There are sufferings so abominable that they are incomprehensible, in an errant sequence of bodies, places, gestures – to look at them is to think that the days know nothing and that life needs to be straightened out every day. Hypnotized by cartographies that exclude the existence of a dignified and full life, how many of us are inert and shackled in ideas that immobilize, in a frantic rush that is not walking?

Here and there, interpretations are a game of multiple choice, but love songs don’t write themselves.

There are disaffections and non-loves that bring us the bitterness of petrifying repugnance, deep silences and lightning that we still unwrap the next day and the next, which drain us of the impetus of survival in the density of existence.

They cling to our legs in a sad mismatch.

We want to shoo them away and think happy, old, fragrant dreams, think of unconditional love, love-only-love, and the eyes are on the ground and the world hurts, because life is bigger than all the old, fragrant dreams, happy.

Joy sticks to the corners of the mouth. A frantic rush that is not walking.

Can you read these signs in the stars of joy, regret, rancor, hope, the abyss?

And soon the moon will come and I’ll have flowers in my head and hugs and wild thoughts, and I just think that we should be in the streets, in the squares, on the stages and in the pulpits, begging to invent saving wings for the world and screaming, the scream MORE LOVE, PLEASE.

There are things that should breed hearts.

Where is yours?

Teresa Carreiro


With her committed art, her painting with a strong message of contrast and alertness and with strong dichotomies, the artist Paula Gouveia denounces the trivialization of indifference, the rush, the human condition without splendor, the dismemberment of the cosmos and harmony , going through the essence of the colors of life and the earth – scarlet and black, white, a lot of fire and rust colors, sky blue – its chromatic universe, as a way to reach the hearts present, in this exhibition space in the city of Coimbra .

The insistence on the rectangle, a presence in the artist’s canvases, pushes us to decipher and commit to change, returning us to the street or the house with fertile material for thought, who knows, who knows – Mais Amor, please.

The sculptural pieces by Carlos Ramos, dense, large format, and you can see the contrast of their raw materiality with the grace and delicacy of the forms, as if it were a light and fragile material, which the artist admires so much.

By Teresa Carreiro, the delicate and sprawling texts that accompany the canvases evoke MORE LOVE PLEASE. They make us reflect softly on how important a change is in our experiences, in our daily lives, in our “why and where”.

And, finally, the short film, by the duo Maria Miguel & Bibiana Nunes, closes this circuit of the Sala da Cidade, underlining the strength of the theme presented here, as in an appeal – more love, who cares?

The unification of the four languages ​​presented here, according to the expository theme presented, results in a unifying plurality, contaminated by the work of Paula Gouveia, with its strong central thematic raw material and intense breathing. These distinct languages, interconnected but autonomous, have the unequivocal objective of presenting a single message, in favor of the need to alert to the reality of the world where solidarity is a scarce good, in which we all live in the neighborhood of loneliness, vertigo, abandonment , from indifference, from frenzy, in pain. In short: no love.