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«Sem título» 1999(grafite e lápis de cor sobre papel)
Colecção Particular
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«Sem título» 2005
(grafite, lápis de cor, pastel de óleo e guache sobre papel)
Colecção Particular
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«Sem título» 2003
(grafite, lápis de cor, carvão, pastel de óleo e guache sobre papel)
Colecção Particular
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«Sem título» 2006(grafite, lápis de cor, aguarela, pastel de óleo e guache sobre papel)
The Lodeveans Collection, London
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«Sem título» 2000
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«Sem título» 2000(grafite sobre papel)
Colecção Fundação Carmona e Costa, Lisboa
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«Sem título» 2006
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«Sem título» 2006(grafite, lápis de cor, pastel de óleo e guache sobre papel)
Gordon Watson Collection, London)
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«Sem título» 2002
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«Sem título» 2002(grafite sobre papel)
Colecção Particular
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«Sem título» 2002(grafite, lápis de cor, pastel de óleo e guache sobre papel)
Colecção Particular
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«Sem título» 2000(grafite e lápis de cor, pastel de óleo e guache sobre papel)
Colecção Particular
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«Sem título» 2004(grafite e guache sobre papel)
Collection Florence et Daniel Guerlain, Les Mesnuls, França
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«Sem título» 2005(grafite, lápis de cor e pastel de óleo sobre papel)
Colecção Particular
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«Sem título» 2004(grafite, carvão, pastel de óleo e guache sobre papel)
Collection C. Zervudacki, Nice
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«Sem título» 2005(lápis, pastel de óleo e guache sobre papel)
- conj. 16 desenhos -
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«Sem título» 2003(grafite, lápis de cor, pastel de óleo e guache sobre papel)
Colecção Particular
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«Sem título» 2003(guache sobre papel)
Colecção Particular
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«Sem título» 2000(grafite e lápis de cor sobre papel)
Colecção Fundação EDP, Lisboa
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«Sem título» 2004
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«Sem título» 2004(grafite e guache sobre papel)
Colecção Florence et Daniel Guerlain, Les Mesnuls, França
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«Sem título» 2002(lápis de cor sobre papel)
M.A.H. Muda Collection, Portugal
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«Sem título» 2003(grafite, pastel de óleo e acrílico sobre papel)
Colecção Carmona e Costa, Lisboa
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«Sem título» 2004
(grafite, láspis de cor, pastel de óleo e guache sobre papel)
Colecção Particular
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«Sem título» 2004
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«Sem título» 2004(grafite e guache sobre papel)
Colecção Particular
Colecção Particular
Jorge Queiroz nasceu em Lisboa no ano de 1966. Vive e trabalha em Berlim.
Frequentou o Ar.Co e depois de uma curta estadia em Londres no Royal College of Art ingressou na School of Visual Arts em Nova Iorque, em 1997, onde residiu durante os seis anos seguintes. Em 2004 estabeleceu-se em Berlim e tem hoje uma ampla presença internacional em galerias e museus. Destaque para a presença nas Bienais de Veneza 2003 e São Paulo 2004 a convite dos respectivos comissários Francesco Bonani e Alfons Hug. Trabalhando sobretudo o desenho, Jorge Queiroz parte de um referencial pós-surrealista ou pós-simbolista para criar um universo eminentemente pessoal. É uma característica marcante da sua abordagem a total ausência de títulos ou mesmo de enumeração das obras, remetendo essa ausência para um universo a-linguístico cuja natureza não é consentânea com nenhuma linearidade narrativa. Nos seus cenários oníricos omite qualquer organização ou hierarquia, subvertendo a relação figura-fundo ou interior-exterior, numa profusão de traços e marcas que parecem revirar-se sobre as suas próprias entranhas. Evocando o mundo alquímico da garrafa de Klein [uma garrafa que se revira sobre o seu próprio interior e que Duchamp usou como referência nos seus estudos sobre a quarta dimensão] os desenhos de Jorge Queiroz remetem para essa quarta dimensão, enquanto possibilidade matemática e fantasma milenar. Na inversão entre o conteúdo e o contido, que Jorge Queiroz continuamente põe em prática, exprime-se toda uma percepção de energia obscura que vem acompanhando tanto a arte quanto a ciência ao longo do último século. Através de extravagantes suposições, como sejam o ectoplasma ou a telecinésia, e de extraordinárias evidências, como a radioactividade, o magnetismo ou a electricidade, um imaginário tão fantástico quanto fantasmático tomou corpo. Jorge Queiroz pertence a esse imaginário, demonstrando que a contemporaneidade está bem longe da noção de identidade enquanto Forma, do Eu-pele, do classicismo.
