葡萄牙科英布拉当代艺术双年展
  Anozero—Bienal de Coimbra 2026(Portugal)
  Anozero–Coimbra Biennial is an initiative proposed in 2015 by the Círculo de Artes Plásticas de Coimbra,organized together with the Coimbra City Council and the University of Coimbra,whose primary objective is to promote reflection on the circumstances of the classification of the University of Coimbra,Alta and Sofia as a UNESCO World Heritage Site.
  Emerging as an attempt to understand the symbolic and effective meaning of this new reality of the city–being a holder of World Heritage–the biennial proposes a confrontation between contemporary art and heritage,exploring the risks and multiple possibilities associated with this cultural heritage that now belongs to Humanity.
  Anozero is,therefore,an action program for the city that,through systematic questioning about the territory in which it is inscribed,can contribute to building an active and transformative cultural era in Coimbra and the Central Region.
  葡萄牙科英布拉双年展是由科英布拉美术圈于2015年提出的一项倡议，与科英布拉市政府和科英布拉大学共同组织，其主要目标是促进对科英布拉大学、阿尔塔和索非亚被联合国教科文组织列为世界遗产的分类情况的反思。
  作为理解这座城市这一新现实（拥有世界遗产）象征性和实际意义的尝试，双年展提出了当代艺术与遗产之间的对抗，探索与这一现在属于人类的文化遗产相关的风险和多重可能性。
  因此，Anozero是一个城市行动计划，通过对其所处领土的系统性质疑，能够为在科英布拉及中部地区建设一个积极和变革的文化时代做出贡献。
  Year founded:2015
  Organiser:
  Centre for Contemporary Arts of Coimbra
  (CAPC),
  the University of Coimbra,
  and Coimbra City Council
  Anozero—Bienal de Coimbra 2026
  Segurar,dar,receber
  To hold,to give,to receive
  April 11-July 5,2026
  Language lays bare how we understand the world.Words not only reflect the world we inhabit but also how we inhabit it.Just like‘to exhibit,the verb‘to inhabit’has a proto-Indo-European root:*ghabh.
  There is no complete consensus,but the prevailing hypothesis is that all Indo-European languages originated from the eastern part of Ukraine.This is where about seven thousand years ago people may have uttered the word‘*ghabh’or something to that effect,whose triple meaning may seem paradoxical at first glance,’to hold,to give,to receive’.But any contradiction evaporates when giving and receiving are not seen as one-directional,zero-sum exchanges but as reciprocal acts that can assume many forms.
  The idea behind Anozero’26 was not to look for an external theme,but to let the theme emerge out of the exhibition itself,and,given the important architectural component of this edition,to dwell upon the essence of being in the world,as inhabiting it.It approaches the exhibition as a place that holds,gives,and receives;the artist as someone gifted with a talent that leads to art that is shared with a viewer;the habitat as a place that receives people and gives shelter.
  语言揭示了我们如何理解世界。词语不仅反映了我们所居住的世界，也反映了我们如何居住在其中。就像“展出”一样，动词“居住”也有一个原始印欧语根：*ghabh。
  虽然没有完全的共识，但普遍的假设是，所有印欧语言起源于乌克兰的东部。大约七千年前，人们可能曾说出“*ghabh”这个词或类似的东西，其三重含义乍看之下似乎是矛盾的：“持有、给予、接收”。但当给予和接收不被视为单向的、零和的交换，而是作为可以呈现多种形式的互惠行为时，任何矛盾都会消失。
  Anozero’26背后的理念并不是寻找一个外部主题，而是让主题从展览本身中自然浮现。考虑到本届展览的重要建筑成分，深入探讨存在于世界中的本质，作为一种居住的状态。它将展览视为一个持有、给予和接收的地方；艺术家被视为一个天赋异禀的人，创作出与观众分享的艺术；栖息地被视为一个接纳人们并提供庇护的地方。
  To hold,to give,to receive reveals a reciprocity,which is aligned with Peter Kropotkin’s concept of mutual aid,and also with microbiologist Lynn Margulis’s understanding of symbiosis as the driving force of evolution and creativity.
  We are living in a world in which economic disruptions are lauded as creative destruction;in which the word‘mutual’is less associated with mutual aid than with the spectre of mutual destruction.It is a world of gross inequalities and a concerning turn to right-wing authoritarianism.In this sense,To hold,to give,to receive is meant as a mild yet firm event of resistance,a manifesto for horizontality,mutual aid,symbiosis,and reciprocity.
  Art and architecture are rarely changing the world directly,but they do so indirectly,by changing how we can see them,and how we live them,and live in them.
  “持有、给予、接收”揭示了一种互惠关系，这与彼得·克鲁泡特金的互助概念一致，也与微生物学家林恩·马古利斯对共生的理解相符，后者被视为进化和创造力的驱动力。
  我们生活在一个经济动荡被赞颂为创造性破坏的世界；在这个世界中，“互助”一词与其说与互助相关，不如说与互相毁灭的幽灵相联系。这是一个极端不平等和令人担忧的右翼威权主义回潮的世界。从这个意义上说，“持有、给予、接收”被视为一种温和而坚定的抵抗事件，是对平等、互助、共生和互惠的宣言。
  艺术和建筑很少直接改变世界，但它们通过改变我们如何看待它们、如何生活在其中以及如何体验它们，间接地改变了世界。
  Anozero’26 highlights art and architecture that blur the line between disciplines,and presents projects that–implicitly or explicitly–give,give back,give forward,and are receptive,to people,to interpretations.Art that is hospitable,architecture that is generous.
