Alexandra do Carmo lives and works in Lisbon, currently a PhD fellow in Artistic Studies at Universidade Nova de Lisboa. Studied at Whitney Museum Independent Study Program, NY; Pratt institute, Brooklyn and ar.co, Lisbon. Exhibited widely in Portugal, United States, Germany, Spain, Ireland. Projects include: The Green Studio at IC19 (2018) Sismografo, Porto, Studio Socialis (2014), Carlos Carvalho Gallery (CCG), Lisbon; Everything was captured (even the movements of the goat), 2011, Quadrum Gallery, Lisbon; Office/Commercial (2008) CCG; A Willow (Or without Godot), 2006, Irish Museum of Modern Art, Dublin. Collections include Irish Museum of Modern Art, Ilidio Pinho Foundation (Porto). Supporters: Gulbenkian Foundation; Luso-American Foundation; Institute of the Arts.
Her practice is focused on the studio as a conceptual field of study—the studio as a lens through which to investigate relations between artist and public, revealing the dynamics, conditions and limits of authorship.
Her main area of research is the concept of Artistic Autonomy for Public Use, in the north American artistic social practices.

 

 

RESUME

Academic Training

PhD candidate, Nova University (FCSH), Lisbon, 2018--2022
Whitney Museum Independent Study Program, New York, 2004/2005.
Masters of Fine Arts Degree, Pratt Institute, New York, 2003.
Project year in Drawing, AR.CO, Center of Art and Visual Communication Lisbon, 1999.
Advanced Course in Fine Arts, AR.CO Lisbon,1998.

Solo Exhibitions
The Green Studio at IC 19, Sismografo, Porto, October 2018.
Studio Socialis, Carlos Carvalho Gallery, Lisbon September 2014.
All was captured (even the movements of the goat), Quadrum Gallery, Lisbon 2011.
Office/Commercial, Carlos Carvalho Gallery, Lisbon 2008.
The Other Echo, with the collaboration of Abinadi Meza, Carlos Carvalho Gallery, Lisbon, 2006.
A Willow (Or without Godot), Irish Museum of Modern Art, Dublin, 2006.
Wild M5 Sala do Veado, National Natural History Museum, Lisbon, 2004.
Micron 005, Lugar Comum-Fábrica da Pólvora, Barcarena, Portugal 2004.
Uma Sala com Repetição de Tudo, Modulo Gallery Lisbon, 2003.

Group Exhibitions
Earthkeeping/Earthshaking, Quadrum gallery, curators Giulia Lamoni e Vanessa Badagliacca, Lisbon, 2020

Internacional Symposium; Performance Portuguese Art, 2 cyles for one archive.
Centro Cultural de Belem (CCB), artistic/documental show, curator Cláudia Madeira, Lisbon, 2016. 
Cerveira Biennial, Vila Nova de Cerveira, 2015
Between Document and Fiction, Passos Manuel, Maus Hábitos, Porto, 2011
Collecting The New: Recent Aquisitions to the IMMA Collection, Irish Museum of Modern Art, Dublin, 2010.
1 Século, 10 Lápis, 100 Desenhos: Viarco Express, Museu da Presidência da República, Lisbon, 2009.
Financial District
, International Studio & Curatorial Program, New York, 2009.
Lá Fora, Electricity Museum, Lisbon,2009.
I Certamen de Dibujo Contemporaneo Pilar Y Andres Centenera Jaraba, Guadalajara, Spain, 2008.
The Square Root of Drawing, Temple Bar Gallery, Dublin, 2006.
The Steam Shop (or The Painter’s Studio), Lugar Comum, Barcarena, Portugal 2006.
Space, Place & Interface, LiveBox Gallery at Ravenswood, Chicago, 2006.
E=mc2, Museum of Science and Technology, Coimbra, Portugal 2005.
Bread Matters III, West Cork Arts Center, Cork, 2005.
Whitney Museum Independent Studio Program Exhibition, New York, 2005
Draw, Dwight Hackett Projects, Santa Fe, New Mexico 2005.
Paper and Process, Art Projects International, New York, 2004.
New Work Artists in Residence, Location One, New York, 2004.
GO, Liquidacion-Total, Madrid, 2003.
Expect the World moinonplus, Künstlerhaus Bethanien, Berlin, 2002.
Symposium 2002 Art Values: Public and Private, Pratt Institute, (selections; Janet Koplos) New York.
Amadeu de Sousa Cardoso- Third Prize, City Museum, Amarante, Portugal 2002.
Desenho, Mitra Gallery, Lisbon, 2000.

