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Terça-feira 14:00 - 19:00 Quarta-feira 14:00 - 19:00 Quinta-feira 14:00 - 19:00 Sexta-feira 14:00 - 19:00 Sábado 10:00 - 13:00 14:00 - 19:00

Galeria Vera Cortês

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Portugal
Lisbon
Galeria Vera Cortês

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Lisbon-based contemporary art gallery. More info: www.veracortes.com

Instagram: D. Themlitz

Artists represented by Galeria Vera Cortês:

Alexandre Farto aka Vhils
André Romão
Angela Detanico / Rafael Lain
António Bolota
Armanda Duarte
Carlos Bunga
Céline Condorelli
Charbel-joseph H. Boutros
Daniel Blaufuks
Daniel Gustav Cramer
Gabriela Albergaria
Gonçalo Barreiros
Joana Escoval
João Louro
John Wood and Paul Harrison
José Pedro Croft
Nuno da Luz
Susanne S.

13/10/2026

“‘Poor Paintings’ (2025) (...) consist in reproducing, at the scale of the original work, the restored areas of two abstractions by Marcelle Cahn. Balcou thus remains as close as possible to the material intimacy of the work, directing attention towards the traces of its alterations and the gestures through which they were repaired. These paintings are the result of a patient process of investigation, conducted with art conservators in order to understand the pictorial strata of Cahn’s works and reconstruct the damage they had sustained. What remains on the canvas are only these areas of intervention, scattered across its surface. Painting brings to the surface what was meant to remain invisible.” - Marjolaine Lévy, in the curatorial text.

Béatrice Balcou’s () ‘The Perfect Ground’ runs through 19 December at the gallery.

Join us!

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Images:
Béatrice Balcou, ‘Poor Painting #2 (after the restoration reports by Maud Legall-Yver (2015) and Julie Barth (2021) of the work Relief (1961) by Marcelle Cahn, Collection of the Centre national des arts plastiques – Cnap, Paris)’, 2025. Rabbit-skin glue, distilled water, pigments, calcium carbonate, gouache on wood.
Béatrice Balcou, ‘Poor Painting #1 (after the restoration report by Chiara Bianchi and Pauline Hélou-de La Grandière (2022) of the work Tension verticale (1961) by Marcelle Cahn, Collection of the Museum of Modern and Contemporary Art – MAMCS, Strasbourg)’, 2025. Rabbit-skin glue, distilled water, pigments and calcium carbonate, gouache and water-soluble wax crayons, Japanese paper, Plexigum PQ611® and White Spirit® on wood.

10/10/2026

For ‘Threading Landscapes’, Gabriela Albergaria () transforms the landscape of Park Abbey into a living artwork.

Her new installation, ‘Care as a Fundamental Right’ (2026), is created from branches, trunks, mosses, leaves, soil and plants gathered from the grounds of the abbey. Rather than remaining fixed, the work will continue to change throughout the exhibition: shaped by growth and decay, fungi, insects and the processes of the living world.

Rooted in Park Abbey’s 42-hectare landscape, Gabriela Albergaria’s work reflects the exhibition’s exploration of the genius loci, the spirit of a place, and its understanding of landscape as a network of relationships between ecology, memory, culture and care.

Curated by Katya García-Antón, María Inés Rodríguez, Daniel Feldman and Ana Sokoloff the exhibition takes place at the Museum PARCUM, Park Abbey, Leuven ().

24 October 2026 to 28 March 2027

09/10/2026

Ana Vieira, Carlos Bunga and Daniel Blaufuks are part of the artists presenting their work at ART CUT LISBOA - Catholic Universities Art Triennale 2026.

‘Exercises in Empathy: Homecoming’ is organized by chief curator Nuno Crespo with co-curators Filipa Oliveira and João Sarmento and assistant curator João Pedro Amorim. ArtCut was conceived as a collective project dedicated to artistic creation, scientific research and dialogue, exploring the role of art in addressing the most pressing issues of our time through exhibitions, commissioned artworks, publications and public programmes.

