tag:blogger.com,1999:blog-20547484358538471622024-02-19T07:20:04.679+00:00das artes plasticasE-mail: dasartesplasticas@gmail.comFernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.comBlogger53125tag:blogger.com,1999:blog-2054748435853847162.post-61387569803570602522011-06-10T22:40:00.046+01:002011-06-12T16:54:27.245+01:00Fotojornalismo<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLb8Lb5sJrkpH9kVbn-8GGsb67HWzalb5GqLriUnmJJFXTcIGdfd6nTnt8Yi-IlhhGHmrlJq_6q6bVHxTQBbVBBbKxbjsbUG-uu7O46VlnkMsk8j2FGxT1XMxBr94tFu3G75pUi0ECWT0/s1600/Leandro+1.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 266px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616724913109751634" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLb8Lb5sJrkpH9kVbn-8GGsb67HWzalb5GqLriUnmJJFXTcIGdfd6nTnt8Yi-IlhhGHmrlJq_6q6bVHxTQBbVBBbKxbjsbUG-uu7O46VlnkMsk8j2FGxT1XMxBr94tFu3G75pUi0ECWT0/s400/Leandro+1.jpg" /></a><span style="color:#660000;"> </span><span style="font-size:85%;color:#660000;">Nelson d'Aires «Leandro»<br /></span><span style="color:#ff0000;"><em><span style="font-size:85%;"><a href="http://www.estacao-imagem.com/"><strong><span style="color:#ff0000;">Prémio Estação Imagem Mora 2011</span></strong></a> </span></em></span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQVBRNu5FOz5puGGWvVcGPF2OIpZ_4cuKVncwMbbQ2LsutKQAKe4yZsSjgcVa3CIXjEnrnzdABziYbGYcPdqFrxABddSwA-qxcxugpINPxK-M8sWVS9YTJCX3zZQQT77zuKpaULhbRzV0/s1600/Nelson+d%2527Aires%252C+Bairro+da+Esta%25C3%25A7%25C3%25A3o.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 266px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616724745614944898" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQVBRNu5FOz5puGGWvVcGPF2OIpZ_4cuKVncwMbbQ2LsutKQAKe4yZsSjgcVa3CIXjEnrnzdABziYbGYcPdqFrxABddSwA-qxcxugpINPxK-M8sWVS9YTJCX3zZQQT77zuKpaULhbRzV0/s400/Nelson+d%2527Aires%252C+Bairro+da+Esta%25C3%25A7%25C3%25A3o.jpg" /></a><span style="color:#660000;"> </span><span style="color:#660000;"><span style="font-size:85%;">Nelson d'Aires «Bairro da Estação» Retratos series </span></span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxze8Znv6wC8aCKLRD3fA_sqitOZQgsueXspGEJhnQYdRC73X1hUhLo50tmAkIoMMxRxJ3oi6K_AXwHQgt-noOMANuxvFZ6VCYmn2Y1cpdMWfArrFSAb9_cIGTQqPa7EmnWf1s8Rkelws/s1600/Leandro+2.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 266px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616724435281132754" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxze8Znv6wC8aCKLRD3fA_sqitOZQgsueXspGEJhnQYdRC73X1hUhLo50tmAkIoMMxRxJ3oi6K_AXwHQgt-noOMANuxvFZ6VCYmn2Y1cpdMWfArrFSAb9_cIGTQqPa7EmnWf1s8Rkelws/s400/Leandro+2.jpg" /></a><span style="font-size:85%;color:#660000;"> Nelson d'Aires «Leandro»<br /><em><a href="http://www.estacao-imagem.com/"><strong><span style="color:#ff0000;">Prémio Estação Imagem Mora 2011 </span></strong></a></em></span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB31jXu3HOf-ARYDI-PwgBH5ysGeFJP74IVlRezLl82XzoPvjV00RupXJji2YQbJ2fg5f5dxeLnwFzsnrB_s68sYllrw5pQXSeweo_aEDp28rx0eTXBsXIeKREJ3uk8mbtk8Z8SYhgQiw/s1600/Nelson+d%2527Aires%252C+Bairro+da+Esta%25C3%25A7%25C3%25A3o+4.jpg"><img style="TEXT-ALIGN: center; 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MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616721787175575618" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDIDdclOSkM6idLwHdcYv3rWwOaTQNT5zG49oteKNJCs-g9PnCDBVmQAcvP5hzF8GRFxyBy8l2UoyABFxYDJEkgs8X5vUaiqukXi0_0OpbnMZ9ih9x7N9zOlU-63iWGdPTt5LnAZq20iA/s400/Tiago+Miranda%252C+Retratos+de+um+despedimento+2.jpg" /></a><span style="font-size:85%;color:#660000;"> Tiago Miranda «Retratos de um despedimento» Retratos series</span><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizYjGabTbP9J9qTn1MEq7INN_fkm_DjqjQuCzTVm0HzxfvWC-2hJ_qDQL0PY2iTq1JHWkEumTd1WjZ1-6Rokr7h3eeBfJ3v0EabgNxlEX0DMNq7jDbGgXQ39zzfsJ0i50LSahac_6BwKs/s1600/Tiago+Miranda%252C+Retratos+de+um+despedimento+3.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616721603915350514" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizYjGabTbP9J9qTn1MEq7INN_fkm_DjqjQuCzTVm0HzxfvWC-2hJ_qDQL0PY2iTq1JHWkEumTd1WjZ1-6Rokr7h3eeBfJ3v0EabgNxlEX0DMNq7jDbGgXQ39zzfsJ0i50LSahac_6BwKs/s400/Tiago+Miranda%252C+Retratos+de+um+despedimento+3.jpg" /></a><span style="font-size:85%;color:#660000;"> Tiago Miranda «Retratos de um despedimento» Retratos series</span><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAmHxX6gL2Ce-xMLaFKk-tBppdr-b_3kstSh-YKxiXHrUf1FIjv-vVm2NF1AqcM4D9W5oo03cFAsYgtU8-pVJRjVtFdIi9TTfTr9Lj8csEgvqEVc1pLwG5WTkfo_XceCosYtlBUb4e4Is/s1600/Enric+Vives+Rubio%252C+Madeira.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 267px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616721310081035970" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAmHxX6gL2Ce-xMLaFKk-tBppdr-b_3kstSh-YKxiXHrUf1FIjv-vVm2NF1AqcM4D9W5oo03cFAsYgtU8-pVJRjVtFdIi9TTfTr9Lj8csEgvqEVc1pLwG5WTkfo_XceCosYtlBUb4e4Is/s400/Enric+Vives+Rubio%252C+Madeira.jpg" /></a><span style="font-size:85%;color:#660000;">Enric Vives Rubio «Madeira» Notícias series</span><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj54TXizB-c70UiPF30SsETHW2nYNpnrNlAAdo8M2fCRPyZCNyptH3GdJ2auIJ3WY3a-X1r52kISEBdDhe6RnygqqjRBQ2YYSURAwmM1Mp8eIH0__EvimKCgaHWxoLWhbhFktXhoPJ9pA0/s1600/Enric+Vives+Rubio%252C+Madeira+2.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 267px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616721166387514978" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj54TXizB-c70UiPF30SsETHW2nYNpnrNlAAdo8M2fCRPyZCNyptH3GdJ2auIJ3WY3a-X1r52kISEBdDhe6RnygqqjRBQ2YYSURAwmM1Mp8eIH0__EvimKCgaHWxoLWhbhFktXhoPJ9pA0/s400/Enric+Vives+Rubio%252C+Madeira+2.jpg" /></a> <span style="font-size:85%;color:#660000;">Enric Vives Rubio «Madeira» Notícias series</span><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFGB8FwTZO-vKOweQyuekdJW9zyXxxuQKj47Zw0HSAsZkk4SziPbsWUEyXKWNNAe9cPnIKO9r5sdFMQ_SISJ_nTv1W-qAPKWOgHhkIF8a3wJ0YqEXC3prS9DAhkExRohiXw5_WbMBr2Jc/s1600/Enric+Vives+Rubio%252C+Madeira+3.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 267px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616721003252951282" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFGB8FwTZO-vKOweQyuekdJW9zyXxxuQKj47Zw0HSAsZkk4SziPbsWUEyXKWNNAe9cPnIKO9r5sdFMQ_SISJ_nTv1W-qAPKWOgHhkIF8a3wJ0YqEXC3prS9DAhkExRohiXw5_WbMBr2Jc/s400/Enric+Vives+Rubio%252C+Madeira+3.jpg" /></a> <span style="font-size:85%;color:#660000;">Enric Vives Rubio «Madeira» Notícias series</span><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiS__AXeNSSuM30l0oV5Ng2AbYjRY_zd2fbvFIzMQ3qzjzcNBBk4u6xjJQ7p1rrwxsdBCEIxhw4sWCi4Ml2oYNtYdnOFK8q4MIS5qp4giKAQsgtIBXzyTpPGDyJGUPO7i-E4xmRhY5I_8/s1600/Augusto+Br%25C3%25A1zio%252C+Cova+da+Moura.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 266px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616720736882006658" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiS__AXeNSSuM30l0oV5Ng2AbYjRY_zd2fbvFIzMQ3qzjzcNBBk4u6xjJQ7p1rrwxsdBCEIxhw4sWCi4Ml2oYNtYdnOFK8q4MIS5qp4giKAQsgtIBXzyTpPGDyJGUPO7i-E4xmRhY5I_8/s400/Augusto+Br%25C3%25A1zio%252C+Cova+da+Moura.jpg" /></a><span style="font-size:85%;color:#660000;">Augusto Brázio «Cova da Moura» Vida Quotidiana series</span><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfzd4F8LxaNMRZZvIIDtYMgl5HWBm-p1RG-EEMaYkIwD5OuU8PybjVigF5AM-3gUPAqJ8Ag9ooz9c1giVRz2xToiX9lo7YQrpM4wkBo_5OAM0guAIFnO4h3s_FpJuPHOwAV2UINy7p0Cs/s1600/Augusto+Br%25C3%25A1zio%252C+Cova+da+Moura+3.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 266px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616720497178935346" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfzd4F8LxaNMRZZvIIDtYMgl5HWBm-p1RG-EEMaYkIwD5OuU8PybjVigF5AM-3gUPAqJ8Ag9ooz9c1giVRz2xToiX9lo7YQrpM4wkBo_5OAM0guAIFnO4h3s_FpJuPHOwAV2UINy7p0Cs/s400/Augusto+Br%25C3%25A1zio%252C+Cova+da+Moura+3.jpg" /></a> <span style="font-size:85%;color:#660000;">Augusto Brázio «Cova da Moura» Vida Quotidiana series</span><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2YzcoD-VkA4Ifoe9keBULftkuIXHsETh4i5Dq-Pr4f83LCwWcGKEhbcUOpN-bc-8hbGV1vNbKuf8005t4u2GH5igzFkn2g2Coe_WHCWhH1U5wIA0cRG6IVwVSeqSfvMAkBk4EWZR6WUU/s1600/Augusto+Br%25C3%25A1zio%252C+Cova+da+Moura+2.