montnor

[montnor]

editorial coordination / copyediting / translation (pt/en) Cristina Ataíde. Embodying the void (Museu Coleção Berardo, 2020) | Constellations I & II: a choreography of minimal gestures (Museu Coleção Berardo, 2020) | Joana Escoval. Mutações. The Last Poet (Museu Coleção Berardo, 2020) | Ana Manso. Agar (Cura.books, 2019) | Rui Sanches. Mirror (Fundação Carmona e Costa, Museu Coleção Berardo & Sistema Solar, 2019) | Miguel Palma. (Still) Modern Discomfort (Museu Coleção Berardo, 2019) | Pires Vieira. Trash — Lixo de Artista (Museu Coleção Berardo, 2019) | André Romão. Fauna (Museu Coleção Berardo & Hatje Cantz, 2019)

Contemporânea #5 (physical ed.) translation (pt-en): Antonia Gaeta w/ Jorge Queiroz, “A conversation” | António Poppe & Hugo Canoilas, “A language journey to the southern hemisphere” | Carlos Vidal, “Yonamine: A cosmopolitan x-ray (300 slices of toast)” | David Revés, “Wishing Landscapes” | Filipa Correia de Sousa, “Ana Cardoso: Unexpected play of shapes” | Isabel Nogueira, “Arlindo Silva: From painting to cinema, photography, and ‘the return to painting’”; “Luís Paulo Costa & Rui Toscano. The experimental exercise of freedom: Malevich and two contemporary works” | José Marmeleira, “Pedro Vaz: Azimute” | Maria Beatriz Marquilhas, “Dealmeida Esilva: Five Figures and a Rauschenberg Arrow” | Miguel Mesquita, “Luísa Jacinto: Space in painting” | Sérgio Fazenda Rodrigues, “Bruno Pacheco: Diluting the image and proposing another gaze” | Sofia Nunes, “Carla Filipe: Painting between precariousness and transitivity” proofreading (en): Cristina Sanchez-Kozyreva, “Figurative painting on the run, painting still”

Contemporânea 10-11-12/2020 translation (pt-en): David Revés, “Adriana Proganó: We're all ducks wanting to be horses” | Eduarda Neves w/ Tiago Madaleno, “Tiago Madaleno: A Garden at Night” | Isabel Nogueira, “Lisboa Soa” | José Marmeleira, “Ad Minoliti: Nave Vermelhe”; “Nuno Sousa Vieira: Deep Line”; “Gonçalo Pena: Metafísica” | Isabel Carlos w/ Ângela Ferreira, “Ângela Ferreira: Power Structures (Crouch-touch-pause-engage)” | Susana Ventura, “Karlos Gil: Come to Dust” proofreading (en): Alberta Romano, “It's a date: Dana Lok”; “It’s a date: Fernão Cruz” | Cristina Sanchez-Kozyreva, “Belén Uriel: Antes, despues, ayer, mientras, ahora”; “Lena Henke: Ice to Gas”; “Yuli Yamagata: Bruxa” Contemporânea 07-08-09/2020 translation (pt-en): Alice dos Reis, “Pedro Barateiro: My body, this paper, this fire” | Antonia Gaeta, “Earthkeeping. Earthshaking — art, feminisms, and ecology” | Bárbara Silva, “MATTIN: Expanding Concert (Lisbon 2019-2023)” | Gisela Casimiro, “Second Brain I/III” | Isabel Nogueira, “Marcelo Cidade: Equivalence and imbalance”; “Susana Mendes Silva: How to Silence a Poet” | José Marmeleira, “Homo Kosmos (cough cough)”; “Joana Escoval: Mutações. The Last Poet”; “Mariana Caló & Francisco Queimadela: Radial body”; “Through Windows” proofreading (en): Eduarda Neves, “Not Cancelled! — The Work of Art in the Age of Viral Propagation” | Cristina Sanchez-Kozyreva, “Zheng Bo: The Soft and Weak Are Companions of Life 柔弱者生之徒” Contemporânea 04-05-06/2020 translation (pt-en): David Revés, “Pedro Barateiro: Abismo” | Gabriela Vaz-Pinheiro, “Anuário'19, portrait of art in the city before an outbreak” | Isabella Lenzi w/ Bárbara Wagner & Benjamin de Burca, “Swing and fight” | José Marmeleira, “Trying to imagine the future” | Justin Jaeckle w/ Gabriel Abrantes, “Gabriel Abrantes: Melancolia Programada” (en-pt) | Sofia Nunes, “Laure Prouvost: Melting into one another ho hot chaud it heating dip” others Luís Alegre, The Design of Melancholy (Stolen Books, 2020, ce, tr pt-en) | Pedro Lapa, “Film as art, art as film: first moments in Portugal” (Faculdade de Letras da Universidade de Lisboa, 2019, tr pt-en; “Joaquim Rodrigo’s painting: a particularity in the Portuguese case” (Faculdade de Letras da Universidade de Lisboa, 2019, ce, tr pt-en); “To identify and find strange: the drift in Júlia Ventura’s work” (Colégio das Artes, 2019, tr pt-en) | Carlos Alberto Carrilho & Rita Ferrão, “Space and memory: the window as a freeze-frame” (Faculdade de Letras da Universidade de Lisboa, 2019, tr pt-en)