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Description
The VIVIFICAR project addressed the challenge of population decline and cultural isolation in four low-density municipalities in the Douro region—Alijó, Lamego, Mêda, and Torre de Moncorvo. It aimed to revitalise these areas by promoting creative engagement, decentralising artistic offerings, and strengthening community ties through participatory art. The project involved 12 artists in residencies, engaging 231 residents—nearly double the initial target—and delivered 12 community-specific interventions, including exhibitions, workshops, and informal talks. Activities such as photography and video workshops for young people culminated in public exhibitions, while guided tours expanded accessibility. The project also produced two collective exhibitions in Portugal and Norway, a seminar, a book, and a summary exhibition, significantly extending its reach.
The project achieved meaningful impact by reinvigorating local communities, with participants requesting its return and municipalities committing to a second edition. Unintended benefits included increased visibility through national and international exhibitions, such as the Porto Photography Biennial, and lasting cultural initiatives like the formation of a local association in Alijó. The bilateral collaboration with Norway enriched the project, fostering cross-cultural understanding and attracting new audiences. Ultimately, ViViFiCAR demonstrated how art could address socio-economic challenges, leaving a sustainable legacy of community engagement and cultural vitality in the Douro region.
Summary of project results
The VIVIFICAR project aimed to address several challenges in four low-density municipalities in the Douro region of Portugal: Alijó, Lamego, Mêda, and Torre de Moncorvo. One of the primary issues was the lack of population settlement and the declining vitality of these rural areas. The project aimed to creatively respond to this by fostering a sense of "living" and "staying" through cultural and artistic engagement. It aimed to counteract the centralisation of artistic and cultural offerings, which often left peripheral regions with limited access to such opportunities.
Another challenge was the limited interaction between local communities and contemporary artistic practices. The project bridged this gap by involving residents in creative processes, workshops, and exhibitions, thereby democratising access to art and fostering meaningful connections between artists and the community. The socio-economic, ecological, and cultural context of the territory was also a focus, with the project deepening perspectives on these aspects through participatory and inclusive practices.
Additionally, the project addressed the need for sustained cultural activity beyond one-off events. By establishing long-term relationships and inspiring local initiatives—such as the creation of a cultural association in Alijó and the continuation of weekly meetings by a group of women involved in one of the artistic projects—it ensured that the impact endured after the funding period. The project also expanded its reach unexpectedly, such as through extended exhibition periods and invitations to present at international forums, further amplifying its influence.
Through these efforts, the project not only revitalised the cultural landscape of the Douro region but also strengthened bilateral relations with Norwegian partners, enhancing mutual understanding and creating new audiences for both Portuguese and Norwegian cultural outputs.
ViViFiCAR focused on revitalising low-density municipalities in the Douro region of Portugal through creative and community-driven initiatives. The project engaged 231 residents across four municipalities—Alijó, Lamego, Mêda, and Torre de Moncorvo—far exceeding the initial target of 117 participants. Twelve artists were involved in residencies, where they developed new works and presented them in community-specific exhibitions, fostering meaningful connections with the local people and the territory.
Over six weeks, the artists conducted 12 community-specific interventions, with three in each municipality, promoting the decentralisation of artistic and cultural offerings. These interventions included exhibitions, guided tours, and informal talks between artists, experts, and local ambassadors. The project also organised photography and video workshops for young people, culminating in four exhibitions and public celebrations.
In 2023, the project expanded its reach with two collective exhibitions—one in Portugal and another in Norway—showcasing works from the residencies. A seminar at the Douro Museum, a project book, and a summary exhibition of the workshops were also produced. The project’s impact was further amplified when its exhibition was included in the Bienal’23 Fotografia do Porto, extending its run due to popular demand.
The project had lasting effects beyond its funding period. For instance, a group of women continued meeting weekly after participating in Maria Lusitano’s The Colors of Healing, and a local ambassador in Alijó established a cultural association, A Cigarra, which remained active. Norwegian artist Trond Lossius revisited Portugal to reconnect with his local ambassadors, demonstrating the enduring relationships formed.
