cultura material contemporânea e arte
contemporary material culture and art
João Ferro Martins
Something is rotten, 2009
This series of drawings marked essentially by gesture intervention, almost in a random way, also reflects a certain dimension of human chaos, of our very existence.
This marks, scratches and shapes aim to achieve, by drying out the aesthetically calculated behaviour, the same level of roughness as the figure by them submersed.
From the photographic standpoint and since photography is an activity indivisible from the dialogue on memory, this work presents itself, in that same discussion, as the lost memory, the destroyed image, unreachable.
In some of the photos you can still see the remains of the image that it had held, a bit similar to what happens with mind fragments that we accumulate and slowly become confused.
From a certain viewpoint, these scraps of paper that we keep with parts of our experience, are not more than the reminding that all the other moments that surround that image are lost forever, therefore densifying the consciousness of time. But that is precisely what we strive to avoid with these captures.
These other times, those who had never been registered will bit by bit, in our mind, transform into a formless mass and become simulacrums, distorted and ultimately, abstract as painting.
João Ferro Martins born in 1979 in Santarém, was graduated in Fine Arts by the School of Art and Design of Caldas da Rainha.
His work opens up discussions about significant and significance, offering a universe of relations more or less obtuse which the sum translates itself into a paradoxical universe. From construction to the use of everyday objects, the pure formalism or an exaggerated symbolism, he creates an uncomfortable atmosphere in which there are no answers or questions.
The work reveals itself in a pure and accurate way even when displaying chaos and destruction.
Lives and works in Lisbon.
The Sun is Always Setting Somewhere Else..., 2006
a digital version of a 35mm slide projection
For this slide show, I downloaded and printed out images of sunsets taken by soldiers in Iraq and posted on file sharing photo sites such as Flicker. I then organized these pictures in order of the position of the sun on the horizon and held them in front of a setting sun in New York. I photographed this gesture over the course of an entire sunset in order to examine the ways in which certain visual clichés function to displace representations of violence.
6=0, 2009 - .
6 Simon & Garfunkel's "The Sound of Silence"' 45rpm vinyl records. Original editions dyspatched from different locations around the world. Envelopes, tape, stamps and postmarks from several parts of the world.
«The records were bought at ebay and never removed from their original envelopes and they never will. Each of the records travel: from my house to each exhibitions place, from each exhibition location to another, to each envelope another one is added. On arrival the date is annotated and a photograph of each envelope is taken to be shown on the next exhibition. The previous "6=0"'s envelopes, stamps, postmarks and the photos are being amassed as the records are being shown.»
And no one dared to disturb the sound of silence
António Contador takes as starting point the iconic song "The Sound of Silence" by Simon & Garfunkel, for his new project 6=0, a work where the content, container (meaning what it holds) and the context combines, generating a complex articulation of meaning and potential different interpretations.
If Contador seems to refer to Joseph Kosuth, One and Three Chairs (1965) famous work in one hand, on the other by transmuting verbal language into an arithmetic form, transforms the conceptual analytic logic into a postulate deeply rooted in Badiou (key role thinker in Contador’s theoretic training) and in his well known use of mathematics in order to translate philosophical statements.
6=0 the work’s title creates an intricate series of auto referential proposals. The evident tautology shown in an interplay of meanings in which the sung silence ("The Sound of Silence") becomes real silence through the creative gesture. Condemning this song to a forced sound absence as the records stay forever sealed in their envelopes. Besides Contador violates de common sense whilst creating an enunciation that ignores all elemental arithmetic, opening a new era of mathematical incorrect thinking: as Joseph Kosuth’s one and three chairs could be just one (presenting the same object’s three different possible versions) the António Contador’ six records equals zero. The composers themselves curiously had hesitated in calling the song "The Sound of Silence" or The Sounds of Silence, purportedly not knowing well if the silence would emit one or several sounds. Therefore the sound or the sounds of silence equals always zero, inasmuch as the silence is not audible or does not exist, as John Cage constantly reminds us.
However the artist does not tamper in the area of quotation or the use of erudite references out of our recent past cultural elements. A practice so used nowadays in artistic creation. Contador builds an autonomous and light original display, which relates theoretical thought, popular culture, concrete experiences and a self ironic vision with extreme lightness, as always happens with in his work.
