Two Exciting Exhibitions at an old Tannery.

Enjoy two mind-blowing exhibitions at art.lab @ A Fábrica de Prazeres. The preserved old machinery in the factory and its aged patina, combined with unique modern art – will amaze you! 3 x Halls 2 x Exhibitions 1 x Entry THE FACTORY - The Art of Silk Printing II by Andy Warhol. The first „Factory - Silk printing by Andy Warhol“ exhibition was more then a great success — and is calling for more… Now we're back with an entirely new collection of silk prints. Concentrating on Animals and more… Discover the story of Warhol's legendary Factory, the famous New York studio where art was created through collaboration, experimentation, and silk-screen printing. Experience a fresh selection of works and the process that changed modern art forever. SKIN | PELE | METES-ME NOJO by FÁTIMA SPíNOLA. SKIN | PELE | Metes-me Nojo explores the physical, emotional, and political boundary as a site where the body is inscribed, protected, exposed, and transformed. More than a limit between inside and outside, the skin becomes a territory of constant negotiation, where identity, memory, desire, violence, and vulnerability coexist. Departing from the relationship between body and image, the exhibition questions the very possibility of representing the subject. Portraiture and self-portraiture cease to affirm identity and instead become spaces of instability, where the figure oscillates between recognition and disappearance. The image resists transparency, refusing to offer a fixed or definitive reading. What remains concealed becomes as significant as what is revealed. The exhibition unfolds as a journey in which different works establish relationships with one another, creating an environment where painting, installation, video, light, and sound operate as parts of a single organism. Objects associated with everyday life and the domestic sphere are displaced from their habitual context, acquiring simultaneously sculptural, theatrical, and symbolic dimensions. Traces, fragments, and actions evoke the presence of the body without directly representing it, inviting the viewer into a physical experience of proximity, discomfort, and recognition. Metes-me Nojo does not function here as a statement, but as a rupture. The expression introduces a proximity that resists resolution: between the one who looks and that which is looked at, between attraction and repulsion, between intimacy and exposure. Rather than naming an emotion, it interrupts the possibility of a comfortable distance. The exhibition remains within this interval. It does not seek to resolve the images it produces, but rather to inhabit the moment when they cease to offer certainty.