A Time Out diz
A nova exposição da Galeria Eritage reúne uma nova série de trabalhos em pintura e desenho da brasileira Maria Lynch, que tem um percurso notável no meio artístico internacional, estando presente em importantes colecções na Pinacoteca de São Paulo, na Inhotim e no Museu de Arte do Rio de Janeiro. “As pinturas, de grande e médio formato, são como ecrãs negros que revelam e simultaneamente ocultam formas inventadas que se relacionam com imagens e fragmentos de cidades, ou objectos estruturais trabalhados com uma paleta cromática muito singular. A casa ou o contentor, imaginário, de desejos e de emoções, é também presente nos desenhos, alguns destes executados a partir das pinturas, como uma reflexão sobre o seu próprio trabalho”, lê-se em nota do curador, João Silvério.
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The 2022 Biennale is obsessed with bodily fluids. Emily Steer dives into a sticky subject…
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As the winter of 2014/15 drew to a close our friends FifthWall TV http://www.fifthwalltv.com/ were able to catch a rare glimpse of an artist coming out of hibernation.
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“The artworks I make are an absurd visual taxonomy listed in no particular order the ingredients that we all consume and produce,”
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“The universe is expanding, apparently. To be honest, I don’t fully understand what that means. It creates more questions for me than answers. Expanding into what? I get lost thinking about it.”
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Taking inspiration from French outsider artist Jean Dubuffet, David Shillinglaw creates bold landscapes and impulsive patterns. From his sunny studio in Margate, he chatted to us about his career as a painter, his collaborations with his partner Lily, and the creative body of work he touchingly refers to as ‘love letters’ to his young daughter.
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Who is We?
Together with architect Afaina de Jong and artist Debra Solomon, Het Nieuwe Instituut presents Who is We? in response to the central theme of the Biennale, 'How will we live together?'
While 'we' seems to imply inclusion, it often represents a very singular perspective. At a time when social and ecological urgencies demand immediate care and action, it is fundamental to regard 'we' as an even more pluralised pronoun that encompasses all humans and non-humans such as soil, plants, animals, and microbes.
O Conceito e sua Autoridade Sistemática
crítico sob rasura: Caio Eduardo Gabriel
“Existe maior dificuldade em interpretar as interpretações do que em interpretar as coisas.” Assim começa Derrida o seu A Estrutura, o Signo e o Jogo nas Ciências Humanas.
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Name drop for the African Industrial Revolution
Workshop participants were invited to take part in a work in progress by artist Francisco Vidal entitled Name drop for the African Industrial Revolution. The work consists of a performance in which Vidal draws portraits of the participants in an analogy to The Artist is Present, a work Marina Abramović showed at MoMA, New York, in 2010.
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For an artist whose work talks about colonialism and mass production, Francisco Vidal’s choice of studio – a former bomb factory in Lisbon’s Oeiras suburb – seems highly charged.
The Lisbon-born artist, who is of Angolan and Cape Verdean descent, views himself as a machine and his studio as a workshop.
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Francisco Vidal’s current practice revisits the modernist idea of technology as central to the dream of utopia, represented by the machine.
Tiwani Contemporary will present a site-specific installation by Vidal, produced using his utopia machine: a standard-size plywood box containing an all-in-one toolkit for the mass production of screen prints, also functioning as a papermaking device.
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Floresta Negra | JAS Exhibition
Floresta negra surge de uma forma precoce no sentido de tentar resolver uma ansiedade que permanecia constante. O ataque formou um disparo mais primitivo onde os pincéis deixam de ter importância e o gesto passa a sair diretamente de um tubo de tinta espessa e melada para um suporte áspero e castanho que simboliza a terra ou as cascas de uma árvore.
Black forest arose as a nascent way to solve a permeating anxiety. The attack formed a more primitive shot where the brushes no longer matter. The gesture starts to come straight out of a thick and honeyed ink tube to a rough and brown support that symbolizes the earth or the bark of a tree.
O objetivo passa por uma experiência semelhante a uma oração visual de repetição e organização modular, cujos elementos utilizam a tração e a compressão de forma a proporcionar uma estabilidade e resistência.
The objective goes through an experience similar to a visual prayer of repetition and modular organization, whose elements use traction and compression in order to provide stability and resistance.
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