Untill 24 June, 2019, Serralves, in partnership with the Guggenheim Museum Bilbao, will present I’m Your Mirror, the first retrospective exhibition of the work of Joana Vasconcelos, who is returning to Serralves Museum after her previous exhibition in 2000.

The exhibition includes over 30 works, dating from 1997 to the present day.

In addition to some of Vasconcelos’ most iconic works — such as Valium Bed (1998), The Bride (2001-05), Burka (2002), Red Independent Heart (2005), Marilyn (2011) and Lilicoptère (2012) — the exhibition includes new works specifically created for this occasion, such as Finisterra, I’ll Be Your Mirror, or Solitaire (all from 2018). The exhibition continues throughout the gardens of Serralves Park with the display of several monumental outdoor sculptures.

Intertwining references to Portuguese popular culture with allusions to the history of art, Joana Vasconcelos’ artistic production approaches serious issues, with a disarming sense of humour, such as the exploitation of women, migrations and the impacts of colonialism. Joana Vasconcelos’ creative process is based on appropriation, decontextualization and subversion of pre-existing objects and realities of daily life. Her sculptures and installations, that reveal a keen sense of scale and mastery of colour, and her use of performance and video or photographic records, help materialise challenging concepts associated to daily routines. Using ingenious operations of displacement, reminiscent of the ready-made and the grammars of nouveau realisme and pop, the artist offers us a complicit, and yet critical, vision of contemporary society and the various aspects that make up collective identity, offering a particularly insightful view of questions related to the status of women, class differentiation, and national identity. The result of this strategy is a discourse that is attentive to contemporary idiosyncrasies, in which the dichotomies between craft / industrial, private / public, tradition / modernity and popular / erudite culture are invested with affinities capable of renewing the usual signification flows that are characteristic of the contemporary era.

Joana Vasconcelos: I’m Your Mirror is organized by the Guggenheim Museum Bilbao, in partnership with the Serralves Museum of Contemporary Art, and the Kunsthall Rotterdam, and is curated by the independent curator Enrique Juncosa

Works on display:

The exhibition encompasses over 30 works, dating from 1997 to the present day, including some of the artist’s best-known and most emblematic works, such as the aforementioned Valium Bed (1998), Burka (2002), The Bride (2001-05), Red Independent Heart (2005); Marilyn (2011); and Lilicoptère (2012).

The exhibition also includes a considerable number of new works, including ceramic animals designed by Rafael Bordalo Pinheiro that are covered with crochet essentially from Pico Island (Azores) and Nisa (Alentejo region of Portugal). Vasconcelos also makes ironic use of this technique in a series of urinals, covered with crochet, including Ni te tengo, ni ni olvido (I neither have you nor forget you) (2017), a work in which the artist appropriates Marcel Duchamp’s famous urinal. Finisterra (2018), another new work, belongs to the Crochet paintings series through which the artist declaredly challenges the modernist idea that each artistic medium is autonomous. A dialogue between painting and sculpture, their striped crocheted volumes invoke, simultaneously, the body, landscape, figuration and abstraction. It has a monumental scale, but its production technique is domestic and feminine: volumes of fabrics are sewn together to produce multi-coloured abstract images or structures that are then enclosed in gold frames, which emphasize their parodic appearance, and are hung on the wall as paintings.

Joana Vasconcelos: I’m Your Mirror also includes several large-scale works installed outdoors in Serralves Park, such as Nectar (2006), Pavillon de Thé (2012) and Solitaire (2018). The latter work, which is presented for the first time in Portugal, has the form of a 7-m high ring, made from gold wheel rims and crowned by what looks like a huge diamond, consisting of crystal whiskey glasses, all coupled to an iron and steel structure.


Link to the list of works on display in the exhibition:




Porto — Avenida Marechal Gomes da Costa

Portugal a Banhos (Portugal Swimming), 2010

Francisco Sá Carneiro Airport

Work and date to be defined

Barcelos — Avenida da Liberdade

Pop Galo (Pop Rooster), 2016

Porto City Council, ANA Aeroportos de Portugal, S.A., and Barcelos City Council are Founders of Serralves.