Residencies/Workshops
Irish Museum of Modern Art, Dublin 2006.
Location One, New York, 2004.
Triangle Artist’s Workshop, New York, 2004.

Talks/Events
2019 Guest speaker at Lab3 City/Archive, Lisbon, 2019 

2018 Guest speaker at the Seminary The Right to the City, Architecture University, House of the Social Rights, Marvila, Lisbon.
2018 Speaker at the International conference Times and Movements of the image, at Politecnical Institute of Leiria, Caldas da Rainha.
2016 Speaker at Simposium Performance Stories in Portugal with Bruno Marques, CCB Lisbon.
2015 Speaker at Mesa de Montagem, Nova University, presentation of artistic work with Maile Colbert, Lisbon.
2014 Guest speaker at ISCTE, presentation and discussion of projects with students, with Luisa Especial, Lisbon.
2013 Guest speaker at Residency Unlimited, work presentation of Studio Socialis project with Maud Jaquin and Luisa Especial, New York.

Grants
2018 FCT Foundation for Science and Technology/Nova University for a PhD in Artistic Studies.
2015:  Calouste Gulbenkian Foundation for project The green Studio at IC19
2011: City Hall of Lisbon for project All was captured (even the movements of the goat) 
2006: Calouste Gulbenkian Foundation for project The Steam Shop (or the painter's studio).
2006: The Institute of the Arts for project The Steam Shop (or the painter's studio) 
2004: Luso-American Foundation and Institute of the Arts for residency Location One. 
2004 Calouste Gulbenkian Foundation for project Wild m5. 
2001-2003: Gulbenkian Foundation and Luso-American Foundation (scholarship for Masters degree in the USA-Pratt Institute).

Publications
 
Flash Art “Earthkeeping / Earthshaking – Art, Feminisms and Ecology” Galerias Municipais – Galeria Quadrum / Lisbon, por Teresa Castro, 2020—https://flash---art.com/contributor/teresa-castro/
 