Thus the artist creates an alternative and suspended space which relates philosophical questions (tautology, the one and the multiple, word/content association) to the power of popular music (this song was composed in the sequence of J.F. Kennedy assassination, in an attempt of dealing with the american trauma caused by this event), its cults (the way in recent years the vinyl is being subject to an huge revival) and the way dayly commercial exchanges are processed (by post, internet purchase, making almost think in a Dadaist or Fluxus mail art coming back under a post-capitalist reality).
In its simplicity and formal austerity 6=0 presents an endless realm of readings and interpretations. Precisely because it is a non authoritative work or, stretching a little bit the play on the word, silent.
People hearing without listening / People writting songs that voices never share / And no one dared / Disturb the sound of silence...
Nils Petter Löfstedt
Nils Petter has just finished making his first book, Club 13, published by Pierre Von Kleist Editions. The book will be released January the 15th, with an opening show at the Makeriet gallery in Malmö, Sweden. There are 300 signed copies of the book with a special edition of 30 books that comes with a signed print. Club 13 is Nils Petter first book.
Under a pier somewhere in Malmö, Nils Petter Löfstedt and Erik Vestman created a room. Perhaps you have walked on it. Surely you would never have guessed that underneath the stone and concrete there is a living room with white walls and parquet floor.
The room under the Pier has had thousands of visitors since it was made. The Pier will become Nils Petter's second book and will be released by the swedish photobook publisher Journal.
Nils Petter Löfstedt, 29, is working as a photographer in Malmö, Sweden.
He has worked as an assistant for JH Engström and for the documentary photographer Jean Hermanson.
On the cover of Club 13 you can see a result of Nils Petter and his friends new technique that places photography onto the street. These kinds of paving stones has been seen all over Malmö and recently appeared on swedish television.
Performance stills and drawings
Miguel Bonneville develops his activity across several artistic fields, often using autobiographical material. This is one of the distinctive traces of his performance work. It must be said that this approach is not common in Portugal, and almost never carried out by male performers.
In a time of image proliferation and saturation, Miguel’s work summons an imagistic repository anchored on his biography, which includes the notion of family and his relatives, childhood and growth, learning and social and cultural models. The operation used by Miguel on all these subjects leads to artistic objects that systematically destroy and reconstruct his personal experience, questioning the mechanisms associated with his identity.
When witnessing his proposals, due to the incessant recovery of memory that Miguel practices, what comes to my mind is a refusal strategy of forgetfulness. This act of non-alienation of personal history is linked to an assumption of the private as political, which is not caused by the public display of what is supposedly private, it surfaces because we form ourselves in the encounter with the other. One may even infer a sense of attribution of responsibility in the act of intervening in the history of the other.
Miguel’s work is not documental, even though it uses elements such as photography and interviews, along with several objects that are resonances of his successive metamorphosis and identity possibilities. Miguel’s presence on stage is frequently disconcerting, playing with the ambiguity between an alleged reality of the moment and it’s staging, between the spontaneity of the performer and a calculated persona or character. The encounter of the spectator with the identities engendered by Miguel further materializes the axle of construction, amplifying it and enveloping us in a speculative game in which one is asked to create a fiction of a Miguel. He will always oppose being it. His works are put forward as fragments that are not meant to be complete. The systematic search for creation material in his personal history does not transform Miguel Bonneville’s work into an indomitable tower. On the contrary, we are before an accessible world, intimate and non-intimidatory, where delirious and seductive atmospheres have place.
Francisco Camacho, 2009
Miguel Bonneville completed the Acting Course at Academia Contemporânea do Espectáculo, the Visual Arts Course by the Calouste Gulbenkian Foundation and the ‘Autobiographies, Life Stories and Artist’s Lives’ course by CIES-ISCTE.
He has collaborated with artists such as Francisco Camacho, Carlota Lagido, Rogério Nuno Costa, Teatro Praga, La Ribot and participated in many workshops in the fields of Contemporary Dance, Video, Creative Writing and Visual Arts.
Bonneville presents performances, installations and videos, namely the projects 'Family Project' and ‘Miguel Bonneville’, presenting them throughout art galleries and international festivals and is represented by Galeria 3+1 Arte Contemporânea.
