Caminho de Pé Posto – P28 | P31


Festival FUSO – MAAT museum

“The Factory (Bad Machines)” 2019, is a video taken on a small beach in the city of Colónia Del Sacramento, Uruguay, after crossing the Rio del la Plata from Buenos Aires, Argentina.

Physical borders that became metaphors through an image of frantic ants also crossing space. In editing, it made sense to put together some of the dialogues from Alan Parker’s Midnight Express (1978) movie.

Can a man’s behavior be compared or even explained by a physical and scientific phenomenon like entropy?

In 1978, Alan Parker directed the hit film entitled “Midnight Express” and at a certain point in the film, a man is sentenced to 4 years in prison in Turkey for using and possessing drugs that would be legalized in another country. In one of the scenes the character, Billy, is placed in the prison’s panopticon where everyone walks clockwise around a wheel.

Billy starts to go against the flow, bumping into everyone who comes in the opposite direction, even when another person tries to persuade him, telling that he’s wrong way.

From order to chaos, geographic and human borders are suggested in this video by the movement of ants, small insects working in a factory at rush hour, as in the metaphor of the movie, if any ant moves in the opposite direction it will establish disorder, increase effort community and increase the value of Entropy.


Galeria Cisterna

Opening 24th – 18h

Composta por trabalhos em diferentes linguagens artísticas, Paramnésia abre ao público na Galeria Cisterna no dia 24 de Junho de 2021, com obras de Ana Jacinto Nunes, Liene Bosquê, Sara Maia, Sergio Lucena, Susana Anágua e Steven Day.
Os delírios de memória são evocados através de um conjunto de trabalhos onde imagens desfocadas e repetidas (Sergio Lucena e Steven Day), memórias industriais, históricas, coletivas e individuais (Susana Anágua), e flashes de inusitadas peles flexíveis ou impressões arquitectónicas (Liene Bosquê) convergem para narrativas confabulatórias (Ana Jacinto Nunes e Sara Maia).

Fantástica e delirante a Paramnésia diferencia e atormenta enquanto fruto de uma dissociação cuja impossibilidade lógica prescinde da vontade do seu sujeito.

Em exibição até 31 de Julho de 2021, um conjunto de obras onde o público é convidado a unir diferentes registos e, desse modo, num exercício de memória, construir a sua narrativa

A metade do Céu

Um projecto de Pedro Cabrita Reis Museu Arpad Szenes – Vieira da Silva          21 de Março a 23 de Junho de 2019

Adriana Molder, Alexandra C., Ana Hatherly, Ana Isabel Miranda Rodrigues, Ana Jotta, Ana Léon, Ana Pérez-Quiroga, Ana Vidigal, Ana Vieira, Ângela Ferreira, Armanda Duarte, Aurélia de Sousa, Catarina Leitão, Cecília Costa, Clara Menéres, Cristina Ataíde, Cristina Mateus, Fátima Mendonça, Fernanda Fragateiro, Filipa César, Gabriela Albergaria, Graça Costa Cabral, Graça Morais, Graça Pereira Coutinho, Helena Almeida, Inês Botelho, Joana Bastos, Joana Rosa, Joana Vasconcelos, Josefa d’Óbidos, Júlia Ventura, Leonor Antunes, Lourdes Castro, Luísa Correia Pereira, Luísa Cunha, Mafalda Santos, Maria Helena Vieira da Silva, Maria José Aguiar, Maria José Oliveira, Marta Soares, Menez, Patrícia Garrido, Paula Rego, Raquel Feliciano, Rita GT, Rosa Carvalho, Salette Tavares, Salomé Lamas, Sandra Baía, Sara & André, Sara Bichão, Sarah Affonso, Sílvia Hestnes Ferreira, Sofia Areal, Susana Anágua, Susana Mendes Silva, Susanne Themlitz, Tânia Simões, Teresa Segurado Pavão, Túlia Saldanha, Vanda Madureira.