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 266px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616720275913258786" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2YzcoD-VkA4Ifoe9keBULftkuIXHsETh4i5Dq-Pr4f83LCwWcGKEhbcUOpN-bc-8hbGV1vNbKuf8005t4u2GH5igzFkn2g2Coe_WHCWhH1U5wIA0cRG6IVwVSeqSfvMAkBk4EWZR6WUU/s400/Augusto+Br%25C3%25A1zio%252C+Cova+da+Moura+2.jpg" /></a><span style="font-size:85%;color:#660000;"> Augusto Brázio «Cova da Moura» Vida Quotidiana series</span><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizhLU02UP1S8VsGxM_9GIHKCnBv0gGYx12cbww6np6jjTFRhtu7ATbSw1kZtI0woyv6qU_sZFrYB4c4GDfjBxrdgpRz9EyV28YvPD1UodIjMZ77KPzz0hOYot5MRggz5pl4YddhZ_qLuo/s1600/Jos%25C3%25A9+Carlos+Carvalho%252C+M%25C3%25A3e+entre+muros.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 267px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616719938384386754" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizhLU02UP1S8VsGxM_9GIHKCnBv0gGYx12cbww6np6jjTFRhtu7ATbSw1kZtI0woyv6qU_sZFrYB4c4GDfjBxrdgpRz9EyV28YvPD1UodIjMZ77KPzz0hOYot5MRggz5pl4YddhZ_qLuo/s400/Jos%25C3%25A9+Carlos+Carvalho%252C+M%25C3%25A3e+entre+muros.jpg" /></a><span style="font-size:85%;color:#660000;">José Carlos Carvalho «Mãe entre muros» Vida Quotidiana series</span><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhakeTvurXlv1duOp34hiQrGQY6L4ieQk_oM3G7PEt5MD8IcwqDv2iCZ0jxbuth7r7HeZGuTaoV3F3GfZMo4LOqM3B0PieZ2cbqDV3l10Vwp6XIKR0IQyvS4h0uQJh7pmFU1xUo60yp_24/s1600/Jos%25C3%25A9+Carlos+Carvalho%252C+M%25C3%25A3e+entre+muros+2.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 267px; DISPLAY: block; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616719340213684194" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhakeTvurXlv1duOp34hiQrGQY6L4ieQk_oM3G7PEt5MD8IcwqDv2iCZ0jxbuth7r7HeZGuTaoV3F3GfZMo4LOqM3B0PieZ2cbqDV3l10Vwp6XIKR0IQyvS4h0uQJh7pmFU1xUo60yp_24/s400/Jos%25C3%25A9+Carlos+Carvalho%252C+M%25C3%25A3e+entre+muros+2.jpg" /></a><span style="font-size:85%;color:#660000;"> José Carlos Carvalho «Mãe entre muros» Vida Quotidiana series</span><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL11H0v-ilJCpxDkB1LHEoAhJqVBOeaXQSaI5G_7xoag6meUGzapaaGr9rE8kZnSOhfa-wwyRMldpWfQM_62d1-5n3rKId_zDZ8IfSBNgXW6m_aUaNrwsvqgsuV6ung-s1S3mLyfWdLWo/s1600/Jos%25C3%25A9+Carlos+Carvalho%252C+M%25C3%25A3e+entre+muros+3.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 267px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616719155389341570" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL11H0v-ilJCpxDkB1LHEoAhJqVBOeaXQSaI5G_7xoag6meUGzapaaGr9rE8kZnSOhfa-wwyRMldpWfQM_62d1-5n3rKId_zDZ8IfSBNgXW6m_aUaNrwsvqgsuV6ung-s1S3mLyfWdLWo/s400/Jos%25C3%25A9+Carlos+Carvalho%252C+M%25C3%25A3e+entre+muros+3.jpg" /></a><span style="font-size:85%;color:#660000;">José Carlos Carvalho «Mãe entre muros» Vida Quotidiana series</span><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-MPOfvJ63R-zLoVUMtLq5Zu_j__VHpNLdJKFkh24qgnUpexnaQ476W0PxFDR9Ln4qtOhapvpBoALt6T-T8FBvynummiKSXEsUsl4-e_6oLT8vGaiX2O_u2g0Gi8pSWK-Dv9q7DN6RNwA/s1600/Artur+Machado%252C+Paredes+de+Coura+2.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 267px; DISPLAY: block; HEIGHT: 400px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616718858775850578" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-MPOfvJ63R-zLoVUMtLq5Zu_j__VHpNLdJKFkh24qgnUpexnaQ476W0PxFDR9Ln4qtOhapvpBoALt6T-T8FBvynummiKSXEsUsl4-e_6oLT8vGaiX2O_u2g0Gi8pSWK-Dv9q7DN6RNwA/s400/Artur+Machado%252C+Paredes+de+Coura+2.jpg" /></a><span style="font-size:85%;color:#660000;">Artur Machado «Paredes de Coura» Arte e Espectáculos series</span><br /><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDWpJU9QJIV1yC18wUUdW4GC1bB0kdP2035b7kyCAtbEOrzBVYdM6Se0o9_YJpAigfKZtDJ8FnVy9dY_GSiDt4WLdZVCfLh4YLA710PLjGJGHFBT7dRkABsBdXqEBRlGpQcutbOw-gjSg/s1600/Artur+Machado%252C+Paredes+de+Coura.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 267px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616718654139787858" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDWpJU9QJIV1yC18wUUdW4GC1bB0kdP2035b7kyCAtbEOrzBVYdM6Se0o9_YJpAigfKZtDJ8FnVy9dY_GSiDt4WLdZVCfLh4YLA710PLjGJGHFBT7dRkABsBdXqEBRlGpQcutbOw-gjSg/s400/Artur+Machado%252C+Paredes+de+Coura.jpg" /></a><span style="font-size:85%;color:#660000;"> Artur Machado «Paredes de Coura» Arte e Espectáculos series</span><br /><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_w9Gku8F5cowPmD3IWOlPrNUKsNCsjt3qBKZE2UXhlaTod_ibYXuvVYiZT1XUWN6Qs4H6UArsH1lYIjor44Rk1ko3ozh3xPqGGulGPPW69XvGpH2oz61MXrGx4dYTBjfbXrNLWu3GdoI/s1600/Artur+Machado%252C+Paredes+de+Coura+5.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 267px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616718224897047138" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_w9Gku8F5cowPmD3IWOlPrNUKsNCsjt3qBKZE2UXhlaTod_ibYXuvVYiZT1XUWN6Qs4H6UArsH1lYIjor44Rk1ko3ozh3xPqGGulGPPW69XvGpH2oz61MXrGx4dYTBjfbXrNLWu3GdoI/s400/Artur+Machado%252C+Paredes+de+Coura+5.jpg" /></a><span style="font-size:85%;color:#660000;"> Artur Machado «Paredes de Coura» Arte e Espectáculos series</span><span style="font-size:85%;color:#660000;"> </span><br /><br /></div><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTcatbQLRdgLAxLA-_6OOVUfhyphenhyphenyiAk1pZ5TuOFTlnl691pa8MJWcJ73iCYNKoBzTYANPxunCa6VgQQVoBtA0EYZcwSXei-PtiFeo4_351IZixPbZuof0lYLHBa3KXBoxO3tzBZs6bIhyphenhyphenY/s1600/Artur+Machado%252C+Paredes+de+Coura+4.jpg"><img style="TEXT-ALIGN: center; MARGIN: 0px auto 10px; WIDTH: 400px; DISPLAY: block; HEIGHT: 267px; CURSOR: hand" id="BLOGGER_PHOTO_ID_5616718061718882018" border="0" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTcatbQLRdgLAxLA-_6OOVUfhyphenhyphenyiAk1pZ5TuOFTlnl691pa8MJWcJ73iCYNKoBzTYANPxunCa6VgQQVoBtA0EYZcwSXei-PtiFeo4_351IZixPbZuof0lYLHBa3KXBoxO3tzBZs6bIhyphenhyphenY/s400/Artur+Machado%252C+Paredes+de+Coura+4.jpg" /></a><span style="font-size:85%;color:#660000;"> Artur Machado «Paredes de Coura» Arte e Espectáculos series</span><br /><br /><br /><br /><br /><div align="justify"><span style="font-size:85%;color:#330000;"><strong>Leandro Pires</strong>, 12 anos de idade, desapareceu nas águas do rio Tua em Mirandela. </span><span style="font-size:85%;color:#330000;">Leandro residente na aldeia de Cedainhos, concelho de Mirandela, frequentava o sexto ano de escolaridade na escola EB 2,3 do Agrupamento Luciano Cordeiro, naquela cidade. No dia 2 de Março fugiu da escola a chorar, alegadamente vítima de bullying, para o parque de merendas da cidade onde se atirou ao rio Tua. Atrás dele foramo seu irmão gémeo e três primos, as únicas testemunhas que o viram entrar despedido no rio mas sem conseguir impedi-lo de ser arrastado pela forte corrente. O seu corpo foi encontrado morto, 23 dias depois, por um pescador na margem do rio a 12 quilómetros do local onde desapareceu. A investigação foi arquivada sem confirmação de suicídio, Ninguém foi responsabilizado.</span><br /><br /></div><br /><div align="justify"><span style="font-size:85%;color:#330000;">A 8 de Abril de 2010, a Comissão Europeia pediu aos Estados-Membros para utilizarem os fundos da União Europeia na integração social e económica da <strong>comunidade cigana</strong>. Ao contrário das expulsões que acontecem na França com grande intensidade em Julho de 2010, o Estado e poderes locais de Portugal trabalham na sua inclusão social. Um dos mais recentes exemplos é o trabalho de realojamento de uma comunidade cigana em Vila Nova de Famalicão que viveu 34 anos no "bairro da estação" um bairro de lata dentro da cidade. Estes retratos são os rostos de algumas famílias fotografadas no interior das suas barracas onde os mais jovens viveram até então toda a sua vida, feitos ao longo dos últimos dois meses antes do seu realojamento.</span><br /><br /></div><br /><div align="justify"><span style="color:#330000;"><span style="font-size:85%;"><strong>Os candidatos presidenciais</strong>. As eleições presidenciais de 23 de Janeiro de 2011 começaram a atrair as atenções mediáticas já no fim de 2010. Foram feitos perfis individuais de cada um dos seis candidatos. Cada um com a sua personalidade que transparece nas poses e nos momentos mais informais deste projecto. Cavaco Silva (entretanto reeleito) fotografado no Palácio de Belém; Manuel Alegre frente à sua sede de candidatura; Fernando Nobre na praia; Francisco Lopes frente à sede do PCP; José Manuel Coelho frente ao Palácio de Belém e Defensor </span></span><span style="font-size:85%;color:#330000;">de Moura na Assembleia da República.