14 fev 2020 | 21h30

Vítor Rua & Daltonic Brothers present Cine Voyage

Feb 14th 2020

9.30 pm


Ticket | ? euros

This show focuses on isolated filmic/sonic experiences, where each frame/sound is self-sufficient and independent from the others. Imagine a film that has no beginning – just starts – that has no ending – just stops. A film where each image sequence exists on its own, instead of participating in any progression.


The goal is to a frame, adding another one after another, and so on, without any apparent relation between them, except the pure enchantment of building an abstract filmic glare. If the imagetic events on a certain film ‘glue’ each other in a special order, then it is because that order would obviously have to influence or even constitute the sense of the work itself: poetic abstractions, moving, creating time – making time audible and visible!

The ‘time’ in this music film, is a ‘virtual time’; by contrast, the sequence of current and concrete events, is an absolute time. Then, ‘time’ becomes the essential ingredient for this show’s understanding. Consequently, the filmic events, become a flux and turn into a chained series of events that contain not only Time as well as they shape it slowly. The show must be understood as a series of ‘moments’, with no defined direction nor movement and where us travels in Time: Past&Future.

The session begins with the short film ‘Beard’ from Paulo Abreu, along with the music by Vítor Rua, that will improvise about the soundtrack, also his own.

Composition: Vítor Rua
Guitar & electronics: Vítor Rua
Daltonic Brothers (João Pedro Gomes and Paulo Abreu)

Live video manipulation
Image and editing: Paulo Abreu
Motion graphics: João Pedro Gomes


Biographical notes


Musician. Rua, VÍTOR Manuel Ferreira (b. Mesão Frio, Jul 23rd 1961). Guitarrist, composer and producer. Autodidact musician, exceptionally studied guitar in the Music School Duarte Costa from 1974 to 1976 in the course lectured by José Pina, in Oporto, city where he lived until 1982, year in which he spent settling in professional activity, integrating executing sets of pop-rock covers and creating rock groups to execute originals and with the influence of symphonic rock.
Between 1976-77, he integrated the group King Fisher’s Band (Oporto’s training on folk-rock covers) initially as a keyboardist, later as a mandolinist, percussionist and singer, although chasing a different musical orientation from the other elements.
Opting for dedicating himself solely to rock, founded with Alexandre Soares, in  1979, the GNR, acronyms for New Rock Group; with this training, he recorded his first compositions with big popular impact (e.g. Portugal in CEE, 1980 and, Be a GNR, 1981); in 1981 invited Rui Reininho to integrate GNR and directed the recording of the first LP (Independança, 1982, cult work); with this band he gave a tone of concerts, specially the ultimate Vilar de Mouros Festival of 1982.

In the same year, he participated as producer and composer on the phonograms of Manuela Moura Guedes (Alibi, 1982) and António Variações (Guardian Angel, 1983). In 1982 he met Jorge Lima Barreto in person; the interaction and influence from the latter would have been decisive for his final change of course in music, having with him formed the group Telectu and edited that year Ctu Telectu, transition album from rock to the new improvised music and electronic live (1982). Juridical divergences that would last until mid-1990, created a schism over the property of the initials GNR; since 1983 and went on to dedicate himself primordially to the duo Telectu, on a career that still goes on today, magnified by dozens of phonograms and video grams, hundreds of concerts, and multimedia and interart shows where he revealed his huge amount of talent as an electronic guitarist, polinstrumentist, composer, prototype inventor, poliartist: had sporadic and controversial recurrences to pop-rock and marginal experimentalisms having created a few groups with record editions in LP (e.g. P.S.P., 1988; Popcorn, 1989; Classic GNR, 1991; mimi so little and so dirty, 1991: VR and the Ressonators, 1994; scratch, 1995; and .a.); he was a mentor and produced a few CDs from groups like Rui Azul/Digital Pressures and Strab Reporter, both from 1994; Perve – Segment, 1995; Pedro Alçada/Coty Cream,1996.

In 1990 he had idealized and produced the initiatory anthology of new improvised music, Vidya, that reunited some of the main musicians in the area (e.g. M. Azguime, C. Zíngaro, R. Toral, N. Rebelo, Sei Miguel, Tozé Ferreira, Osso Exótico, J. P. Feliciano, Saheb Sarbib, J. Lima Barreto and Elliott Sharp, e.a.). From this date on he launched his own singular learning of musical notation, starting a career as a contemporary classical music composer. In 1994, he formed the group Vidya Ensemble for the interpretation of some of their works (e.g. Vidya Ensemble – Stress/ Relax, 1996). Subsequently, virtuous interpreters like the soprano Ana Ester Neves (e.g. the steel cow and the Wooden cocks about poems of Herberto Helder; toccata 2, poetry of M. Cesariny); the poli-saxophonist Daniel Kientzy (on the CD sax works 2003; a few works: Gula, Musique Céréale, Cyberpunk, e.a.); the trombonist Giancarlo Schiaffini on the creation of Babel Syndrome; the pianist John Tilbury (e.g. gracefull brilliance, spin, e.a.); the bezel flautists Kathryn Bennets, Peter Bowman (e.g. duplicator II in the anthology flights of fancy, London, 2003), e.a., recorded and interpreted his own works at concerts and national and foreign festivals (in CD: works, 2001).

Started with a composition on the phonogram In Memoriam Peixinho, Paris, 2001. Since the same decade, he composes regularly in works of functional music for dance (e.g. Paulo Ribeiro, 1996, god’s rumor; João Fiadeiro, 1997-1999, mindfield; João Galante and Teresa Prima 1997-2003, new babylonia; Paula Castro, 1998; Aldarra Bizarro, 2002/2003, e.a.); for drama (e.g. Cornucopia, 1984, 2002, Zimbelino; Jean Jourdheil, 1997, Germania III; Ricardo Pais, 1997-2003, Night of Kings, The Lessons, The Castro or Hamlet; Nuno Carinhas/Mário Cesariny, an act to Jerusalem, 2002; e.a.); for cinema (e.g. Edgar Pêra, 2001-2003, the drama man; for performance arts (e.g. Elizabete Mileu, Rui Orfão, 1987; Galante, 2001-2003; Lost Objects/Paulo Eno, 1987-2003, e.a.). As a singular videoast created works of music video and fictional, such as The Alienated, 1988; Vidya, 1989; Butterfly Effect, 1995; The Singer Dust, 1996; Sex Drive, 1997; Etaoin, 1999; e.a.; and, composed music for videograms of E.M. de Melo e Castro, 1985-1991, Rita Nunes, 1999, Edgar Pêra, 2002-2003, e.a. Made music for installations (e.g. multimedia sculptures of Joana Vasconcelos, 2002-2003); produced various albums from experimentalists authors, gave conferences and lectured private and public seminars; author of the radio show Cantão do Rock, Macau, 1989.