Giulia Lamoni e Vanessa Badagliacca Catálogo da exposição Earthkeeping Earthshaking, Galeria Quadrum, 2020
Alexandra do Carmo e Daniela Salazar A Platform of Theoretical Connections Between Artistic Practices, Processes and Curatorial Apparatus (to be published)  
Bruno Marques, Alexandra do Carmo :Emancipation and Resistance : suburban Allotments, espontaneous and clandestine, 2018.
Alexandra do Carmo, The Green Studio at IC19, Interact online magazine, 2017, http://interact.com.pt/26/o-atelier-verde-no-ic-19/ .
Cláudia Madeira, A (NON) REPRESENTATIVE SHOW OF THE PORTUGUESE PERFORMANCE ART, Revista de História da Arte (RHA_W_6), 2016. 
Alexandra do Carmo and Bruno Marques, 2017  Performamce Stories in Portugal: Storytelling at Quadrum in http://revistaharte.fcsh.unl.pt/rhaw6/RHA_W_6.pdf
Catarina ROSENDO, Representations of a Community of Experience in Alexandra do Carmo. "Tudo foi captado (mesmo os movimentos do cabrito)". "Everything was captured (even the movements of the goat)", Lisboa, Galeria Quadrum, 2011.
Catarina Rosendo e Lígia Afonso, Quadrum Arquivo Paralelo (website) http://quadrumarquivoparalelo.blogspot.com/p/alexandra-do-carmo-tudo-foi-captado.html 2011.
Elizabeth FITZHERBERT, “Latest Additions to IMMA's Permanent Collection Provoke Thought,”The Wall Street Journal, May 28, 2010.  http://online.wsj.com/article/SB127499343055497949.html .
Simon JUDGE and Ruth KENNY, “Collecting the New,” The Dubliner Magazine, May, 2010.
João PINHARANDA [et al.] “Artistas Portugueses Lá Fora (Portuguese Artists Abroad)”. Lisboa: Museu da Electricidade, 2009.  
David BARRO, Animal Gaze. NY Arts Magazine Mar/Abr 2009.
Pedro RAPOULA, (ed.) Um século, Dez lápis, Cem desenhos. Lisboa : Museu da Presidência da República, 2009.
Nuno CUNHA, “A Search one╩╝s own Artistic Practice,” E-Vai online arts magazine, 2008.
David BARRO, “Las fissuras perceptivas de Alexandra do Carmo”, in Office/Commercial, Dardo ds/ Galeria Carlos Carvalho, Santiago de Compostela/Lisboa, 2008.
Bruno MARQUES Prospective Memory for an artist studio in Brooklyn in Office/Commercial catalogue,Dardo ds/ Galeria Carlos Carvalho, Santiago de Compostela/Lisboa, 2008.
Bruno MARQUES, The Steam Shop (or the painter's studio)' From the expansion of the Studio to an anthropological view of the site’, 2006. in:http://www.interfaceartecontemporanea.org/ensaios_criticos.htm
Miguel von Hafe PÉREZ (ed.) Anamnese. Porto: Fundação Ilídio Pinho, 2006
Collections (selection)..
Jonathan GOODMAN, Time’s Archeologist ,2007--The Monkeys Gaze, i.e. in www.anamnese.pt. Ilidio Pinho Foundation, 2004.
Robert KNAFO On the Paleontology-Democracy Continuum, 2004.
http://www.studiovisit.net, Dinosaur Drawings i.e. in www.anamnese.pt. 2005.
Luisa Soares de OLIVEIRA Looking for Fragments, in Público, 18/09/2004. 

Collections
Irish Museum of Modern Art
Ilidio Pinho Foundation
Colecção Norlinda e José Lima


CV (PORTUGUÊS)

Habilitações Académicas

Candidata ao doutoramento em Estudos Artísticos pela Universidade Nova de Lisboa, FCSH—IHA, 2018—2022
Whitney Museum of American Art, Independent Study Program, Nova Iorque, 2004-2005.
Mestrado em Artes Plásticas, Pratt Institute, Nova Iorque, 2003.
Fase de Projecto em Desenho, Centro de Arte e Comunicação Visual (Ar.Co), Lisboa, 1999.
Curso Avançado em Artes Plásticas, Ar.Co, Lisboa, 1998.
Curso Básico de Desenho, Ar.Co, 1996.

Exposições Individuais

2018 O Ateliê Verde no IC19, Sismógrafo, Porto.
2014 Studio Socialis, Galeria Carlos Carvalho, Lisboa.
2011 Tudo foi captado (mesmo os movimentos do cabrito), Galeria Quadrum, Lisboa.
2008 Office/Commercial, Galeria Carlos Carvalho, Lisboa.
2006 O Outro Eco, com a participação de Abinadi Meza, Galeria Carlos Carvalho, Lisboa.
2006 A Willow (Or without Godot), Irish Museum of Modern Art, Dublin.
2004 Wild M5, Sala do Veado, Museu Nacional de História Natural, Lisboa.
2004 Micron 005, Lugar Comum-Fábrica da Pólvora de Barcarena, Oeiras.
2003Uma Sala com Repetição de Tudo, Galeria Modulo, Lisboa.

