Porto Summer School on Art & Cinema 2025
Technology/Transformation
June 30 to July 4
School of Arts of Universidade Católica Portuguesa
Confirmed invited artists and curators: Cao Guimarães, Chrissie Iles, Deborah Stratman, Gabriel Abrantes, Tujiko Noriko + Joji Koyama.
Curated by Daniel Ribas, Inês Grosso, João Laia, José Alberto Gomes, Nuno Crespo.
Marking the culmination of a year-long exhibition, Technology/Transformation (on display at the Porto Campus, co-organized by the Serralves Foundation and the Universidade Católica Portuguesa), the 2025 Summer School will focus on contemporary practices that challenge the boundaries of cinema and contemporary art.
Building on the historical framework of the exhibition, the Summer School will explore the disruptive gestures that emerged in contemporary art from the 1970s onward, a period when video and Super 8 became widely available. Recognizing the experimental nature of these works, the program aims to examine their present-day impact, tracing echoes of that pioneering moment in both experimental cinema and contemporary art that employs moving images.
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The Porto Summer School on Art & Cinema is an advanced course on new cinematic practices, merging critical thought with direct engagement with leading figures in cinema and contemporary art. Throughout the week, internationally recognized filmmakers and artists will present their work, engaging in dialogue with thinkers, critics, and scholars to discuss key themes shaping today’s world.
The program spans five days, each dedicated to a different filmmaker/artist, offering participants direct and informal creative exchanges. In addition to daily workshops, the Summer School features a public program, including film screenings, exhibition openings, and performances across different venues in Porto.
The Porto Summer School is organized by the School of Arts and the Research Center for Science and Technology of the Arts, Universidade Católica Portuguesa, with financial support from the Foundation for Science and Technology.