He wrote a book The Musicology from Babe the Pig Era; worded several manifestos about rock, contemporary music, jazz, improvised, in an ironic and pedagogical style. He was an interpreter in many of the experimental pop albums he produced and, with Telectu, performed and recorded internationally, with many musicians of great cultural projection. His instrumental technique characterizes itself by the resource to patterns on the execution of scales based on modal language, especially on the improvisations performance within pop-rock. In the creation of improvised music, he often appeals to less common instrumental techniques (called instrumental extended techniques) in a way that explores the numerous timbre and text potentialities. It is also frequent the use of electronic processing of sound. With a strong humoristic component (on the use of some timbres, on the vocal and instrumental techniques, on texts, e.a.); his compositional style is equally characterized by the exploitation of small fragments (one scale, one series of sounds, one small rhythmic sentence) and by the resource to less common instrumental techniques (e.g. tapping on the bass) for the obtainment of specific timbres, not directly associated to the sound source that produced them.

In his music writing he searches equally to use graphic symbols, sometimes innovative. It is often the resource to applied computer technology, to music and sampling techniques and electronic processing of sound in his genesis method. Playing several tasks in different artistic activities, his action guided itself by the cross and approach from different domains of music. His career constitutes equally the musician’s paradigm who, starting activity within pop-rock, was progressively approaching circles and practices of erudite production, such as minimalism; a solipsist trajectory, enchanting, vivacious aesthetic interventionism.

Composer. In 1987 on a voluntary self-didactic act considered decisively the study on contemporary music notation and within this context evolved in a meteoric way. His work reflects a cutting work of cutting post-modern, preliminary, variated, from the empirical refusal of cultural confinement, trickle on the ideoletal and stylistic borders.

Interpreters like Daniel Kientzy, John Tilbury, Frank Abbinanti, Peter Bowman, Kathryn Bennetts, Ana Ester Neves, OrchestraUtópica, Drumming, Remix Ensemble, Goram Morcep, recorded and/or interpreted works of this composer in concerts and national and international festivals.


Director and Photography Director

Born in Lisbon in February 26th 1964. He worked in EMI/Valentim de Carvalho Gallery between 1985 and 1987. He completed the course of Video at
IADE in 1987 and began to work as a freelancer in 1988, making videos for dance, drama and music shows. He was a scholarship student from Fundação Calouste Gulbenkian/FLAD in Film/Vídeo Arts, New York in 1991.

In 1992 he represented Portugal in the area of video on Bienal de Jovens Criadores do Mediterrâneo in Valencia. He was a cameraman on “Ver Artes”, RTP2 show about visual arts and architecture, between 1994 and 1996. He collaborated with several visual artists and participated in many collective exhibitions (Manuel João Vieira, Pedro Portugal, Fernando Brito, Miguel Soares, Daniel Blaufuks, João Louro). He is a founding-member of the daltonic brothers, duo of image manipulation and authors of satiric comic books, animated films and experimental films, shown on the internet from 2005 to 2009.

He signed the Photography Direction and/or the camera work in several fiction films, documentaries and video clips (from directors such as Paulo Rocha, Bruno de Almeida, Patrick Mendes, Rodrigo Areias, André Gil Mata, Luís Alves de Matos, Edgar Feldman, Jorge Quintela). He directed over 20 experimental films, mostly in the Super 8 format, that were selected, displayed and distinguished in numerous shows and national and international festivals of this nature (DocLisboa, IndieLisboa, MotelX, Curtas Vila do Conde, Edinburgh Festival, Roterdam Festival, New York Indie DocFest, International Cinema Show of São Paulo, among others). 19 works of the director are part of the catalogue of the international distributor of experimental cinema, Light Cone (Paris). Two of those films, “Asleep“ and “Count Ferreira” were recently acquired and displayed in several foreign museums (Argentina, Canadá, França, México, Espanha). He was nominated for Sophia Awards with “O Facínora – Der Schlingel in 2013.


João Pedro Vieira Gomes was born in Lisbon in March 11th, 1966.
He attended the course of graphic design at the António Arroio Decorative Arts School (1979-1985).

Start of professional activity as mock-up artist and illustrator in the advertising agency, Cinevoz (Lisbon.1986).
Between 1988 and 1991 he worked in many production companies of animated films as an illustrator, animator and director.

– Francisco Horta Studio: advertising film creation.

– Optical Print: directing of several films for the show Sesame Street; advertising films.

– Pixel and Paint: animation for advertising films (Vitinho).

– Animals: animation for various short films (Os Salteadores).
In 1991 he enters the production company Latina Europa for the job in inphographics and post-production video.
He developed graphic identity and post-production for the television shows Pop-Off; Lentes de Contacto;
Zero de Audiência; Spray entre outros.
Post-production and directing of video clips, documentaries, advertising and video production for live shows.
He participates in the project development and content creation for the ICEP pavilion at Expo 98.
Between 1998 and 1999 he works as a freelancer on the creativity and post-production for advertising films and video clips,
as well as the creation of Generics for TV, for production companies such as Pixmix and Krypton.
In 2000 he creates along with two more colleagues the collective Lab Image Dept. Apart from advertising jobs, video clips,
this collective is invited by the  Lux Frágil club to develop material for video projection and veejaying.
Between 2001 and 2007 he mantained this collaboration with Lux Frágil but this time solo, creating several works of image decoration
for birthday parties and new year’s eves among other themed events as well as performed weekly veejaying sessions in the clubbing nights.
During this time he is also invited to VJ sessions in several music festivals, including, Festival Sudoeste (2002-2006), Atlantic Waves (Londres) and Nos Alive.
In 2001 he integrates the Nervo collective where among other works there are the video installation at the Grão Vasco Museum
for Salamanca Capital of Culture, the show “O Trabalho” for RTP2 and the television show, Experimenta Design 2002.
Along with Paulo Abreu he created in 2004 the Daltonic Brothers. Apart from the creation of various illustration, animation and video pieces for the blog from this collective works are developed for live shows (Concert April 25th at the House of Music
of Rui Reininho and the Companhia das Indias), video clips (Dead Combo, Legendary Tigerman…)
He created the animations and executes the post-production of the short film “O Coveiro” from André Gil Mata, Yorn Award winner of Motelx 2013.
Image post-production for the feature films “Operação Outubro” and “Cabaret Maxime” of the director Bruno de Almeida.
Image post-production for several short films of the director Patrick Mendes.
He created video content for the theatre plays:

“Tritone” by Silvia Real and Sérgio Pelágio
“O Convento” by Luis Castro
“Brel nos Açores” by Nuno Costa Santos,
“O Artista Português é Tão Bom Como os Melhores” by Manuel João Vieira
among others.
Between 2010 and 2017 he is responsible for the area of video in the club, Musicbox Lisboa, playing the role of VJ in numerous concerts and Dj sets.
Between 2014 and 2017 he creates content for the production company, Oskar & Gaspar, for several shows of video-mapping
including “Lisbon City of the Sea”, “Perdi o Coração em Lisboa”, “The Enchanted Doors” and “Ulisseia XXI” performed at the Praça do Comércio.