More than creating a fatalistic view on the matter of waiting, “WAIT“ attempts to indicate ways that allow for a recovery of possibilities as diverse as the specifics of each piece—in media such as painting, photography, sculpture, installation or video—while also paying attention to their potential connections. The exhibition proposes a journey with a scenic aura, intending to involve the spectators in an experience where they directly or indirectly become aware of the perception of time: the condition that acts on waiting and defines all its relational possibilities. The works suggest us several subject matters, such as desire, the tension between body and space, photography and death, memory, the confrontation with the impossible, and life in suspension.
Curated by Orlando Franco.
Works by André Banha, Andres Serrano, António Júlio Duarte, António Olaio, Carla Cabanas, Dalila Gonçalves, Eugenio Ampudia, Gonçalo Barreiros, João Ferro Martins, João Pombeiro, Luísa Jacinto, Orlando Franco, Paulo Mendes, Pedro Cabral Santo, Rodrigo Tavarela Peixoto, Samuel Beckett, Sara & André, Susana Anágua and Tiago Baptista.
Exhibition on view until 14 April 2019
Andres Serrano, The Morgue (Infectious Pneumonia), 1992
Museu Coleção Berardo
Catalogue of the exhibition (bilingual): WAIT
220 x 150 mm;
120 pp.;
41 images
Stolen Books ed.
Sold at the museum shop: 20,00 €


“E a matéria se veja acabar: adeus composição …”

11 de Novembro a 6 de Janeiro de 2018
Galeria Presença – Porto

After DESTERRO at the Museu do Chiado in Lisbon (MNAC), Susana Anágua shows now at the Presença Gallery in OPorto. The artist borrows its title from the poem “The Last Days” by Carlos Drummond de Andrade.
The poet, Brazilian, dedicates his verses to the end of the body, a life bequeathed to others. This is the condition of matter, disappear with time and let its trace be found and endure in the hands of those who preserve it.
Under the title “And the matter is seen to end: farewell composition …” the exhibition shows works that relate the disappearance of some industrial and fictional architectures, leaving the faith in the existence of matter to appear through its vestiges, now documented in relationship of ambiguity with the fictional one.
Last verse of the Poem in original language:
“E a matéria se veja acabar: adeus composição
que um dia se chamou Carlos Drummond de Andrade.
Adeus, minha presença, meu olhar e minas veias grossas,
meus sulcos no travesseiro, minha sombra no muro,
sinal meu no rosto, olhos míopes, objetos de uso pessoal, idéia de justiça, revolta e sono, adeus,
adeus, vida aos outros legada.”
Carlos Drummond de Andrade (1902-1987)

17º Ciclo de Exposições – Carpe Diem Arte e Pesquisa

Opening on the 10th of May from 3pm to 9pm and until August 2nd with:


SUSANA ANÁGUA (in collaboration with Ana João Romana)

EN_Susana Anágua works with light and water as metaphors in these two art installations for Pombal Palace. The location of the building is done soberly in Rua do Século and extends to an inner garden area reserved for its visitors. In an atempt to unite these two realities, the street related to the city and public life and the garden associated with the private space, these two installations go through the various rooms of the Palace joining the North front with the rear facing south. The sunlight that dominates the space and the controversial process of diversion of public waters of the aqueduct of Lisbon made by the Marquês of Pombal, during the extension works of the palace, serve as a motto for the materialization of these two instalations. 

_ Ana João Romana, in collaboration with Susana Anágua, makes a picture/installation of time and space from the book “The Diversion of the Waters”. Noting all the hours of daylight, from daybreak until dark, associating them with exposure and identifying distances, directions and geographical locations of the diversion of water held by the Marquis of Pombal between the Mãe d’Água and Pombal Palace, now inhabited by Carpe Diem. Being the Marquis of Pombal the first statesman to use cartography as a tool, Ana João Romana publishes a map that cartographers light and water as related references in the work of Susana Anágua. 