Unintended outcomes included increased visibility for the project, such as presentations at international forums and invitations to share insights at academic institutions like the HDK-Valand Academy in Gothenburg. Works like Smoke by José Miguel Pires and Roga by Patrícia Geraldes were showcased at various national and international festivals, further extending the project’s influence.
The bilateral collaboration with Norwegian partner Surnadal Billag enriched the project, particularly in artist selection and exhibition hosting, while fostering mutual understanding of low-density challenges in Portugal and Norway. The opening in Norway attracted unprecedented attendance, highlighting the project’s broad appeal.
Overall, ViViFiCAR successfully injected energy into the region, with communities requesting its return and municipalities expressing interest in future editions, underscoring its sustainable impact.
The ViViFiCAR project achieved meaningful outcomes for local communities, artists, and cultural institutions across four low-density municipalities in Portugal’s Douro region—Alijó, Lamego, Mêda, and Torre de Moncorvo. By integrating art into community life, the project fostered social cohesion, cultural engagement, and long-term creative initiatives.
For local residents, the project delivered direct participation in artistic processes, with 231 community members involved—nearly double the initial target. Activities like workshops, exhibitions, and guided tours provided accessible cultural experiences, particularly for young people and marginalised groups. The impact extended beyond the project timeline: a women’s group formed during Maria Lusitano’s The Colors of Healing continued meeting weekly for over two years, demonstrating sustained social empowerment. Communities actively requested the project’s return, highlighting its value to their villages.
Artists benefited from residencies that allowed them to create new works deeply rooted in the region’s socio-cultural context. These works gained further exposure through national and international exhibitions, such as José Miguel Pires’ Smoke (shown in Brazil, Slovakia, and beyond) and Patrícia Geraldes’ Roga at the Cerveira Biennial. The project also strengthened ties between Portuguese and Norwegian artists, with Trond Lossius revisiting Mêda to reconnect with local collaborators.
Local institutions and ambassadors saw lasting organisational impacts. Sara Mota, an ambassador in Alijó, founded the cultural association A Cigarra, which remained active years later. Municipalities like Sabrosa joined a second edition, while others expressed interest, signalling the project’s role in inspiring ongoing cultural investment.
Wider audiences engaged through exhibitions like the extended Bienal’23 showcase in Porto, which attracted national and international visitors. The project’s reach expanded further through presentations at academic institutions (e.g., University of Gothenburg) and festivals, amplifying its influence on contemporary public art discourse.
Unintended outcomes included heightened visibility for participating artists, cross-border collaborations, and the project’s adoption as a model for decentralised cultural programming. The bilateral partnership with Norway’s Surnadal Billag enriched mutual understanding of low-density challenges, while record attendance at their joint exhibition underscored its transnational appeal.
Ultimately, the project revitalised communities through art, leaving a legacy of active participation, institutional growth, and enduring creative networks that continued to thrive post-funding.
Summary of bilateral results
The project benefited significantly from its partnership with the Norwegian donor, Surnadal Billag, which played a key role in selecting Norwegian artists for Encontros Vivos and provided artistic direction through Jon Arne Mogstad. His involvement, alongside moderators like Gabriela Vaz-Pinheiro, enriched the creative process by fostering deeper community engagement and cross-cultural dialogue. The collaboration also enhanced understanding of shared challenges in low-density regions of Portugal and Norway. At a bilateral level, the partnership yielded several key results. The collective exhibition hosted at Surnadal Billag and Surnadal Kulturhus attracted an unprecedented audience, expanding visibility for both organisations. The project facilitated knowledge exchange, with Norwegian artists contributing unique perspectives that influenced the artistic outcomes. Additionally, the cooperation strengthened ties between the two regions, creating opportunities for future cultural initiatives. Plans for continued bilateral cooperation were indicated, with the potential for ongoing contact, though no formal agreements were confirmed. The success of the collaboration, including its unexpected reach and impact, suggests a mutual interest in sustaining the relationship, possibly through future projects or exchanges.