Main compositions of Vítor Rua

Cyberpunk 1987; Piano, positive organ, percussion, vibraphone (Honorable Mention: Music Contest promoted by the Youth Institute, where the jury was constituted by the composers: Filipe Pires, Cândido Lima, Paulo Brandão).

Musique Cérèale 1997; soprano sax (Bucarest:National Museum of Art, 1997) interpreted by Daniel Kientzy.

Truffle Sax 1998; sax baritone, tape and live electronics (Granada: Alhambra Theater, 1998) by Daniel Kientzy.

Gula 98; Soprano saxophones and baritone, tape, video (Lisboa: Culturgest 1998) by Daniel Kientzty.

Cyberpunk 1998; bass saxophone (Venice: Correr Museum, 1998 and Perpignan: Conservatory Auditorium) by Daniel Kientzy.

Gracefull Brilliance 1999; piano ( Lisbon: Cultural Centre of Belém, 2000) by John Tilbury.

Duplicator I 1999; 2 High flutes of bezel (York: Colourscape Festival, 1999 and London: Purcell Room, 2000) by Ensemble QTR (Peter Bowman and Katheryn Bennetts).

Duplicator II 2000; 2 High flutes of bezel, magnetic band, video (Cantebury Christ Church, 2000) Ensemble QTR.

Cicle of 3 Songs 2000; piano and voice (Lisbon: Great Auditorium Of Calouste Gulbenkian Foundation) by José de Sousa, piano and Ana Ester Neves, voice.

Musical duo constituted by Jorge Lima Barreto and Vitor Rua, formed in 1982 at the III Bienal de Vila Nova de Cerveira. In the same year he edited the álbum, Ctu Telectu, on a heterodox training of piano, electronic organ, harpsichord, synthesiser, electronic guitars bass and solo, Portuguese guitar drums
and voice.

Since their early years, the musical practice of the duo was guided by an experimentation program of different interpretative and compositional solutions, aware of a rare technologic update; this experimental nature led to essentially interpret its compositions, with the exception of conceptual pieces such as the Vexations of E. Satie, 1980 and, the Compositions 1960 and X for Henry Flint de La Monte Young,1982. Telectu created graphic scores, tablatures, instrumental tattoos, and considered the album and the video as fixation and support of his works. Laboratory for syntheses of experimental pop and electroacoustic improvisation, through the 1980s their production was marked, first for the introduction in Portugal of repetitive minimal music, electronic live concoction, magnetic band, heteroclitic percussion, electronic guitar displayed with the mastery of Rua, vibraphone, electric piano, rhythm computer, and a guitar models show, prototype keyboards, digital devices runway, glabrous and electronic percussion; instrumental exoticism, acoustic treatments in real time until about 1986, important record editions in vinyl (e.g. Belzebu, 1983; Off-Off, double, 1984; Performance, 1984; Telephone, Live Moscow, 1985; Foundation, 1985; Rosa-Cruz, 1985;
Halley, 1986, luxury album with the silkscreen of Palolo; Data, 1986 – video music), periodically re-edited in CD ( e.g. Belzebu, 1995; Leonardo Internet, USA/ USSR, 1997; or Mimesis, minimal works, 1998); afterwards, he opted for the search of new musical typologies called jazz-off, mimetic music, rock-pop-off, new improvised music, e.a. theorized in books or J.L.B. articles, or in pedagogical proposals, manifests that accompanied concerts or record and/or video graphic editions; recognized as a cult group, Telectu presented instrumental innovations and top notch devices, such as the e-bow, the sampler, the stick chapman, wind, strings and percussion digital controllers, the DAT, the workstation, the wavestation, the EWI, the sound system digital, processors, sequencers; an extravagant electronic paraphernalia, ethnographic instrumentarium, such as the sitar and the Indian tampura, the African kalimba, pipa, sheng and Chinese gongs, prototypes like the lithophone, flutes and Asian and South-American idiophones, the Australian didgeridoo, sound sculptures or stringphones invented by Rua (e.g. Ben Johnson, double, 1987; Camerata Elettronica, double, 1988; Live at the Knitting Factory, 1989; Encounters II, with Jean Sarbib
1989; and Digital Buiça, 1989).

The 1990s aimed to the development  of a career centered in structured improvisation, in idioletal phrasing, polyrhythm, aggregated, clusters, concrete sounds of nature, domestic, industrial or urban, sinusoidal, noise, vocal syntagmas, mimesis that recreates images and codes out of the instituted patterns, groove styles such as digital imitation of the acoustic instrument, stylistic and typological hybridizations, e.a. technological techniques and resources; he required collaboration of Portuguese artists since the 1980s (e.g. Jean Saheb Sarbib, C. Zíngaro, Nuno Rebelo, Sei Miguel, Filipe Mendes, António Duarte, R. Toral, M. Azguime, e.a.); Telectu started to often invite foreign musicians from absolute main plan in the equal aesthetic movement (e.g. the saxophonists, clarinetists or blowers, Evan Parker, T. Hodgkinson, J. Butcher, L. Sclavis, D. Kientzy; the trumpeters  J. Berrocal, H. Robertson; the trombonists G. Schiaffini, Paul Rutherford; the drummers C. Cutler, Sunny Murray, B. Altschul, P. Lytton, E. Prévost, G. Hemingway; the polyinstrumentist Elliott Sharp; the creators of electronic live Ikue Mori, Reina Portuondo; e.a.) whose partnerships resulted in the sporadic edition of phonograms as register of those sessions (e.g. Evil Metal, with Elliott Sharp 1991; Oh! Pazuzu, for percussion, 1992; Theremin Tao, 1993; Biombos, live Beijing, Macau, Hong Kong, 1993; Telectu/Cutler/Berrocal, 1995; À Lagardère, with Berrocal, 1996; prélude, rapsodies & coda, with D. Kientzy, 1998; jazz-off / multimedia, with Sclavis and Berrocal, 1998; Kientzy / Telectu – acústica amorosa, 2002).

At the end of the 20th century and the beginning of the 3rd millenium, Lima Barreto progressively adopted the piano (keyboard, strings, percussion, ready)
and Rua informatized his speech with the computer, the eventide; declining a post-modern speech of accentuated jazz verve, form overlap, quote games, performative extremism, video show and luminotecnia, new production procedures, specialization notions (e.g. Solos, double,1999; Drulovic Remix, computer music, 2001; Quartetos, triplo, com S. Murray, Hemingway, Prévost, Chant, 2002); included in remarkable anthologies such as State of The Union, New York, 2001; Bed of Sound, Contemporary Art Center, New York, 2001; Exploring Music From Portugal, London, 2001; Antologia da Música Electronica Portuguesa, 2003.