He regularly participates in various musical projects, mainly focused on the electronica genre. In 2006 he began his solo electronica project: BlackBambi.
plaster'series program I
Jul 10 - Nov 28
A new curatorial program, the plaster'series program, intended specially to artists working straight on the walls surface.
This is a new program we initiate with the intention of better promoting the artists currently working basically with stencil, and in that sense our main motivation when starting this program, is due after our recognition and admiration on the most advanced forms of "street art".
Helping promoting on a increased consistently basis the work of artists working with this medium, when bringing their work "out of the streets", and therefore intended also as a new strategy for the world of art at large and more specifically for the art market.
Even though Leon has used a name or two over the last ten years, somehow he has always been know as c6. He has been spitting works, pranks and events out at the public for the last twelve years under several names such as c6, the Media Whores, and more recently as The Dotmasters.
The obsession with stencils started in 1997 with the "State of the Nation" a street gallery in downtown Minneapolis, a series of works shown both in the gallery and on the street discovered with the aid of a free map. During the next few years writing c6, he created a stir in Shoreditch and Soho with the "New Media New Arse" campaigns, stencils targeting the growing territories of internet powered hype, which drew comment from The BBC and featured in Tristan Manco's first book "Stencil Art".
Since those first cultural bombing missions his work has been focused on site specific stencils such as "on the fly" where tube trains were covered in stencil flies as it crawled along the central line in 2004. In recent times as The Dotmasters, half toned masterpieces are stenciled on the fronts of galleries world wide, poking fun at the sensibilities of the art world and the notions of vandalism. Impromptu galleries have popped up in borrowed or squatted venues that have seen a mix of spray paint, music, technology and lots of free ephemera & of course intoxicants.
His work is always produced with an irreverent disregard for medium and wish for mischievous confrontation.
“There is no right place for art. It’s often more valid in your street than it is in a white cube. There is NO subculture ONLY subversion.”
The Dotmasters are the latest incarnation of c6 the pranksters that brought you Man in a Box, Toogle and New Media New Arse. Alive and bombing since 1997 C6 have invaded both the web and street in an onslaught of puerile proportions. The Dotmasters are c6’s stencil arm, with exhibitions that range from The Cans Festival, organized by Banksy, to works at the Cabaret Voltaire and the curating of Nuart in Stavanger, Norway. c6 mix technology, hand craft skills with a sheer bloody mindedness to any commercial success. For the recent Urban Art Showcase, held in Bristol since July, they present their new works on paper ‘A Load of Rubbish; and assorted prints.
“Urban Art Showcase” is a year round exhibition of the urban art available to buy straight from your mobile phone. Street Art Dealer have curated quite a stable of some of the freshest talent in the UK to start proceedings. Westbourne studios are kindly hosting these works so we can iron out system problems and usability in a more controlled environment before hitting the streets.
Street Art Dealer launched a test environment of their system where works of art can be bought from a specific street location via a mobile phone using a QR tag. A QR Code is a matrix code (or two-dimensional bar code). Many camera phones now have these bar code readers, there are a number of third party software’s that can be installed on a large variety of mobiles and PD-A’s using a large variety of operating systems. Street Art Dealer will be a quick and seamless mobile sales tool.
Street Art Dealer a full street trial planned in the Bristol wide area.
Presenting the work of The Dotmasters that initiated the plaster'series program and has been currently installed at the Museu Nacional de Historia Natural museum, in Lisboa.
Museu Nacional de Historia Natural
Rua da Escola Politecnica 58
Thursday to Friday 10am-5pm
Saturday and Sunday 11am-6pm
WalmArt, The Pixles and Designer Labels series
Jonathan Lewis is most known for his abstract line prints derived from candy wrappers, like it is featured for instance in Blindspot magazine and cover. According to his own words "this series was inspired by a See's candy box that I had received as a gift. I scanned 47 different candy wrappers onto my computer and sampled a line of colors across the face of each wrapper. These were then repeated vertically to create an abstract pattern of stripes. It can be seen as an extreme form of photo-collage. They relate to consumerism, 'eye' candy, physical/spiritual malnutrition, advertising, pornography, hi-tech, barcodes, pop, but mostly they are about the beauty that is all around us". In such a way that starting from the series title and related context in accordance to the different colors pattern in each of the candy's wrappers much certainly we can figure out and recognize each of the candy's brands out of each of the abstrations presented.
