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Quarta-feira 13:30 - 19:00 Quinta-feira 13:30 - 19:00 Sexta-feira 13:30 - 19:00 Sábado 13:30 - 19:00

Térmita

Livraria

04/06/2026

Some interesting photographs, no camera was used:

1. Leaf, Nicolas’s Henneman (1813 -1898)
Salted paper print from a photogenic drawing negative, c. 1843-5

2. Fern, William Henry Fox Talbot
Salted paper print, printed 1846 or later

3. British and Foreign Flowering Plants and Ferns, Anna Atkins (1799-1871)
Cyanotype c. 1854

4. E. & J. Baldwin Photographic Portrait Studio (1880s)
Silhouettes, Carbon prints (1840s) photographs c.1880

5. Man Ray (1890-1976)
From Electricité (1931)
Photogravures from photograms

6. Helen Chadwick (1953-1996)
One Flesh, 1985
Photocopy collage

7. Helen Chadwick
Study for mutability, 1986
Photocopy collage

8. Barbara and Zafer Baran (b. 1956 and 1955)
Dahlia #120 (2003)
Pigment print from scan

9. Ephemera #179 (2002)
Pigment Print from scan

10. Garry Fabian Miller (b.1957)
Exposure (five hours of light)
1 July 2005
(2005)
Dye destruction prints

See and understand the process behind this, and many more, in Cameraless Photography , Martin Barnes available at the bookshop and shipping from termita.pt

31/05/2026

Dionne Lee: Currents, is a powerful meditation on the land as a site of refuge and loss.

Dionne Lee works across photography, video, and collage to examine histories of land, power, survival, and Black identity in the American landscape. Lee uses formal interventions and innovative darkroom techniques-including rephotographing found imagery from wilderness survival manuals and using graphite pencils to create inscriptions on her photographs of the landscape-to address themes of dispossession, loss, and resilience.

“Dionne Lee: Currents,” the artist’s first monograph, brings together works from over a decade of Lee’s career alongside essays by award-winning poet Camille T. Dungy and curator Eric Booker, as well as a conversation between Lee and the writer Gabrielle L’Hirondelle Hill, offering a deeper look at a visionary artist reshaping how we see-and choose to imagine-the great outdoors.

Available at the bookstore and shipping from termita.pt

30/05/2026

An Extremely Un-get-atable Place, Craig Easton

An Extremely Un-get-atable Place, is a lyrical exploration and re-imagining of the time that George Orwell spent at Barnhill, the remote farmhouse on the Isle of Jura in the Hebrides in Scotland, where between 1946 - 1949 he lived and wrote his classic dystopian novel Nineteen Eighty-Four.

The work is about hope, about finding joy in the small things in life and believing in a better future in a world of political turmoil.

In 2023 I was invited to stay at Barnhill – 8 miles from the nearest road and almost unchanged since the time Orwell lived there. The house was Orwell’s escape. His place of hope, a place of peace & calm where he could build a future.

Orwell was dying, but after the untimely death of his wife, Eileen, he was determined to cling on to life to maintain hope and belief in the future, if not for him then for their son and for humanity. He believed in a better future and counsels us against tyrants.

He planted trees, grew vegetables, fished, kept chickens & had visitors galore. His diaries & letters are full of plans for the future.

In a similarly fractious time in world affairs, I too escaped. I was invited to stay at the house and there I made a series of landscape and still life images with my large format 10x8 field camera – the negatives then printed as hand-made silver gelatin prints and toned in strong tea in homage to Orwell’s famous obsession.

The photographs are presented alongside extracts from Orwell’s diaries & letters that he wrote during his life on the island.

Available at the bookstore and shipping from termita.pt

24/05/2026

“Em meio a tantas imagens, o que faz fred acreditar nelas? O que o faz percorrer por laboratórios sem a certeza se os seus retratos emergirão. Seus frames são pequenos brilhos, cintilam feito pequenas surpresas. Acaso, erro e descontrole. Isso que nos leva ao maravilhamento, algo como abrir um presente.

E seria precisamente pela surpresa que teríamos a possibilidade de sermos arrebatados por uma pequena beleza. Esta que aflora a partir do que esperávamos pouco ou que fizemos um trabalho para não esperar, porque tínhamos a plena consciência de fugirmos às regras e protocolos. Encontrar “coisas acesas por dentro” em meio ao acúmulo de decisões que sabíamos implicar em erros parece ser um breve milagre.

Nesse fenômeno de arrebatamento e de construção de um espaço extremamente íntimo, somos fatalmente capturados: um encontro com Eros. Debruçar-se nessa obra é ver-se tomado por um espaço especial de nossa entrega perante esses registros, mas também da entrega de quem fotografa ao seu entorno. Aqui é justamente onde estar atento, dedicado e apaixonado, se confundem. Onde se abre uma nesga de desejo, em meio à crescente e assombrosa deserotização do mundo sobre a qual nos alerta Franco Bifo Berardi e Luigi Zoja. fred é, assim, a jornada entre os anos, os lugares de afeto e os seres que os integram.

Lembremos o que Anne Carson nos conta: “Eros é um verbo”, isto é, “o desejo se move”. Eros é essa pulsão de mover-se, de dividir e partilhar os mundos, de perder-se e alargar-se nos outros. Eros é esse lançar-se a um outro, em um sentido vasto, seria a capacidade de “arrancar o sujeito de si mesmo e direcionar para o outro. […] Ele dá curso a uma denegação espontânea do si mesmo, um esvaziamento voluntário do si mesmo.” Se o sujeito narcisista é aquele que “não consegue perceber o outro em sua alteridade e reconhecer essa alteridade”, fred é o seu antagonista, bem como apaixonar-se é antídoto para não se afogar em si. ”

Extracto do texto “O Grão e o poro”, de Maura Grimaldi, publicado no livro fred, de ska batista.