In the two decades of their existence they collected numerous records in audio and video cassettes, DAT, CDROM, CDI, magnetic band, computer, a spoil projected to future and possible editions. Throughout their entire career and a diverse praxeology, they turned up in festivals (e.g. Vilar de Mouros 82; it is the group with the largest number of presences in Festa do Avante!; Performance Portuguaise, Paris; Encontros de Nova Música Improvisada in CAM; Ó da Guarda; Co-Lab; Fonoteca Files; Música Experimental de Coimbra; Semana de Música Contemporânea, Bucareste; Música de Vanguarda, Granada; Graça Territori, Barcelona; Nova Música, Madrid; Atlantic Waves, Londres; Bienais de Cerveira, Alternativa de Arte dos Açores, Barcelona; alternative performances in the main Jazz festivals in Portugal, e.a.); galleries and museums; theatres, concert halls and auditoriums (e.g. Conservatórios de Beijing, Versailles, Perpignan; Salle Olivier Messiaen, GRM, Paris; Sala Lecuona, Havana; Sala Enescu, Bucareste; Teatro Wulk, Viena; Knitting Factory e Tonic, Nova Iorque; Quasimodo, Berlin; Casa Garden, Macau; Jazz Club, Hong Kong; Keep in Touch Club, Beijing; Romanische Café, Tóquio; Auditório Lenine, Moscovo; in various institutions like the Centre G. Pompidou, Paris; Fundacion Miró, Barcelona; Centro Viriato; Fundação Serralves; Fundação C. Gulbenkian; Centro de Arte Moderna; Centro Nacional de Cultura; SPA; Universidades de Beijing, Washington, e.a.) where they developed a combined improvisation practice with other performative and polyartistic non-musical postures and original props; directing with actors, painters, video makers, e.a.; in these performative events (especially in the 1980s, they would often appeal to surprise and to irony as resistance strategies and creation of surprising situations.

Telectu since its origin got involved with interartistic and multimediact projects, with distinguished national artists. Multimedia musical installations of high templates (e.g. EBRAC, J. N. Câmara Pereira, J. Listopad, 1986; the show Périplo, multimedia ambulation, with António Palolo initiated in the opening of Casa de Serralves, 1986; since 1985 they developed with Palolo the project Video Garden, video, luminotecnia, plants, for the most important concerts).

Telectu is the most importante portuguese musical group connected to performance, developing sound, body, filmic and psychodramatic situations (e.g. Silvestre Pestana, 1979 – 92; Mineo Lamagushi, 1980-84; Neon, 1982-1990; Artitudes, 1982; Carlos Gordilho, 1984-89; Manoel Barbosa, 1984 – 2003; Fernando Aguiar, 1981- 2000, e.a.); interaction with the poetry of Eugénio de Andrade (video, 1986), concrete poetry, phonetics, inforart (e.g. E.M. de Melo e Castro, poem adds 14 x, recited by João Perry, 1983- 2000; X Musatomias for 10 portuguese poets, CAM,1983, Lisboa, e.a.); functional music for theater (e.g. Cornucópia, J. Listopad, e.a.); music for cinema (e.g. the singular minimalistic film of Palolo, OM, 1984 ); music for videoart ( e.g. Silvestre Pestana,1982-1989 ; António Palolo,1983-2000; Ernesto de Sousa; and Wolf Vostell, 1986); they listed a videography by Rua and Palolo in paradigmatic like Autoloop, 1986; Compgraf, 1988; the animation show o carro amarelo,
1985-1988; since 1984 that the best part of Telectu concerts were video recorded; they articulate the sound material, the phonogram as a aesthetic object, covers, iconography and billboards, made by Palolo or by the two musicians, using unusual materials and graphic techniques such as cork, silk, serigraphy, multiform object, e.a.). Telectu is the vanguard epitome, it is, in Portugal, the most significant example of post-modern music, polyartistic adventure, rhizomaticated trajectory open work.

Music for performance
Neon, 1982;
Carlos Gordilho, 1984 – 89;
Manoel Barbosa 1984 – 98;
Silvestre Pestana 1982 – 85;
Paulo Eno 1985 – 97.

Music for theatre
Cornucópia, 1984;
Jean Jourdheil 1997;
Ricardo Pais 1997-1999.

Music for dance
Paulo Ribeiro, 1996;
João Fiadeiro, 1997-98;
João Galante e Teresa Prima 1997-98-99;
Paula Castro, 1998.

Music for poetry
E. M. de Melo e Castro, 1982 – 95;
Eugénio de Andrade, 1986.

Music for video
António Palolo, 1983 – 97;
Ernesto Melo e Castro, 1985 – 91;
Manoel Barbosa 1984;
Rita Nunes, 1999;
Edgar Pêra 2001.

Music for cinema
António Palolo (1985);
Manuel Moços (1999);
Rita Nunes (2000);
Edgar Pêra (2001-2009).

Co-production in every Telectu album;
Every solo album;
Loosers (2007).

Conferences and seminars:
Perestrock, Lisbon 1987;
Rock in Portugal, Coimbra 90;
Guitar Seminars, Lisbon 1993, 94, 95 and Beijing 1997;
New Music, Coimbra 96 and Caldas da Rainha 1998;
ARCO School 2000;
Workshop Ressoadores (1993-2009) Lisboa;
Conference in the Superior School of Dance (2007).

Cantão do Rock, Macau 1989 – 90.

Video maker
Vidya, 1989;
Halley, 1985;
Efeito Borboleta, 1995;
A Poeira de Cantor, 1996;
Sex Drive, 1997;
Cyberpunk, 1987;
Etaoin, 1999.

Book covers
Droga de RockMusa lusaTelefax Stradivariusb-boy (Jorge Lima Barreto).

Album covers
VidyaStress RelaxClássicos GNRPipocasÀ LagárdèreMimiEvil Metal (c/ JLB), Piano Works (VR), Telectu Solos.

Tim Tim por Tim Tim (Galeria Novo Século).

Composition Prize of the Conservatory of Paris
(1999) – Saxopera.
Regional Prize of France (2001); Saxopera II.
Multimedia Prize of Zagreb (2004) – Vocci
di una cittá imaginaria.

Academic qualifications
Finishing the Masters dissertation in Musicology in the Musical Sciences Department of the Universidade Nova de Lisboa.