The shows open 13 October with guided tours to the exhibitions:

3:30 PM at Universidade Católica Portuguesa
6:30 PM at Museu Nacional de Arte Contemporânea

‘Exercises in Empathy: Homecoming’ opens to the public 13 October and runs through 15 December 2026

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Images:

Ana Vieira, ‘Close-up (08)’ (detail), 2004. White panel, photograph, mirrors, and metal cable. 101,5 x 101,5 x 20 cm. Unique
Carlos Bunga, ‘Nómada, jugando a pensar’, 2025. Wood. 71 x 45 x 51 cm. Ed. 3
Daniel Blaufuks, ‘8 de Agosto de 2016 3:20, from the series Attempting Exhaustion’, 2016. Inkjet print on paper. 95 x 65 x 3 cm. Ed. 3

09/10/2026

Ana Vieira, Carlos Bunga and Daniel Blaufuks are part of the artists presenting their work at ART CUT LISBOA - Catholic Universities Art Triennale 2026.

‘Exercises in Empathy: Homecoming’ is organized by chief curator Nuno Crespo with co-curators Filipa Oliveira and João Sarmento and assistant curator João Pedro Amorim. ArtCut was conceived as a collective project dedicated to artistic creation, scientific research and dialogue, exploring the role of art in addressing the most pressing issues of our time through exhibitions, commissioned artworks, publications and public programmes.

The shows open 13 October with guided tours to the exhibitions:

3:30 PM at Universidade Católica Portuguesa
6:30 PM at Museu Nacional de Arte Contemporânea

‘Exercises in Empathy: Homecoming’ opens to the public 13 October and runs through 15 December 2026

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Images:

Ana Vieira, ‘Close-up (08)’ (detail), 2004. White panel, photograph, mirrors, and metal cable. 101,5 x 101,5 x 20 cm. Unique
Carlos Bunga, ‘Nómada, jugando a pensar’, 2025. Wood. 71 x 45 x 51 cm. Ed. 3
Daniel Blaufuks, ‘Outono’, 2016. Inkjet print on paper. 192 x 150 x 3 cm. Ed. 3

08/10/2026

During the current exhibition, you can also join us at the showroom to see these works by Ana Vieira.

“[Ana Vieira] transforms familiar, domestic objects, revealing a sense of strangeness in them: dining tables that are landscapes and an invitation to travel; everyday objects in absence, and in negative form, as emptiness; chairs and benches that fall apart, inappropriate or useless simulacra. Like the human figure, which since 1967 has appeared in her work as a concealed failing, evanescent or leaving only traces of a shadow. A theatrical staging of absence. Merely traces, marks, passages, fragments that the visitor must actively piece together, follow, like clues to be deciphered. The viewer, however, usually feels left out. Just when they would like to enter and participate, to know more, to know everything, they are cast out.” -Paulo Pires do Vale, “Ana Vieira: Muros de Abrigo”, 2011 in the catalogue of the exhibition “Muros de Abrigo”, CAM – Gulbenkian, 14 January to 17 March, 2011.

Join us in the gallery from 2 - 7 PM.

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Images:
Ana Vieira, ‘Sem título’, 2000, Plaster and wood. 60 x 42 x 46 cm. Unique. Photo: Manuel Teles
Ana Vieira, ‘Sem título’, 2009. Plaster in wooden box. Two elements. 42 x 50 x 22 cm. Unique. Photo: Bruno Lopes
Ana Vieira, ‘Sem título’, 2007. Plaster in wooden box. Two elements. 40 x 49 x 18 cm. Unique. Photo: Manuel Teles

06/10/2026

“In the exhibition «The Perfect Ground», a dozen paintings from 2026 present what appear to be monochromes, surfaces revealing a relatively uniform palette, ranging from white to reddish brown, through pale grey and beige. While these paintings possess a certain formal humility and restraint, their titles bring before our eyes a large part of the history of painting. Ground No. 1 (after Mesticolor for Giorgio Morandi, 1952), Ground No. 3 (after an unknown hand for Johannes Vermeer, 1665), Ground No. 9 (after Vieille & Troisgros for Claude Monet, 1891), Ground No. 11 (after Etel Adnan, 2014), or Ground No. 12 (after Polidoro da Caravaggio for Raphael, c. 1517–19), what lies behind these pictorial ghosts?”