In a similar way The Pixles series, emphasizing that the title is not a misprint, comes out of the The Beatles cover albums and we believe maybe operates easily the same way in terms of recognition, while with the two other series here presented, WalmArt and Designer Labels, Lewis turns to photographing the interiors of European “big box” stores and the exteriors of London fashion boutiques, with a low megapixel camera.
After pulling the images into Photoshop, he further abstracts the composition by pixelating them beyond recognition. The amazing thing is how distinctly they still read as consumer spaces, with the result notorious emphasizing a pattern of product placement.
Jonathan Lewis holds a Certificate in Professional Photographic Practice, from the London College of Printing and a BA Hons History of Art, Robinson College, from the Cambridge University, UK.
A former artist in residence at the Visual Studies Workshop in Rochester, NY, Lewis now resides in London.
Recent shows include Jack presents Sala do Veado, Museu Nacional de Historia Natural museum, Lisboa, Stretching the Truth at the John Michael Kohler Arts Center, Sheboygan, WI, and at the Deutsche Bank in London.
Collected and shown internationally the work of Jonathan Lewis is represented in numerous art collections around the world notably the Bank of America collection, New York, NY, and the George Eastman House, International Museum of Photography and Film, Rochester, NY, and BESart collection Banco Espírito Santo, Lisboa.
text excerpt by Sabrina DeTurk, Points and Pixels: Looking at Neo-Impressionism and Digital Art, " An exception can be found in the work of Jonathan Lewis, whose Composition in Red, Yellow, and Blue (Mondrian) reveals its subject at the level of the pixel – the point of digital imagery..."
“Points and Pixels: Looking at Neo-Impressionism and Digital Art,” exh. cat. Neo-Impressionism: Artists on the Edge, Ed. Fronia Simpson (Portland, ME: Portland Museum of Art, 2002) 67-81.
Sala do Veado
Jul 10th - Aug 9th, 2009
Jack presents the work of A Kills B, Alexandre Estrela, André Princípe, António Júlio Duarte, Carlos Lobo, Dan Perjovschi, The Dotmasters, Hin Chua, Joao Felino, Joao Simoes and Jonathan Lewis, a group exhibition at Sala do Veado, Museu Nacional de Historia Natural
opening hours :
Tuesday to Friday 10am - 5pm
Saturday and Sunday 11am - 6pm
Sala do Veado
Museu Nacional de Historia Natural
Rua da Escola Politécnica 56 - 58
They called me a corporate whore
"The dynamics of capitalism is postponement of enjoyment to the constantly postponed future." - Norman O. Brown
These images were made when I was working in a large investment bank in the City of London, during the height of the pre-crisis financial boom. At the time, I was often plagued by an uneasy sense of amusement at some of the situations I encountered, and it was almost as if the very act of making photographs was the most logical explanation for justifying my presence in such an environment.
After the Fall
We are also pleased to present a second slideshow with images from his acclaimed series After the Fall.
Born in Kuala Lumpur, Malaysia before migrating to Australia, Hin studied computer science and first picked up a camera a few years ago in an attempt to get over a girl. It worked and things just seemed to progress from there.
He currently lives and works in London, UK.
His favourite things in life include the mid-60s John Coltrane quartet, Akira Kurosawa movies and Spanish hot chocolate.
Hin is a Magenta Flash Forward Emerging Photographer winner for 2009.
Alexandre Estrela, Merda; photo-book, black and sepia; 5.3"x7.8"; 162 pages; ed. 500; 2006
Ever since the late 70's that the word Merda appears painted on the walls of the buildings along of Estrada de Benfica, the longest street of Lisbon. This peculiar graffiti scoring the street every 20 meters, along a way we can figure it out has been made walking countless times, became the subject for a photo book where the word appears centered in all pages.
This constant and steady outflow written in an awfull caligraphy seems really distant from the political charge of all the statements of the past, while also very different from the narcisistic formal depuration of the present tags. Merda emerges in a sistematic serial form close to the neighborhood monotony to where it was intended.