BIO_ Ana João Romana was born in Lisbon in 1973 . Graduated in Painting ( Faculty of Fine Arts, University of Lisbon ) , Postgraduate in Museology and Heritage ( Faculty of Social and Human Sciences of the New University ) , Master in Painting ( Royal College of Art ) and doctoral student in the Artist Book ( University of Algarve ) area . Exhibited regularly since 1996 in Portugal ( Calouste Gulbenkian Foundation , the Belém Cultural Centre , National Cordage, National Society of Fine Arts , Emmerico Nunes Cultural Center , Art Center Manuel de Brito … ) , UK, Japan , Brazil , United States America , China , Finland and Ireland . Was a scholarship Erasmus , the Service of Fine Arts from the Calouste Gulbenkian Foundation , the Royal College of Art in Artworks Wales and Pollock – Krasner Foundation . He is currently a scholarship from the Foundation for Science and Technology . Artist-in – residence at the North Wales School of Art & Design (2003 ) . Bartolomeu dos Santos assistant between 1998 and 2000 . Professor of basic education between 1994 and 2000 , the University of Évora between 2003 and 2005 , the Institute of Education and Science between 2007 and 2011 . Collaborator of Educational Service CAM (Centre Modern) art since 2000 and professor in ESAD.CR ( & Design of Caldas da Rainha ) since 2006 School of Arts .


Cidadela Art District

The Citadel Art District aims to bring contemporary art to the general public by appropriating unconventional spaces and associated mass communication media while promoting artistic development through its mediating role of artists and galleries . On the one hand , brings art into a context of everyday life and on the other , using ” non-places ” or transitional spaces , put on descontextualization.

In the 1st Floor Art District has located studios of artists: Bruno Pereira , Duarte Amaral Netto , Arraiano Paulo , Paulo Brighenti , Pedro Matos and Susana Anágua .

Here , you can know and follow their work process and visit the open studios to the public for 12 months. In Level 0 , we can locate galleries and creative platforms . Among which , the Raw Art Brut Gallery – first gallery of raw art and a Gallery Five – A Portuguese Contemporary art gallery with some established artists such as Luis Alegre , Paulo Mendes , Pedro Cabral Santo , among others . Viarco also opens its first store and Magnetic Magazine establishes its headquarters here and publisher copyright , White Gallery also opens the doors to the public.


Susana Anágua /Open Studio


Da Cartografia do Poder aos Itinerários do Saber


With the artists: Albano da Silva Pereira, Albuquerque Mendes, Ana Vieira, André Cepeda, Arthur Omar, Aston, Cristina Ataíde, Debbie Fleming Caffery, Didier Morin, Dominique Wade, Edgar Martins, Gérard Quenum, Gonçalo Pena, Guilherme Mampuya, Joan Fontcuberta, João Fonte Santa, João Pedro Vale, Joel-Peter Witkin, José de Guimarães, José Luís Neto, José Resende, José Rufino, Lygia Pape, Miguel Palma, Nuno Cera, ORLAN, Paul Den Hollander, Sam Durant, Sofia Leitão, Susana Anágua, Tunga e Yonamine.

VIAGENS INVISÍVEIS | Artists in Residence | São Tomé


VIAGENS INVISÍVEIS | Artists in Residence | São Tomé



Xerem Cultural Association | |

Foundation CACAU |

Exhibition integrated in the 7th International Biennale of São Tome and Principe | Official inauguration on 30 November.

VIAGENS INVISÍVEIS is an artistic residence, designed by the artists Ana Fonseca, Carla Cabanas, Mónica de Miranda and Susana Anagua, which will take place from 11 October to 8 November 2013 in São Tomé and Principe. Program activities include a period of artisticcreation in residence, an Open Day, children’s workshops guided by the artists and an exhibition integrated in the 7th International Biennale of São Tomé and Principe.

With this residence, the artists propose to explore the idea of ​​travel as a metaphor for understanding and knowledge, placing the experience of the place in comparison with the experience of looking.

The project name is borrowed from the title  of Italo Calvino “Invisible Cities” book, in which the author uses a fictional Marco Polo journey to describe 55 wonderful cities, whose stories are more valuable than any wealth that comes from them. The invisible journeys (VIAGENS INVISÍVEIS) taken by these four artists draw paths that questioned the ideas of journey, traveler, abroad. The route that leads from Lisbon to São Tomé produces dynamic displacements, not only physical, in the territory, but also shifts in terms of ideas, enabling them to produce other viewpoints and other narratives. The project thus aims to enable new directions within the field of the creative process, from collaborative practices to participatory and involvement through the diversity of creative actions and specific in situ.