Join us at the gallery to see Béatrice Balcou’s solo show.

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Image: Béatrice Balcou, ‘The Perfect Ground’, exhibition view at Galeria Vera Cortês, 2026

06/10/2026

‘Construcción pictórica. Naturaleza #24’ was part of Carlos Bunga’s solo exhibition in Centro de Arte Moderna Gulbenkian, ‘Inhabit the Contradiction’, in 2025.

The work explores the tension between fragility and permanence. Taking the form of a window while echoing the skin of a building, it brings together painted surfaces, organic matter and humble materials to create something that initially appears more solid and refined than its construction might suggest.

Made from painted cardboard and wood, the works in the series possess a deceptively sophisticated level of production. On closer inspection, the apparent refinement of the ex*****on contrasts with the mundanity of the materials themselves. This tension draws attention to our assumptions about stability, craft and permanence, while inviting us to consider the many things around us that can suddenly deteriorate, shift or escape us.

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Image: Carlos Bunga, ‘Construcción pictórica. Naturaleza #24’, 2025. Latex paint, tempera, leaves, waste and glue on wood. 200 x 150 x 3 cm. Unique

02/10/2026

In ‘La part du feu’, language becomes both material and structure. João Louro’s work brings together fragments of text, urban signage and traces of abandoned design, transforming them into a surface where words, meanings and memories can converge.

“It is the “limits of language that define my world” (Wittgenstein) and, in the case of these works, they arise from the layers of meaning that language gradually builds up—from reflections and epiphanies, the construction of thought, and encounters with authors and books—all of which await their moment to emerge in the works I have been developing. Whether through unexpected combinations or through the waiting that compels them to emerge, all these texts are “surgeings” that alight upon the remnants of urban structures. It is in the signage and abandoned design, laden with time, still bearing traces of its former function, that—when transformed into supports, into surfaces for inscription—they produce the closure and order of the text’s syntax.” - João Louro

You can see this work and others in our showroom.

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Image: João Louro, ‘La part du feu’, 2026. Acrylic on PVC, metal plate and wood. 165,5 x 145 x 10 cm. Unique

01/10/2026

Béatrice Balcou’s ‘The Perfect Ground’ opens today at Galeria Vera Cortês.

The exhibition marks the Brussels-based artist’s first solo exhibition in Portugal and our final show before the gallery closes its operations in December.

“The Grounds, on the one hand, and the Poor and Recent Paintings, on the other, might be read as the two ends of a pictorial temporality. The former show what precedes the advent of a painting, the latter, what has happened to it. What they all share is Balcou’s gesture of shifting our gaze towards a state of the work that is ordinarily withdrawn from attention.” - Marjorlaine Lévy, in the curatorial text.

‘The Perfect Ground’ opens today, 1 October, 6–10 PM

We look forward to welcoming you at the gallery. Come raise a glass with us!

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Image:
Béatrice Balcou, 'Recent Painting No. 6 (Agnes Martin, dir. Lynne Cooke, edited by Yale University Press, 2012, p. 38)', 2023. Colored inks, rainwater, dust, watercolor, methyl cellulose paste and 100% Kozo Japanese paper on coated wove paper. 31 x 24,5 x 2,5 cm. Photo: Bruno Lopes

28/09/2026

Béatrice Balcou’s () first solo exhibition in Portugal opens at the gallery this Thursday, 1 October.

For ‘The Perfect Ground’, Béatrice brings attention to the gallery, creating a situation in which looking itself becomes an act of care. “Balcou thus remains as close as possible to the material intimacy of the work, directing attention towards the traces of its alterations and the gestures through which they were repaired.” - Marjolaine Lévy, in the curatorial text.

We are looking forward to seeing you this Thursday!

Endereço

Rua João Saraiva 16, 1º
Lisbon
1700-250

Horário de Funcionamento

Terça-feira	14:00 - 19:00
Quarta-feira	14:00 - 19:00
Quinta-feira	14:00 - 19:00
Sexta-feira	14:00 - 19:00
Sábado	10:00 - 13:00
	14:00 - 19:00

Telefone

+351213950177

Website

http://www.veracortes.com/

Notificações

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