Alexandre Estrela went on automatically picturing Benfica while following the unknown author's path reaping / photographing the 160 marks of his transit. An animation generated by flipping the book at a 12 pages per second frame rate presents the word suspended and stable while the background flows in a frantic succession of informal images.
The neighborhood thus targeted by Merda unrolls itself in gray on a permanet déjà-vu while the word merda thoroughly centered in the page appears vibrant and animated, suspended over a peripheral landscape.
Alexandre Estrela, artist, lives and works in Lisboa. Estrela is a conceptual artist that works mainly with video. In his work Estrela follows a serendiptic research, that he describes as "lucky coincidence". Parallel to his work, Estrela directs and programs Oporto in Lisboa. His work has been shown in several museums and galleries: Inércia, Meetfactory, Putting fear in its place, Chiado 8, Stargate, Museu do Chiado – MNAC, Radiação solar e forças cósmicas, Galeria Graça Brandão; Shooting for a second I ZDB. Estrela's work has been included the following group exhibitions: Disarming Matter, Dunkers Kulturhus, Helsingborg (curated by Chris Sharp) Ficção e Realidade: Ida e Volta, Centro de Arte Moderna, Lisbon (curated by Christine Van Assche); À propôs des lieux d'origine, MUDAM, Luxemburg (curated by Marie-Claude Beaud), Squatters, Witte de With, Rotterdam (curated by Bartomeu Mari).
sonic booms, 2008-
The sonic booms series among other reading possibilities is a tribute to rock n’roll universe and to the so-called youth “rebellion”. The connection between music and the visual arts has been always a close one and I recall for instance The Velvet Underground and Andy Warhol or Jean Luc Godard movie Sympathy for the Devil on the homonymous Roling Stones record.
Another perspective taken by this series is on the presence of music and in many cases the privileged mean for contestation and revolt ( May 68 events, for instance ) and also several anti-war protest movements ( the Beatles with the song Revolution, among many others ), and therefore the inclusion of images of the Black Panthers, Praha , May 68, among others. This one is overtly a more openly free series both in formal and conceptual terms, meaning a “private revolution” on my own work.
Carlos Lobo (February, 2009)
“I smell burning and I see a change comin’ ‘round the bend.
And I suggest to you that it takes just five seconds, just five seconds of decision
To realise that the time is right to start thinkin’ about… A little…
António Júlio Duarte
Arena #1-Before the Fight
A stage for the encounter with the everyday, Topologies calls to our attention that all is flow, all boundaries are provisional, all space is permeable.
It is the setting for spatial and temporal dislocation.
In Topologies, the artist operates within a landscape of uncertainty, within a culture landscape of permanent flux, transition and opposition.
Spaces are primed with a sense of purpose yet they are marginal, fragmented and dispersed.
In the delicate weight of these landscapes, human perception seems to enter a different register.
It is as if everything expresses contingency, as if space and time are about to simmer and disperse.
In these images space cannot be essentialised as absolute form, it is fluid, relational, migratory. It demands a more heterogeneous conception.
From rural to urban societies, from local to national economies, from international to global system networks, social and intellectual relations of any given spatial entity are intrinsically dependent on the way its people live and interact with their surrounding environment.
Topologies assesses how various spaces have been forced to conform to increasingly urban and artistic ideals, adopting the codes and language that it yields.
At times my work seems to question whether space as a totality escapes the perception of the individual; whether our experience of place, as a whole, has become an incipient forum of disruptive experiences and expression; whether the movement of information and people and the commodification of cultural forms outlines a unique body of flow and false consciousness.
But at other times it simply proposes that we are no longer mere transients. Topologies is a journey of recognition: the city and, in a broader sense, space, as our object of understanding is changing and because of this one needs to find a new critical language that supports it, and a new system of knowledge from which to derive our glossary of life.
In this work there is a permanent ambivalence between poetic-failure and the promise of success.