Works catalogue.
Music with text
Poemas Zen
Herberto Helder (poems)

  1. a vaca de aço(2000)
    Song for piano and soprano (recorded in the great auditorium of the Gulbenkian Foundation. José de Sousa, piano; Ana Ester Neves, voice)
    6. os galos de madeira (2000)
    Song for piano and soprano (recorded in the great auditorium of the Gulbenkian Foundation. José de Sousa, piano; Ana Ester Neves, voice)
    2. a verdade é como um tigre (2001)
    Song for flute and soprano
    16. o vento pára (2001)
    song for flute and soprano

Filmography of Paulo Abreu
Subtitling of the category, according to the List of the priority festivals 2018:
Group I
Group II

As Director

“Allis Ubbo”
Documentary I HD I 65min I 2018
Festivals and Shows:
DocLisboa – Portuguese Competition 2018
Luso Brazilian Cinema Festival 2019
Architectures Film Festival

“I don’t belong here”
Documentary I HD | 75min | 2017
Production: Berma
“Prémio Escolas” Best Film Portuguese Competition in Doclisboa 2017
Festivals and Shows:
DocLisboa – Portuguese Competition 2017
Porto/Post Doc – Cinema Falado 2017
Maio Doc – Portugal and Cabo Verde 2018
Mostra “Portuguese Cinema Days in Berlin”, in
Hackesche Höfe 2018

Performance in the National Theater of S. João, on the International Day of Theatre I Sessions for schools and public in general in Ponta Delgada, Torres Vedras, Guimarães, Viseu, Tavira and Faial.

“NYC 1991”
Experimental documentary with the music of Lee Ranaldo (ex- Sonic Youth) I Super 8/ HD | 25min | 2016
Production: Paulo Abreu
Honorable Mentions of the Jury in Muvi Lisboa 2016
Festivals and Shows:
Curtas Vila do Conde – Experimental Competition 2016
Super Off International Festival of Cinema Super8 2016 (São Paulo, Brazil)
Moscow International Experimental Film Festival 2016 (Moscow, Russia)
Muvi Lisboa 2016
Curtocircuito Internacional Film Festival – Radar Competition 2016 (Santiago de Compostela, Spain)
Analogica Festival – Official Selection 2016 (Italy)
New York IndieDoc Fest 2016 (New York, USA)
Architecture Film Festival Rotterdam 2018 (Rotterdam, Holland)

“Phil Mendrix”
Documentary I Hi-8/Mini Dv/Super 8 /16mm /U-Matic | 1h10m | 2015
Production: daltonic brothers / Bando à Parte
Show in RTP2
Public Award in Doclisboa 2015
Jury Award in Muvi Lisboa 2015
Festivals and Shows:
DocLisboa – Heartbeat 2015
Luso Brazilian Cinema Festival 2015
Mimo Festival in Amarante 2017
Muvi Lisboa 2015
Porto PostDoc “Há filmes na Baixa” 2016
IN-EDIT International Festival of Musical Documentary 2015 (São Paulo, Brazil)
IN-EDIT Festival – Panorama Mundial 2018
Cine Club of Faial

Fiction I HD | 15 min | 2013
Production: daltonic brothers
Festivals and Shows:
Luso Brazilian Cinema Festival 2013
European Festival FEC Short Film Festival 2014 – Panorama (Spain)
International Festival of Cinema and Mental Health 2014
Porto7 Festival Int. of Short films 2015

Documentary I HD | 28 min | 2015
Production: Moby Dick
Festivals and Shows:
DocLisboa – National Competition 2015
Luso Brazilian Cinema Festival 2015
Curt’Arruda Cinema Festival of Arruda dos Vinhos 2015
Cortex Festival 2019 (session “hemisfério”)

Experimental documentary I HD, Super 8 | 10 min | 2013
Production: Moby Dick
Festivals and Shows:
Luso Brazilian Cinema Festival 2013
IndieLisboa – National Competition 2014
Panorama Show of Portuguese Documentary 2014
Walk and Talk Azores Festival 2014
O Dia Mais Curto 2014
Festival des Cinémas Différents et Expérimentaux 2014 (Paris, França)

“O Facínora – Der Schlingel”
Fiction I Super 8, HD | 2012
Public Award and Cineclubs Award at the Luso Brazilian Cinema Festival 2012
Nominated for the Sophia Awards 2013
Best Film, Best Director, Best Photography, Best Artistic Direction, Best Visual and Sound Effects and Best Makeup and Hairstyling Awards in the Blog Cineuphoria
Shown in TVCine2
Festivals and Shows:
Rome Film Festival 2012 (Italy)
International Show of Cinema of São Paulo 2013
Fike International Short Film Festival 2013
Córtex Festival 2013
Motel X – Panorama 2013
Short Film Corner 2013 – New Portuguese Short Films (France)
IndieLisboa – National Competition of Cinema
Emergente 2013
Curtas Vila do Conde 2013 – Presentation in film-concert format at the Stereo Show
International Panorama Coisa de Cinema 2013 (Brazil)
Muestra de Cine Europeo 2013 (Spain)
Cineport Festival of Filmoteca of Cataluña 2014 (Spain)
Cinema! Agora Cinema Contemporâneo at Mouraria 2015

Experimental documentary about the Capelinhos Vulcano I Super 8/ GoPro | 12 minutes | 2012
Production: 9500 Cineclube
Honorable Mention in Porto7 International Short Film Festival of Oporto 2012
Best Regional Documentary Award at the Festival de Curtas of Ribeira Grande 2012
Best Film of the Azores Award at the II Panazorean Film Festival 2012
Festivals and Shows:
International Film Festival Rotterdam 2013

Curtas Vila do Conde – International Experimental Competition 2012
Edinburgh International Film Festival 2013
VideoEx Experimental Film&Video Festival 2013 (Switzerland)
Dresdner Schmalfilmtage 2013 – Competitin (Germany)
The Off and Free International Film Festival 2013 (South Korea)
Film and Painting Festival “Back to Landscape” – Museum and Gallery of Contemporary Art of Saint Petersburg 2013 (Russia)
European Media Art Festival 2013 (Germany)
Les Rencontre Internationales – New Cinema and Contemporary Art 2014 (France and Germany)
Cinema des Cineastes 2014 (France)
New Bedford Whaling Museum 2014 (USA)
CalArts Los Angeles 2014 (USA)
Georgetown University Washington 2014 (USA)
Bijou Theater in California 2014 (USA)
Onion City Experimental Film and Video Festival in Chicago 2015 (USA)
Videofag – “One Thousand things to frame” 2015 (Canada)
Cinemateca Portuguesa – Ciclo “Novos Olhares” 2017

Fiction I Super 8 /HD | 22 min | 2011
Production: Bando à Parte/ Guimarães
Public Award at the Luso Brazilian Cinema Festival 2011
Best Photography and Best Art Direction Awards at the Curta 8 Curitiba 2011
Best Short Film at the Shortcutz Oporto 2013
Shown in RTP2 and TVCine2
Festivals and Shows:
IndieLisboa – National Competition of Cinema
Emergente 2012
Curtas Vila do Conde – Panorama 2012
IndieLisboa Sessions – The Portuguese Conspiracy in London 2012 (United Kingdom)
Janela Internacional de Cinema of Recife 2012 (Brazil)
Black&White Festival 2012
Regard sur le Court Métrage au Saguenay, Quebeque 2013 (Canada)
Curtas Vila do Conde – Presentation in film-concert format 2013
Panorama Internacional Coisa de Cinema, Salvador da Bahia – Stereo 2013 (Brazil)
Shortcutz Amsterdam 2014 (Holland)
Shortcutz Network – Nominated for best short film
Filmoteca of Catalunha 2014 (Spain)
Cinemateca Portuguesa – Ciclo “Novos Olhares” 2017

