This publication is the second volume of Há Gente Na Via, by the artist Carla Filipe. It is dedicated to architecture, gardens, and orchards, and is composed of photography and text. Its main focus is the universe of Portuguese railways, based on a photographic archive that the artist created between 2005 and 2025. The artist’s book is the chosen exhibition medium for presenting photographs accompanied by a variety of texts, following a metalanguage methodology that seeks to place the subject in perspective and expand the field of reflection through new discursive significations.
Taken from railway vocabulary, the expression há gente na via (“there are people on the track”) was understood as a warning signal, a way of ensuring the safety of the railway line. Protecting the railway means keeping it clear for circulation, preventing accidents or delays. Today, pedestrian circulation is limited to a very small number of railway lines, whose access is increasingly restricted by a security system composed of bridges, tunnels, and signage that minimises the possibility of proximity.
Carla Filipe
A visual artist based in Porto. She holds a degree in Fine Arts (Sculpture) and a master’s in Contemporary Artistic Practices from the Faculty of Fine Arts of the University of Porto. She co-founded the spaces Salão Olímpico (2003–2005) and O Projecto Apêndice (2006), both in Porto. In 2009, she took part in an artistic residency at Acme Studios (London) with a grant from the Calouste Gulbenkian Foundation. She has also completed residencies at AIR Antwerpen (Antwerp, 2014), the Robert Rauschenberg Foundation (Captiva, Florida, 2015), and Galerie Krinzinger (Vienna, 2017). In 2023 she won the “Desenho FLAD – Drawing Room” Prize, and in 2011 she was selected for the “New Artists of the EDP Foundation” Prize.
Among her numerous solo and group exhibitions, highlights include: Código Civil (Fundação Carmona e Costa, 2025); In my own Language I am Independent (Serralves Museum, Porto, 2023); Confissões de uma baptizada (Arquipélago – Centro de Artes, Ribeira Grande, São Miguel, 2022); Amanhã não há arte (MAAT, Lisbon, 2019); da cauda à cabeça (Berardo Collection Museum, Lisbon, 2014); FARSA. Language, fracture, fiction: Brazil–Portugal (SESC Pompeia, São Paulo, 2020); Incerteza Viva (32nd Bienal de São Paulo, 2016); and Mom, Am I Barbarian? (13th Istanbul Biennial, 2013). FARSA. Língua, fratura, ficção: Brasil–Portugal (SESC Pompeia, São Paulo, 2020); Incerteza Viva (32ª Bienal de São Paulo, 2016); and Mom, Am I Barbarian? (13ª Bienal de Estambul, 2013).
The artist’s book format, a privileged medium in her practice, plays a prominent role in her production. Among her numerous artist’s books are: Há Gente na Via Vol. I (Pierre von Kleist, Lisbon, 2023); Imagens Sangradas (Portuguese Consulate in São Paulo, Brazil, 2016); Fascículos (Galeria Solar de Vila do Conde, Portugal, 2015); As Primas da Bulgária (Kunsthalle Lissabon, Lisbon, 2013); and Boletim-architecture (Concreta, Valencia, 2013). Her artist’s books are part of the collections of Fundação EDP (Lisbon), the Library of the Museu de Serralves (Porto), MACBA (Barcelona), and the Museu Gulbenkian (Lisbon).
Languahe: Spanish, Portuguese and English
Pages: 138
ISBN: 979-13-991301-0-2
First edition of 500
Year: 2025
Price: 25 euros
This book has been produced with the support of the Criatório da Ágora – Cultura e Desporto do Porto, E.M., S.A. Criatório da Ágora – Cultura e Desporto do Porto, E.M., S.A.
