LIVING APRIL | THINKING APRIL | DREAMING APRIL
A space for sharing to celebrate and reflect on April
Teatro Só proposes a creative practice, where this year it once again occupies Rua Sousa Prado as a space for artistic experimentation, bringing together a series of exhibition-style interventions stemming from an invitation to artists from the region.
Listening to the place of revolution and freedom today to understand how it influences the way we project tomorrow. This is a shared reflection between artists and the local community on revolution and freedom, exploring how April contributed to shifting the perception of these symbols from both an aesthetic and political perspective.
APRIL 2026
Rua Sousa Prado, Odemira
ANTENAS DE ABRIL
[Nuno Torres with Beatriz Cantinho, Carlos Santos, Pedro Tropa and Silvestre Martins ]
Antenas de Abril bursts forth like an untameable frequency — an artistic call that bridges past and present to expose imperial control and amplify the vibrations of resistance.
We start from the regime’s shortwave broadcasting center in São Gabriel—a monumental antenna of the state—and from the free, insurgent, and poetic radios that emerged on the margins, as a political act and gesture of liberation that still resonate in our collective imagination today.
An installation in the form of an expanded radio, fusing archive and fiction, memory and imagination. A sound-visual body that invites the public to cross the invisible waves that laid the foundations for new consciousnesses.
ANATOMIA DA MIGRAÇÃO
[Gonçalo Condeixa]
My sister, my cousin, and I used to build houses out of tracing paper. They were fragile structures, yet they held the universal idea of comfort and shelter, in an attempt to combat loneliness.
In the 20th century, thousands of Portuguese people erected precarious dwellings in the bidonvilles of Champigny-sur-Marne, on the outskirts of Paris, driven by the hope of a better future. Those were our ‚years of mud.‘ Today, new migrants arrive in our country with the same dream of a better future.
X-rays are windows to the interior. And although they look inward, they allow us to see further, revealing that, today as yesterday, we are all the same: Homo sapiens sapiens.“
MURAIS, MEMÓRIAS E MENUS
[Gonçalo Condeixa with students from Odemira Secondary School]
“Murals, Memorials and Menus” brings together works by art students from Odemira Secondary School, supervised by Gonçalo Condeixa, reflecting on April and freedom.
The collective mural evokes key figures in the struggle for democracy.
The memorial invites community participation, encouraging the sharing of memories.
The menu serves as a metaphor for the early hours of 25 April, intertwining history, memory and artistic creation.
ORDEM ANALFABÉTICA
[Ana Baleia with Casa do Povo de São Luís]
I remember the happiness I felt when I first learned to read. One of the first sentences I wrote in my notebook was: ‚Not knowing how to read is very sad.‘
As a child, I interacted daily with people who had never been to school. Many of them were people with hands of earth and firewood, who could barely hold a pen and signed with a cross.
Before April, about a quarter of the population could neither read nor write. In Alentejo, seasonal manual labor kept children away from school, and the lack of access to education was used as a tool of social control.“
‘(…) Anyone who cannot read and thinks as I do feels like the poorest person who has ever lived.’ (Liberdade Sobral, final stanza of the poem ‘A Minha Vida’).
KANTAR ABRIL 2.0
[Ivo do Carmo]
In this edition of April 25th, we celebrate the theme of the VOICE as POWER. This installation aims to reflect on the voice as the organic and visceral embodiment of the word.
The VOICE as power is susceptible both to amplification (the microphone, the megaphone, speaking loudly) and to its inverse, concealment (the pen, the password, the murmur). The April Revolution is the historical moment of the liberation of the VOICE. What circulated in secret and clandestinity reaches its historical moment of claim, protest, acclamation, and proselytism.
We invite participants to traverse the itinerary of the VOICE, from clandestinity to affirmation, through its various stages until its post-modern histrionic celebration as Karaoke.
In the current world, with renewed authoritarian and silencing dictates, it is our duty to cultivate the voice.