 S/Titulo – From Invisible Texts (6), 2013. Printed paper and gold rich ink,  96 x 68 cm.

Exhibition integrated in the 7th International Biennale of São Tome and Principe | Official inauguration on 30 November.

I presented a project based on the relationship between two of the cities described in Calvino’s book; Octavia and Ercilia are joined together has metaphors to take shape  on a video installation, which highlight important issues: webs of human relationship versus physicality of the new space, São Tomé, its architecture and/or industry / machine.


(Ir)Reversible Systems, Ersília, 2013.


400 m cotton wires and nails.

Video colour HDV, no sound, loop.

Variable Dimensions.

Exhibition integrated in the 7th International Biennale of São Tome and Principe | Official inauguration on 30 November.


Rosema, 2013.

Video colour HDV, no sound, loop.

(Work in progress)

Graphos:Brasil TODAY

Gallery Main Entrance

After one year of refurbishing the new Gallery GRAPHOS:BRASIl opens with a 300 sqm of  white walls and industrial floor space. 
Located at the old best known as the antiquaries shopping of Copacabana in Rio de Janeiro, the Gallery starts its new project with a show of 22 Brazilian and foreign contemporary artists. In the near future its old space will be transformed to be offered to artists to work in studio residencies.

Susana Anágua 2008/9
Susana Anágua 2008/9

Among the Artists my work is composed by two sculptures and a still image of an abandonee industrial place in Lisbon. Polar is a panel of 600 compasses, one of tree pieces that uses thousands of them that never indicates north.

Foto de Jaime Acioli
Foto de Jaime Acioli

The other sculpture is  a metal 120x120x20cm iron box with a mechanism that makes metal powder became a drawing of 6 circles. Sometimes the image and the movement are hypnotic; in other times the spectator can destroy or undo the circles by a single gesture.

MARCO AURÉLIO AND FRIENDS Sete Artistas Ulissiponenses

pré-homo pintada

Based on Marco Aurélio, Thoughts book, this exhibition intents, thought the selected works, to create links in between the Marco Aurélio`s philosophy and the Contemporaneity. The curator, António Mendes, has invited the follow artists; Ana Fonseca, Conceição Abreu, José Luís Neto, Jorge dos Reis, Orlando Franco, Susana Anágua e Teresa Gonçalves Lobo and they had the book as an input for the artistic creative process.

The exhibition’s title has a great sense of humor and it is starting point to deconstruct Marco Aurelio’s thoughts.

Translated from the original in Agenda Cultural de Lisboa on 6th August 2013.

pré-homo pintadas 1 plataforma revolverpré-homo pintadas plataforma revolver


MOAVE                                     Moave, Still Vídeo (work in progress 2013) Mindelo, Cape Verde.

TERRA DE FOGO – (LAND OF FIRE) is a cultural activity based on a 10 days Artistic Residence taking place in Mindelo, organized by ZeroPointArt together with Xerem.

The project is curated by the artist Alex da Silva. It also includes the participation of three artists involved in a Tran disciplinary form of artistic creation where Cristina Ataíde, Susana Anágua e Alexandra Sargento will attempt to implement new ideas and challenges offered by the specificity the local host, exploring different artistic positions, as well as local and global realities related to their personal experiences.

Another important component of this residence taking place in ZeroPointArt Gallery, it is the interaction with the different public and an active part among visitors, the artwork and the new technologies, to the extent that a moving image currently plays a critical role in contemporary societies. Starting with television and going to movies, passing by the new digital media, small devices now comes across millions of common people daily, throughout the world. The access to the social networking has made Marshall McLuhan’s Global Village increasingly real, and by doing so it has become important to stimulate the digital culture in the artistic context, creating critical and reflective approaches to the young men and women in formative years with the tools to unify and proximity.

