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Projects Journey to the interior of imagined cities , is the first part of a project related to the book by Italo Calvino, "Invisible cities". This is an ongoing project that to date has given rise to four pieces imagined from the cities described in the book. In this first phase of the project I put myself in the position of the kublai Khan character, the one who imagines from the stories he hears. This project has a second part, called Journey to the interior of the lived cities. Inner City , 2009 Felt, textile cables of various thicknesses and mirror 30x175x200 cm Installation Inner city, 2009 Inner city, 2009 1/6 From the memory of spaces and relationships , 2009 Wood, white elastic and wooden bobines Variable dimensions Installation From the memory of spaces and relationships, 2009 From the memory of spaces and relationships, 2009 1/6 The cities and the sky, 2009 False wood ceiling, blue paint, spotlights and mirror Variable dimensions Installation The cities and the sky, 2009 The cities and the sky, 2009 1/5 Octavia, 2009 Red elastic and studs Variable dimensions Installation Octavia, 2009 Octavia, 2009 1/5

Silent books , 2012 Set of 2 books with wooden covers and pages made of an ancient handwritten book Wood and paper Variable dimensions Installation Piece created for the collective exhibition I would prefer not to, from Herman Melville's tale Bartleby, the Scrivener. A Story of Wall Street. Plataforma Revolver Gallery , 2012 Silent books, 2012 Silent books, 2012 1/7 Video of the piece - installation on the Revolver Platform

Installation Ulysses , 2014 Red threads of different materials, wood, bamboo, stones and lemon tree Variable dimensions

Installation and Scenography Scenography consisting of 3 wood screens and hand-painted elastic threads Variable dimensions "Sónia Delaunay's trip" , 2015 Dramaturgy and staging: Vera Alvelos Interpretation: Tânia Cardoso Scenography: Carla Rebelo Sound design: Madalena Palmerim Photography: Pedro Duarte Gonçalves Play presented in the Modern Art Center of the Calouste Gulbenkian Foundation in the context of the exhibition "O Circulo Delaunay", 2015/16 "Sónia Delaunay's trip", 2015 "Sónia Delaunay's trip", 2015 1/14