Exposições Colectivas

2020 Earthkeeping/Earthshaking, Galeria Quadrum, curadoras Giulia Lamoni e Vanessa Badagliacca, Lisboa.
2016 Simpósio Internacional:  Performance Portuguese Art, 2 cycles for one archive, Centro Cultural de Belem (CCB), artistic/documental show, curadora Cláudia Madeira, Lisboa.
2015 Bienal de Cerveira, Vila Nova de Cerveira.
2011 Between Document and Fiction, Passos Manuel/Maus Hábitos, Porto,
2010 Collecting The New: Recent Acquisitions to the IMMA Collection, Irish Museum of Modern Art, Dublin.
2009/2010, 1 Século, 10 Lápis, 100 Desenhos: Viarco Express (com a participação de John Hawke), Museu da presidência da República, Lisboa, Complexo Industrial da Oliva . S. João da Madeira.
2009 Financial District, International Studio & Curatorial Program, curadoria de Miguel Amado, Nova Iorque
2009 Lá Fora, Museu da Electricidade, curadoria de João Pinharanda, Lisboa.
2008 I Certamen de Dibujo Contemporaneo Pilar Y Andres Centenera Jaraba, Guadalajara.
2006 The Square Root of Drawing, Temple Bar Gallery, Dublin.
2006 The Steam Shop (or The Painter’s Studio), Lugar Comum, curadoria de Alexandra do Carmo e Liliana Coutinho, apoio técnico de Sara Matos, Barcarena.
2006 Space, Place & Interface, LiveBox Gallery at Ravenswood, Chicago.
2005 E=mc2, Museu da Ciência e Tecnologia, curadoria de Miguel Amado, Coimbra.
2005 Bread Matters III, West Cork Arts Center, Cork.
2005 Whitney Museum Independent Studio Program Exhibition, Nova Iorque
2005 Draw, Dwight Hackett Projects, Santa Fe, Novo Mexico.
2004 Paper and Process, Art Projects International, Nova Iorque.
2004 New Work, Artists in Residence, Location One, Nova Iorque.
2003 GO, Liquidacion-Total, Madrid.
2002 Expect the World (moin non plus), Künstlerhaus Bethanien, curadoria de video de Alexandre Estrela Berlim.
Symposium 2002 Art Values: Public and Private, Pratt Institute, (selections; Janet Koplos) Nova Iorque.
2002 Amadeu de Sousa Cardoso Terceiro Prémio, Museu da Cidade, Amarante.
2000 Desenho, Galeria Mitra, Lisboa.

Residencias/Workshops/Eventos/Apresentações
Irish Museum of Modern Art, Dublin, 2006.
Location One, Nova Iorque, 2004.
Triangle Artist’s Workshop, Nova Iorque, 2004.

2019 Lab3 Cidade/Arquivo, Lisboa, 2019 
2018 Seminário, O Direito à Cidade, Faculdade de Arquitetura de Lisboa, Grupo Gestual, Casa dos Direitos Sociais, Marvila, Lisboa.
2018 Conversa com Bruno Marques, mediada por Óscar Faria at Sismógrafo, Porto,
2018, Apresentação na conferência Internacional Times and Movements of the Image no Instituto Politécnico de Leiria, Caldas da Rainha.
2016 Apresentação no Simpósio Performance Portuguese Art, 2 cycles for one archive, Centro Cultural de Belem (CCB), curadora Cláudia Madeira, Lisbon, 2016.
2015 Apresentação com Maile Colbert, at FCSH em Mesa de Montagem, Universidade Nova de Lisboa.
2014 Conversa no ISCTE, com Luisa Especial, Lisboa.

2013 Apresentação de Studio Sociais na Residency Unlimited, com Maud Jaquin e Luisa Especial, Nova Iorque.


Bolsas

Fundação para a Ciência e Tecnologia e Universidade Nova de Lisboa—FCSH-IHA,  doutoramento em Estudos Artísticos, 2018
Fundação Calouste Gulbenkian para o projecto O Ateliê Verde no IC19, 2015.
C.M.L para o projecto Tudo Foi Captado (mesmo os movimentos top cabrito), Galeria Quadrum, 2011.
Fundação Calouste Gulbenkian e Instituto das Artes; projecto: The Steam Shop (or the painter’s studio), 2006.
Fundação Luso-Americana e Instituto das Artes; residência: Location One, 2004.
Fundação Calouste Gulbenkian; projecto: Wild m5, Sala do Veado, Museu Nacional de História Natural, 2004.
Fundação Gulbenkian e Fundação Luso-Americana; bolsa de longa duração: Mestrado em Artes Plásticas, Pratt Institute, Nova Iorque, 2001-2003.

