Vera Mantero studied classical dance and joined the Gulbenkian Ballet between 1984 and 1989. She started her choreographic career in 1987 and since 1991 has shown her work throughout Europe, Argentina, Brazil, Canada, South Korea, USA and Singapore. His works include the solos “Maybe she could dance first and think later” (1991), “Olympia” (1993) and “A mysterious Thing, said the eecummings*” (1996), as well as the group pieces “ Under" (1993), "For the Weary and Deep Sorrows" (1994), "Poetry and Savagery" (1998), "Until God is destroyed by the extreme exercise of beauty" (2006), "Let's miss all that of that we don't need” (2009) and more recently “Os Serrenhos do Caldeirão, exercises in fictional anthropology” (2012) and “Salário Máximo” (2014). In 2013 and 2014 he created the performative installations “Oferece-se Sombras” and “Mais Pra Menos que Pra Mais”, the latter a partnership between Culturgest and Maria Matos Teatro Municipal. He regularly participates in international improvisation projects alongside improvisers and choreographers such as Lisa Nelson, Mark Tompkins, Meg Stuart and Steve Paxton. Since 2000 she has also dedicated herself to voice work, singing the repertoire of various authors and co-creating experimental music projects. In 1999 Culturgest organized for a month a retrospective of its work done to date with the title “Mês de Março, Mês de Vera”. “Comer o Coração”, work created in partnership with the sculptor Rui Chafes, represented Portugal at the 26th Bienal de São Paulo 2004. In 2002 he was awarded the Almada Prize (Ministry of Culture) and in 2009 the Gulbenkian Art Prize for his career as creator and interpreter.

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Work carried out by SESC Ipiranga 2017