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架构师提供的文本描述。Serralves藏品：1960-1980年展示葡萄牙和国际艺术家的作品，这些作品来自Serralves博物馆的收藏。这一新的展览标志着一个系列的开始，该系列继续使Serralves收藏更加引人注目，它在1960年和1970年的几十年里作为我们对当代艺术的理解和自1989年Serralves基金会成立以来藏品发展的基础。展出的作品反映了艺术作品的多样性，从后最低限度艺术和概念艺术的开始，以及它们在葡萄牙和世界不同地区的表现形式，到抽象、具象表现、表现和使用新媒体的实验。

Text description provided by the architects. Serralves Collection: 1960-1980 presents the work of Portuguese and international artists from the collection of the Serralves Museum. This new display, which marks the beginning of a series that gives continued visibility to the Serralves Collection, privileges the decades of 1960 and 1970 as foundational to our understanding of contemporary art and to the development of the Collection since the establishment of the Serralves Foundation in 1989. The Works on view reflect a diversity of artistic production, ranging from the beginnings of post-minimal and conceptual art and their expressions in Portugal and diferente parts of the world, to experimentation with abstraction, figurative representation, performance and the use of new media.1

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当博物馆馆长苏珊娜·科特(Suzanne Cotter)邀请我们画这个收藏品的展览时，她要求我们找到一个聪明的办法，把博物馆的珍宝展示给公众。我们有一个由三个策展人(科特，里巴斯，尼古拉)定义的序列，一个建构的叙事和一个故事来讲述，因为总有一个故事可以讲述，由英雄组成。我们有由阿尔瓦罗·西扎设计的博物馆房间，高度人性化的空间。我们有风景，外面，里面。自苏珊娜·科特(Suzanna Cotter)到来以来，博物馆管理的一个不变特点是，保持窗户俯瞰花园，这是博物馆作者所认为的每一次展览的组成部分。

When Suzanne Cotter, the museum director, invited us to draw the collection’s exhibition, she challenged us to find a clever solution to show the treasures of the museum to the general public. We had a sequence defined by the three curators (Cotter, Ribas, Nicolau), a constructed narrative and a story to tell, because there is always a story to tell, made of heroes. We had rooms of the museum designed by Álvaro Siza, heavily humanized spaces. We had the landscape, outside, inside. A constant feature of the museum's management, since Suzanna Cotter’s arrival, is to keep the windows overlooking the garden as an integral part of each exhibition, as it was thought by the museum's author.

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公众被突然以色彩的形式进入房间的景观所引领，这些色彩从墙壁上升到博物馆的天花板。这些是花园的颜色。这七种颜色给房间赋予了节奏，作为叙事群的隔断，创造了一个明确的空间，在空间中，展示试图不污染作品或艺术家之间的关系；帮助作品与空间、参观者与博物馆之间的突然规模变化。

The public is led by the landscape that suddenly enters the rooms in the form of colours which rise through the walls to the ceiling of the museum. These are the colours of the garden. The seven colours give rhythm to the rooms as partitions of narrative groups, creating defined spaces where displays float in space trying not to contaminate the relationship between works or artists; helping the sudden scale changes between works and space, between visitor and museum.

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从六十年代开始，到七十年代，艺术家的社会和环境良知与表现手法相结合。从艺术贫穷到身体艺术-埃特尔·阿德南、海伦娜·阿尔梅达、理查德·阿特施瓦格、约翰·巴尔德萨里、洛萨·鲍姆加滕的作品；勒内·梅尔·博什纳、费尔南多·卡尔豪尔、阿尔贝托·卡内罗、默斯·坎宁安、马琳·杜马斯、汉斯-彼得·费尔德曼、戴维·戈德布拉特、丹·格雷厄姆、乔治·格里法、理查德·汉密尔顿、詹尼斯·库内利斯、费尔南多·兰哈斯、阿尔瓦罗·拉帕、马尔万、西尔多·梅雷莱斯、阿娜·门迪塔、罗伯特·莫里斯、安东尼·蒙塔达斯、布鲁斯·纳曼、西尔克·奥托·纳普、南6月·派克、夏洛特·波森斯克、伊冯妮·雷纳、保拉·雷戈Gerhard Richter，Joaquim Rodrigo，Martha Rosler，Dieter Roth，Ed Ruscha，Juli o Sarmento，Nikias Skapinakis，Robert Smithson，ngelo de Sousa，Ana Vieira，Pires Vieira，Franz Erhard Walther，汉娜·威尔克，Lynette Yiadom-Boakye(以及其他人)-在彩色空间之间进食。

Beginning in the sixties, and throughout the seventies, the social and environmental conscience of the artists mixes with the practices and techniques of representation. From Art Povera to Body Art - works by Etel Adnan, Helena Almeida, Richard Artschwager, John Baldessari, Lothar Baumgarten; René Mel Bochner, Fernando Calhau, Alberto Carneiro, Merce Cunningham, Marlene Dumas, Hans-Peter Feldmann, David Goldblatt, Dan Graham, Giorgio Griffa, Richard Hamilton, Jannis Kounellis, Fernando Lanhas, Álvaro Lapa, Marwan, Cildo Meireles, Ana Mendieta, Robert Morris, Antoni Muntadas, Bruce Nauman, Silke Otto-Knapp, Nam June Paik, Charlotte Posenenske, Yvonne Rainer, Paula Rego, Gerhard Richter, Joaquim Rodrigo, Martha Rosler, Dieter Roth, Ed Ruscha, Julião Sarmento, Nikias Skapinakis, Robert Smithson , Ângelo de Sousa, Ana Vieira, Pires Vieira, Franz Erhard Walther, Hannah Wilke, Lynette Yiadom-Boakye (among others) - vibrate between the spaces of colour.

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有很大的房间，看起来像魔兽世界。

There are large rooms, which look like wunderkamera. 

这是我们发现惊喜和展示收藏珍品的方式。

It was the way we found to surprise and showcase the collection treasures.

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很多年前，皮尔鲁吉·尼可林和乔万娜·波拉西在波尔图闲逛，我被皮尔鲁吉赋予了一个使命：彩色西扎！

Many years ago, wandering aroundh Porto with Pierluigi Nicolin and Giovanna Borasi, I was entrusted by Pierluigi with a mission: colorare Siza!

我没再想过，但事情发生了。

I haven’t thought about it again, but it happened.

这种事还是会发生的。

It's still going to happen.

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1馆长说明。

1 Note of the curators.