葡萄牙科英布拉當代藝術雙年展
  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.
  葡萄牙科英布拉雙年展是由科英布拉美術圈于2015年提出的一項倡議，與科英布拉市政府和科英布拉大學共同組織，其主要目標是促進對科英布拉大學、阿爾塔和索非亞被聯合國教科文組織列為世界遺產的分類情況的反思。
  作為理解這座城市這一新現實（擁有世界遺產）象征性和實際意義的嘗試，雙年展提出了當代藝術與遺產之間的對抗，探索與這一現在屬于人類的文化遺產相關的風險和多重可能性。
  因此，Anozero是一個城市行動計劃，通過對其所處領土的系統性質疑，能夠為在科英布拉及中部地區建設一個積極和變革的文化時代做出貢獻。
  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.
  語言揭示了我們如何理解世界。詞語不僅反映了我們所居住的世界，也反映了我們如何居住在其中。就像“展出”一樣，動詞“居住”也有一個原始印歐語根：*ghabh。
  雖然沒有完全的共識，但普遍的假設是，所有印歐語言起源于烏克蘭的東部。大約七千年前，人們可能曾說出“*ghabh”這個詞或類似的東西，其三重含義乍看之下似乎是矛盾的：“持有、給予、接收”。但當給予和接收不被視為單向的、零和的交換，而是作為可以呈現多種形式的互惠行為時，任何矛盾都會消失。
  Anozero’26背后的理念并不是尋找一個外部主題，而是讓主題從展覽本身中自然浮現。考慮到本屆展覽的重要建筑成分，深入探討存在于世界中的本質，作為一種居住的狀態。它將展覽視為一個持有、給予和接收的地方；藝術家被視為一個天賦異稟的人，創作出與觀眾分享的藝術；棲息地被視為一個接納人們并提供庇護的地方。
  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、給予、接收”揭示了一種互惠關系，這與彼得·克魯泡特金的互助概念一致，也與微生物學家林恩·馬古利斯對共生的理解相符，后者被視為進化和創造力的驅動力。
  我們生活在一個經濟動蕩被贊頌為創造性破壞的世界；在這個世界中，“互助”一詞與其說與互助相關，不如說與互相毀滅的幽靈相聯系。這是一個極端不平等和令人擔憂的右翼威權主義回潮的世界。從這個意義上說，“持有、給予、接收”被視為一種溫和而堅定的抵抗事件，是對平等、互助、共生和互惠的宣言。
  藝術和建筑很少直接改變世界，但它們通過改變我們如何看待它們、如何生活在其中以及如何體驗它們，間接地改變了世界。
  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強調模糊學科界限的藝術和建筑，展示那些——隱含或明確——給予、回饋、前行并對人們和解讀持開放態度的項目。藝術是熱情好客的，建筑是慷慨的。
  如果藝術、建筑、藝術家和建筑師無法改變世界，只能改變我們體驗世界的方式，那么我們作為策展人的角色就是框定他們的視角，讓參觀者看到這次活動所帶來的藝術和建筑所包含的、儲存的和可以提供的內容，并最終可能影響他們對世界的理解。
  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 S?o 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
  Jo?o 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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