  If art,architecture,artists and architects cannot change the world,only how we experience it,then our role as curators is to frame their views,to make visible what the art and architecture brought together for this event entail,hold in store and have to offer to visitors,and perhaps,eventually,influence their understanding of the world.
  Anozero’26强调模糊学科界限的艺术和建筑，展示那些——隐含或明确——给予、回馈、前行并对人们和解读持开放态度的项目。艺术是热情好客的，建筑是慷慨的。
  如果艺术、建筑、艺术家和建筑师无法改变世界，只能改变我们体验世界的方式，那么我们作为策展人的角色就是框定他们的视角，让参观者看到这次活动所带来的艺术和建筑所包含的、储存的和可以提供的内容，并最终可能影响他们对世界的理解。
  Duration
  April 11-July 5,2026
  Locations
  Monastery of Santa Clara-a-Nova
  Museu da Ciência da Universidade de Coimbra
  Edifício Chiado/Sala da Cidade
  Convento São Francisco
  Círculo Sede/Círculo Sereia
  CAPC
  Curators
  Hans Ibelings
  (Rotterdam,Netherlands)teaches at the Daniels Faculty of Architecture,Landscape and Design of the University of Toronto,and is the editor and publisher of the Architecture Observer and Maas Lawrence(together with Nanne de Ru).
  Prior to moving to Canada in 2012,he was the editor and publisher of the Amsterdam-based magazine A10 new European architecture,which he founded in 2004,together with graphic designer Arjan Groot.
  Hans studied art history at the University of Amsterdam;in 2019,he obtained his PhD at the University of Coimbra.Hans has curated architectural exhibitions since 1989.
  He is the author of a number of books,including Modern Architecture:A Planetary Warming History(2023),European Architecture since 1890(2011),Supermodernism:Architecture in the Age of Globalization(1998)and several monographs on contemporary architects.The working title of his current book project is‘ABC:Anything but Canonized’,a history without hierarchy of structures,built and destroyed environments,and landscapes shaped by human intervention and neglect  ‍
  John Zeppetelli
  (Montreal,Canada)was the Carol and Morton Rapp Curator,Contemporary Art,at the Art Gallery of Ontario in Toronto,Canada.
  Before joining the AGO in 2024,he was Director of the Musée d’art contemporain de Montréal for over a decade,where he led a large team and curated numerous widely acclaimed exhibitions.
  He previously held curatorial positions at Phi Foundation for Contemporary Art in Montreal and at the ICA in London(UK).Among his most recognized curatorial projects are Re-enactments(2008),Chronicles of a Disappearance(2012),Ragnar Kjartansson(2016),Mundos,Teresa Margolles(2017),Leonard Cohen:A Crack in Everything(2017),Terror Contagion,Forensic Architecture with Laura Poitras(2021),and Phase Shifting Index,Jeremy Shaw(2023).
  Zeppetelli has curated media arts festivals in Canada and Europe,and taught Video Art at NSCAD University and Concordia University.An award-winning filmmaker,he has had his works exhibited internationally at festivals and galleries.  ‍
  Assistant Curator
  Daniel Madeira
  (Coimbra,1992)holds a BA in Artistic Studies from the Faculty of Arts and Humanities of the University of Coimbra and an MA in Curatorial Studies from the Colégio das Artes,University of Coimbra.He is Assistant Director at the Círculo de Artes Plásticas de Coimbra(CAPC)and Assistant Curator of Anozero’26.He develops curatorial projects,including Jogo do Sério,at the CAPC MUSEUM(2023–),Do lado mais visível das imagens,at the Coimbra Contemporary Art Center(2024),and 21 minutes pour une image and fight Lookism!!ou O meu olharépouco para ver-te,for CAPC in 2026.He is a contributor to Umbigo Magazine.
  Artists
  LISTA DE PARTICIPANTES:
  Chantal Akerman
  Christian Andersson
  Jonathas de Andrade
  Vasco Araújoarquivo mangue
  Lina Bo Bardi
  Taysir Batniji
  Frédéric Bruly Bouabré
  Arno Brandlhuber e/and Constanze Haas
  Inês Brites
  Adam Broomberg e/and Rafael Gonzalez
  Alberto Carneiro
  Centrala
  Rui Chafes e/and Candura
  Julian Charrière
  Sandro Chia
  Colectivo SEM-FIM
  Luisa Cunha
  Eva Davidova
  Thomas Demand
  Forensic Architecture
  Arturo Franco
  Nan Goldin
  Shilpa Gupta
  Inside Outside
  Kosmos
  Juha Lilja
  Mário Macilau
  Fina Miralles
  Adriana Molder
  Office of Adrian Phiffer
  Pezo von Ellrichshausen
  João Salema
  Taryn Simon
  Charles Stankievech
  Mungo Thomson
  Maria Trabulo
  Pedro Vaz
  Carlos Ferrand Zavala
  Anarchism and Planning
  Three rooms

  Xenia—aNC,Atelier Local,Ateliermob,Colectivo Warehouse,Fala,fr-ia,JQTS,Nuno Valentim,Paula Santos,Pedra Líquida.

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