Colégio Das Artes

Instalação realizada com rochas, concreto, asfalto, arenito, areia e paralelepípedo coletados das duas margens do Rio Tietê, madeira, poliestireno, impressão sobre papel, lâmpadas led e desenho em grafite sobre PVC expandido. 270 x 700 x 120 cm . 2015

This research had the objective of developing a poetical project in visual arts,
towards the creation of authorial works taking as a beginning point a series of family-brought images, mostly photographs and postcards referring to an affective and particular memory.
The processes of this poetical construction were divided into three moments, or into three series of works which are chronologically disposed. Here, I intend to highlight my option for the etching technique to develop the research, in which I try to explore the limitations of the support and the work in the space.
In the first moment, the multiplicity of etching finds the proper context in the
insects directly disposed on the wall, spreading the stamp and creating a composition pattern.
Since this moment, issues such as space disposition of the work are in focus. In the second moment, I highlighted the creation of micro patterns so that the work could be accomplished only on a macro scale, using the digital image as a constructive reference in which each pixel takes its part of the totality. In the third moment, I present the technical and poetic procedures used in the large-format etching works.
In the amplification of the space lies a shared desire, initially generated by
affections, that later, through symbolic structures, impulse the migration of a personal memory into a collective memory, an overflowing of remembrances that are no longer unique nor particular.

Abstract:

Ana de Gonta Colaço, 1903-1954 – Sculptress


Ana de Gonta Colaço serves as paradigm to illustrate the general situation of the Portuguese sociologic and cultural environment and the contribution of the Portuguese woman's in the beginning of the sec. XIX, till middles of the sec. XX.
Her work, in spite of not being very extensive, she left us a modernist legacy. Personal work and autonomous, created an own language inside of this style. The themes mirror their values and concerns, constituting a mark of freshness and daring for the aesthetic patterns of the time. For example, her religious statuary that is in the antipodes of the work in that time. 
She was invited to participate in the Exposição do Mundo Português, which translates the recognition and the value of her work.
We also remembered her intervention play with the literary work - that was target of censorship from Salazar - and where her critical vision and rejection to the machismo of the Portuguese society.

A materialização da obra de arte total está conjugada nesta tese, plástica e teoricamente. Visando o diálogo e a reflexão com as práticas artísticas contemporâneas no domínio da instalação e da performance, a partir da minha casa e os seus objetos como instalação, abordo questões como: quotidiano, domesticidade, banalidade e legitimação, que atravessam todo o meu discurso artístico e constroem um manifesto que pretende pôr tudo isto em comum.
Pretendo dar visibilidade às problemáticas: feminismo, género e espaço doméstico e reivindicar a casa, como espaço global e economicamente viável para as mulheres, a partir das plataformas digitais.
A coexistência destas temáticas traduz uma fusão entre arte e vida, que tem como resultado a obra total que é a instalação Breviário do Quotidiano #8 – Os regimes acumulativos dos objetos e as suas determinantes, que implica a imersão do vivenciador neste decorado.

The materialization of the total work of art is conjugated in this thesis, plastic and theoretically. Aiming at the dialogue and reflection with the contemporary artistic practices in the field of installation and performance, having my home and its objects while an installation as the star- ting point, I address questions such as: daily life, banality and legitimation, which go through my entire artistic discourse and build a manifesto that intends to put all this in common.
I want to give visibility to the issues: feminism, gender and domestic space and to claim the house, as a global space, with economic viability for women, having digital platforms as basis. The coexistence of these themes translates the fusion between art and life, which results in the total work that is the An Archive of daily life #8 – The accumulative schemes of objects and their determinants installation, implying the immersion of the experiencer in this set.

¿De qué casa eres? Los niños de Russia. Episodios de un Cotidiano #, revisits a phenomenon from Spain’s history, with a backlash in Europe and the West: the exile of 2895 republican children in the USSR due to the Spanish Civil War (1936-1939). One of those children was my mother, another was my aunt.
This is an installation built with the resort to my mother’s personal
objects, as well as documents and photographs collected during my trips to Russia and Ukraine. ¿De qué casa eres? contains an autobiographical ethos, even though it is an appropriation of my mother’s memories and experiences.

This work is dedicated to my mother, Ângela Petra, with profound worship, for her being a brave, just, and certain woman, who lived as a child in Russia (1937-1956), from 4 to 23 years old, as a Spanish Civil War (1936-1939) refugee.
I made an archive with pictures of the objects my mother brought along on her return to Spain. The subtitles were written by my mother in Russian, and the objects were drawn by me.
The decision of presenting these sections of Pushkin’s Eugene Onegin poem shows my mother’s most desired feature: knowing from memory her favorite books. Recently, I could state her ability during a phone call, as I questioned her about particular information regarding this work, and spontaneously she began reciting it.

Ângela Petra, my mother lived since she was 4 until she was 24 years old (1937-1956), as a refugee from the Spanish Civil War (1936- 1939) in the Soviet Union (1937- 1956).
The objects my mother brought along with her on her return to Spain, I organized them into a visual archive. The subtitles were written by my mother in Russian and the objects were drawn by me. On the passe-partouts, screened printed verses of Alexander Pushkin from the book Eugene Onegin appear below the drawing.

¿De qué casa eres? Los niños de Russia. Episodios de un Cotidiano #, revisits a phenomenon from Spain’s history, with a backlash in Europe and the West: the exile of 2895 republican children in the USSR due to the Spanish Civil War (1936-1939). One of those children was my mother, another was my aunt.

Ana de Gonta Colaço, escultora, 1903-1954, Portugal.
Exposição das suas obras no Museu Terras de Besteiros em Tondela com curadoria de Ana Pérez-Quiroga.