Fred, de ska baptista, está disponível na livraria e em termita.pt

24/05/2026

Cut Out presents the previously untold relationship between photography, feminist art, and collage through the V&A’s extensive collection of photography, spanning from the nineteenth century to the present day.
Female artists have long employed collage to reflect the ways in which identity is often constructed from conflicting, contrasting, and contradictory parts. Cut Out explores the relationship between photography and feminist collage, foregrounding the use of femmage—a radical reclaiming of craft traditionally associated with women—as a resilient method within feminist and political art.
Cut Out presents an expanded definition of collage and cutting techniques to encompass photomontage, assemblage, and the photogram. Tracing a lineage from nineteenth-century makers to contemporary practitioners, this fascinating volume covers Victorian album makers; modernist, surrealist, and Dadaist innovators; and radical, second-wave feminist artists. Thematic sections include profiles written by expert contributors on key individuals, including Hannah Höch, Dora Maar, and Lorna Simpson. Looking to the future as much as the past, Cut Out also reveals how the pioneering work of contemporary and digital artists continues to subvert dominant narratives and foster everexpanding forms of photographic collage.
At a moment when photography and its history are being actively contested and reappraised, Cut Out is a reminder of its political power.

Cut Out
A Feminist History of Photo Collage, Montage and Assemblage

Fiona Rogers, Damarice Amao, Matthew Biro, Justine Kurland, Melissa Meyer, Renée Mussai, Pelumi Odubanjo, Alona Pardo, Tania Sanabria

Shipping next week from termita.pt, or you can get it at the bookstore. Have a good Sunday!

20/05/2026

Atatakai apresenta
De Val

Térmita
Largo de Mompilher 5, Porto
30 de Maio às 19h.

improvisação e spoken word
apresentação final e conversa com André Barata em torno do livro Ressonância e Queda

12/05/2026

TEMPESTADE PERFEITA

Há um poema no ar
Aponta o jovem poeta
Não passa dum pássaro morto
Aponta o velho poeta
Como é belo
Este momento
Apontam em êxtase

A.Dasilva O.
E a Poesia dá à luz uma bússola louca
Poemas escolhidos
Selecção e posfácio de Rui Manuel Amaral

Edição: Contracapa, 2026

10/05/2026

With this latest series, Kazuo Kitai renews his practice. By transforming his archival images, he offers a new, sensitive and gestural reading, questioning the creative act at the end of a cycle.
In this new series, Kazuo Kitai revisits his own photographic archives: faces, bodies under tension, marching crowds, fragments of resistance. Known for documenting the protest movements in Japan during the 1960s, he now chooses to reactivate these images through a radical gesture.

By tearing his silver prints and covering them with paint, Kitai transforms photography into raw material. The documentary becomes abstraction; the image becomes a surface for a hybrid form, somewhere between calligraphy and painting. This work marks a break in his practice: it is no longer about bearing witness, but about reinterpretation.

In these black-and-white photographs, we see helmeted men, workers, police officers, students, inhabited streets, and suspended objects. The artist overlays them with vivid colors and inscribes the Japanese characters “I,” “RO,” and “HA” — the first syllables of the traditional kana order, the equivalent of the “A-B-C” or “B.A.-BA” in Latin script. A return to fundamentals, further emphasized by the numbers “1, 2, 3,” typically recited as a countdown before setting something in motion.

Iroha, Kazuo KITAI is available at the bookshop and shipping from termita.pt

A manifesto in book form — at the intersection of memory, painterly gesture, and renewal.

06/05/2026

People on the brink, depopulated areas, desolate villages—it only becomes clear after a second glance that Beate Gütschow’s photos show protests, reconstruction work after catastrophic flooding, and the impact of forest fires on villages and landscapes: dystopian events that have happened in the recent past, and in Central Europe at that.

It is not until weeks after the events that Gütschow arrives in the places concerned. Her long-term photographic studies give rise to counter-images to set against the usual depictions of disaster. These are more tranquil images that are emotionally accessible and make it possible for events to be analyzed. Gütschow is also part of the climate justice movement.

Here, she participates in and records what she finds, documenting actions, occupations, and demonstrations: an interior perspective in which the photographs combine with diaristic notes to create a composition of text and images.

Resistance, Flood, Fire, Resistance. – Beate Gütschow, available at the bookstore and shipping.

04/05/2026

Sábado, 9 de Maio, às 17h00, na Térmita.

Apresentação de “E a Poesia Dá à Luz uma
Bússola Louca”, a antologia de poemas de A.
Dasilva O., escolhidos por Rui Manuel Amaral.

Grafismo de Luís Nobre (Lina&Nando) e edição da Contracapa.

Com as presenças de A. Dasilva O., Artur
Manso e Rui Manuel Amaral.

A Térmita f**a no Largo de Mompilher, n.° 5, no Porto.

A entrada é livre.

Endereço

Largo De Mompilher 5
Porto
4050-392

Horário de Funcionamento

Quarta-feira	13:30 - 19:00
Quinta-feira	13:30 - 19:00
Sexta-feira	13:30 - 19:00
Sábado	13:30 - 19:00

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