28 APR | Sun 12:00 noon

By José Costa, educator


11 MAY | Sat | 15:30

By Laredo, Cultural Association


26 MAY | Sun  12:00 noon

By Rita Faustino, educator


09 JUN | Sun  12:00 noon

By José Costa, educator


16 JUN | Sun 12:00 noon

By Rita Faustino, educator




19 MAY | Sun | 11:00

By José Costa and Rita Faustino, educators


10 MAY | Fri 18:30

Talk on “The Mask in Art” with the artist, Joana Vasconcelos, and the therapist and naturopath Alain Grouette



11 MAY | Sat 12 MAY | Sun

Workshop “Behind your Mask – A Journey to your Authentic Self” with the therapist and naturopath Alain Grouette, and the therapist Fausta Rendall




15 JUN | Sat | 17:00

By José Costa, educator



After its presentation in Serralves, on display until the end of June, the exhibition I’m Your Mirror, will be inaugurated in the Kunsthal Rotterdam, later in the summer of 2019 (July).


The exhibition catalogue is a joint publication of the Serralves Foundation, the Guggenheim Museum Bilbao and La Fábrica, and includes texts by Enrique Juncosa, Idalina Conde, Petra Joos and José Luís Peixoto, in conversation with Joana Vasconcelos.



Joana Vasconcelos was born in 1971. She lives and works in Lisbon. She has exhibited regularly since the mid-1990s. Her work became known internationally after the 51st Venice Biennale in 2005, with The Bride (2001-05). She was the youngest artist and the first woman to exhibit in the Palace of Versailles, in 2012. Other relevant moments of her career include her solo exhibition at the Guggenheim Museum Bilbao (2018); the project Trafaria Praia, for the Pavilion of Portugal at the 55th Venice Biennale (2013); the participation in the group exhibition The World Belongs to You, at the Palazzo Grassi/François Pinault Foundation (2011); and her first retrospective, presented at the Berardo Collection Museum in Lisbon (2010).


She has held solo exhibitions and projects in institutions such as: the Musée d’Art Moderne et Contemporain, Strasbourg, France (2018); ARoS Aarhus Kunstmuseum, Aarhus, Denmark (2016); Waddesdon Manor – The Rothschild Foundation, Buckinghamshire, UK (2015); Manchester Art Gallery, UK (2014); Tel Aviv Museum of Art, Israel (2013); CENTQUATRE, Paris, France (2012); Kunsthallen Brandts, Odense, Denmark (2011); Es Baluard, Palma de Mallorca, Spain (2009); Pinacoteca of the State of São Paulo, Brazil (2008); Palazzo Nani Bernardo Lucheschi, Venice, Italy (2007); The New Art Gallery Walsall, UK (2007); CaixaForum, Barcelona, Spain (2006); Passage du Désir/BETC EURO RSCG, Paris, France (2005); Centro Andaluz de Arte Contemporáneo, Seville, Spain (2003); Electricity Museum, Lisbon (2001); and Serralves Museum of Contemporary Art, Porto (2000).


She has taken part in many group exhibitions, including in institutions such as: Museo di Roma – Palazzo Braschi, Roma, Italy (2016); Museo Nacional Thyssen-Bornemisza, Madrid, Spain (2015); Kulturhuset Stadsteatern, Estocolmo, Sweden (2014); FRAC Bourgogne, Dijon, France (2013); ARTIUM, Vitoria-Gasteiz, Spain (2012); National Museum of Women in the Arts, Washington, DC, USA (2011); Calouste Gulbenkian Foundation, Lisbon (2010); Garage Center for Contemporary Culture, Moscow, Russia (2009); FRAC Île-de-France/Le Plateau, Paris, France (2008); MUDAM, Luxembourg City (2007); Istanbul Modern, Istanbul, Turkey (2006); MUSAC, Leon, Spain (2005); Stenersenmuseet, Oslo, Norway (2004); MARCO, Vigo, Spain (2003); Műcsarnok, Budapest, Hungary (2002); and the XXVI Bienal de Arte de Pontevedra, Spain (2000).


