Photographs and landscape matters to the South

Beatriz Pedrosa
Beatriz Pedrosa
Sebastiano Raimondo
Sebastiano Raimondo
Fernando Brito
Fernando Brito

On Photographs and landscape matters to the South:

Admitting the ideia of photographs constructing landscapes, beyond the simulation of the image and its eventual relation to subject and fact, this exhibition aims to tread a critical territory, bringing together artists, images and landscapes of the South; of Europe, of the Tagus, and of the Algarve.

The subjectivity of landscapes, re-invented, ordered and disciplined by images; have they an ideological perspective on the present and on the contemporary?
What is South? Is it a Place? What is a landscape? Landscape is always an image.

Paulo Catrica, curator. (translation from
Portuguese catalogue text). Continue reading “Photographs and landscape matters to the South”

Medusa – work in progress

Medusa – work in progress, is an ongoing piece originally based on a documentary photography tradition. The initial version of Medusa was publicly screened in September 2010 with the tittle Who’s a jellyfish in multimedia format. The piece participated in a London presentation of  the ASA Collective. In this initial version “Medusa – work in progress” was based on the concept of a Jellyfish/Medusa, that of following sea currents and only capable of nourishing itself from what is contacted during its meanderings/wanderings. Continue reading “Medusa – work in progress”

Terra Cinza multimedia

Terra cinza multimedia resulted from a collaborative action, based on the initial Terra cinza work.  Armando Ribeiro (The Chroniclers) edited the original version of the work,Pedro Gomes Marques selected David Shea’s song Giton’s theme. David contributed his music to this multimedia piece. The original work is still recognisable, but the multimedia ensemble presents an additional dimension, a poignancy and a presence that are difficult to describe, better experienced. A beautiful collaboration, thank you!

Cut, shuffle, deal

Cut, shuffle, deal is the name of this work, part of Emergir – identity specific, an installation/exhibition presented by Maria Tomás (installation), Miguel Proença (multimedia), and Cristina Azevedo Tavares (curator)  at the Casa dos Gessos do  Museu Militar de Lisboa ( Plaster House of the Lisbon Military Museum).

This is an installation – an ambience that offers the viewer a different visual and aesthetic experience of the Casa dos Gessos and its works, keeping untouched the statue of D. José I, in the sense that its role as a gigantic pivot point, imposed by its monumental presence occupying the centre of the building, is untouched.

Focusing on the D. José I piece, Miguel Proença works to deconstruct the “urban” gaze through the photographs taken at the Terreiro do Paço square of the bronze statue of D. José I referencing the master plaster from which it was cast.  He virtually places it in an impossible situation; in the Casa dos Gessos, and as such it once again dialogues with the other sculptures in a relation of proximity, through the grid of a chess board that evokes the bi-coloured floor of the room.  It thus subverts the reading of this magnificent piece by Machado de Castro, polemical in its time, the master plaster is also extraordinary, as is the involved foundry work.

The room, only periodically opened to the public, exerts a fascination on those that enter it, be it the scale of the sculptures in relation to the building, be it the details that we can still observe after the casting to bronze, as by the group of pieces and the visual relationships that we can establish between them.” (Cristina Azevedo Tavares, curator, November, 2013, translated).

Emergir – identity specific and Cut, shuffle, deal was open to the public, from October 8th 2013 at the Casa dos Gessos,  at Campo de Santa Clara, nº 62, in the vicinity of the  National Pantheon, in Lisbon.