Alexandre Melo, sociólogo e crítico de arte
in «Arte e Artistas em Portugal» Maio 2007
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Nota: Por favor click nas imagens para uma melhor visualização.
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Crítica:
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In the drawings of Jorge Queiroz there is a world, a world in which figures, landscapes, constructions, motifs and references articulate to suggest stories whose narratives the viewer may have a hint of but which he cannot fully read or see, as they aren’t told. Each drawing appears as a fragment of the very fiction it suggests but from which it departs in its composition of traces, remains, images (…)
The universe of Jorge Queiroz takes shape as a mysterious imaginary where characters and situations bring about a constant ambivalence between reality and fantasy, a constant challenge to both the interpretation and the construction of a coherent meaning.
(…)
In these drawings we surmise the existence of a code, or of a structure, but that code seems never to depend on a predefined grammar. Each drawing utilizes as fragment and transference of the multiple situations, which it associates, in an illogical albeit structured collage of figures, motifs and gestures. That instant becomes a mysterious enunciation composed of a mosaic of places, spaces, times and characters. In that enunciation the condition of the author prevails, materialising in the recurrence of the presented motifs, in the expression of the shapeless gesture, in the exploring of dichotomies and allegories. The drawings of Jorge Queiroz travel between the possibilities of a pre-verbal oneiric discourse – which language would be at pain to describe – and a post-verbal discourse, omniscient of the narrative condition from which it seeks a voluntary rupture. This discursive contamination between image and fiction, between the verbal (that which can be described) and the non-verbal (that which cannot be verbalised) further reinforces the presence of the author as unifying figure of this whole universe. In a certain way, the work of Jorge Queiroz asserts itself as an exercise of resistance against the disappearance of the role of the author in contemporary society as identified by Foucault some decades ago. If it is the technical reproducibility of the work of art that creates the necessary condition of that disappearance of the author, then Queiroz renounces precisely that reproducibility by insisting, through drawing, upon the singularity of gesture and of a whole cosmogony , which turn each sheet of paper into a unique, compulsive, and iterative moment in his work.
(…)
The landscapes of Queiroz offer, in certain cases, the representation of a romantic nature where the sublime measures itself against the solitude of characters that may arise in it. As in a Caspar David Friedrich painting, mountains, rocks, cliffs, trees, bushes and gardens may bring those characters face to face with the representation of a grandiose nature and its solitude. Here and there, that abrupt and sublime nature gives way to the orderly space of the garden or merges with it, with its lines of perspective that structure the landscape wherein the figures appear and vanish in their unexpected metamorphosis. The scenographic theatricality of such places is entirely obvious, as if they opposed order to chaos, beauty to the sublime, harmony to terror (…)
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Excerpts from the catalogue untitled «Drawing as twilight zone between the real and its fictions» of the exhibition held at The Serralves Museum of Contemporary Art in Oporto.
The universe of Jorge Queiroz takes shape as a mysterious imaginary where characters and situations bring about a constant ambivalence between reality and fantasy, a constant challenge to both the interpretation and the construction of a coherent meaning.
