…no princípio

…no princípio

2018, installation, corten steel, pine wood, water, red earth, ash, speaker, 110x110x40 cm (1x), 50x50x10 cm (2x); audio: single channel, 7´40”, loop.
 
Figueiredo Ribeiro Collection – Quartel da Arte Contemporânea de Abrantes
 

“…no princípio” (…) consists of three corten steel trays, one large and two smaller, each of them laid on four wooden feet. Each train contains a natural element.

In the Chinese tradition, the five elements that make up the Earth are water, earth, fire, wood and metal. The two smaller trays contain earth and ash. In this case, fire is represented by ash, a symbol of death, the leavings of something that was once alive, but also connected to the concept of Phoenix-like rebirth. The earth, considered the last of the planet’s ruling elements to take form, being a combination of fire, water and air, is here red, a colour that is synonymous with fertility and Man, since Adam was moulded out of red earth.

The larger tray contains water, the most important element in astrological terms and a sacred symbol of life in the religious realm. Water causes the corten steel to oxidise, and thus the tray develops an orangish-yellow patina that is echoed in some of the photographs displayed here. 

This installation also comprises a sound component. Under the larger tray, a speaker emits a vibrating sound, which causes the water to ripple, thus evoking the frequency of Earth, the vibration of the universal natural world. This trilogy assembles the materials at the source of creation, as well as the concepts of life, heaven, and death, in the dual convergence of science vs. spirituality. 

Adelaide Ginga

exhibitions:

Horizontes brancos

Horizontes brancos

Horizontes brancos #01 > #06, 2018, inkjet print on fineart cotton paper, 100×150 cm.
Edition of 3+1 artist’s proof

(…) These are domestic pictures that belong to a family album, and now survive as ghosts coming from an undefined time and a place, ostensibly showing their posthumous condition. They request us to fill the blank spaces of “when”, “where”, and “who”: who are those people? In which circumstances, what time, were they photographed?

This is just the first signification level. (…) But there is another signification level, a more important one, and that is where we should apprehend what’s more fundamental in this work. That level is the one where we subtract the documental and historic condition to these images. In this case, the artist is not just the mediator, nor he reverences the images in his file. In a certain way, he desecrates, exercising on them a manipulation that deviates them from its original place.

This manipulation has two dimensions: through digitalization and enlargement, the images acquire new plastic qualities, close to an artistic discipline which is not photography anymore. There is a nullification of the photographic effect, to the point when the spectator feels like there is no more need to ask: who, when, where? 

(…)Here, the media don’t have the transparency quality, they don’t turn off to show the mediator images and sounds. On the contrary, they have a special opacity (…) the machines and the technical devices are integrating part of this work, they become equivalent elements to the pictures. They are the factor for the annulation of the documental effect. And so, the images move forward to an enigmatic place, where their phantasm-like condition is revealed.

António Guerreiro

excerpt from the text “SUMMON THE IMAGES, REVEAL THE GHOSTS”

exhibitions:

Horizontes brancos [the video]

Horizontes brancos (the video)

2017, Full HD video,  PAL, 16:9, B/W, audio: two channels, 21′ 49” (loop)
Edition of 3+1 artist’s proof
 

(…) the video, showing negatives, reinforces the idea of the loss of referentiality of the images. But we must notice that this video has sound, and that sound evokes a projection machine (underlining the technical and mechanical aspects), and it is interrupted by a brief speech that sounds radiophonic or coming from the old television speakers, where a sentence is pronounced in a poetical tone.

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António Guerreiro

excerpt from the text “SUMMON THE IMAGES, REVEAL THE GHOSTS”

(…) The narrative – the history of a life or the history of a community – is the (re)construction and constant (re)organization of the memories by which memory is established. The continuous construction and updating of a narrative implies an imaginative participation, a fictional participation that is revealed in the processing of the of events succession that is, as previously mentioned, filtered by oblivion (and lack of knowledge), in the dependence that memory has on information, communication or a dialogue that, moreover, not the subject with himself.

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Andreia César

excerpt from the text “Prontuário dos afectos”

exhibitions :

O erro de Prometheus

O erro de Prometheus

2017, Full HD video,  PAL, 16:9, colour, audio: two channels, 7′ 20” (loop)
Edition of 3+1 artist’s proof
 

The Greek mythology tell us , that Zeus will have charged Prometheus with the task of bringing to life non-immortals – animals and men – by distributing these valences and qualities in a balanced way. But Prometheus (god of memory, of knowledge) delegates this task to his twin brother Epimetheus (god of forgetfulness and apology); but when it came to creating the man, realized that no longer had qualities available, had nothing to equip him with.

 

Protagoras, through Plato, tells us that Prometheus, in order to correct his brother’s forgetfulness, toked from Hephaestus the gift of fire, symbol of technique, and from Athena the intelligence, capacity at the time equivalent to art, contemplating the man with these valences. Zeus became displeased, once that becouse of the oblivion of Epimetheus, the humans were placed at the level of the gods, equipped with the abillity of prosthesis construction – technique – and the creative capacity, to form life – Art …

[1] Stiegler, Bernard, (1998 [1994]) Technics and Time: the fault of Epimetheus, Stanford University Press. ISBN 0-8047-3041-5
[2] idem

CT1LN

CT1LN

2014 – WIP
But let’s not speak about facts. The facts no longer matter to anyone, they are only starting points for the invention and thinking.