“For Plus – X”
Experimental film I Super 8/ Video | 2:42 minutes | 2010
Production: Paulo Abreu
Public Award of the Festival at Dresdner Schmalfilmtage 2011
Best Foreign Film, Best Direction and Best Film Ending in Video at the Curta 8 Festival (Brazil)
Festivals and Shows:
Luso Brazilian Cinema Festival 2010
Super 8 Cambridge International Super 8 Film Festival 2011 (United Kingdom)
Serralves Foundation “O sabor do cinema” 2011
LAM Museum – Lille Métropole Musée D’Art
Moderne, D’art Contemporain et D’Art Brut – Exposição “Danser Brut” 2018

Experimental film I Super 8/ Video | 5min | 2009
Production: Paulo Abreu
Development Prize no Cambridge Super 8 International Super 8 Film Festival 2010 (United Kingdom)
Festivals and Shows:
Luso Brazilian Cinema Festival 2009
Dresdner Schmalfilmtage 2009 (Germany)

Experimental I Super 8/ Video | 4 min | 2009
Production: Paulo Abreu
Festivals and Shows:
Cambridge Super 8 International Super 8 Film Festival 2009 (United Kingdom)
Dresdner Schmalfilmtage 2010 (Germany)
Flicker Film Festival 2009 (All over the world)

Video | 6 min | 2008
Festivals and Shows:
One Take Film Festival 2008 (Croatia)
Time Film Festival 2008 (Switzerland)
Luso Brazilian Cinema Festival 2008
Ovarvideo 2008

Between 2000 and 2007 Paulo Abreu produced the experimental short films:
2007 / Mini DV /b/w / sound / 3′ 00 /

2007 / Mini DV / color / sound / 3′ 00

2006 / Mini DV / b/w / sound / 2′ 40

2006 / Mini DV / b/w / sound / 1′ 40

2006 / Mini DV / color / sound / 2′ 20

2005 / Mini DV / color / sound / 3′ 00

2005 / Mini DV / color / sound / 1′ 35

2004 / Mini DV / color / sound / 1′ 30

2004 / Mini DV / color / sound / 5′ 00

2003 / Mini DV / b/w/ sound / 1′ 25

2002 / Mini DV / color / sound / 2′ 12

2001 / Mini DV / color / sound / 0′ 30

2000 / Mini DV / color / sound / 2′ 00

1991 / 16mm / fiction / p/b / 3′

Final course film at Film/Video Arts with Pepe Diniz and Isabel Gaivão, 1991


“Sobre el cielo“ of Jorge Quintela, prod. Bando à Parte, 2015
Festivals, Shows and Awards/Honors: Curtas Vila do Conde, Festival de Lanzarote, NexT
International Film Festival – Romania, Cinema Agora/Renovar a Mouraria – Portugal,
Crossing Europe Film Festival – Linz, Austria, Festival du Nouveau Cinéma de Montréal –
Canada, Guimarães Cinema Som – Portugal, Curtas Vila do conde International Film Festival –
Portugal, Curtocircuito Santiago de Compostela short film Festival – Spain, O Dia Mais
Curto/Cinemateca Portuguesa – Portugal, Muestra de Cine Europeu de Lanzarote – Spain.

“Os Sonâmbulos” of Patrick Mendes, prod. Patrick Mendes, Inhaca Island Entertainment, O
Som e a Fúria, 2014
Festivals, Shows and Awards/Honors: Curtas Vila do Conde, Luso Brazilian Cinema Festival
Mar de la Plata – 2014, International Short Film Festival “Pielagos en Corto” –
Santander 2015 – Best Photography Award

“Fortunato, daqui até S. Torcato” of João Rodrigues, prod. Bando à Parte, 2013
Festivals, Shows and Awards/Honors: Curtas Vila do Conde 2014

“Ponta dos Rosais” of Dinarte Branco, prod. Moby Dick, 2013

“A Palestra” of Bruno de Almeida, prod. BA Filmes and Cidade de Guimarães Foundation, 2013
Festivals, Shows and Awards/Honors: Indie Lisboa, Panorama Curtas Vila do Conde 2013,
Córtex, Cineport

“A Herdade dos defuntos” of Patrick Mendes, 2013
Festivals, Shows and Awards/Honors: Motel X 2013 (national competition), Cortex Festival
2013 (national competition), Curta 8 – Curitiba 2013 – Best Foreign Film and
Best Film Ending in Video, Best Photograhy Awards in the Blog Cineuphoria, Festival
Indie Lisboa 2013 (national competition), Cinetoro Festival 2013 (international competition),
Alter-Native Festival 2013 (international competition); Janela Internacional de Cinema of
Recife 2013 (extension of Indie Lisboa); Mar del Plata International Festival 2013

”O Coveiro” of André Gil Mata, prod. Bando à Parte, 2012 – Photography director of the
animated sequences
Festivals, Shows and Awards/Honors: IndieLisboa 2013, Luso Brazilian Cinema Festival 2013,
Motel X Festival 2013 – Best Portuguese Short Film, FIKE 2014 – Best Portuguese Short Film
Caminhos do cinema Português – Best Animation, Black and white Festival – Honorable
Mention, International Festival of Cinema da Fronteira 2014 – Brazil – Honorable Mention, Curtas
Vila do Conde, Córtex, Bucharest International Experimental Film Festival – Romania 2013,
Best photography, best film, best director awards – Blog Cineuphoria.