[to be continued]
edited by Joao Felino
Dan Perjovschi (Romanian, b. 1961), who lives and works in Bucharest, has transformed the medium of drawing, using it to create an object, a performance, and an installation. In the last decade, Perjovschi has made his drawings spontaneously in museum spaces, allowing global and local affairs to inform the final result. As it happened last year in MoMA, for his first solo museum exhibition in the United States. The artist has drawn witty and incisive political images, in response to current events, on one wall of The Donald B. and Catherine C. Marron Atrium. Two weeks before the official opening, beginning April 19, Perjovschi has started drawing on the wall during public hours, allowing visitors to observe the creation of the work. The project is accompanied by a pamphlet created by the artist, "Projects 85: Dan Perjovschi".
Smell of Tiger precedes Tiger
Razan asked Ganto,
"What if things appear and disappear without ceasing?"
Ganto scolded him saying,
"Who appears and disappears?"
Shoyoroku (Book of Serenity, C. Ts'ung-jung lu), 12th century
Lisbon, May 2008
André Principe (Porto, 1976) has studied Psychology (Universidade do Porto University, Portugal), Photography (Faxx, Akademie, Netherlands) and Cinema (Escola Superior de Teatro e Cinema, Lisboa, 1998-2001) and also did the Curso de Realização Avançada da Fundação Calouste Gulbenkian / London Film School advanced artistic training, 2005.
He has been doing work both in Photography and Cinema. Has done exhibitions at the Encontros de Imagem de Braga, CPF, Galeria Fernando Santos gallery and Silo and his work has been published in magazines like Dayfour, Exit, etc. Was nominated twice for the Deutsche Borse Photography. Has published his first book Tunnels, at Booth-Clibborn edtions. He is the founding member of the Pierre von Kleist Editions, devoted exclusively to photo books publication.
Blindness. Who's Ness? 1994- .
BlindNess, original offset printed magazine sheet cut out, white paper and adhesive tape on the back, dimensions according to magazine format size, 1994- .
NICE, different materials and dimensions according to different media and site, 2004.
Face to Face, 1989.
Face to Face, two TV monitors and aerial connection wires, two metal supporting systems with wheels locked, direct sound mix from both TV monitors, variable dimensions, 1989, currently on view at Escola Secundaria Amato Lusitano School main entrance hall, Castelo Branco, Portugal, 2005.
press conference > 26th february 3.00pm
opening > saturday 26th february 6.oopm
3, 2005 by Joao Simoes
a former video work and a new curatorial work
NTSC system DV tape in a PAL system DV tape player/recorder, video-souvenir projection with variable dimensions and lenght.Press record. A black screen won’t say much to start with. Press play in a different country, and then the mute cube suddenly speaks: a field of black and a bar of buzzing multi-color. A dark field twitching with movement on a microscopic scale. And, across the bottom, trembling chroma, shivering electrons.
by Julian Myers in 'Joao Simoes' NTSC 2002', 2004One does not ask «what is art? », but rather «what makes art?». What are the things, the matters, that is, that make art be art. It is not a question for things, but for the things that make art. It is not even a question about the criteria (the judgment that makes a question about the after (that which will decide what is art), but a question about the before (that with which one makes art). And the most interesting thing in theses works by Simões is to show us, that regardless of our definitions of art, it begins always with an enemy. I say enemy and not difficulty, because one can live well with more or less difficulties, but one cannot live well with an enemy. And art begins with this not living well, with an enemy.
by Paulo José Miranda in 'On Matter, Three Works by João Simões', 2004.
View Source, 2004 /ongoing
Copy-paste-text-based cutorial project located at the code source of 00351.org web site
Joao Simoes is currently artist-in-residence at ISCP-New York City,
Fellowship by Calouste Gulbenkian and Luso-American Foundations.
info on Joao Simoes please visit
press conference > 22th january 3.00pm
opening > saturday 22th january 6.oopm
press conference > 11th december 3.00pm
opening > saturday 11th december 6.oopm
Pedro Cabral Santo
Nos últimos 10 anos tem desenvolvido em paralelo a actividade de artista plástico e comissariado de exposições donde se destacam Faltam Nove para 2000 (1991), X-Rated/Autores em Movimento(1998) O império contra-ataca (co-comissariado)em Lisboa e Barcelona(1998) e Espaço 1999 (1999, co-organizador).Foi também fundador do projecto artístico Autores em Movimento (Greenhouse/Jetlag/X-Rated), do Projecto featuring (Unlovable). No plano musical foi membro fundador do projecto IK-MUX. Actualmente na área da música coordena o projecto PROJECTO fusível, música experimental de fusão.
press conference > 6th november 3.00pm
opening > saturday 6th november 6.00pm
Aluno finalista do curso de artes plásticas da ESAD, Caldas da Raínha, apresenta aqui a sua primeira mostra de trabalhos individual, Feedback, em resposta a um convite de João Felino com o apoio de João Simões.