The enlargement of the contemporary art movement is also an implicit factor Terra de Fogo. This will promotes inter-relationship of the various public regarding the interpersonal exchanges as a form of contemporary, herein centered on public S. Vicente, consequently encouraging learning, discussion, development and production of art outside commercial channels. This explores new directions with in the visual arts, throughout joint practices of different artistic areas, (arts, video, performance and theater) improvement and cultural exchange.

Terra de Fogo offers a various activities, which in addition to artistic residence and exhibition of fine arts, will hold a series of workshops targeted to children and youth, and other activities seeking to create dynamic between creators and the public.

XEREM – Triangle Network – Transient


The international artists workshop of Triangle Network,”Transient: in between albums and arquives”,  organized by Xerem in partnership with the Largo Residencias and Arquivo Municipal de Lisboa – Fotografia  will end on December 12 (Wednesday) with an open day that will be held in various spaces in the Intendente Square from 4.30 to 8 pm.

With artistical coordination of the artists Jorge Rocha and Monica de Miranda and curatorial support of Carlos Alcobia, 6 artists, Anton Theileis (Germany), Carla Cabanas (Portugal), Ivan Grilo (Brazil), Jordi Burch (Portugal), Rene Tavares (Sao Tome and Principe), and Susana Anagua (Portugal) were in residence at Largo Residências for 10 days, where they developed their research reflecting on their creative process, a program that sought to follow the common goals to actions organized within the network Triangle and was focused on exchanging experiences, highlighting and reinterpreting the specificities of each site, linking artists and artistic and cultural movements from  different countries, and to boost the presence of these international contexts within local artists.

The workshop, which featured a strong involvement of the Largo Residências team, Marta Silva, Susana Alves and Daniel Abrantes, was held at Intendente in Lisbon, and also sought to act as a platform for meetings between artists and hybridization of  territories, marked by the multiplicity of communities that cross between them intermezzos and it functioned within a context of strong urban regeneration.

As noted by the curator Carlos Alcobia, “a mediation space changeable that allows us to travel to the other, inhabit it, but without transforming it. Our understanding of the Intendente will always be outside but now inevitably more nuanced and conflicted. A melting pot, that sucks us in and assimilates which seek to resist and escape, but then at the end to return. “

The workshop, which featured a strong involvement of the Largo Residencies team, Marta Silva, Susana Alves and Daniel Abrantes, will now open its doors and occupy different spaces in the Intendente Square with opening scheduled for 4.30pm and closing at 8 pm.


Graphos:Brasil / Rio de Janeiro

“Fio Condutor “
A group Show with : Anna Bela Geiger , Carlos Vergara, Crístina Ataíde , Gabriela Noujaim, Gustavo Nóbrega, João Cirilo, Jorge Fonseca, Leo Battistelli, Liliana Porter , Lippe Muniz, Luiz Philipe Carneiro de Mendonça, Mr.Brainwash. Roberto Muller, Susana Anágua, Vik Muniz, Walter Goldfarb and Waltercio Caldas.

11 th de Sep to 26th October

Susana Anágua  until 14th October

“Olhar Radar”  essay by Pietra Fraga

at Graphos:Brasil / Rio de Janeiro

Press and critical reviews:


34 º Festival CITEMOR Montemor-o-Velho

26 Jul a 11 Ago | 19:00 – 22:00 | Quarteirão das Artes


miniDV, still vide . 9 min

Uploaded by TV BAND Vale on 22-05-2010

671 views no dia 07-07-2012

“GATÕES – Fábrica de Descasque de Arroz 1 a 9 de 9

Vídeo/Installation , 3 videos.

Disambiguation Page , CTT Building , Castelo Branco

To see critical opinion about this work:

“Prosopopeia da máquina ” by Vanda Guerreiro (curator) on line evai forum.



As a concept I asked to a several people from different backgrounds to read some technical instructions pages from Metal-Mechanics company losted  in 1944.

I knew they wouldn`t be able to understand the context so I asked each one to make a interpretative draw of that page .