Artist books Waiting compass book, 2020 Dyed paper, wood and black pen drawing Variable dimensions Waiting compass book, 2020 Dyed paper, wood and black pen drawing Variable dimensions 1/4 Time, 2020 Manipulated notebook and cardboard Time, 2020 Time, 2020 Manipulated notebook and cardboard 1/30 In your skin my story, 2018 Paper and tree bark 27x21cm Exhibition A moment that repeats itself continually Na tua pele a minha história, 2018 Papel e casca de árvore 27x21cm In your skin my story, 2018 Paper and tree bark 27x21cm Exhibition A moment that repeats itself continually 1/13 Waiting compass book, 2020 Dyed paper, wood and black pen drawing Variable dimensions Waiting compass book, 2020 Dyed paper, wood and black pen drawing Variable dimensions 1/4 Time, 2020 Manipulated notebook and cardboard Time, 2020 Time, 2020 Manipulated notebook and cardboard 1/30 In your skin my story, 2018 Paper and tree bark 27x21cm Exhibition A moment that repeats itself continually Na tua pele a minha história, 2018 Papel e casca de árvore 27x21cm In your skin my story, 2018 Paper and tree bark 27x21cm Exhibition A moment that repeats itself continually 1/13 Blind book II, 2017 Wood, paper, fabric and red pencil drawings from different books Blind book II, 2017 Wood, paper, fabric and red pencil drawings from different books 1/7 Book of Improbable Geographies, 2017 Manipulated book, mirror paper and old maps Book of Improbable Geographies, 2017 Manipulated book, mirror paper and old maps 1/3 Game of illusions, 2010/2017 Wood, half book, mirror and black pen drawing Variable dimensions Game of illusions, 2010/2017 Wood, half book, mirror and black pen drawing Variable dimensions 1/6 Mirror book, 2010 Manipulated book and mirror P1010615 Mirror book, 2010 Manipulated book and mirror 1/2 Blind book I, 2017 Wood, paper, fabric and words from different books Blind book I, 2017 Wood, paper, fabric and words from different books 1/4 Book of Imagined Territories, 2017 Paper, cardboard, old maps and burel Variable dimensions Book of Imagined Territories, 2017 Paper, cardboard, old maps and burel Variable dimensions 1/8 Felt Book II, 2017 Wood, fabric, paper with brown pen drawing and plaster 5,5x16,5x20cm Felt Book II, 2017 Wood, fabric, paper with brown pen drawing and plaster 5,5x16,5x20cm 1/7 A pentagon, a circle, eight books was an exhibition of artist books made for the São Lázaro Library, (Lisbon) in 2017. Three pairs of books were created and installed on the tables and shelves of this 19th century Library. To these were added two more books from 2010. Felt Book I, 2017 Wood, fabric, paper with words drawn in black pen and plaster 4x15x24,5cm Felt Book I, 2017 Wood, fabric, paper with words drawn in black pen and plaster 4x15x24,5cm 1/5 Book of Urânia or Book of the Moon, 2016 Wood, paper and old scheme with constellation Variable dimensions Book of Urânia or Book of the Moon, 2016 Wood, paper and old scheme with constellation Variable dimensions 1/4 Book of Talia or History of an 18th Wig , 2016 Book with reading from both sides Paper and cardboard Variable dimensions Book of Talia or History of an 18th Wig , 2016 Book with reading from both sides Paper and cardboard Variable dimensions 1/4 Book of Clio or Alphabet of Architecture Book, 2016 Sculptural book with manipulated parts Aluminium and vinil paper Variable dimensions Book of Clio or Alphabet of Architecture Book, 2016 Sculptural book with manipulated parts Aluminium and vinil paper Variable dimensions 1/9 Book of Erato or Wrapped Book, 2016 Wood, paper and glass Variable dimensions Book of Erato or Wrapped Book, 2016 Wood, paper and glass Variable dimensions 1/3 The Muses Library was an installation consisting of 9 artist books created for the Marquês de Pombal Palace, (Oeiras) in 2016. Book of Melpomene or Book of Tragedy, 2016 Manipulated 18th century book and newspaper clippings from the year 2016 Livro de Melpomene ou Livro da Tragédia, 2016 72,.. Book of Melpomene or Book of Tragedy, 2016 Manipulated 18th century book and newspaper clippings from the year 2016 1/5 Book of Polymnia or Book of Geometry Sculptural book with manipulated parts Wood and papel Variable dimensions Book of Polymnia or Book of Geometry Sculptural book with manipulated parts Wood and papel Variable dimensions 1/8 Caliope book or Ulisses Atlas , 2016 Paper and wood with red pencil drawings Wood and paper Variable dimensions Caliope book or Ulisses Atlas , 2016 Paper and wood with red pencil drawings Wood and paper Variable dimensions 1/5 Terpsicore Book or Dance Book, 2016 Cardoard and paper with drawings in black pen 2 Terpsicore Book or Dance Book, 2016 Cardoard and paper with drawings in black pen 1/6 Portable landscape, 2013 Wood, 2 mirrors, black paint and black pen drawing 22x21.5x2 cm Portable landscape, 2013 Wood, 2 mirrors, black paint and black pen drawing 22x21.5x2 cm 1/7 Silent books, 2009 2 books with wooden covers and pages made of an handwritten register book Wood and paper 42x30cm Silent books, 2009 2 books with wooden covers and pages made of an handwritten register book Wood and paper 42x30cm 1/3 The leaf book, 2009 Dry natural leafs, plastic and black pen drawing 11x21x1 cm The leaf book, 2009 Dry natural leafs, plastic and black pen drawing 11x21x1 cm 1/8 Wrapped Words, 2000 Old books and various textile materials variable dimensions Microart Lisbon / Hanover 2000 Wrapped Words, 2000 Old books and various textile materials variable dimensions Microart Lisbon / Hanover 2000 1/4

The city of Weavers CAAA, Guimarães , Portugal Beyond the Page - Stage, Body, Time was a group exhibition of artist's books curated by Inês Correia, which developed from the collection of the Library of the National Museum of Theatre and Dance, Lisbon (2023). For this project I created a Book/Scenario based on the text "The Human Voice" by Jean Cocteau and a Book-Scenario for an imagined play . Time, 2020 Manipulated notebook and cardboard Time, 2020 Time, 2020 Manipulated notebook and cardboard 1/30 In your skin my story, 2018 Paper and tree bark 27x21cm Exhibition A moment that repeats itself continually Na tua pele a minha história, 2018 Papel e casca de árvore 27x21cm In your skin my story, 2018 Paper and tree bark 27x21cm Exhibition A moment that repeats itself continually 1/13 Exhibition text Artist books created for the exhibition The City of Weavers (2022) - Waiting compass book, 2020 Dyed paper, wood and black pen drawing Variable dimensions Waiting compass book, 2020 Dyed paper, wood and black pen drawing Variable dimensions 1/4 Time, 2020 Manipulated notebook and cardboard Time, 2020 Time, 2020 Manipulated notebook and cardboard 1/30 In your skin my story, 2018 Paper and tree bark 27x21cm Exhibition A moment that repeats itself continually Na tua pele a minha história, 2018 Papel e casca de árvore 27x21cm In your skin my story, 2018 Paper and tree bark 27x21cm Exhibition A moment that repeats itself continually 1/13

A moment that repeats itself continuously I , 2018 Wood, cotton, linen, metal, and shadow Sculpture 50 cm diameter 1/1

