ECOTEMPORARIES

This is the project that has brought together different personalities to think about the green spaces of Lisbon in relation to literature. Now, in an online format, each guest shares a photo of himself in a natural landscape, relating it to a book he has at home. A dialogue is established between the interior and the exterior, between the body (confined to housing and photography), nature and imagination. An informal chat via live Instagram in which the online community is invited to participate.

WEEK 9

Guest: Capicua (stage name of Ana Matos Fernandes, Portuguese rapper)
Book: “The old man who read love novels” (1989) by Luís Sepúlveda.

Capicua was born in Porto in the 1980s, discovered Hip Hop culture in the 1990s (first through Grafitti and then through music), going from being a mere listener to an apprentice Rapper in the 00s. A trained sociologist, she considers herself a militant rapper and is known for its expert, emotional and politically engaged writing. With a wide discography, he already has a solid path in the panorama of Lusophone music: two mixtapes (Capicua Goes Preemo – 2008 and Capicua Goes West – 2013), two albums in his own name and a remix album (Capicua – 2012, Sereia Louca – 2014 and Medusa – 2015), a disc-book for children in partnership with Pedro Geraldes (Mão Verde – 2016) and a Portuguese-Brazilian disc shared with Emicida, Rael and Valete (Lingua Franca – 2017). In the last decade, there have been intense and participated concerts, winning a very diverse audience and the recognition of criticism, always contributing to the destruction of the stigmas associated with Rap in our country. An apologist for espotaneity and cultivating a clear feminist attitude, he has accumulated collaborations with various artists (from Sérgio Godinho to Sara Tavares), as well as several conferences, workshops and social projects (such as OUPA, where he worked for four consecutive years at the invitation of the Chamber Of Porto). Also noteworthy is his acclaimed career as a lyricist (for interpreters such as Gisela João, Aline Frazão, Ana Bacalhau, Marco Rodrigues or Camané) and his activity as a chronicler at Revista Visão. Commander of the Pink Guerrilla, much has been dedicated to encouraging other women to build long-lived and active careers in the national Hip Hop scene, consistently proving that MC means Maria Capaz!

Next Performances

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  • The Talking Car

    16 June 2024 — 18 June 2024
    Wiener festwochen

    AGNIESZKA POLSKA

    Under an invitation from BoCA, visual artist Agnieszka Polska creates her first theatre piece, with interpretation by Albano Jerónimo, Íris Cayatte, Vera Maintaino and Bartosz Bielenia. A group of people travel in a car that doesn't stop. A tale about one's role in the complex system of human and nonhuman agents and socio-technological infrastructures. 

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  • TERRA COBRE

    18 July 2024 — 19 July 2024
    Festival dos Canais

    JOÃO PAIS FILIPE & MARCO DA SILVA FERREIRA

    New performance by sound artist and sculpture João Pais Filipe and dancer/choreographer Marco da Silva Ferreira, crossing the traditional practice of Alcáçovas' rattle art with contemporary artistic practices, anchored in percussion and dance.

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  • The Talking Car

    06 September 2024 — 07 September 2024
    Nowy Teatr

    AGNIESZKA POLSKA

    Under an invitation from BoCA, visual artist Agnieszka Polska creates her first theatre piece, with interpretation by Albano Jerónimo, Íris Cayatte, Vera Maintaino and Bartosz Bielenia. A group of people travel in a car that doesn't stop. A tale about one's role in the complex system of human and nonhuman agents and socio-technological infrastructures.

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  • The Talking Car

    09 October 2024 — 10 October 2024
    HAU Berlin

    AGNIESZKA POLSKA

    Under an invitation from BoCA, visual artist Agnieszka Polska creates her first theatre piece, with interpretation by Albano Jerónimo, Íris Cayatte, Vera Maintaino and Bartosz Bielenia. A group of people travel in a car that doesn't stop. A tale about one's role in the complex system of human and nonhuman agents and socio-technological infrastructures.

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