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By pairing stone-like columns with parasols, Angelidakis transforms markers of heritage into interactive urban furniture. The pieces function as oversized poufs that invite rest and social gathering. As the inaugural edition of the gallery’s new outdoor commission, the installation sets a precedent for works that activate Porto’s public realm through seasonal, experimental interventions.

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Each room is conceived as a ‘dungeon’ within the castle, referencing the level-based structure of role-playing games. Visitors are positioned as protagonists — warrior, elf, mage, or hero — encountering fantastical creatures and settings. This transformation of the gallery into an architectural sequence gives the exhibition the pacing of an exploratory journey, moving from one immersive space to another.

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The exhibition is designed as one continuous, site-specific work that responds directly to the RSA’s architecture, using its spaces, light, and materials as active elements. In doing so, it extends Goldsworthy’s long-term investigation into how people, buildings, and the land are bound together and where they are held apart.

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The installation is composed of expansive crochet structures woven from industrial cotton fabrics in shades of brown and pink. These colors, chosen to evoke tree trunks and night alongside flowers and day, establish a dialogue between natural rhythms and architectural structure. Suspended and filled with dried guava leaves and locally sourced tea leaves, the artist‘s forms invite a multi-sensory encounter that engages smell both texture together.

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Immersive wall installations pair gouaches and watercolors that revisit themes of the self, the couple, family, and the spiral. The gallery’s center hosts major sculptures which explore emotional bonds and the passage of time. The Hanok space introduces a rarer body of drawings on coffee filters, made in 1994, where circular compositions bridge domestic material with reflections on cycles, abstraction, and organic form. All together, the works reveal Bourgeois’s late practice as both intimate and monumental.

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Organized in collaboration with M+ Hong Kong, the exhibition unfolds as a landscape where individual memory and historical fragments intersect with broader sociopolitical references. The show charts the evolution of Lee Bul’s practice, and highlights her role in expanding conversations around humanity’s past and imagined futures.

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The exhibition incorporates influences from Chaile’s time in Montana, where he observed a No Kings Day protest that shaped the atmosphere of the new works. Charcoal drawings on canvas echo the markings on the sculptures, while photographs from the protest offer a documentary counterpart. The title itself, half in Spanish and half in Portuguese, reflects Chaile’s negotiation between statement and question, declaration and doubt: ‘This is America’ followed by ‘What is the limit?’

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The exhibition brings together two recent series. In SWEETS, natural forms such as branches and leaves are digitally enhanced against vivid backgrounds, transforming them into visual compositions that waver between authenticity and invention. PARADISE introduces AI-generated gardens and architectural visions that draw from cultural and religious ideals, evoking both the desire for harmony and the unease of a digitally engineered utopia. Shown together, the works highlight the tension between nature’s fragility and technology’s promise of perfection, positioning photography as a space where beauty, illusion, and critique converge.

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