                                                                                                Jorge Luís Borges,  “Utopia of a tired man in The book of Sand

Paulo V. was an amateur radio operator for four decades in the XXth century; The first contact with his archive during that period raised questions and an unrestlessness trigged by this activity – amateur radio. Each dive in his books, objects, or testimonies, reinforced the awareness of the relationship between this practice and the need/motivation for the human being to transcend the self and overtake its own limitations – this subject matter has been constantly revisited in the projects I have developed as an author.

This project, which began in 2014, highlights the first set of works, focusing on the initiatory gesture, symbolism and the consequent virtual journey´s that the amateur radio practice allows, under the designation CT1LN: Part I – Paulo V’s Travels.

There are four distinct moments in this first part of the project: throughout the series Artefacts there is an archeological gaze into the origins of Paulo V., revealing objects linked with the beginning of his activity as an amateur radio operator; Templum– an expression derived from the roman tradition, was the word employed to describe the place used for astronomical observations – gives title to a set of twelve drawings each one designed on the basis of one day of Paulo V.’s travels; the installation Propagation #2 (General Calling) – space and time reservoir – where Paulo V.’s morse code general call is represented. On one hand, this work refers to the  concept of hetherotopia by Michel Foucault: the amateur radio operator’s workstation can be seen as a hetheropic  site per excellence.  On the other hand, the installation From my bedroom’s window I can see the other side of the street (En Soph) summons Jorge Luís Borges’s universe where the chosen vehicle for the wish for (in)finite multiplication is the mirror, the place where representation is always a construction.

CT1LN: Artefactos

Artefactos

[CT1LN project]

2014-2017, inkjet on cotton paper Hahnemuehle William Turner 310 gms, various dimensions
(Series of 18 photographs + 2 audio pieces)
Edition of 4 (2+2)+1 artist’s print
 

Clues are given about the origins of Paul V. As well as revealed some objects related to the beginning of his radioamateur activity. This series also contains two audio records, resulting of numerous conversations with Paul V..

Series consisting of eighteen photographic records, representing a set of compositions made from the constituent objects of the estate of Paul V., where an archaeological look is intended, a certain way of documentary about this practice (from radioamadorism).

 

CT1LN: Ensoph

Da janela do meu quarto consigo ver o outro lado da rua (Ensoph)

[CT1LN project]

2016-17, installation, wood, illuminated globe, mirrors, mirrored glasses, 55x55x175 cm.

 

Figueiredo Ribeiro Collection – Quartel da Arte Contemporânea de Abrantes

This installation, whose title and design refers to the Aleph of Jorge Luis Borges, gives the chance to form a relationship between the point of origin of the communications of Paul V. and its infinite propagation, provoked by the reflection of the globe illuminated through multiple mirrors, establishing a relation with the concepts of transcendence and ubiquity, transversal to the whole project.

CT1LN: Templum

Templum

[CT1LN project]

2014-16, series of 12 drawings, mixed media on paper, 70×100 cm (each).
Templum consists of a series of twelve drawings, which aim to exploit the dispersion, of the trips recommended through this practice: starting from the records books, which represent a database that contains, among other information, the order number of the contacts, the date with the hour (with precision to the minute) in which they were made, and their location, and finally the days in which a number between one and two hundred contacts were registered were selected.
 
This information is then materialized in a vegetable paper, placed on a world map, having the path originating a different drawing each day. This path is recorded through line segments, from point to point, constructing a polygonal shape that can only take place in this space, in this context.
After a series of steps, ranging from the creation of stencils, to the passing of the information to the final support, the points are numbered according to the original logbook order.
 
The title of the series has its origin in the Roman tradition, being the Templum a place chosen by the prophets to contemplate the stars, in order to draw lessons from the celestial space reading. This is an aspect that has proved to be decisive, since it causes a reversal of the meaning of the drawings, due to the fact that the compositions are an interpretation of the paths made by Paul V – marked on the surface of the Earth – and refer to the representation of constellations.

CT1LN: Propagação#2 (Chamada geral)

Propagação# 2 (Chamada geral)

[CT1LN project]

2016, installation, 12 wooden Boxes, leds, wire, RC board, 200x200x50 cm

Propagação #2 (Chamada geralconsists of an installation elaborated using the symbolic representation of the drawers where the collection of radio amateur contact cards is stored. They are reservoirs of space and time, from which a simultaneous light emanates in all the drawers, corresponding to the general call in morse code issued by Paulo V. (QC QC QC DE CT1LN CT1LN CT1LN K), through a light device installed inside . It is also perceptible the sound of the code, coming from the Arduino board used in the installation.

Álbum

Álbum

2014-17, Prontuário dos afectos, installation, 50 images, inkjet print on fineart cotton paper, 330×550 cm, edition of 5+A.P.

 

FCT – Nova collection
 

(…) Photographic objects, which when used as a support for personal messages on one of its faces, are transformed into unique elements – not as photographic representations, but as photographic objects – running this messages as an enhanced replacement of the person represented in the portrait (…) however, these objects have two faces, and the photographic image it’s the pretext for the writings and for mnemonic element. What these pictures reveal is a pose, a failed search for the photogenic wherein the expression, the position pictured, as well as background, follow a pattern. 

Thus, from the selection of fragments of portraits with formal analogies but of different people, stems a portrait that can be understood as an allusion to all patent faces in the dedications (…) in the appropriation of these objects, in a scene created for this purpose, it´s been proceeded to a full photographic record of both sides of the photographic paper. Thus, the objects were also subjected to a ritual of pose, to a presence of the photography within the photography.

2014, Retratos #01-#07, injet on fineart cotton papers, collage, 100×70 cm (each one), single proof