Ana Vieira: Installation Manuals
19 october 2024 — 9 march 2025
Curator: Antonia Gaeta, Astrid Suzano e Sofia Gomes

The exhibition and editorial project has been coordinated by the curator Antonia Gaeta, architect Astrid Suzano and conservator and researcher Sofia Gomes, in collaboration with the Banco de Arte Contemporânea (BAC) and the heirs to the artist’s estate – her children, Miguel and Paula Nery. Promoted and organised by the Centro de Arte Oliva (CAO)/Municipality of S. João da Madeira, this project is the result of a true collective effort, including a grant from the first Support Programme of Portuguese Contemporary Art Network (RPAC) and with the partnership of Gnration, Braga, the Centro para os Assuntos da Arte e Arquitectura (CAAA), Guimarães, and the Museu de Arte Contemporânea de Elvas (MACE), Elvas. Support: República Portuguesa – Cultura / Direção-Geral das Artes

Antonia Gaeta (1978, Lanciano, ITA) has a BA degree in Conservation of Cultural Property from the University of Bologna, a Master’s degree in Curatorial Studies from the University of Lisbon’s Faculty of Fine Arts (FBAUL), and a PhD in Contemporary Art from the University of Coimbra’s College of Arts. Antonia Gaeta has developed research projects and exhibitions with various art institutions in Portugal and abroad, and has also published numerous texts in catalogues, specialised magazines and exhibition programmes. For the Directorate-General for the Arts, she served as the executive coordinator of Portugal’s official representations at the art biennials of Venice (2009 and 2011) and São Paulo (2008 and 2010). Between 2015 and 2022 she worked with the Treger Saint Silvestre collection, held on deposit at the Centro de Arte Oliva. In 2019 she inaugurated the Summer in Lisbon event (Verão em Lisboa), a space for experimentation in the visual arts. Since 2022, after completing her studies at the Ricardo Espírito Santo Foundation, she has been working on carpentry-based projects, alongside her work as a curator.

Astrid Suzano (1981, Paris) has a BA degree in Architecture and has worked in architectural studios in Rotterdam, Holland and Mexico City. She returned to Lisbon in 2013, accepting a new challenge as co-director of the contemporary art gallery – Galeria Graça Brandão. She was an advisor to the Lygia Pape Project where she also helped organise, produce and stage international exhibitions such as the retrospective at The Metropolitan Museum in New York (2017) or the solo exhibition at the Moderna Museet in Stockholm (2018). In 2016 she co-founded Passa Ao Futuro, a non-profit association that aims to connect designers with artisans, in order to innovate, preserve, activate, promote and thereby ensure the continuity of Portugal’s intangible cultural heritage. In parallel with Passa Ao Futuro, Astrid has worked on various projects, including for the Madeira Photography Museum – “Atelier Vicente’s”, in Funchal, where she designed the layout of the new museum. Since the end of 2019, she has been collaborating with the heirs of the artist Ana Vieira in the preservation and promotion of her work.

Sofia Gomes (1983, Lisbon) has a BA degree in Painting Conservation and Restoration (Faculty of Science and Technology- Universidade Nova de Lisboa) and a Master’s degree in Painting Techniques and Conservation from the School of Arts of the Portuguese Catholic University, Porto (2007-2009). She has a PhD in Heritage Conservation and Restoration from the Faculty of Science and Technology of Universidade Nova de Lisboa (2017-2023). She has worked in the area of Painting Conservation and Restoration at the José de Figueiredo Laboratory, having completed further training in the area of contemporary art conservation at SMAK, Ghent, the Reina Sofía Museum, Madrid, and LIMA (Living Art Media), Amsterdam. Since 2020, she has been a member of the management team of the Armando Martins Museum of Contemporary Art (MACAM) in Lisbon, as Collection Manager. She is interested in the conservation and materiality of contemporary art, in particular art installations and their re-materialisation inside and outside a museum context, and in analysing and studying the agents and conservation practices established in this process.