“Homenagem a quem não tem onde cair morto” of Patrick Mendes, 2011
Festivais, Mostras e Prémios/Distinções: Indie Lisboa 2011 – Prémio Jovem Talento Fnac, 15º
Festival Luso Brasileiro 2011 – Prémio revelação

“Synchrotron” de Patrick Mendes, Super 8, 2009
Festivals, Shows and Awards/Honors: 26 Kasseler Dokumentarfilm-und Videofest 2009
(Para(normal) section), Indie Lisboa Festival 2010 , FRIK Festival – Skopje 2010, Faial Filmfest
2010 (international competition), Cambridge Super 8 Film Festival 2010 (international
Paulo Abreu CV 2018, Portugal
competition), Lago Film Fest 2010 (Nuovi Segni section), 4º Cinetoro – International Festival
of Experimentación of Colômbia 2011 (Panorama section), 9éme Festival Signes de Nuit 2011
(Focus: Portugal section), Mar del Plata International Festival 2013 Fantasporto, Ovarvideo,
Córtex 2010 – Public Award

“Sangue Frio” of Patrick Mendes, Super 8, 2008
Festivals, Shows and Awards/Honors: Indie Lisboa Festival 2009 (international competition),
Festival MotelX 2009 – Best Portuguese Horror Short Film, L’Étrange Festival Lyon
2009 (international competition), Cambridge Super 8 Film Festival 2009 (“Preview Night”),
FRIK Festival – Skopje 2010, 9éme Festival Signes de Nuit 2011 (Focus: Portugal section), 13º
Mecal Festival of Barcelona 2011 (international competition in the Obliqua section), Mar del Plata International Festival

“Blind Runner“ of Luís Alves de Matos, prod. Amatar Filmes, 2007
Festivals, Shows and Awards/Honors: Doc Lisboa 2007

“O Tempo é um caracol com asas” of Matze Schmidt, 2007
Festivals, Shows and Awards/Honors: Lausanne Underground Film Festival, Short Film
Festival of São Paulo, Motel X others.

“Tebas” of Rodrigo Areias, Olho de Vidro, 2006
Festivals, Shows and Awards/Honors: Fantasporto, São Paulo Festival, Periférico Festival

“Fiat Lux” of Luís Alves de Matos, prod. Amatar Filmes, 2005
Festivals, Shows and Awards/Honors: Doc Lisboa 2005

“Ana Hatherley – A mão inteligente“ of Luís Alves de Matos, 2002 – Canal 2

“Querença” of Edgar Feldman, prod. Suma Filmes, 2002

“Artes e Letras” of Luís Alves de Matos, prod. Zebra Filmes, 1997 – TV2

“O Rio Vermelho” of Raquel Freire, prod. Terra Filmes, 1999
Festivals, Shows and Awards/Honors: Turim Festival 1999, Festival of Clermont – Ferrand
1999, Curtas Vila do Conde

“Matança” of Edgar Feldman, prod. Suma Filmes, 1997

“8816 versos” of Sofia Marques, Roughcut, 2012
Festivals, Shows and Awards/Honors: CCB, Doc Lisboa 2013, S. Paulo Show; Cineport

“Arca de água” of André Gil Mata, Periferia Filmes 2009
Festivals, Shows and Awards/Honors: Indie Lisboa, Vila do Conde Festival, Big Ovarvideo
Award 2009, Revelation Award Luso Brazilian Cinema Festival 2009.

“Lost in Art – looking for Wittgenstein” of Luís Matos and João Louro
Festivals, Shows and Awards/Honors: Vila do Conde Festival 2007, Indie Lisboa, Temps D’Images 2008 – Best Portuguese Fim Award

“A Praça” of Luís Alves de Matos, Amatar Filmes 2004

“Lugares Perfeitos – Fernanda Fragateiro”, of Luís Alves de Matos, Culturgest /Amatar Filmes 2003 – Canal 2

“Últimos dias” of Luís Alves de Matos – ZXR 2001
“Raiz do coração” of Paulo Rocha – Video footage for film sequences, Suma Filmes 2000

“A fazer o mal” of Luís Alves de Matos
Festivals, Shows and Awards/Honors: Competition Award of the Cine Clubs Federation–
Encontros Malaposta 1999, Making-Of Award of the Viana de Castelo Festival

“Ver Artes “ 1995/97, Documental magazine about architecture and visual arts TV2, Zebra Filmes – RTP 2

“Conde Ferreira”
Directing of Super 8 loop integrating the exhibition “Soulévements” of Georges Didi- Huberman exhibited in the following museums:
Jeau de Paume, Paris 2016
Museo National d’arte de Catalogna Barcelona 2017
Buenos Aires, MUNTREF, Museo de la Universidad Nacional de Tres de Febrero, Buenos Aires, 2017
MUAC, Museo Universitario Arte Comtemporaneo – Mexico, 2018
Galerie de l’UQAM, Université du Québec – Montréal from May to September 2018

“A Thousand Things To Frame”
Films from portuguese directors, under the curatorship of Pedro Ferreira for Regional Support
Network, co-sponsored by Videofag – Toronto 2015

“Soulèvements En Vues – Carte blanche à Georges Didi-Huberman”
with Hans Richter, Maurice Lemaître, Roman Signeur, Tim Sharp, Eduardo Menz and Paulo Abreu,
films chosen by Didi- Huberman from the Lightcone collection. Studio des Ursulines –
Paris 2015.

“Everything Seems Fine From Up Here” – collective exhibition with Jorge Quintela, Pedro
Bastos, Edgar Pêra, Daniel Blaufuks, Rodrigo Areias, Paulo Furtado, Tânia Dinis – in Solar –
Cinematic Art Gallery – Vila do Conde – 2015

“Encounter #01“– Filme em plano sequência em Super 8
Parte do filme coletivo “Impressão X”. Uma celebração fauvista da longa tomada. Comédias de Amós Poe, Jonathan Hancock, Lee
Ming Yu, Nick Zedd, Roy Rezaäli, Thierry Bonnaud, entre outros – 2014

“Adormecido” – experimental documentary about the Capelinhos Vulcano– included in the special Program “Back to Landscape ” – Festival of Film and Painting” – The Museum Paulo Abreu CV 2018, Portugal 13 and Gallery of Contemporary Art of Saint Petersburg – 2013, European Media Art Festival – Osnabruck 2013, VideoEx Zurique 2013, Les Rencontre Internationales – New cinema and contemporary art – Paris and Berlin (closing session) 2014, Cinemateca Portuguesa – Ciclo “Novos Olhares” – 2017
Installation in Bernardo Museum (Caldas da Rainha) with the Daltonic Brothers 2007

Cameraman in “Lost in Art – looking for Wittgenstein” of Luís Matos and João Louro – Vila do Conde Festival 2007, Indie Lisboa, Luso Brazillian Festival, Best Portuguese Fim Award in Temps d’images

Cameraman in “Blind Runner – An Artist Under Surveillance” of Luís Alves de Matos, 2006 – DocLisboa

Installation and documentalism of “Pinto quadros por letras” about the visual artist João Vieira – 2004

Video installation in “Monsaraz, Museu aberto” – 2004

Video installation “Casota indiscreta” with Miguel Telles da Gama in Galeria 111 – 2003

Collective exhibition – “Lost in Music” – Carlos Roque, Ivo, Paulo Mendes, Alice Geirinhas, Eduardo Matos, Miguel Soares and José Fonseca, curated by João Fonte Santa in the project “Too drunk to fuck”– 2003

“50ft uncut” – collective installation with Edgar Pêra, Rita Nunes, Luísa Homem, Renata Sancho, Francisca Bagulho, Paulo Seabra, among others – 2002 – Rotfabrik, Zurich

Collective exhibition “14 Movimentos na Cidade” with Catarina Alves Costa, Edgar Pêra, João Pinto, João Ribeiro, Kiluange Liberdade, Helena Inverno, Inês Henriques, Olga Ramos, Ricardo
Rezende, among others – Galery of the Museum CAM/Acarte/Danças na Cidade 2002.