</span><br /><br /></div><br /><div align="justify"><span style="font-size:85%;color:#330000;">Com a escala galopante do <strong>desemprego em Portugal</strong>, procurava algo que o reflectisse, que desse um rosto à crise e que os números dessem lugar a pessoas reais. Na necessidade de encontrar esse micro cosmos que reflectisse o pais fui ter à Delphi da Guarda, uma importante empregadora da região, dois anos antes tinha cerca de 2700 trabalhadores. No mês de Agosto de 2010 restavam 321 empregados com a promessa que a fábrica fecharia até ao final do ano. A proposta foi fazer um retrato a cada um dos 321 trabalhadores que aceitassem. Acabaram por comparecer e serem fotografados 72 funcionários. Todos os 72 retratos foram publicados no mesmo artigo. A fábrica fechou as portas oficialmente a 31 de Dezembro de 2010.</span><br /><br /></div><br /><div align="justify"><span style="font-size:85%;color:#330000;">No dia 20 de Fevereiro de 2010, as <strong>fortes chuvas</strong> que atingiram a <strong>Ilha da Madeira</strong> foram as maiores alguma vez registadas em Portugal. Provocaram grandes enxurradas na zona do Funchal que provocaram grandes desastres na cidade. As ribeiras não conseguiram escoar toda a água que vinha das montanhas e inundou a cidade do Funchal, não só com água, senão também com grandes rochas, lama, árvores, carros destruídos, etc. Durante semanas a população do Funchal trabalhou noite e dia para recuperar a vida que a cidade tinha. Foi a catástrofe natural mais importante da ilha em muitos anos. Teve um triste resultado de: 42 mortos, 600 desalojados e 250 feridos.</span><br /><br /></div><br /><div align="justify"><span style="font-size:85%;color:#330000;">O <strong>Bairro do Alto da Cova da Moura</strong>, situado no município da Amadora, é um dos maiores e mais antigos enclaves de população migrante existentes na área metropolitana de Lisboa. Oficialmente classificado como um bairro degradado de génese ilegal, o Auto da Cova da Moura surge da ocupação espontânea de terrenos privados e do Estado, que se inicia nos finais dos anos quarenta. Ocupando uma área de cerca de 16,3 ha, estima-se, presentemente, que a população total do bairro ronde as 5 000 pessoas, com origens culturais e étnicas muito diversificadas. A maioria da população é originária de Cabo Verde, sendo igualmente de assinalar a presença significativa de emigrantes oriundos de Angola, Moçambique, Guiné-Bissau, assim como de migrantes internos do Centro e Norte de Portugal, e de nacionais regressados das ex-colónias. Nos últimos anos, a fixação de populações migrantes da Europa de Leste e do Brasil tem vindo a acentuar a heterogeneidade populacional do bairro.</span><br /><br /></div><br /><div align="justify"><span style="color:#330000;"><span style="font-size:85%;">Cerca de 80% das <strong>mulheres condenadas</strong> são mães e a grande maioria tem a custódia dos filhos. O sistema de justiça português permite que os bébés vivam com as mães na cadeia até completarem 5 anos. Ficar grávida ou ter uma criança, é a solução para uma vida mais fácil entre muros visto que o bébé fica com as mães numa ala só para eles. Para muitas é a forma de ver o primeiro sorriso os primeiros passos dos filhos, o que <em>a priori </em></span></span><span style="font-size:85%;color:#330000;">não seria possível. Aviões trazem mais de 30% de presas por tráfico em Portugal. A maioria destas mulheres voaram directamente do aeroporto para a cadeia por causa de drogas, ironicamente ambas as instalações em Tires e Santa Cruz do Bispo, foram construídas ao lado dos aeroportos e todos os dias estas mães vêem aviões a passar por cima das suas cabeças.</span><br /><br /></div><br /><div align="justify"><span style="font-size:85%;color:#330000;">Um dos mais mediáticos festivais de verão no nosso país é mais do que um simples cartaz de concertos. O <strong>Festival de Paredes de Coura 2010</strong> foi a prova disso. Apesar do rio Taboão ter sido invadido por salmonelas, dias antes do festival de música, foram muitos os que desafiaram as águas contaminadas. Quer para se refrescarem das altas temperaturas, quer por ser uma oportunidade para conviver e descansar. Os festivaleiros que acorrem a Paredes de Coura dão vida à praia fluvial do Taboão. Os saltos para a água são feitos depois de subir às árvores. Quem precisa de fazer uma sesta, aproveita a sombra das árvores. O verdadeiro festival decorre entre as tendas. Os concertos ficam para segundo plano.</span><br /></div><br /><br /><div align="justify"><span style="font-size:85%;color:#330000;"></span></div><br /><strong><span style="color:#330000;">* * *</span></strong><br /><br /></div><br /><div align="justify"><br /><span style="font-size:85%;color:#330000;">O fotojornalismo é, na realidade, uma actividade sem fronteiras claramente delimitadas. O termo pode abranger quer as fotografias de notícias, quer as fotografias dos grandes projectos documentais, passando pelas ilustrações fotográficas e pelos <em>features</em> (as fotografias intemporais </span><span style="font-size:85%;color:#330000;">de situações peculiares com que o fotógrafo depara), entre outras. De qualquer modo, como nos restantes tipos de jornalismo, a finalidade primeira do fotojornalismo, entendido de uma forma lata, é informar. </span><span style="font-size:85%;color:#330000;"><strong>Jorge Pedro Sousa</strong></span></div><br /><br /><div align="left"><span style="font-size:85%;color:#330000;"><em><span style="color:#cc0000;"><span style="color:#330000;">in</span> «<a href="http://www.bocc.ubi.pt/pag/sousa-jorge-pedro-fotojornalismo.pdf"><span style="color:#ff0000;">Fotojornalismo</span></a>» </span><span style="color:#330000;">Porto 2002</span></em></span><span style="color:#330000;"><em><span style="color:#cc0000;"> </span></em></span><br /><br /><span style="color:#330000;"><a href="http://www.kameraphoto.com/news.preview.php?lang=en&id=71"><span style="font-size:85%;color:#ff0000;">[Kameraphoto]</span></a><span style="font-size:85%;"> <span style="color:#330000;">english version</span></span><br /><br /></div></div></div><br /><div><br /><div align="left"><a href="http://www.nelsondaires.net/"><span style="font-size:85%;color:#ff0000;"><strong>Nelson d'Aires website</strong></span></a> </div><br /><br /><br /><br /><div align="left"></span><span style="font-size:85%;color:#330000;"><strong><span style="color:#330000;">Nota:</span></strong> <span style="color:#990000;">Todos estes trabalhos estarão expostos de 18 de Junho a 25 de Setembro no </span></span><a href="http://www.cpf.pt/"><span style="font-size:85%;color:#ff0000;">Centro Português de Fotografia</span></a><span style="font-size:85%;color:#990000;">, Porto.</span><br /></div></div></div></div></div></div></div></div></div></div></div></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0tag:blogger.com,1999:blog-2054748435853847162.post-52065931710120605712008-05-26T23:27:00.038+01:002008-05-27T16:48:52.689+01:00Jorge Queiroz, Lisboa / Portugal - pintor contemporâneo<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8N8v-8AICA7sIibhtx9LwzFjKTk0-e-F6Dwp3dhCeToF7gZc1yc1IrMkozk1P5qD1aWLvCpA5sBn_LhPAWuy0t6AtrSW421zMaWzjiIHEPX__QEvnDe6Xdv5k6658Ne_3x1iJJPYct-Y/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+1999,+grafite+e+l%C3%A1pis+de+cor+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg"><img id="BLOGGER_PHOTO_ID_5204827166473792722" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8N8v-8AICA7sIibhtx9LwzFjKTk0-e-F6Dwp3dhCeToF7gZc1yc1IrMkozk1P5qD1aWLvCpA5sBn_LhPAWuy0t6AtrSW421zMaWzjiIHEPX__QEvnDe6Xdv5k6658Ne_3x1iJJPYct-Y/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+1999,+grafite+e+l%C3%A1pis+de+cor+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;">«Sem título» 1999</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">(grafite e lápis de cor sobre papel)</span></div><div align="center"><span style="font-size:85%;"><span style="color:#cc0000;"><span style="font-family:lucida grande;"><em>Colecção Particular</em></span> </span></span></div><div align="center"><span