De Natureza (A)Diversa, Analice Campos
Opening February 25, 4pm / Until April 22
“The project (A)Diverse Nature addresses the place of the landscape, one of the oldest genres in the history of painting. It does so in the context of contemporary artistic production, namely as regards painting and drawing. Appealing to the history of painting through landscape does not mean the reactivation of a genre nor does it mirror a reviving stance. It is simply the starting point of a strategy that aims to explore the possibilities of the creation of images that are simulacrums of traditional landscape painting. Thus emerge paintings/drawings that are fragmented and lack internal continuity, and whose referential is memory. They result from a clear awareness of the potential of the actions/gestures produced in the creative process that lead to the construction/deconstruction of the image of the landscape.”
Alqueva, by Rita Catarino e Paulo Palma
Opening February 25, 4pm / Until April 22
The Alqueva dam is the biggest transformation of the Portuguese territory in a short period of time. It is a great example of the Anthropocene in Portugal. There are 250 km ² of territory along the submerged Guadiana river, which besides being a profound alteration in the identity of the Alentejo landscape, operated a new agricultural paradigm, only possible by the presence of water in a previously arid landscape.
This work has the original purpose of revisiting a territory that no longer exists, which is no longer visible, but which by its inheritance, remains present in the collective memory. The images and cartography presented are only contributions that revise and revive, bring to the surface a reality that is currently impossible to restore. It is a game between the physical and invisible absence of a territory and a new look that only tries to rescue it, or to withdraw metaphorically from the submersion imposed upon it.
Based on the pre-existent reality at the moment of the construction of the dam, the physical, ecological and cultural characteristics that affirmed the territory, this work intends to be a reflection on the importance of memory in the construction of the Landscape. What Landscape exists after the disappearance of a place?
Ciclo Biblioteca | My Pages Your Pages, by Priscilla Davanzo
My Pages Your Pages
imagine a library as a body, as a person. it have it’s own personality and it’s manners; it’s lovely and detestable things. sometimes is needed to be with it, sometimes, not. sometimes even one misses it. it’s lonely introspection is a mystery. always. and this mystery challenges that the unravel. the artist proposes to conquer, find, know and approximate to this body, to this being that – even if it’s not biologically alive – pulses life in every corner. a mix between fieldwork and social contact is used to generate the methodology of the approach. this methodology have been used by the artist in the past years to reach cities, rivers, populations, buildings and public area. now the yehuda safran library is her goal. the library, resident at caaa centro para estudos da arte e da arquitectura in guimarães, portugal, is a particular collection of the philosopher and professor yehuda safran, enthusiast of architecture, literature, history and arts in general. the collection is a particular focus that shows the ideologies and experimentations that went through yehuda safran’s life.
the installation consists of a set of artistic works that together create a unique work, but which can be presented separately, if necessary, if they take life of their own. the installation presents itself as an album of photographs of joint memories between the artist and the collection of the library, passing in some moments particularities of the honored, yehuda safran, that at no time the artist came to meet or communicate, although he’s still alive. each sector has a particular focus, yet they all permeate the concept of affinity between the artist’s personal life and the supposed life of yehuda safran, deduced from the artist’s observation and decoupage of the library. in this pattern of affinities, the artist starts with books she has in her own library – somehow “lost” beyond the sea – and which are also present in the yehuda safran collection.