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Carlos Noronha Feio
Queijas, Oeiras, Portugal
Noronha Feio holds a PhD from the Royal College of Art London and he lives and works in Lisbon and Moscow. Noronha Feio’s recent projects include “The Fabric of Felicity” at Garage Museum of Contemporary Art in Moscow, Nada Miami Beach 2019 Sculpture Park in Miami USA, “Futures” at CAC-Contemporary Art Centre Vilnius, “even if at heart we are uncertain of the will to connect, there is a common future ahead” at narrative projects in London, “(sunsight!)/(sunclipse!)” at 3+1 Arte Contemporânea in Lisbon, “Matter of Trust” at Nottingham Contemporary, Nottingham, “Oikonomia: a Matter of Trust” at Museu Nacional de Arte Contemporânea – Museu do Chiado in Lisbon, “You Are Now Entering_________” at CCA Londonderry/Derry in Northern Ireland, “Image Wars” at Abrons Art Center in New York, “The Flag: Instruction Manual #2” at Sazmanab Platform for Contemporary Art, Tehran, and “Da outra margem do Atlântico: alguns exemplos da fotografia e do video português” at Centro Cultural Helio Oiticica in Rio de Janeiro. Noronha Feio’s work is included in the publications “The Art of Not Making: The New Artist/Artisan Relationship” as well as in “Nature Morte: Contemporary Artists Reinvigorate the Still Life Tradition”, published by Thames & Hudson. He is present in several private and public collections including MAAT—Fundação EDP in Lisbon, Saatchi Collection in London, MAR—Museu de Arte do Rio in Rio de Janeiro, MNAC – Museu do Chiado in Lisbon, Portuguese State Collection. In 2020 Casa da Cerca - Centro de Arte Contemporânea, inaugurated a new permanent outdoor text sculptural artwork. In 2022 The Kunstverein Rosa-Luxembourg-Platz commissioned Noronha Feio to install a large scale text installation in the immediacy of Rosa-Luxembourg-platz. From 2009 up to 2014 he was a director of The Mews Project Space in London’s east end, and between 2020 and 2022 he was the coordinator for Art and Creativity for the Oeiras 27 candidacy to be European Capital of Culture.
  Carlos Noronha Feio (Lisbon 1981) consumes, juxtaposes and performs media as research into cultural, local and global identity, adopting culturally significant images, locations and symbols as a form of creative interference with meaning, demonstrating the almost arbitrary nature in which cultural significance is interpreted.