style="font-size:85%;color:#cc0000;"></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNZe77ID_q1rewZyGsJ-dDU6iGHKQK4RqQcOF9Kh_h2c5F79kXNgEc6EEpzAJN5WinEhcKGhJUyIvUsnfJ8piWxIjYxWiCJsYWwpbmyksAuAbctejaMX29yTvonT8AHIZ0T50RWzRaTO4/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2005,+grafite,+l%C3%A1pis+de+cor,+pastel+de+%C3%B3leo+e+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg"><img id="BLOGGER_PHOTO_ID_5204827020444904642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNZe77ID_q1rewZyGsJ-dDU6iGHKQK4RqQcOF9Kh_h2c5F79kXNgEc6EEpzAJN5WinEhcKGhJUyIvUsnfJ8piWxIjYxWiCJsYWwpbmyksAuAbctejaMX29yTvonT8AHIZ0T50RWzRaTO4/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2005,+grafite,+l%C3%A1pis+de+cor,+pastel+de+%C3%B3leo+e+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg" border="0" /></a> </div><div align="center"><span style="font-size:85%;color:#660000;">«Sem título» 2005</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite, lápis de cor, pastel de óleo e guache sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#660000;"><em><span style="color:#cc0000;">Colecção Particular</span></em><br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjKjlcCZJnzyHNlpr58999HyLgeEpGzDceiK0QGs7YOeG570x5upFAtJn7vt5WXXFZWJcHVw6nFKN5RaDjkYXeB2ipM2IUYuXLAj6IUSWu-3MhzT-aVhs2tVcOL9GojPGKN3FbbuV7nm4/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2003,+grafite,+l%C3%A1pis+de+cor,+carv%C3%A3o,+pastel+de+%C3%B3leo+e+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg"><img id="BLOGGER_PHOTO_ID_5204826749861964978" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjKjlcCZJnzyHNlpr58999HyLgeEpGzDceiK0QGs7YOeG570x5upFAtJn7vt5WXXFZWJcHVw6nFKN5RaDjkYXeB2ipM2IUYuXLAj6IUSWu-3MhzT-aVhs2tVcOL9GojPGKN3FbbuV7nm4/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2003,+grafite,+l%C3%A1pis+de+cor,+carv%C3%A3o,+pastel+de+%C3%B3leo+e+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg" border="0" /></a></div><div align="center"><span style="font-size:85%;color:#660000;">«Sem título» 2003</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite, lápis de cor, carvão, pastel de óleo e guache sobre papel)</span></div><div align="center"><em><span style="color:#cc0000;"><span style="font-size:85%;">Colecção Particular</span><br /></span></em><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6EBYmN1jcSpkhUITtTZnOPdpZ44ZG4OIrVJvCmcRkkLZlSbgOIrJ8ArSOPQmSCRUk1w0ogpIDj85vmdrZ_nHn85BMXZMLXoHUGfuMj_w1Y0I1ImH-Ymbliu6NP91jbYnTjd9T_iY-lsM/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2006,+grafite,+l%C3%A1pis+de+cor,+aguarela,+pastel+de+%C3%B3leo++e+guache+sobre+papel+(The+Lodeveans+Collection,+London).jpg"><img id="BLOGGER_PHOTO_ID_5204826496458894498" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6EBYmN1jcSpkhUITtTZnOPdpZ44ZG4OIrVJvCmcRkkLZlSbgOIrJ8ArSOPQmSCRUk1w0ogpIDj85vmdrZ_nHn85BMXZMLXoHUGfuMj_w1Y0I1ImH-Ymbliu6NP91jbYnTjd9T_iY-lsM/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2006,+grafite,+l%C3%A1pis+de+cor,+aguarela,+pastel+de+%C3%B3leo++e+guache+sobre+papel+(The+Lodeveans+Collection,+London).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sem título» 2006</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite, lápis de cor, aguarela, pastel de óleo e guache sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#660000;"><em><span style="color:#cc0000;">The Lodeveans Collection, London</span></em> </span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-3HnJuSvh6TCexXnlBfzyixE5kipNXCTa1axRDqe8FVp03LdpQTcwGbT1VQsvvXaY0lZHjXMFw5CKuEbYbmb671qQ9eNmyG6ooFcVhLekE1j3j-KfzLcFsJK0CBnpavvznWo0GM4HggI/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2000,+grafite+sobre+papel+(Colec%C3%A7%C3%A3o+Funda%C3%A7%C3%A3o+Carmona+e+Costa,+Lisboa).jpg"><img id="BLOGGER_PHOTO_ID_5204826165746412690" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-3HnJuSvh6TCexXnlBfzyixE5kipNXCTa1axRDqe8FVp03LdpQTcwGbT1VQsvvXaY0lZHjXMFw5CKuEbYbmb671qQ9eNmyG6ooFcVhLekE1j3j-KfzLcFsJK0CBnpavvznWo0GM4HggI/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2000,+grafite+sobre+papel+(Colec%C3%A7%C3%A3o+Funda%C3%A7%C3%A3o+Carmona+e+Costa,+Lisboa).jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Sem título» 2000</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#cc0000;"><em>Colecção Fundação Carmona e Costa, Lisboa</em></span></div><div align="center"><span style="color:#ffffff;"><span style="font-size:85%;">*</span><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjodU7PwVzfOygVUEWbq-2ExOy4VLm5iGGvHgyQnHe0jTdAGWrc58xyFBXT4683rwfpV_fO8yKkT65PH9PNGNWetYs0PyERbkMHUI-tsBc6DmMb6U5Oe_HcvGRUAUAdR1rvpJe75HT5LPQ/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2006,+grafite,+l%C3%A1pis+de+cor,+aguarela,+pastel+de+%C3%B3leo+e+guache+sobre+papel+(Gordon+Watson+Collection,+London).jpg"><img id="BLOGGER_PHOTO_ID_5204825963882949762" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjodU7PwVzfOygVUEWbq-2ExOy4VLm5iGGvHgyQnHe0jTdAGWrc58xyFBXT4683rwfpV_fO8yKkT65PH9PNGNWetYs0PyERbkMHUI-tsBc6DmMb6U5Oe_HcvGRUAUAdR1rvpJe75HT5LPQ/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2006,+grafite,+l%C3%A1pis+de+cor,+aguarela,+pastel+de+%C3%B3leo+e+guache+sobre+papel+(Gordon+Watson+Collection,+London).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sem título» 2006</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite, lápis de cor, pastel de óleo e guache sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#cc0000;"><em>Gordon Watson Collection, London)</em></span></div><div align="center"><span style="font-size:85%;color:#ffffff;">*<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ9iEQOPc0j4jOcS2voqDkRdVZY4rzxwdvBIccajv58j4mw_4lxlad2i5MdeyPWiOWiWg1NlhNJDvhroACtlaW_DkIKqDBbMwuzvp2IPuqe0mQQWvpBl6JXM0XEc09eP9JFU_daBnRZlc/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2002,+grafite+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg"><img id="BLOGGER_PHOTO_ID_5204825585925827698" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ9iEQOPc0j4jOcS2voqDkRdVZY4rzxwdvBIccajv58j4mw_4lxlad2i5MdeyPWiOWiWg1NlhNJDvhroACtlaW_DkIKqDBbMwuzvp2IPuqe0mQQWvpBl6JXM0XEc09eP9JFU_daBnRZlc/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2002,+grafite+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Sem título» 2002</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#660000;"><em><span style="color:#cc0000;">Colecção Particular</span></em> </span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl2lvCavOGs698gaAqMw2hHk0WuXHs4iB_9BD1ul8BM3oyl1PrzfLdww4uIis0atLtV6gig8CvyhHIzeYZBYvSiCq0vab60vgmwcMxTact2UwJEDEUVqGGD2ALvr2lAf7V0M-VMBJFWWU/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2002,+grafite,+l%C3%A1pis+de+cor,+pastel+de+%C3%B3leo+e+gouache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg"><img id="BLOGGER_PHOTO_ID_5204825311047920738" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl2lvCavOGs698gaAqMw2hHk0WuXHs4iB_9BD1ul8BM3oyl1PrzfLdww4uIis0atLtV6gig8CvyhHIzeYZBYvSiCq0vab60vgmwcMxTact2UwJEDEUVqGGD2ALvr2lAf7V0M-VMBJFWWU/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2002,+grafite,+l%C3%A1pis+de+cor,+pastel+de+%C3%B3leo+e+gouache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sem título» 2002</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite, lápis de cor, pastel de óleo e guache sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#cc0000;"><em>Colecção Particular</em></span><br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4oPqKFphl4p2CMPIAnEt3wfVMnKjdBv0sUUxpmgybLRr0CPTN4efBwOOoBi6dXIowv07hMt3PCat-XBQ28ZdsUFidr4lVQZ6k_MEI94NWmyqGxjBwyBsFb6so8q7AcFB8qL8Cn-aJgGs/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2000,+grafite+e+l%C3%A1pis+de+cor+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg"><img id="BLOGGER_PHOTO_ID_5204824529363872850" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4oPqKFphl4p2CMPIAnEt3wfVMnKjdBv0sUUxpmgybLRr0CPTN4efBwOOoBi6dXIowv07hMt3PCat-XBQ28ZdsUFidr4lVQZ6k_MEI94NWmyqGxjBwyBsFb6so8q7AcFB8qL8Cn-aJgGs/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2000,+grafite+e+l%C3%A1pis+de+cor+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Sem título» 2000</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite e lápis de cor, pastel de óleo e guache sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#660000;"><em><span style="color:#cc0000;">Colecção