Collective exhibition “Videônica” with Manuel João Vieira, Pedro Portugal, Fernando Brito, Miguel Soares, among others – Fernando Santos Galery 2001

Collective exhibition “Heróis e paparazzi” with João Fonte Santa, Ana Cortesão, Pedro Amaral, Paulo Mendes, among others – Bedeteca 1998
Cameraman in the show “Ver Artes“ – 1995/97 – Documental magazine about architecture and visual arts TV2 – Zebra Filmes – Canal 2

Joint installation “Arremessos” with Miguel Telles da Gama in the Novo Século galery 1990

Video directing “Metamoformes” – Jean Christophe Expieux – 1989
Directing with Edgar Feldman of “O Mar – I – O Cesariny” – Contemporary Art Forum 1988.

Worked at Galeria Emi – Valentim de Carvalho between 1984 and 1987.

Video directing for the show “Mais Abril” – Terreiro do Paço – 2014

Directing of “A Bunch of meninos” – Dead Combo – 2014 – Curtas Vila do Conde – musical video competition. Black and White Festival Photography Directoring of “Fado Celeste” – Celeste Rodrigues – directed by Bruno de Almeida – 2013

Video for the concert in honor of Jorge Lima Barreto – “Telectu Collective” – Music Box 2012

Video directing “Under the Moon“ of Rita Braga – 2011

Directing and video installation for the show “O Artista português é tão bom como os melhores” of Manuel João Vieira – Teatro S. Luis – 2009

Directing and video manipulation for the Opera “Uma Vaca Flatterzunge” of Vítor Rua – Culturgest – 2009

Photography Directing of “Sei de um rio” – Camané – directed by Bruno de Almeida – 2008

Directing of an experimental film in super8 for the theme “Masquerade” for concerts of The Legendary Tigerman launched in DVD in several countries of the world – 2005 – Selected for the New York Independent Film and Video Festival 2006, Jury Award in the 9º Dresdner Schmalfilmtage 2007, Black and White Festival, Vimus Festival, among others.

Video directing “Cacto” for the band Dead Combo – 2004 – MTV, MCM, SIC Radical – Selected for the New York Independent Film and Video Festival, Black and White Festival, Vimus Festival, among others – 2006

Videos for the show “Lampada” of Mola Dudle – 2003
Image and video installation ”Diva”  Mola Dudle – directed by Francisco Suspiro – traditional animation and real image– 2003 – Cão Amarelo

Production and Video Directing «Drogado» – Irmãos Catita – 2001 nominated for best production and special jury award for Best Video 2001- Sic Radical

Videos for the opera “La Serva Padrona” – Pergolesi – Orchestration of Carlos Marecos and Staging of Paulo Lages – Palácio Nacional da Ajuda 2002

Directing, with Rafael Teles of animated video in plasticine “The Gibles” – No Budget Productions – 1999 – VídeoLisboa 1999, ZDB, Transforma. This video integrated the collective exhibition “Lost in Music”.

Video for concerts of Flak – Antena 3, Queima de Fitas de Coimbra, Expo 98 – 1998

Photography Directing in the video “Perder”  Flak – 1998 – directed by Nuno Franco

Directing, with Manuel João Vieira, of the video “Boazona” – Ena Pá 2000 – 1997

Cameraman in the spot “Peep Show” for Moda Lisboa 97 – directed by Nuno Franco – bronze medal in the New York Advertising Festival 97 and Sol de Bronze – Buenos Aires 97

Photography Directing in the video  “Seabra is Mad”– Itaka – 1996 – realizado por Nuno Franco – Prémio Melhor Clip jornal “Público” – MTV

Video directing “Eye M God” – Sacred Sin – 1995 – MTV Headbangers Ball, Canal Viva

Video directing “Alibi”  Xana – 1994

Video directing “Dona” – Ena Pá 2000 – 1994 – Honorable Mention Video Festival in Acert/Tondela

Post-production assistant in the video “Amália Live in New York” directed by Bruno de Almeida – 1991 – NYC

Cameraman in the documentary “Blues Traveller” directed by Stacy Horowitz – 1991 – NYC

Cameraman in “The Feelies” directed by Jim McKay – 1991 – NYC

Video directing for the play “I don´t belong here” of Dinarte Branco and Nuno Costa Santos _ Maria Matos Theater, Carlos Alberto Theater; Virgínia Theater – Torres Novas, O Espaço do Tempo – Montemor 2014, Viriato Theater – Viseu, Cultural centre Vila Flor – Guimarães, Gil Vicente Theater – Coimbra, Arquipélago – S. Miguel

Directing and video manipulation for the play “Brel nos Açores” – of Nuno Costa Santos and Dinarte Branco – Micaelense Theater, S. Luis Theater, Faialense Theater – Azores, 2010

Video for “II Obscuridade” – Cão Solteiro and Nuno Carinhas – Casa dos Dias da Água – Lisbon 2003

Video for “Portucalidades” of Luís Castro – ZDB, Viriato Theater – Viseu 2001

Video for “Maria Cristina Martins” – Adília Lopes – Enc. Tiago Gomes – Faculdade de Letras, Aniki-Bóbó and Citemor – 1996

Video for “Frágil! Frágil!” – Mário Sá Carneiro – Staging of Alberto Lopes – Bar Frágil and Estrela 60 –1990 (Acarte Award- Best Show of the Year)

Super 8Films for “Lobotomi” of João Lobo – DanzK2 Festival – Copenhagen 2007

Photography for the animation directed by João Pedro Gomes for the play “Tritone” of Silvia Real – 2007 – Real Pelágio – Culturgest, CCB, Serralves.

Video for “Vá para fora cá dentro” of Romulus Neagu – Viriato Theater, CCB – 2002

Video for “Branco Sujo” of João Fiadeiro – Directing of Lucciana Fina – Malaposta – 1992

Video for “Retrato da memória enquanto peso morto” of João Fiadeiro – BUC 90 – Coimbra and Convento do Beato – 1991 (Acarte Award – Best Show of the Year)

Video for “Acto de cumplicidade” of João Fiadeiro – National Conservatory 1990

Video for “…desperdícios…” of Francisco Camacho – Queima das Fitas – Coimbra – 1988

Collaborated with photography installations in the Magazine “Bíblia”“flirt”, “21” and “Mono Grafico” (Spain);

He conducted workshops of directing with Super 8 cameras;
He attended a workshop of actor trainning conducted by Filipe Petronilho;
He conducted animated cinema workshops for children;
He is a founding member of the Daltonic Brothers, duo of image manipulation and authors of satiric comic books, animated films and experimental films, shown on the internet from 2005 to 2009.

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