Installation Drawing I, 2009 Red elastics, wall nails and shadow Variable dimensions Drawing/Installation Drawing I and II are two drawings/installations created for the Drawing my numbers exhibition in 2009 Drawing I, 2009 drawing by numbers 044 Drawing I, 2009 1/4 Drawing II , 2009 Copper wire covered with plastic in various colors, graphite pencil drawing and shadow Approximately 120x200x15cm Drawing / Installation Drawing II, 2009 Drawing II, 2009 1/4

Installation Archeology of the present time , 2021 5 wooden displays with 19 pieces made with natural and artificial materials variable dimensions Installation Archeology of the present time is an installation made with artefacts that confuse those who try to decipher them. The installation devices are reminiscent of the 19th century Natural History Museums, but the pieces that are part of them reveal a strange nature. The materials they're made of seem to be from natural origin, but are they? And what nature is that? In the near future what will natural mean? And what species will exist as a reflection of this same nature? An installation that works as a Cabinet of curiosities with an expanded body that evokes a past time, presents a possible present and anticipates a vision of the future that reflects the changes of life on Earth. An Archeology of the Present Time, 2021 An Archeology of the Present Time, 2021 1/5

Projects Journey to the interior of the lived cities, is the second part of a project related to the book by Italo Calvino, " The Invisible cities". This is an ongoing project that to date has resulted in 3 periods of residence in different cities and a set of pieces about each one of them. In this second phase of the project, I place myself in the position of the character Marco Polo, the one who creates from his travels and everything he records from them. This project has a first part, called Journey to the interior of the imagined cities. Kronstadt, St. Petersburg, Russia In the context of this project, I made an artist residency in Kronstadt on the island of Kotlin (2013). One of my research focuses was an abandoned Fort from the 19th century. Based on research made on site I made a video about the history of this Fort and a series of installations and drawings. The Fort´s Dream - Video Stills The Fort´s Dream - Video Stills 1/5 Text - video The Fort's Dream - (Fragment) , 2013 Video 13'00" Color/Sound Anatomy of Protection II , 2018 Wood, cotton thread and 3 drawings in white pen on brown cardboard variable dimensions Installation Anatomy of Protection I , 2015 Wood, cotton threads variable dimensions Installation Anatomy of Protection , 2015 6 drawings in white pen on brown cardboard 50x70 cm Drawing Russian Cabinet of Curiosites , 2014 Two graphite drawings on paper, a set of glass sculptures, elastic and artificial silk on felt and a wooden object found and manipulated variable dimensions Installation Anatomy of Protection II, 2018 _1740063_DxO_72dpi _1740055_DxO_72dpi Anatomy of Protection II, 2018 1/4 Anatomy of Protection I, 2015 Anatomy of Protection I, 2015 1/5 Anatomy of Protection, 2015 Detalhe Anatomy of Protection, 2015 1/8 Russian Cabinet of Curiosites, 2014 Russian Cabinet of Curiosites, 2014 1/4