Particular</span></em> </span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*</span><br /></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4j3CuNUitgvpUm_VQ95ktr5U1mhxDRQmzNoO_FCyHx26VJ2SXVGNV1wz7m34FBF09iQh2cGknbgt9sVBK5WkZK6udQaxCT4CnWCp8uRD2sHaOny_AlFOfstumHzAqprdOymhVD9JNLN0/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2002,+grafite,+l%C3%A1pis+de+cor,+pastel+de+%C3%B3leo+e+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg"><img id="BLOGGER_PHOTO_ID_5204824267370867778" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4j3CuNUitgvpUm_VQ95ktr5U1mhxDRQmzNoO_FCyHx26VJ2SXVGNV1wz7m34FBF09iQh2cGknbgt9sVBK5WkZK6udQaxCT4CnWCp8uRD2sHaOny_AlFOfstumHzAqprdOymhVD9JNLN0/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2002,+grafite,+l%C3%A1pis+de+cor,+pastel+de+%C3%B3leo+e+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sem título» 2004</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite e guache sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#660000;"><em><span style="color:#cc0000;">Collection Florence et Daniel Guerlain, Les Mesnuls, França</span></em><br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf-kgvQhxU2pEl6vunpUT4PFL39BG3JpZpqiGTmcyBOlpelk1hEwoUFTMcZM4ywBduTcT0ASxiS4O8EEEBtqkByZXSI5NybME_fq9IdDNj8OomBeBXRt5r0QP76j2s3hWOPeZzosOttI8/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2005,+grafite,+l%C3%A1pis+de+cor+e+pastel+de+%C3%B3leo+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg"><img id="BLOGGER_PHOTO_ID_5204823829284203570" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf-kgvQhxU2pEl6vunpUT4PFL39BG3JpZpqiGTmcyBOlpelk1hEwoUFTMcZM4ywBduTcT0ASxiS4O8EEEBtqkByZXSI5NybME_fq9IdDNj8OomBeBXRt5r0QP76j2s3hWOPeZzosOttI8/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2005,+grafite,+l%C3%A1pis+de+cor+e+pastel+de+%C3%B3leo+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sem título» 2005</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite, lápis de cor e pastel de óleo sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#cc0000;"><em>Colecção Particular</em></span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnwzbxpdlH9SBwEeFGIAeUib_QbM2TAhZ2KLxVkIKQaTR5EEG3lM6F1Xk3eDPqhmDDcJewjGPuZsbHY7J1Qm-D0uMwY1EjNu5KkkPtajKeZ9zngA7EVpVYoNUohc0LTg9B2GFJP30OIvU/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2004,+grafite,+carv%C3%A3o,+pastel+de+%C3%B3leo+e+guache+sobre+papel+(Collection+C.+Zervudacki,+Nice).jpg"><img id="BLOGGER_PHOTO_ID_5204823322478062610" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnwzbxpdlH9SBwEeFGIAeUib_QbM2TAhZ2KLxVkIKQaTR5EEG3lM6F1Xk3eDPqhmDDcJewjGPuZsbHY7J1Qm-D0uMwY1EjNu5KkkPtajKeZ9zngA7EVpVYoNUohc0LTg9B2GFJP30OIvU/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2004,+grafite,+carv%C3%A3o,+pastel+de+%C3%B3leo+e+guache+sobre+papel+(Collection+C.+Zervudacki,+Nice).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Sem título» 2004</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite, carvão, pastel de óleo e guache sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#cc0000;"><em>Collection C. Zervudacki, Nice<br /></em></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPqLQrJdyhHbu7If51TXtAsTxd1xy52NK0U0OWpk8CBUVwOvuGOJi4hPvr_9G_04puGzoRfGi_AHzacVncqb4siS4fXTF8zmoUjY0v6a-tCbB9zTzkI1GyXuJt3bKMv6l_CmaEIogM43Q/s1600-h/JQ,+Untitled,+2005,+set+of+16+drawings+(pencil,+pastel+and+gouache+on+paper).jpg"><img id="BLOGGER_PHOTO_ID_5204823043305188354" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPqLQrJdyhHbu7If51TXtAsTxd1xy52NK0U0OWpk8CBUVwOvuGOJi4hPvr_9G_04puGzoRfGi_AHzacVncqb4siS4fXTF8zmoUjY0v6a-tCbB9zTzkI1GyXuJt3bKMv6l_CmaEIogM43Q/s400/JQ,+Untitled,+2005,+set+of+16+drawings+(pencil,+pastel+and+gouache+on+paper).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sem título» 2005</span></div><div align="center"><span style="font-size:85%;color:#660000;">(lápis, pastel de óleo e guache sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#660000;">- conj. 16 desenhos -</span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgLE_ZUh2MzTE9T6lODMBmH3cR1zsQ1CwQRKcvhAsE1ZIRvykaICvklhquaNE7QMa4rpkVWuewoAZSDFbMiUBUB4dLGTYAFqZiRWXLLMgjYWfFK-iYduWVoLKMIW-hRc89-fFjXvo0RS0/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2003,+t%C3%A9cnica+mista+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg"><img id="BLOGGER_PHOTO_ID_5204822686822902770" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgLE_ZUh2MzTE9T6lODMBmH3cR1zsQ1CwQRKcvhAsE1ZIRvykaICvklhquaNE7QMa4rpkVWuewoAZSDFbMiUBUB4dLGTYAFqZiRWXLLMgjYWfFK-iYduWVoLKMIW-hRc89-fFjXvo0RS0/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2003,+t%C3%A9cnica+mista+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sem título» 2003</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite, lápis de cor, pastel de óleo e guache sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#660000;"><em><span style="color:#cc0000;">Colecção Particular</span></em><br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpShno5P6ZDzQBRQ75EIE5PMqQbanxp9TKT51L9SElXFK1ob18Lncl63pGb_3FvLCuOJ3zk2xR82mtyktDG9SaJ6H4tJ6SQkqXGQoVNcbrAAogbgvsJJR76GWq9YI4BGYT7Droi6VdjfA/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2003,+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg"><img id="BLOGGER_PHOTO_ID_5204822394765126626" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpShno5P6ZDzQBRQ75EIE5PMqQbanxp9TKT51L9SElXFK1ob18Lncl63pGb_3FvLCuOJ3zk2xR82mtyktDG9SaJ6H4tJ6SQkqXGQoVNcbrAAogbgvsJJR76GWq9YI4BGYT7Droi6VdjfA/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2003,+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Sem título» 2003</span></div><div align="center"><span style="font-size:85%;color:#660000;">(guache sobre papel)</span></div><div align="center"><em><span style="color:#cc0000;"><span style="font-size:85%;">Colecção Particular</span><br /><br /></span></em></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje07RkwcT1-EU9Qo3XhvLvEVEjcN8-6ZZEV0zn5JBerM2ky7Q0nwbnEOl-NXEUM4d-YFE5dvql7_VHFWIcDmLWbo1WX6OEKZ95xFYkEoyP8yCXxwE8lbyrKOI8rLVKiYEaGa4u4k44blI/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2000,+grafite+e+l%C3%A1pis+de+cor+sobre+papel+(Colec%C3%A7%C3%A3o+Funda%C3%A7%C3%A3o+EDP,+Lisboa).jpg"><img id="BLOGGER_PHOTO_ID_5204822072642579410" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEje07RkwcT1-EU9Qo3XhvLvEVEjcN8-6ZZEV0zn5JBerM2ky7Q0nwbnEOl-NXEUM4d-YFE5dvql7_VHFWIcDmLWbo1WX6OEKZ95xFYkEoyP8yCXxwE8lbyrKOI8rLVKiYEaGa4u4k44blI/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2000,+grafite+e+l%C3%A1pis+de+cor+sobre+papel+(Colec%C3%A7%C3%A3o+Funda%C3%A7%C3%A3o+EDP,+Lisboa).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sem título» 2000</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite e lápis de cor sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#cc0000;"><em>Colecção Fundação EDP, Lisboa</em></span></div><div align="center"><span style="font-size:85%;color:#cc0000;"><em><span style="color:#ffffff;">*<br /></span></em></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGUGP71LjO5Xu9weVTnel2AECTMQ7uPaGqUInqBvFlkhwdrovFA48EiieRF7SyePFNWq1UePzRIDEqpeWbfxvOyHjnxb1414N5qLtrs7-3ssuDR2afdR-l8NU_WN3hXaKiwvN850VLzmg/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2004,+grafite+e+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Florence+et+Daniel+Guerlain,+Les+Mesnuls,+Fran%C3%A7a).jpg"><img id="BLOGGER_PHOTO_ID_5204819598741416850" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGUGP71LjO5Xu9weVTnel2AECTMQ7uPaGqUInqBvFlkhwdrovFA48EiieRF7SyePFNWq1UePzRIDEqpeWbfxvOyHjnxb1414N5qLtrs7-3ssuDR2afdR-l8NU_WN3hXaKiwvN850VLzmg/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2004,+grafite+e+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Florence+et+Daniel+Guerlain,+Les+Mesnuls,+Fran%C3%A7a).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Sem título» 2004</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite e guache sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#cc0000;"><em>Colecção Florence et Daniel Guerlain, Les Mesnuls, França</em></span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6_JFI-_IvsiJJb7tC-c8FcvZPT1dxvxjqjFPgZ0nyCSyM9dLJj61qfXFlAhjqWA5g4ihzKB4qGaQ1pb1kKdVckeHhVIfatAmtOxBBfe0a6H0O0s_F-JFNst34nM6Delh5Pv3QTO_6IKo/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2002,+coloured+pencil+on+paper+(MAH+Muda+Collection,+Portugal).jpg"><img id="BLOGGER_PHOTO_ID_5204819268028935042" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6_JFI-_IvsiJJb7tC-c8FcvZPT1dxvxjqjFPgZ0nyCSyM9dLJj61qfXFlAhjqWA5g4ihzKB4qGaQ1pb1kKdVckeHhVIfatAmtOxBBfe0a6H0O0s_F-JFNst34nM6Delh5Pv3QTO_6IKo/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2002,+coloured+pencil+on+paper+(MAH+Muda+Collection,+Portugal).