Her work has been highlighted in several books, including: Joana Vasconcelos: Material World (Thames & Hudson, 2015); L’Art Contemporain, by Éloi Rousseau (Larousse, 2015); The Twenty First Century Art Book (Phaidon, 2014); XXL Art: When Artists Think Big (Prestel, 2014); Nature Morte, by Michael Petry (Thames & Hudson, 2013); Sculpture Now, by Anna Moszynska (Thames & Hudson, 2013); Le Dictionnaire Universel des Femmes Créatrices (Des Femmes, 2013); The Naked Nude, by Frances Borzello (Thames & Hudson, 2012); Arte Portuguesa: História Essencial, by Paulo Pereira (Temas e Debates and Círculo de Leitores, 2011); Tactile: High Touch Visuals, co-ordinated by Sven Ehmann, Matthias Huebner and Robert Klanten (Gestalten, 2009); and Regard sur la sculpture contemporaine, by Gérard Xuriguera (FVW, 2008).


Her work has been referred to in specialist magazines, such as: Architectural Digest (Madrid, Milan), Art Actuel (Stains, France); Art+Auction (New York); Artforum (New York); Art Press (Paris), Beaux Arts (Issy-les-Moulineaux, France); Connaissance des Arts (Paris); Contemporary (London); Flash Art (Milão); Le Quotidien de l’Art (Paris); Tema Celeste (Milan); and The Art Newspaper (London); and also in various international newspapers, including: El Mundo (Madrid); El País (Madrid); Financial Times (London); International Herald Tribune (Paris); L’Express (Paris); Le Figaro (Paris); Le Monde (Paris); Libération (Paris); The Daily Telegraph (London); and The Independent (London).


Her work is included in numerous public and private collections, including the Amorepacific Museum of Art, Seul; ARoS Aarhus Kunstmuseum, Aarhus, Denmark; Caixa Geral de Depósitos, Lisbon; Centro de Artes Visuales Fundación Helga de Alvear, Cáceres, Spain; Domaine Pommery, Reims, France; Fondation Louis Vuitton pour la création, Paris; FRAC Bourgogne, Dijon, France; EDP Foundation, Lisbon; Gerard L. Cafesjian Collection, Yerevan, Armenia; MACE – António Cachola Collection, Elvas, Portugal; MUSAC, Leon, Spain; Museu Coleção Berardo, Lisbon; National Museum of Women in the Arts, Washington, DC; and Pinault Collection, Paris and Venice.


Enrique Juncosa (1961), was Director of the Irish Museum of Modern Art in Dublin, between 2003 and 2012, for which he was awarded the Order of Civil Merit by the Spanish Government. Previously, he was Director of the Reina Sofia Museum in Madrid and the Valencian Institute of Modern Art (IVAM) in Valencia, Spain.

Enrique Juncosa has curated more than 60 exhibitions in different museums, including the Whitechapel Art Gallery and Tate Britain, both in London; Hamburguer Banhoff, Berlim; MAXXI, Rome; Musée des Beaux Arts, Nantes; Kunsthalle Bielefeld; SMAK, Gent; Astrup Fearnley Museet vor Moderne Kunst, Oslo; Guggenheim Museum, Bilbao; the Gulbenkian Foundation, Lisbon; MACBA, Barcelona; Museum of Modern Art, Rio de Janeiro; and the Spanish Pavilion at the Venice Biennale. Juncosa is currently preparing a retrospective of Miquel Barceló for the National Museum in Osaka.

He has published more than seven poetry collections and a book of short stories. He also wrote several essays on Contemporary Art, some of which are compiled in The Irish Years (Dublin, 2013).


Since its foundation, BPI has played a very important role in supporting Culture in Portugal. It has consistently reiterated this commitment that has now been reinforced by the Bank’s entry into the CaixaBank Group and its inherent link with the La Caixa Foundation, one of the world’s three largest foundations. BPI has been a founding member of the Serralves Foundation since its launch. It has been the exclusive sponsor of the Museum of Contemporary Art since it opened in 1999 and is also the exclusive sponsor of the exhibition JOANA VASCONCELOS: I’M YOUR MIRROR.