For the inauguration of CAM’s new building, Leonor Antunes was invited to present a project to occupy the redesigned Nave and Mezzanine galleries, in ‘Leonor Antunes. the constant inequality of leonor’s days*’. In addition to the surprising cork sculpture that covers the entire floor of the Nave, the artist has created large-scale works suspended from the ceiling, evoking works by other women artists, some of them belonging to the CAM Collection, with a special focus on Ana Hatherly.

The London studio, ‘A practice for everyday life’, designed this catalogue that accompanies the exhibition and brings a new critical reading to Leonor Antunes’ work, anchored in feminist theories and the importance of figures such as Sadie Speight (1906-1996), a British architect, designer and writer whose participation in the design of the original CAM building had remained completely forgotten. In addition to this reference, the artist dedicated the Mezzanine space to curating works by Portuguese artists from the Collection, such as Maria Helena Vieira da Silva and Grada Kilomba.

Distributed internationally by Sternberg Press, with texts by the exhibition’s curator, Rita Fabiana, and researchers Connie Butler, Julia Bryan-Wilson and Taisa Palhares, the publication is accompanied by a stunning set of photographs with views of the two floors of the exhibition.