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sem título» 2002</span></div><div align="center"><span style="font-size:85%;color:#660000;">(lápis de cor sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#660000;"><em><span style="color:#cc0000;">M.A.H. Muda Collection, Portugal</span></em> </span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt_J08QpytEvApubQYVFIDhrvJTnp7xO2g2pGwDotSFP0s41XMcDjmhFDEkGudIaFb5pkXvhUs1cR4MFdEY_r1Y6EpjlYVhKPO-RysSa4vl58jxRTRwceKv45F373WZOA_Gjc0jOx0VBQ/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2003,+grafite,+pastel+de+%C3%B3leo+e+acr%C3%ADlico+sobre+papel+(Colec%C3%A7%C3%A3o+Carmona+e+Costa,+Lisboa).jpg"><img id="BLOGGER_PHOTO_ID_5204818512114690914" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjt_J08QpytEvApubQYVFIDhrvJTnp7xO2g2pGwDotSFP0s41XMcDjmhFDEkGudIaFb5pkXvhUs1cR4MFdEY_r1Y6EpjlYVhKPO-RysSa4vl58jxRTRwceKv45F373WZOA_Gjc0jOx0VBQ/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2003,+grafite,+pastel+de+%C3%B3leo+e+acr%C3%ADlico+sobre+papel+(Colec%C3%A7%C3%A3o+Carmona+e+Costa,+Lisboa).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sem título» 2003</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite, pastel de óleo e acrílico sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#cc0000;"><em>Colecção Carmona e Costa, Lisboa<br /></em></span><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoner81zKKrVKXGYdj8qiNfLsmGWXADNrNPxEBbrG4ELa6akc4ifn3s0VfBavzkKkF-18Tt-6kp6cf22VXx2TzGzi5ZJ-wJ1w_qw1gLySe8-ylae4STMUxUDgDkHe26xZF3dDGB_8kzkA/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2004,+grafite,+l%C3%A1pis+de+cor,+pastel+de+%C3%B3leo+e+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg"><img id="BLOGGER_PHOTO_ID_5204818241531751250" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoner81zKKrVKXGYdj8qiNfLsmGWXADNrNPxEBbrG4ELa6akc4ifn3s0VfBavzkKkF-18Tt-6kp6cf22VXx2TzGzi5ZJ-wJ1w_qw1gLySe8-ylae4STMUxUDgDkHe26xZF3dDGB_8kzkA/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2004,+grafite,+l%C3%A1pis+de+cor,+pastel+de+%C3%B3leo+e+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg" border="0" /></a><br /><div align="center"><span style="font-size:85%;color:#660000;">«Sem título» 2004</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite, láspis de cor, pastel de óleo e guache sobre papel)</span></div><div align="center"><span style="font-size:85%;color:#660000;"><em><span style="color:#cc0000;">Colecção Particular</span></em></span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;"><em>*</em><br /></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhW5Nboya9D_I4yDwZPa-OC-GmDm-uStVdJ4xNvnFHPX6RHQOZRU8mKiAoAOrBpEndKParHNMXR1QtXhn3pAuoIJ8BpTjKhjAoZuHlAXCwXU4VuZAfPybhPK0RfbJBEPM0hgS0-QoW4_Y/s1600-h/%C2%ABSem+t%C3%ADtulo%C2%BB+2004,+grafite+e+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg"><img id="BLOGGER_PHOTO_ID_5204817176379861810" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjhW5Nboya9D_I4yDwZPa-OC-GmDm-uStVdJ4xNvnFHPX6RHQOZRU8mKiAoAOrBpEndKParHNMXR1QtXhn3pAuoIJ8BpTjKhjAoZuHlAXCwXU4VuZAfPybhPK0RfbJBEPM0hgS0-QoW4_Y/s400/%C2%ABSem+t%C3%ADtulo%C2%BB+2004,+grafite+e+guache+sobre+papel+(Colec%C3%A7%C3%A3o+Particular).jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Sem título» 2004</span></div><div align="center"><span style="font-size:85%;color:#660000;">(grafite e guache sobre papel)<br /><em><span style="color:#cc0000;">Colecção Particular</span></em></span><br /></div><div align="justify"><br /><br /><span style="font-family:lucida grande;font-size:85%;color:#330000;">Jorge Queiroz nasceu em Lisboa no ano de 1966. Vive e trabalha em Berlim.<br />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.<br /><strong>Alexandre Melo, sociólogo e crítico de arte<br /></strong><br /><span style="color:#cc0000;"><em><span style="color:#990000;">in «Arte e Artistas em Portugal» Maio 2007</span></em><br /></span><span style="color:#ffffff;">*<br />*</span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#cc0000;"><span style="color:#330000;"><strong>Nota:</strong></span> <span style="color:#990000;">Por favor <em>click </em>nas imagens para uma melhor visualização.</span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#cc0000;"><strong>Crítica:</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">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 (…)<br />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.<br />(…)<br />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.<br />(…)<br />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 (…)<br /><span style="color:#ffffff;">*<br /></span>Excerpts from the </span><a href="http://www.serralves.pt/actividades/detalhes.php?id=973"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong>catalogue </strong></span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;">untitled «Drawing as twilight zone between the real and its fictions» of the exhibition held at </span><a href="http://www.serralves.pt/gca/index.php?id=61"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong>The Serralves Museum of Contemporary Art </strong></span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;">in Oporto.</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Note:</strong> <span style="color:#990000;">Please double click on the images to get a better view. </span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span><span style="color:#ffffff;">*</span></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#330000;">* * *</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">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 </span><a href="http://www.galerie-obadia.com/show.php?show_id=585&showpress=1&language=2&p=1&g=3"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong>(...)</strong></span></a></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Galerie Nathalie Obadia, Paris</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#330000;">* * *</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>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 </span><a href="http://www.horst-janssen-museum.de/index.php?id=101&L=1"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong>(...)</strong></span></a></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Horst Janssen Museum, Oldenburg</strong></span></div><div align="justify"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"></span></div><div align="justify"><span style="font-size:85%;color:#330000;"></span></div><div align="justify"><span style="font-size:85%;color:#ff0000;"><strong>«Images cedidas pela <a href="http://www.serralves.pt/gca/index.php?id=45"><em><span style="color:#cc0000;">Fundação Serralves</span></em></a>, por cortesia do artista»</strong></span></div><div align="justify"><span style="font-size:85%;color:#330000;"></span></div><div align="justify"><span style="font-size:85%;color:#330000;"></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"></span></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com8tag:blogger.com,1999:blog-2054748435853847162.post-81533028921080639512008-04-12T17:04:00.043+01:002008-04-16T13:57:48.524+01:00Pedro Calapez, Lisboa / Portugal - pintor contemporâneo<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf43eXkEN8cLjF3OtegaUG8EGRMrpeiOOEjve4GRhwPCJ3yuiehomyXKf-7mIlFrWPG3-ISyPyIcF_ByF2zKPFcMcjGcrPsc9KJpKaQHABL3IQOdmWAs_UNIqxKHinkgD9VxA-RvYEifk/s1600-h/%C2%ABNeve+de+espinhos%C2%BB+2005,+Capela+de+N%C2%AA+Sr%C2%AA+das+Neves+-+Biblioteca+Municipal+de+%C3%8Dlhavo.jpg"><img id="BLOGGER_PHOTO_ID_5188406928982130226" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf43eXkEN8cLjF3OtegaUG8EGRMrpeiOOEjve4GRhwPCJ3yuiehomyXKf-7mIlFrWPG3-ISyPyIcF_ByF2zKPFcMcjGcrPsc9KJpKaQHABL3IQOdmWAs_UNIqxKHinkgD9VxA-RvYEifk/s400/%C2%ABNeve+de+espinhos%C2%BB+2005,+Capela+de+N%C2%AA+Sr%C2%AA+das+Neves+-+Biblioteca+Municipal+de+%C3%8Dlhavo.jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">«Neve de Espinhos» 2005</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#cc0000;"><em>Capela de Nª Srª das Neves, Biblioteca Municipal de Ílhavo</em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">Installation view</span> </div><div align="center"><span style="color:#ffffff;">*</span></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwPiA2kIIcVYBAqMJTKiIb9C5Qf2EEF3iKmow7TsGae0fsMAyqhgPePjMUHLcv3UL5NoCw-apuBFom9R70G5LQ6qf72wVMhN4BiqYw5NiASizF8iH-muyOJfzH0aczAZx8yfNEB-szF9U/s1600-h/detail.jpg"><img id="BLOGGER_PHOTO_ID_5188406641219321378" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwPiA2kIIcVYBAqMJTKiIb9C5Qf2EEF3iKmow7TsGae0fsMAyqhgPePjMUHLcv3UL5NoCw-apuBFom9R70G5LQ6qf72wVMhN4BiqYw5NiASizF8iH-muyOJfzH0aczAZx8yfNEB-szF9U/s400/detail.