Ana de Gonta Colaço, sculptor, 1903-1954, Portugal
Exhibition of her works in Terras de Besteiros Museum in Tondela curated by Ana Pérez-Quiroga

Exhibition "O Mundo nas suas verdadeiras cores /The World in its true colors"  at Appleton Square Gallery in 2011.

An Installation that consisted in 225 strips of pure silk in 75 different colors, sold individually, making the buyers/spectators active participants in the construction of the work, making them co-authors and investors, contributing to the funding of the work, concluded with the publication of this book.
With this future publication in mind, each buyer is asked, ate the time  of purchase: "Why did you choose this color?"

É feito o convite ao leitor de se debruçar sobre um futuro a que os museus também pertencem. Como se julga refletir sobre a sua posição? Terá de ser necessário, recuperar o seu passado para, com base nos valores atuais, pensar sobre o seu futuro.

"Manifestou-se o pensamento visceral sobre a produção da história enquanto resultado de uma dialéctica infinita entre trajectórias individuais, operadas apenas coletivamente."

O que significa produzir uma imagem?
Este é o ponto de partida para o ensaio que propõe refletir sobre as transformações do filme e do vídeo. Pela forma como são retirados da exclusividade das salas de cinema, a cultura digital e a experiência das imagens encontra-se em mudança. Por inerência, nós também.

- Todo ato de mudança que propõe uma nova vida, pode pressupor ainda uma “fatalidade” pronta para transformar perspetivas. -
Este é o ponto de partida para o apuramento das hermanêuticas cinematográficas. Perante considerações que dizem respeito às motivações radicadas na corrente do cinema expandido, a filosofia procura a partir de uma apoteose de singificados, corresponder com a proposta de uma decadência que traduz a necessária vitalidade para a transformação da arte.
Onde se fundem os universos e qual é o impacto criado a partir suas amplas ressonâncias?

É a partir das motivações presentes no livro "L'Altra casa" (A outra casa), de Gianfranco Baruchello publicado em 1979, que proponho pensar a memória.
Trata-se de uma reflexão ensaiada sobre o seu papel na definição da uma intemporal consciência de nós próprios. Ou melhor perguntando. Seremos capazes de alterar o presente a partir da memória afetiva do passado? Recordar permite ir ao encontro da verdade?

"Constitui-se como facto um dado que seja verdadeiro, confirmado pela experiência empírica da análise e observação. Esta frase tem tanto de categoricamente assertiva como de uma proporcional vulnerabilidade à escala do universo. A “verdade” configura, em alguns contextos, a resistência contra as mudanças triunfantes, criando um impasse de esperanças frustradas, enraizadas numa desilusão generalizada que recusa racionalizar a realidade. A “verdade”, no entanto, pode efetivamente ser o filtro para uma maior clarividência sobre o mundo dentro de um prisma de ontologias. Converge sobre a realidade e a verdade absoluta, um princípio fraturante de causa e finalidade que necessita incessantemente de ser atravessado, ou desconstruído."
Rui Barros

"A fact is one that is true, confirmed by the empirical experience of analysis and observation. This phrase is both categorically assertive and proportionally vulnerable on the scale of the universe. In some contexts, "truth" is the resistance against triumphant change, creating an impasse of frustrated hopes, rooted in a generalised disillusionment that refuses to rationalise reality. "Truth", however, can effectively be the filter for greater insight into the world within a prism of ontologies. It converges on reality and absolute truth, a fracturing principle of cause and purpose that incessantly needs to be crossed or deconstructed." Rui Barros

"Se o que é popular é o pão, o jazz para além do vinho, é a manifestação de um espírito absoluto. Uma linguagem universal. É o surrealismo. A catarse. Aquilo que dá para rir e para chorar. É tudo e, eventualmente, o nada, sendo, por isso, uma estrutura complexa de memórias afetivas e práticas inovadoras que, de diferentes formas, habita a elementaridade humana. É, segundo Carlos Paredes, o colorido do público, sobre o reforço das qualidades da música."
Rui Barros

In terms of anthropological understanding, there are assumptions about inconsistencies and antagonisms that determine human intelligence, enabling it to constantly evolve its capacities. To the same extent, and based on a similar principle of evolution, it will be able to destroy in favour of an apparent mastery over itself and others. Given these asymmetries, it is possible to sense an invariably umbilical relationship between the promotion of an ethical human conscience and its immediate cancellation, with the vital continuity of a transcendent and timeless memory as a similar objective.

Resumo: Em 2013 o Centro Cultural de Belém (CCB), localizado em Lisboa, completou 20 anos de atividade e firmou-se, no decurso destas duas décadas, como um dos mais importantes espaços dedicado à cultura em Portugal. O presente trabalho, desenvolvido no âmbito do estágio acadêmico realizado na instituição, apresenta a galeria Garagem Sul – Exposições de Arquitetura, delineando um percurso historial que pontua sua criação, seus critérios de programação e alguns aspectos relevantes das primeiras cinco exposições realizadas (entre dezembro de 2012 a fevereiro de 2014).

Abstract: In 2013 the Belém Cultural Centre (CCB), located in Lisbon, completed 20 years of activity and established itself as one of the most important cultural institutions in Portugal. This work, which was developed during an academic internship accomplished at CCB, presents the Garagem Sul Gallery, a space dedicated only to architecture and urbanism exhibitions. This paper outlines the history of the gallery through the lineation of the course of its creation, points out its programming criteria and some important aspects of the first five exhibitions presented there (between December 2012 to February 2014).