the work carried out, the AAVP would consider granting Ampersand’s team honorary membership.

We hope that this tribute will raise awareness to the importance of the shared experience of art, which is as vital to its makers as the making.

Subscrevemo-nos com amizade,

P'lo farO,

Ana Baliza e Alexandre Estrela

Thursday, March 31, 2022


Jane Veeder and Phil Morton

We're approaching the end of our 8 week programme.
To celebrate, we’ll pay tribute to two of our long time heroes, Jane Veeder and Phil Morton, and their collaborative work that pioneered the pre-digital adventure of analogue video.

We welcome everyone to join us for dinner, at 9pm, while playing three road trip video tapes, shot on the mythical path of America Deserta:

Program 7
32’21’’, 1978

Program 9 (Amateur TV)
30’56’’, 1979


Ha-Ha, Many Mammals, Leary, Jane’s Fall (unedited raw material)
12’30, 1980

Analogue video, processed on Sandin Image Processor, colour and b&w, sound
Transferred to digital by The Phil Morton Memorial Research Archive
Shown with kind permission from the Archive and Jane Veeder


In the late seventies, during the summer breaks of the Chicago Art School, Jane Veeder and Phil Morton left their Electronic Visualization Center to travel out west, to work on a new type of art.

Phil had converted a General Motors van into 
a mobile video station, with customised windows and an awesome paint job. Equipped with two cases of video tape and the most advanced portable (though heavy) sound and video technology they migrated to the 
West towards the Sun. They snaked the trails of America Deserta, where nothing officially exists and everything can happen, set up camp and took day trips to their favourite places, collecting footage of a joyful journey that collapsed mythical with real time, under the surveillant eyes of cactuses, ongos and wild animals.

In the fall, they would drive back to Chicago, far from the desert where the years are counted by the thousands. In their video lab they would rework the material to recover real time. 
The footage was expanded adding other image sources and using Dan Sandin’s real time image processor and Tom Defanti’s ZGRASS graphics language, both fellow teachers at the same Art School. Sometimes this recycling process was edited into Video Programmes, presented at schools and media centres to introduce early video practitioners into their philosophy of the immediate through experimental electronic image visualisation. 

Sitting and contemplating the reverberating light going through the cathode ray tube was like sitting again under the desert sun. Like the Sun, the TV would become a model of 
an unmediated life source. With this 
live production-reception feedback network, they conceived video beyond a recording medium, as a system for interactive learning that would allow us to tune in through real-time communication. Theirs was an art programme for a social revolution, rewiring consciousness to be closer to desire and imagination.

Woody Vasulka’s interview with Morton and Veeder (1977) has great insights on the artists visionary project. It can be found at
jonCates’ article Phil Morton and Jane Veeder: Our Desired Futures and the mobile Media Art lab (2014) speaks in more detail about the video programmes. Available at

Thank you
Jane Veeder, for kindly accepting this invitation.
jonCates, founder of the Phil Morton Memorial Research Archive, for the generous effort in making Morton’s work accessible under the free-distribution policy he stood for. The archive can be followed at

This session had the technical support of Borja Caro and Carlos Gaspar, and photo coverage by Pedro Alfacinha. The programme was printed by António Rijo de Carvalho and Gonçalo Duarte. Camping food by João Simões with the support of Conserveira de Lisboa. 
At the entrance, on display for the last time, the SLANT STEP.

Produced with the support of Fundo de Fomento Cultural Garantir Cultura–Compete 2020, República Portuguesa–Ministério da Cultura.