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Neve de Espinhos» (pormenor)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsYASEoBzlwmocNq8aHOga449dcu_p057vcmJHFlBPZMFK3fp6K7slQvSK3hlinjA6zzIu9gs357HbFQhJo2jSvccIpLvSUooaCTbNIBwFZLGZd6iuLzJ-s3n1t2SgkWYsqjbNg3D9kAI/s1600-h/Stylt+series+%C2%ABAbstract+Landscape%C2%BB+conj.+44+aguarelas,+2003,+aguarela+sobre+papel.jpg"><img id="BLOGGER_PHOTO_ID_5188406155888016914" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsYASEoBzlwmocNq8aHOga449dcu_p057vcmJHFlBPZMFK3fp6K7slQvSK3hlinjA6zzIu9gs357HbFQhJo2jSvccIpLvSUooaCTbNIBwFZLGZd6iuLzJ-s3n1t2SgkWYsqjbNg3D9kAI/s400/Stylt+series+%C2%ABAbstract+Landscape%C2%BB+conj.+44+aguarelas,+2003,+aguarela+sobre+papel.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong>Stylt series</strong> «Abstract Landscape» 2003</span><br /><span style="font-size:85%;color:#660000;">(conj. 44 aguarelas sobre papel)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKLQJxf9bvGjvNwIi90KXxqW2BtRKYMOEedl-prJ4QFYIvEDIbipmy7S8bHNVmzn5wBoijlN35FNQ3zGKP6PtiuP07Oms_zk_FwIGWfQ0qPYyqflxTcI7cHgISJqQTYfQAR3MaoL-0_eE/s1600-h/Stylt+series+%C2%ABAbstract+Landscape+19%C2%BB+2003,+aguarela+sobre+papel.jpg"><img id="BLOGGER_PHOTO_ID_5188405185225408002" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKLQJxf9bvGjvNwIi90KXxqW2BtRKYMOEedl-prJ4QFYIvEDIbipmy7S8bHNVmzn5wBoijlN35FNQ3zGKP6PtiuP07Oms_zk_FwIGWfQ0qPYyqflxTcI7cHgISJqQTYfQAR3MaoL-0_eE/s400/Stylt+series+%C2%ABAbstract+Landscape+19%C2%BB+2003,+aguarela+sobre+papel.jpg" border="0" /></a><strong> </strong><span style="font-size:85%;color:#660000;"><strong>Stylt series</strong> «Abstract Landscape 19» 2003<br />(aguarela sobre papel)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3YSNxMro6rBMQPzrJYCSgW093oU0ftgD9xHDjgu6t8mpXa8uUlq_IpX4gSJTGBvfpWhD2VFdG1yueds9G6Rla62q2oOpsVQLhJ-b2-_8MMeVXMsqAXORhkZc_8KwfdOeoUkZG9uJsw7E/s1600-h/Stylt+series+%C2%ABAbstract+Lanscape+21%C2%BB+2003,+aguarela+sobre+papel.jpg"><img id="BLOGGER_PHOTO_ID_5188403226720320994" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3YSNxMro6rBMQPzrJYCSgW093oU0ftgD9xHDjgu6t8mpXa8uUlq_IpX4gSJTGBvfpWhD2VFdG1yueds9G6Rla62q2oOpsVQLhJ-b2-_8MMeVXMsqAXORhkZc_8KwfdOeoUkZG9uJsw7E/s400/Stylt+series+%C2%ABAbstract+Lanscape+21%C2%BB+2003,+aguarela+sobre+papel.jpg" border="0" /></a><strong> </strong><span style="font-size:85%;color:#660000;"><strong>Stylt series</strong> «Abstract Landscape 21» 2003</span><br /><span style="font-size:85%;color:#660000;">(aguarela sobre papel)</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuZj5BVaStX8prs9LM5CdG_hY9gF0RO9utL9Vdgh4ydVzqwqLbFlweVILkeyZPXLzYTGz_ESnYcczSqOm67ihFKLtxW5gAnidGgnhKJq5hhpmrcw-3Ofr7Z4kJuRNimPWk7vMHMHl7tRw/s1600-h/Campo+series+%C2%ABUntitled+06%C2%BB+2001,+acr%C3%ADlico+sobre+contraplacado.jpg"><img id="BLOGGER_PHOTO_ID_5188402681259474386" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuZj5BVaStX8prs9LM5CdG_hY9gF0RO9utL9Vdgh4ydVzqwqLbFlweVILkeyZPXLzYTGz_ESnYcczSqOm67ihFKLtxW5gAnidGgnhKJq5hhpmrcw-3Ofr7Z4kJuRNimPWk7vMHMHl7tRw/s400/Campo+series+%C2%ABUntitled+06%C2%BB+2001,+acr%C3%ADlico+sobre+contraplacado.jpg" border="0" /></a><strong> </strong><span style="font-size:85%;color:#660000;"><strong>Campo series</strong> «Untitled 06» 2001</span><br /><span style="font-size:85%;color:#660000;">(aguarela sobre contraplacado)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit5-VslaiwvCATjNM4hbJFvxqnoxhSjknf4I4HbmWVqgNALPWV5HS9CZc0S6KEbT-sCeVhI6u9tU8by-7dG9rmicpxPf6DtWHYNoNjpNEFNUoaoZ-p9cEQiCPuXPIsM2mOyYCgPlqg5AY/s1600-h/Campo+series+%C2%ABUntitled+08%C2%BB+2001,+acr%C3%ADlico+sobre+contraplacado.jpg"><img id="BLOGGER_PHOTO_ID_5188402445036273090" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit5-VslaiwvCATjNM4hbJFvxqnoxhSjknf4I4HbmWVqgNALPWV5HS9CZc0S6KEbT-sCeVhI6u9tU8by-7dG9rmicpxPf6DtWHYNoNjpNEFNUoaoZ-p9cEQiCPuXPIsM2mOyYCgPlqg5AY/s400/Campo+series+%C2%ABUntitled+08%C2%BB+2001,+acr%C3%ADlico+sobre+contraplacado.jpg" border="0" /></a><strong> </strong><span style="font-size:85%;color:#660000;"><strong>Campo series</strong> «Untitled 08» 2001</span><br /><span style="font-size:85%;color:#660000;">(aguarela sobre contraplacado)</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihp8uFDzkwF-5SkNpabZSbXg_KLif6BLwXbqxXbP-d4xRdil4p3HUtISuZw9dnC7B0kmeeaUsQykd2mo4D3Kt7u9PxdFmztZdjgQLg-55MnKp_ZDkSZizlBVMSPEmPaD3gGIODc4sWCAM/s1600-h/Fatima_05.jpg"><img id="BLOGGER_PHOTO_ID_5188402187338235314" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihp8uFDzkwF-5SkNpabZSbXg_KLif6BLwXbqxXbP-d4xRdil4p3HUtISuZw9dnC7B0kmeeaUsQykd2mo4D3Kt7u9PxdFmztZdjgQLg-55MnKp_ZDkSZizlBVMSPEmPaD3gGIODc4sWCAM/s400/Fatima_05.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Porta de Cristo» 2007, bronze</span><br /><span style="font-size:85%;color:#cc0000;"><em>Igreja da Santíssima Trindade, Fátima</em></span><br /><span style="font-size:85%;color:#660000;">Installation view</span><br /><span style="font-size:85%;color:#ffffff;">*</span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY9r3FhIkxFaBNYg-D8RHs1PI68F8ViWLVUDVjDUnGFxBZP1eUO42MODzGLlr8mZC56uhJGq3P17NXxJPpKVIRSvdMi1N0cCAi4Z9mr-AnwPZGzLww92GVWZzuM7Clz_YtIy4mmqFSt7I/s1600-h/Mist%C3%A9rios+do+Ros%C3%A1rio+series+%C2%ABMist%C3%A9rio+Gozoso+-+O+nascimento+de+Jesus+em+Bel%C3%A9m%C2%BB+2007,+painel+em+bronze.jpg"><img id="BLOGGER_PHOTO_ID_5188401882395557282" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY9r3FhIkxFaBNYg-D8RHs1PI68F8ViWLVUDVjDUnGFxBZP1eUO42MODzGLlr8mZC56uhJGq3P17NXxJPpKVIRSvdMi1N0cCAi4Z9mr-AnwPZGzLww92GVWZzuM7Clz_YtIy4mmqFSt7I/s400/Mist%C3%A9rios+do+Ros%C3%A1rio+series+%C2%ABMist%C3%A9rio+Gozoso+-+O+nascimento+de+Jesus+em+Bel%C3%A9m%C2%BB+2007,+painel+em+bronze.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><a href="http://images.google.com/imgres?imgurl=http://www.santuario-fatima.pt/pic/_calapez_4744239d04833.jpg&imgrefurl=http://www.santuario-fatima.pt/portal/index.php%3Fid%3D2535&h=295&w=570&sz=198&hl=en&start=41&tbnid=YPa92XBIVDb4UM:&tbnh=69&tbnw=134&prev=/images%3Fq%3Dpedro%2Bcalapez%2B%26start%3D40%26gbv%3D2%26ndsp%3D20%26hl%3Den%26sa%3DN"><strong><span style="color:#ff6666;">Mistérios do Rosário</span><span style="color:#ff6666;"> </span></strong></a><span style="color:#ff6666;"><strong>series</strong></span> </span><br /><span style="font-size:85%;color:#660000;">«Mistério Gozoso - O nascimento de Jesus em Belém» 2007<br />(painel em bronze)</span><br /><br /><div><img id="BLOGGER_PHOTO_ID_5188401560273010066" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqcL8PNdA9eNYVXBbreo3AkOR1VHaoAP1LXQmI-bqVTgssZwREvq6NMyLVu5-FoljlVufTfJDGOydftuROaRafbCdhoQ9rk71Z_Rhqjm_DdxVupl-lbTxnad1byqbEHmAYXZgGismuIpI/s400/Mist%C3%A9rios+do+Ros%C3%A1rio+series+%C2%ABMist%C3%A9rio+Luminoso+-+Transforma%C3%A7%C3%A3o+da+%C3%A1gua+em+vinho%C2%BB+2007,+painel+em+bronze.jpg" border="0" /><span style="font-size:85%;color:#ff6666;"><strong> <span style="color:#330000;">Mistérios do Rosário series</span></strong></span></div><div><span style="font-size:85%;color:#660000;">«Mistério Luminoso - Transformação da água em vinho» 2007<br />(painel em bronze)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihrL3kKuthuZNCuZ-TGm9Ml7vDNKX8sMbQwkT2X4JdAdCXdXEDnx8195EFRysPQQJq6Jjwf6aVbjERFm57c3O-gqRmdZkSpPtUNj5RaHz862uzfUmvGONffEAXy5Kv_vCqHGkheOntq1U/s1600-h/Mist%C3%A9rios+do+Ros%C3%A1rio+series+%C2%ABMist%C3%A9rio+Doloroso+-+A+flagela%C3%A7%C3%A3o+de+Jesus%C2%BB+2007,+painel+em+bronze.jpg"><img