There was 6 different pages and 11 people ; 6 artists , 1 architect , 3 mental disoriented people and a Technological Physicist .

“Walter AMS 600, BITZER”

                                                                Video installation, miniDv  loop and cotton lines.

   From the exibhition ” Página de Desambiguação/Disambiguation Page” , 2012 , Edificio CTT, Castelo Branco.

Ir(Reversible Systems) , Double side version

Ir(Reversible Systems) , 2008/11
Double side version
Marseille 2011

Susana Anagua travaille sur les «formes industrielles». Decontextualisées, ses images évoquent beaucoup de choses et notamment une sculpture cinétique abstraite. Dans son installation (IR)reversible Systems, elle joue avec des fils de coton tendus entre chaque vidéo. Les fils prolongent l’image dans l’espace et créent un trouble entre ce qui est image et ce qui est réel. Ils impliquent aussi une déambulation particulière pour appréhender l’oeuvre. L’image dédoublée dont on ne saisit pas véritablement ce qu’elle représente, se résume en une roue que l’on présume faire partie d’une machine. Ce que le son diffusé
dans la salle nous confirme.
L’installation joue donc avec nos perceptions et tous nos sens. Elle implique l’image et la sculpture (l’espace) dans un mouvement rotatif, visuel et sonore, Là encore le mouvement peut être réel ou virtuel. L’oeuvre joue également avec notre corps, celu-ci est contraint par les éléments de la pièce à un déplacement latéral.



“Labirintos” Obras da Colecção do CAMJAP

” Polar “, 2008

1.80×2.75cm 2600 compasses, motor and magnetic fields

De 29 Set 2011 a 17 Nov 2011
Das 10:00 às 18:00
Terça a Domingo
Galeria de Exposições da Sede, piso 01

Associada ao Fórum Gulbenkian Saúde 2011 (dias 25 e 26 Outubro), a exposição propõe um espaço alternativo de reflexão: aquele que as obras de arte induzem e dinamizam, de um modo diferente do de qualquer outra actividade humana, acrescentando-lhe preciosas mais-valias.

O enigma do sentido a atribuir à existência e a forma como é perseguido ou abandonado na adolescência, os caminhos e o desnorte, a perturbação, a fantasia e o excesso ou os sinais de ancoragem pontuam tematicamente o percurso pelas obras aqui proposto.

Questões como a da identidade, e a da sua determinação neurobiológica, cultural e psíquica, entendidas num âmbito alargado, definem também os quadros de referência da sua leitura.

Curadoria: Leonor Nazaré

Labirintos – Roads to Whatever (catalog)

Leonor Nazaré, ed. lit.
Alda Galsterer, co-aut.
Ana Filipa Candeias, co-aut.
Catarina Crua, co-aut.
José Oliveira, co-aut.
Emílio Rui Vilar, apresent.
Afonso Ramos, trad.
Inês Fialho Brandão, trad.
Conceição Candeias, rev





Obra publicada por ocasião da exposição organizada e patente no Centro de Arte Moderna José de Azeredo Perdigão da Fundação Calouste Gulbenkian, Lisboa, de 29 Setembro de 2011 a 17 Novembro de 2011; catálogo colectivo de artistas portugueses e estrangeiros; ed. bilíngue, em português e inglês; contém referências bibliográficas.

in the Dark


Even if the all installation was initially planed to work in a dark space to provide that in between the videos presentation the bottles filed with luminescent paint could glow, the fact is that in the black out parts of the video the projector bulb  still does illuminate the room enabling the see the paint glow in its full energy.

still , I don´t know yet if is better for the work to remove the bottles or not. They seam to have a lot of other connections with the videos, and their presence works with the initial intend of having a relation in between the light of the projector and the projection wall itself.


 The video was edited with 30 seconds of a black plan to provide a time to observe the botles glowing in the space.

Becouse this situation is not working in the full intetion , doesn´t make sense anymore to keep dark in the room for such a long period of time.

Im ajusting the black out time for the maximum of 15 seconds . The observer can see part of the luminuscence botles but not in the full energy.