Publicações

Flash Art “Earthkeeping / Earthshaking – Art, Feminisms and Ecology” Galerias Municipais – Galeria Quadrum / Lisbon, por Teresa Castro, 2020—https://flash---art.com/contributor/teresa-castro/

Giulia Lamoni e Vanessa Badagliacca Catálogo da exposição Earthkeeping Earthshaking, Galeria Quadrum, 2020
Alexandra do Carmo e Daniela Salazar A Platform of Theoretical Connections Between Artistic Practices, Processes and Curatorial Apparatus,
Bruno Marques, Alexandra do Carmo :Emancipation and Resistance : suburban Allotments, espontaneous and clandestine, 2018.
Alexandra do Carmo, The Green Studio at IC19, Interact online magazine, 2017, http://interact.com.pt/26/o-atelier-verde-no-ic-19/ .
Cláudia Madeira, A (NON) REPRESENTATIVE SHOW OF THE PORTUGUESE PERFORMANCE ART, Revista de História da Arte (RHA_W_6), 2016. 
Alexandra do Carmo and Bruno Marques, 2017  Performamce Stories in Portugal: Storytelling at Quadrum in http://revistaharte.fcsh.unl.pt/rhaw6/RHA_W_6.pdf
John Hawke, “Drawings Without Erasure: on Alexandra do Carmo’s Studio Socialis,” to be published, 2015.
Catarina Rosendo, “Representações de uma Comunidade de Experiência” Alexandra do Carmo: Tudo Foi Captado (mesmo os movimentos do cabrito), (catálogo) 2011.
Catarina Rosendo e Lígia Afonso, Quadrum Arquivo Paralelo (website) http://quadrumarquivoparalelo.blogspot.com/p/alexandra-do-carmo-tudo-foi-captado.html 2011.
Elizabeth Fitzherbert, “Latest Additions to IMMA's Permanent Collection Provoke Thought,” The Wall Street Journal, May 28, 2010. http://online.wsj.com/article/SB127499343055497949.html .
Simon Judge and Ruth Kenny, “Collecting the New,” The Dubliner Magazine, May, 2010.
João Pinharanda, “Artistas Portugueses Lá Fora (Portuguese Artists Abroad),” Museu da Electricidade, Lisboa, 2009.  
David Barro, “Animal Gaze,” NY Arts Magazine, Março/Abril 2009.
Pedro Rapoula, “Um Século, Dez Lápis, Cem Desenhos,” Museu da Presidência da República, Lisboa, 2009.
David Barro, “As Fissuras Perceptivas de Alexandra do Carmo”, Office/Commercial (catálogo), Dardo DS/Galeria Carlos Carvalho, Santiago de Compostela/Lisboa, 2008.
Bruno Marques, “Memória Prospectiva para um Ateliêr em Brooklyn” Office/Commercial, (catálogo), Dardo DS/Galeria Carlos Carvalho, Santiago de Compostela/Lisboa, 2008.
Nuno Cunha, “À Procura da Practica do Artista,” E-Vai (website), 2008.
Jonathan Goodman, “O Olhar do Macaco,” (website) www.anamnese.pt.  Fundação Ilidio Pinho, 2007.
Bruno Marques, “The Steam Shop (or the painter's studio): da Expansão do Atelier para uma Abordagem Antropológica do Lugar,” (website), http://www.interfaceartecontemporanea.org/ensaios_criticos.html , 2006.
Miguel von Hafe Perez, Anamnese, Fundação Ilídio Pinho, Porto, 2006.
Robert Knafo, “On the Paleontology-Democracy Continuum,” (website), http://www.studiovisit.net , 2005.
Robert Knafo, “Desenhos de Dinossauros,” (website) http://www.anamnese.pt/?projecto=apa , 2005.
Luisa Soares de Oliveira, “Looking for Fragments” Público, 18 Setembro, 2004. 
Jonathan Goodman, “Arqueologa do Tempo,” (catálogo) Wild m5, 2004.