Simulacro; Esferografica sobre o pavimento, dim variaveis, 2004.
press conference > 6th november 3.00pm
opening > saturday 9th october 6.00pm
Durante a exposição a galeria estará encerrada, 1969.
O projecto non-authorized exhibitions da autoria de Joao Simoes, foi apresentado pela primeira vez no jack a not for profit contemporary art space, em Lisboa, em julho de 2002. inicialmente com uma exposição não-autorizada de Tom Friedman, e de seguida com a exposição de Robert Barry. Só que nenhuma delas é nem de Robert Barry, nem de Tom Friedman. As n-ae são exposições não-autorizadas de um determinado artista. As suas obras são remontadas, reconstruídas e expostas sem o seu conhecimento.
Quero apenas mostrar as suas obras. São cópias? Claro que são cópias, mas ao expor uma obra de 1969, de Robert Barry intitulada during the ehxibition the gallery will be closed, ao fechar a galeria por 15 dias estou a fazer uma copia ou estou a expor Barry? Simplesmente não sei. Talvez no caso de Friedman seja mais facil dizer que são copias, mas quando olhas para a cópia estás perante uma obra de arte de Friedman. Tudo depende do público, que além de ter que decidir sobre a obra de arte, tem também que decidir se está a ver uma obra de Friedman, ou se acha aquilo tudo um disparate. Penso que a verdadeira escolha é feita de depois de saberes que é uma cópia: não é se vejo uma cópia ou não, mas sim se vejo Tom Friedman ou não. Isto para a n-ae de Tom Friedman. A n-ae de Robert Barry apresentou uma obra de 1969, during the ehxibition the gallery will be closed/durante a exposição a galeria estará encerrada. Fechei a galeria durante 15 dias. Sem inauguração.
in não autorizada, Ana Pinto entrevista Joao Simoes, DIF, no3, Lisboa, Novembro 2002.
press conference > 7th august 3.00pm
(opening > saturday 7th august 6.00pm)
Apresentação de um conjunto de três obras de Susana Anágua. Artista que desenvolve o seu campo de investigação na poética dos fenómenos físicos, do equilíbrio e das atracções da matéria inerte mineral, onde o espectador é convidado a experienciar uma projecção estética do infinito, através do congelamento eterno do movimento.
O trabalho com materiais nobres como o metal, herança da escultura como a maioria a conhece, com outros menos previsíveis e palpáveis como o electromagnetismo ou o gelo, projectam o universo de Susana Anágua para uma espiritualidade formal pouco convencional, só possível no campo artístico.
Cujo traço comum, e prova mais evidente de uma investigação essencialmente material e da percepção, definindo assim uma inequivoca linha de continuidade, e que se traduzem aqui na presença recorrente da forma esférica.
press conference > 8th july 3.00pm
opening > saturday 8th july 6.00pm
I am sitting in a room, 1969.
E é assim que o performer age de modo a levar a cabo esta tarefa.
Ouvimos 32 repetições deste mesmo texto, e a cada nova repetição as sílabas arrastam-se progressivamente e progressivamente vão fazendo maior ressonância. De tal modo que no final já não conseguimos distinguir onde uma palavra acaba e outra começa; o texto é completamente inintelígivel.
I am sitting in a room, aparentemente não precisaria de mais nenhuma explicação. Porque começa desde logo por afirmar, em lingua inglesa corrente, aquilo que se irá verificar e porquê uma noção radical para a época (1969), e que veio a influenciar toda uma escola e actividade de criação de composição, sonora e musical, nomeadamente nos USA e Inglaterra.
Usando dois gravadores de fita magnetica, um microfone e uma coluna de som, o autor recicla o texto gravado numa sala. As propriedades acusticas do espaço transformam assim o discurso.
in Alvin Lucier, I am sitting in a room, para voz e fita magnética, audio, Lovely Music, 1990.
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