…no princípio /// Quartel da Arte Contemporânea de Abrantes – Coleção Figueiredo Ribeiro

…no princípio

2018 | Quartel da Arte Contemporânea de Abrantes – Coleção Figueiredo Ribeiro

curated by Adelaide Ginga

…in the beginning


“(…) I found myself in a large open space; it was almost round, like a dome, and about a hundred metres wide. 

          At that moment I saw changes in the ocean; the water became still and the surface was transparent, but dark. A sort of yellow mucus began to form. It rose from the depths through large cracks, glistening like glass. It came out of the water, boiling and forming a crust. The crust hardened, the surface became brown like molasses (…) solidified into huge lumps, which slowly took on a variety of forms (…)

          When I looked down again, I saw a sort of garden; I could see vegetation and plants of this same substance (…) and they all looked like miniatures.”

Andrei Tarkovsky, Solaris, 1972


…no princípio […in the beginning] is a group of words that is closely connected to Genesis, the first book of Scriptures, and evokes the beginning, the source of creation. It presupposes the notion of foundation, of a primeval cause that triggers a phenomenon. However, by being preceded by suspension points, these words achieve the quality of a paradox, via the voluntary introduction of an indefinite previous time. What supposedly was the initial moment is enriched with an intriguing legacy, linked with the concept of renewal. And the concept of restart is precisely what underlies this exhibition. The concept of ‘a beginning’ that interrupts the continuum and suspends the historic effect in order to take on the future.

The exhibition consists of four independent sections, each of which contains pieces in a different media: photography, chemigram, video and installation, all of them part of a common interest in exploring the beginning of creation. A number of seemingly inactive methodological procedures are, through a series of chemical and physical reactions, subjected to a transformation that ushers in renewal, a subtle and poetic process that is present in all the pieces. Besides conceptual communion, this group of works have in common the ruling element of water and they complement one another in an aesthetic and formal dialectic that explores a variety of symbolisms and new morphologies. 

Adelaide Ginga