(…)
In these drawings we surmise the existence of a code, or of a structure, but that code seems never to depend on a predefined grammar. Each drawing utilizes as fragment and transference of the multiple situations, which it associates, in an illogical albeit structured collage of figures, motifs and gestures. That instant becomes a mysterious enunciation composed of a mosaic of places, spaces, times and characters. In that enunciation the condition of the author prevails, materialising in the recurrence of the presented motifs, in the expression of the shapeless gesture, in the exploring of dichotomies and allegories. The drawings of Jorge Queiroz travel between the possibilities of a pre-verbal oneiric discourse – which language would be at pain to describe – and a post-verbal discourse, omniscient of the narrative condition from which it seeks a voluntary rupture. This discursive contamination between image and fiction, between the verbal (that which can be described) and the non-verbal (that which cannot be verbalised) further reinforces the presence of the author as unifying figure of this whole universe. In a certain way, the work of Jorge Queiroz asserts itself as an exercise of resistance against the disappearance of the role of the author in contemporary society as identified by Foucault some decades ago. If it is the technical reproducibility of the work of art that creates the necessary condition of that disappearance of the author, then Queiroz renounces precisely that reproducibility by insisting, through drawing, upon the singularity of gesture and of a whole cosmogony , which turn each sheet of paper into a unique, compulsive, and iterative moment in his work.
(…)
The landscapes of Queiroz offer, in certain cases, the representation of a romantic nature where the sublime measures itself against the solitude of characters that may arise in it. As in a Caspar David Friedrich painting, mountains, rocks, cliffs, trees, bushes and gardens may bring those characters face to face with the representation of a grandiose nature and its solitude. Here and there, that abrupt and sublime nature gives way to the orderly space of the garden or merges with it, with its lines of perspective that structure the landscape wherein the figures appear and vanish in their unexpected metamorphosis. The scenographic theatricality of such places is entirely obvious, as if they opposed order to chaos, beauty to the sublime, harmony to terror (…)
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Excerpts from the catalogue untitled «Drawing as twilight zone between the real and its fictions» of the exhibition held at The Serralves Museum of Contemporary Art in Oporto.
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Note: Please double click on the images to get a better view.
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Des oeuvres de Jorge Queiroz, on pourrait dire "c'est tout un monde", un monde dans lequel, personnages, paysages, constructions, motifs et références s'articulent pour suggérer des histoires qui entraînent le spectateur vers des images qu'il ne peut jamais complètement décrypter comme si elles ne se laissaient pas entièrement conter. Ces oeuvres aux accents surréalistes et symbolistes ont une écriture très poétique où peinture, pastel, fusain, aquarelle, crayon gras s'entremêlent et se diluent (...)
Galerie Nathalie Obadia, Paris
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Jorge Queiroz arbeitet ausschließlich auf Papier. Aus diesem Grund ist er als Künstler für das Horst-Janssen-Museum besonders interessant. Der Bildträger Papier schränkt ihn allerdings nicht ein. Der 1966 in Lissabon geborene Künstler lebt und arbeitet heute in Berlin. Von 1990 bis 1999 hat er an drei Kunstakademien Zeichnung und Malerei studiert: Centro de Arte e Comunicação Visual, Lisboa; Royal College of Art, London und School of Visual Arts, New York. 2003/04 war er Stipendiat der Fundação Calouste Gulbenkian und hat am Internationalen Atelierprogramm des Künstlerhauses Bethanien in Berlin teilgenommen. Wichtige Ausstellungsbeteiligungen bisher waren die Biennale in Venedig 2001, die Ausstellung "Works on paper" der Galerie Max Hetzler in Berlin 2005 und aktuell die Berlin Biennale (...)
Jorge Queiroz arbeitet ausschließlich auf Papier. Aus diesem Grund ist er als Künstler für das Horst-Janssen-Museum besonders interessant. Der Bildträger Papier schränkt ihn allerdings nicht ein. Der 1966 in Lissabon geborene Künstler lebt und arbeitet heute in Berlin. Von 1990 bis 1999 hat er an drei Kunstakademien Zeichnung und Malerei studiert: Centro de Arte e Comunicação Visual, Lisboa; Royal College of Art, London und School of Visual Arts, New York. 2003/04 war er Stipendiat der Fundação Calouste Gulbenkian und hat am Internationalen Atelierprogramm des Künstlerhauses Bethanien in Berlin teilgenommen. Wichtige Ausstellungsbeteiligungen bisher waren die Biennale in Venedig 2001, die Ausstellung "Works on paper" der Galerie Max Hetzler in Berlin 2005 und aktuell die Berlin Biennale (...)
Horst Janssen Museum, Oldenburg
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«Images cedidas pela Fundação Serralves, por cortesia do artista»
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