We are a family owned and operated business. THE DUE TO WATER Becoming Water exhibition text at the Marquis of Pombal Palace, Oeiras in 2016 We are a family owned and operated business. Maria João Gamito We are a family owned and operated business. I ncontáveis silk yarn, cotton and various materials, eight chairs, a semi-detached them, forty-one flat mirrors, a cage, nine artist books and the water passage of the rumor are the elements that Carla Rebelo put in touch this exposure, involving them in the movement of things to things and the inevitable change that each time makes them appear as something else in the future of all of them, or in the rumor that gives them to see and hear. And above all, it will be a rumor, or rumors: the mnemonic rumor of running water, but also that of the mechanical cadence of the metamorphosis of machines, here understood as devices, inventions or resources manifest in the absorption of objects and in the obliquity of images ; the rumor of the conceptual, spatial and temporal webs in which these objects and images coexist, protecting the reference to the figure of the Marquis of Pombal - owner of the Palace that hosts the exhibition - and the rumor of his reform measures; the rumor of the optical objects belonging to the collection of the Gabinete de Física, constituted in 1772 as part of the reform of the University of Coimbra (currently the Physics Museum of the University of Coimbra), and the rumor of the images fixed by the Encyclopedia of Diderot and d'Alembert, in the context of the inventorious disposition of the same century; the rumor of the Metamorphoses of Ovid, the rumor of the myths alluded to by various stucco paintings, tile panels and sculptures that decorate the Palace and, underlying them all and as they are prisoners of the eternal present of their passage, the rumor of the memory that it brings both the memory of the Muses' maternity and the knowledge domains that they embody, as well as the river of forgetfulness that must be drunk before each reincarnation, which would be nothing more than the return, as something else, to the becoming of water or the rumor that makes it see and hear. Installed on two floors of the Palace and in a small space at the foot of the lake, defined between two araucarias in the garden, the exhibition is conceived as a subtle site-specific where, at first glance, the sedentary nature of the pieces that as such define it seems to contradict the nomadic vocation - one might say metamorphic - of things that are incapable of fixing intransigence in a unique way. But in this project, metamorphosis emerges from the resonance of the multiple narratives that reverberate in the pieces, making them reverberate beyond the spaces that contain them. In the Marquês Hall and in its antechamber, the flow of water within the limits of the wooden mill, which occupies them for almost seven meters, is shaped by silver silk threads that resonate in the white cotton threads born from a structure circular base suspended from the ceiling of the Dining Room. Sketch of the weave of a loom or transparent lightness of a curtain, these threads wrap around the interior occupied by a chair from which someone has left, leaving the instruments compatible with the two directions of an inert movement. This architecture that descends from the ceiling to house the suspension of the landscape contained in any waiting, has its equivalent in the design of lines constructed with various materials dyed red that end in the stones that connect them to the garden soil and the modification of the landscape of places incomprehensible in territories to be deciphered. Penélope and Ulisses in the double absence or in the double deferral that eliminates rest and activity to prolong itself in the long stretches of white cotton threads that, in the Game Room, suggest tables woven in the obscure connections of seven chairs brought back to the geometric elementality of the statues that hide the illusions in which analogies and hopes are deposited. In the Sala da Música, thirty-nine mirrors, mounted on wooden bases and placed on the floor, represent the blocks, designed by Eugénio dos Santos, in the reconstruction plan of Baixa de Lisboa. Above the mirrors, drawn in black ink, the outline of the city before the earthquake is visible. And Lisbon, often figured as a Fénix Reborn in representations of the time, is now Eurydice to which is finally added the reflection of Orpheus, painted on the ceiling stucco. Vision and mirage unite without contradictions in the amnesia of the mirrors that the inscriptions corrupt and the light projects on the walls. At the World Cup, a cage, built with small pieces of wood embedded in a dismountable hexagonal base structure, literally refers to the construction system called 'pombaline cage', applied in the reconstruction of Lisbon. But it also brings into the house the loft that exists in the outer space, now reduced to the transparency that surrounds the interior from which a chair was absent, as if its appearance depended on a predetermined point of view. As in the room where the four surfaces of a double piece, built in wood, await the floor that produces the images. Faces of the Marquis or unstable portraits that the movement activates, this incompleteness - which results from a concealment - extends to the room where two mirrors complete two drawings, thus generating the brevity of a third drawing, whose appearance depends on a point in space and the presence that occupies it. And it is also in space that the lines outlined in the nine artist books - nine books of synthetic images - materialize that temporarily make the Sala dos Reis a library. Decorated with tile panels representing Apollo and the nine Muses, this room unfolds in books that evoke Science, History, Lyric and Poetry, Music, Tragedy, Geometry, Comedy, Dance, Astronomy. It unfolds, like all the others, in the fugacity of the presence that fluctuates, without ever being concluded, in the noise of the water that in the corridors of the 1st floor leads the observer to the exhibition. It is in the relentless coming of water that Carla Rebelo finds the incessant metamorphosis of things that never come to an end, because only he and his eternally present time can they belong. In this sense, this exhibition is still the staging of the exhibition machine itself, in which, attached to the thing that it looks at, the observer is the circumstantial element that the water has just absorbed. Maria João Gamito

Texts Texts for the solo exhibition - Casa A. Molder Gallery - 2022 Review of Revista do Jornal Expresso 18 de Fev. from 2022 - Geology of a place - room sheet Sofia Ponte Pedro C. Esteves Texts for the solo exhibition - Casa A. Molder Gallery - 2022 Review of Revista do Jornal Expresso 18 de Fev. from 2022 - Geology of a place - room sheet Celso Martins Text of the individual exhibition - Galeria Diferença - 2020 Sofia Bridge Text of the individual exhibition - Águas Livres Gallery, 8 - 2018 Manuel Valente Alves Text of the individual exhibition - Galeria Diferença - 2018 Carla Rebelo Text of the solo exhibition - Biblioteca de São Lázaro - 2017 Ines Belt Persistence of the gaze - Leonor Nazaré - 2017 Text of the individual exhibition - Museu do Dinheiro - 2017 Leonor Nazareth Text of the solo exhibition - Palácio do Marquês de Pombal - 2016 Maria João Gamito Text of the solo exhibition - Galeria Monumental - 2014 Carla Rebelo Excerpt from the text of the collective exhibition I would prefer not too - Revolver Platform - 2012 Maria João Gamito Text of the solo exhibition - Galeria 2 Paços - 2010 Daisy Prieto Individual exhibition text - Round the Corner - 2009 Ana Pinheiro Torres