In 2019, Portela had the opportunity to visit OROZCO’s frescoes in Cabanas about the arrival of the ‘Hispanics’ in Latin America. The connection to Almada Negreiros’ murals at Lisbon’s Gare Marítima was immediate and uncomfortable. It was like looking in a mirror that shows the other side of the history we were taught at school. She found herself imagining a corridor where, on one side, is the Alcântara station in Lisbon, which welcomed refugees in WWII, soldiers returning from the colonial war after 25 April revolution, and also the home of the paintings that Salazar commissioned Almada to ‘show the greatness of Portuguese conquests around the world’.

On the other side of the Atlantic, Orozco documents the arrival of these ‘conquerors’. With fire. With blood. With crucifixes, armour and frightening customs.

The aim of this installation is to merge these two panels into one another, as if we could enter a space and experience simultaneously, in the same body, the enthusiastic departure of the Portuguese ships and the disastrous arrival for those who live on the other side of the Atlantic.

Following the success of the return of the Estaleiro project in last year’s edition, the Second Moment of Temps d’Images 2025 showcases the unprecedented collective collaboration between José André, master of special effects for cinema, and Patrícia Portela, writer, playwright and creator of various transdisciplinary projects, at Appleton.

Since the first editions of Temps d’Images, Estaleiro has involved creators from different fields in projects that necessarily include images, challenging artists from different areas to collaborate on the execution of an unprecedented work.