id="BLOGGER_PHOTO_ID_5188401345524645250" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihrL3kKuthuZNCuZ-TGm9Ml7vDNKX8sMbQwkT2X4JdAdCXdXEDnx8195EFRysPQQJq6Jjwf6aVbjERFm57c3O-gqRmdZkSpPtUNj5RaHz862uzfUmvGONffEAXy5Kv_vCqHGkheOntq1U/s400/Mist%C3%A9rios+do+Ros%C3%A1rio+series+%C2%ABMist%C3%A9rio+Doloroso+-+A+flagela%C3%A7%C3%A3o+de+Jesus%C2%BB+2007,+painel+em+bronze.jpg" border="0" /></a><span style="color:#ff6666;"> </span><span style="font-size:85%;color:#330000;"><strong>Mistérios do Rosário series</strong></span></div><div><span style="font-size:85%;color:#660000;">«Mistério Doloroso - A flagelação de Jesus» 2007<br />(painel em bronze)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYulXyCgXu4Wp6cJLogiW0NOXbUmvwszGj3GTy4cp_XsOeXYUdCkh7PlFG_3rAoLjGSYcokzKSDTUQjBT0V8tRa2FfjT6pqf1nuFk6honJjNesob4MG0vbYu1qWkJXABUOfI3JFd4DuJw/s1600-h/Mist%C3%A9rios+do+Ros%C3%A1rio+series+%C2%ABMist%C3%A9rio+Glorioso+-+A+ascen%C3%A7%C3%A3o+de+Jesus+no+c%C3%A9u%C2%BB+2007,+painel+em+bronze.jpg"><img id="BLOGGER_PHOTO_ID_5188400907437981042" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYulXyCgXu4Wp6cJLogiW0NOXbUmvwszGj3GTy4cp_XsOeXYUdCkh7PlFG_3rAoLjGSYcokzKSDTUQjBT0V8tRa2FfjT6pqf1nuFk6honJjNesob4MG0vbYu1qWkJXABUOfI3JFd4DuJw/s400/Mist%C3%A9rios+do+Ros%C3%A1rio+series+%C2%ABMist%C3%A9rio+Glorioso+-+A+ascen%C3%A7%C3%A3o+de+Jesus+no+c%C3%A9u%C2%BB+2007,+painel+em+bronze.jpg" border="0" /></a> <span style="font-size:85%;color:#330000;"><strong>Mistérios do Rosário series</strong></span></div><div><span style="font-size:85%;color:#660000;">«Mistério Glorioso - A ascensão de Jesus no céu» 2007<br />(painel em bronze)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWfuu9q2utC3LvuGMRO3v9Ihlcec37gACFfxVXEhSa-BYXFAj9km6_z1RrIEUFHsjuf5pcUV1gOtjeIJwCS8PgzMq88zA5iT7Y5spdkKPbR32Htvu_JZQjsIzXLkl4cplzvwMZlo6BROU/s1600-h/Mist%C3%A9rios+do+Ros%C3%A1rio+%C2%ABMist%C3%A9rio+Glorioso+-+A+Descida+do+Esp%C3%ADrito+Santo+sobre+Nossa+Senhora+e+os+Ap%C3%B3stolos%C2%BB+2007,+painel+em+bronze.jpg"><img id="BLOGGER_PHOTO_ID_5188400671214779746" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWfuu9q2utC3LvuGMRO3v9Ihlcec37gACFfxVXEhSa-BYXFAj9km6_z1RrIEUFHsjuf5pcUV1gOtjeIJwCS8PgzMq88zA5iT7Y5spdkKPbR32Htvu_JZQjsIzXLkl4cplzvwMZlo6BROU/s400/Mist%C3%A9rios+do+Ros%C3%A1rio+%C2%ABMist%C3%A9rio+Glorioso+-+A+Descida+do+Esp%C3%ADrito+Santo+sobre+Nossa+Senhora+e+os+Ap%C3%B3stolos%C2%BB+2007,+painel+em+bronze.jpg" border="0" /></a><span style="font-size:85%;"><span style="color:#ff6666;"> </span><span style="color:#330000;"><strong>Mistérios do Rosário series</strong></span></span></div><div><span style="font-size:85%;color:#660000;">«Mistério Glorioso - A descida do Espírito Santo sobre Nª Srªa e os Apóstolos» 2007<br />(painel em bronze)</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwtlEzBCzelV_vKqdboET6lMoo5ZgoV8hWlsmx21ZYj6T4cEQJnjYqkpegTlpE5AL8szg2qG1QvsKC-W-8CqfXJLBVGCk9_r1gI8bRkTT2M700K45fwaRiMn1utlju7RaX_be4R3dEoY8/s1600-h/%C2%ABQuarto+interior+01%C2%BB+1994,+alkyd+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5188400293257657682" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjwtlEzBCzelV_vKqdboET6lMoo5ZgoV8hWlsmx21ZYj6T4cEQJnjYqkpegTlpE5AL8szg2qG1QvsKC-W-8CqfXJLBVGCk9_r1gI8bRkTT2M700K45fwaRiMn1utlju7RaX_be4R3dEoY8/s400/%C2%ABQuarto+interior+01%C2%BB+1994,+alkyd+sobre+tela.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Quarto Interior 01» 1994</span></div><div><span style="font-size:85%;color:#660000;">(alkyd sobre tela)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf9hriI61KcHikHLC-ewD5N5zzMH7BrZ9pEsRl4ymiXJHxC0q8dcFoaBybaKYP6b76e6JmWUdohz9Fv68sWiOVuDBv9pFXygVIbYBMz1RWyYs0jlKzyAta1j3dzmNvGZsYGKnYf1NooEU/s1600-h/%C2%ABQuarto+Interior+02%C2%BB+1994,+alkyd+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5188400087099227458" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgf9hriI61KcHikHLC-ewD5N5zzMH7BrZ9pEsRl4ymiXJHxC0q8dcFoaBybaKYP6b76e6JmWUdohz9Fv68sWiOVuDBv9pFXygVIbYBMz1RWyYs0jlKzyAta1j3dzmNvGZsYGKnYf1NooEU/s400/%C2%ABQuarto+Interior+02%C2%BB+1994,+alkyd+sobre+tela.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Quarto Interior 02» 1994</span></div><div><span style="font-size:85%;color:#660000;">(alkyd sobre tela)</span></div><div><span style="color:#ffffff;">*</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLzGq1TsHW1j9kmVAz1OTNZj7P3f94eKSaI9Tr7IaL9wqtXcoVArhTqCMe0L7PftzOH8_MaKiQzqrYqWAMZKqX3KBS5vudTm0MojBclonR6k1559OkJLG8P1Q8R87LmchYdgvItFUERa4/s1600-h/%C2%ABUm+dia+na+vida+de+B%C2%BB+2004,+pastel+de+%C3%B3leo+sobre+papel.jpg"><img id="BLOGGER_PHOTO_ID_5188399717732039986" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLzGq1TsHW1j9kmVAz1OTNZj7P3f94eKSaI9Tr7IaL9wqtXcoVArhTqCMe0L7PftzOH8_MaKiQzqrYqWAMZKqX3KBS5vudTm0MojBclonR6k1559OkJLG8P1Q8R87LmchYdgvItFUERa4/s400/%C2%ABUm+dia+na+vida+de+B%C2%BB+2004,+pastel+de+%C3%B3leo+sobre+papel.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Um dia na vida de B» 2004</span></div><div><span style="font-size:85%;color:#660000;">(pastel de óleo sobre papel) </span></div><div><span style="font-size:85%;color:#ffffff;">*</span></div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4VBon5QhK15r3imirrYkmL8C6draVJzcDF6ZOVgCCNgiv4p5mDXokslfc3u3fwnVVY-AXLHz539FfvGMhhMJ1yBqp0nVBRQeur3oPW7vf3_CkIuH2Mxwm7XaU2qra7_s48askfzIYaYA/s1600-h/%C2%ABUm+dia+na+vida+de+AB%C2%BB+s%C3%A9rie+vermelho+negro,+2004+(Pr%C3%A9mio+Nacional+de+Arte+Gr%C3%A1fico,+Madrid+2006).jpg"><img id="BLOGGER_PHOTO_ID_5188399481508838690" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4VBon5QhK15r3imirrYkmL8C6draVJzcDF6ZOVgCCNgiv4p5mDXokslfc3u3fwnVVY-AXLHz539FfvGMhhMJ1yBqp0nVBRQeur3oPW7vf3_CkIuH2Mxwm7XaU2qra7_s48askfzIYaYA/s400/%C2%ABUm+dia+na+vida+de+AB%C2%BB+s%C3%A9rie+vermelho+negro,+2004+(Pr%C3%A9mio+Nacional+de+Arte+Gr%C3%A1fico,+Madrid+2006).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Um dia na vida de AB» série vermelho/negro, 2004<br /><span style="color:#cc0000;"><strong>Prémio Nacional de Arte Gráfico, Madrid 2006</strong></span></span></div><span style="font-size:85%;color:#660000;">(gravura a águaforte e águas-tintas sobre papel Acid free de 300 g)<br /></span><div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1UVUQP_4xbqGBPBi8MoATqWDedFQk0si6v0bDR33qSpc6uQnZFXayFF5TH3h1zUbtME6cCFuhJuEROvHnyx3ydIsk4kTyFkuv_PI5fPlBNTQHCJIjV1r7d01jfEreBi5GHRHnZbHjWsE/s1600-h/%C2%ABUm+dia+na+vida+de+AB%C2%BB++s%C3%A9rie+vermelho+azul,+2004+(Pr%C3%A9mio+Nacional+de+Arte+Gr%C3%A1fico,+Madrid+2006).jpg"><img id="BLOGGER_PHOTO_ID_5188399258170539282" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1UVUQP_4xbqGBPBi8MoATqWDedFQk0si6v0bDR33qSpc6uQnZFXayFF5TH3h1zUbtME6cCFuhJuEROvHnyx3ydIsk4kTyFkuv_PI5fPlBNTQHCJIjV1r7d01jfEreBi5GHRHnZbHjWsE/s400/%C2%ABUm+dia+na+vida+de+AB%C2%BB++s%C3%A9rie+vermelho+azul,+2004+(Pr%C3%A9mio+Nacional+de+Arte+Gr%C3%A1fico,+Madrid+2006).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Um dia na vida de AB» série vermelho/azul, 2004<br /><span style="color:#cc0000;"><strong>Prémio Nacional de Arte Gráfico, Madrid 2006</strong></span><br />(gravura a águaforte e águas-tintas sobre papel Acid free de 300 g)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghHYnMOuj6aHCgBb2FXHFmewbsu15SuFDyOEulFsv2vIX7oHUQgXbSY_wcudHRvdWjl-wgtDv0rhKovDZV2r1ygZgRw-FnJq4-P9UJDLCu_ouYx0Oas9Uxs7t7W55fKONBF15c8cwvg-Q/s1600-h/%C2%ABMuro+contra+muro%C2%BB+1994,+alkyd+sobre+MDF+(exposi%C3%A7%C3%A3o+Lugares+de+Pintura+no+Centro+de+Arte+de+Burgos+em+2005).jpg"><img id="BLOGGER_PHOTO_ID_5188399030537272578" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghHYnMOuj6aHCgBb2FXHFmewbsu15SuFDyOEulFsv2vIX7oHUQgXbSY_wcudHRvdWjl-wgtDv0rhKovDZV2r1ygZgRw-FnJq4-P9UJDLCu_ouYx0Oas9Uxs7t7W55fKONBF15c8cwvg-Q/s400/%C2%ABMuro+contra+muro%C2%BB+1994,+alkyd+sobre+MDF+(exposi%C3%A7%C3%A3o+Lugares+de+Pintura+no+Centro+de+Arte+de+Burgos+em+2005).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Muro contra muro» 1994</span></div><div><span style="font-size:85%;color:#cc0000;"><em>Centro de Arte de Burgos</em></span></div><div><span style="font-size:85%;color:#660000;">Installation view 2005</span><br /><span style="font-size:85%;color:#ffffff;">*</span></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-HcLW8uIdjboL38S3nHhDAFfL1a48fDemz083DChqUS-np-Vkg9FBLgMjTXlXr1BTOtrMmOYONJsgJzI4y0W9TijnZ7omySn6aS6K4CMvRfLWKmWXuZZbsyLRbEsx8D_ihd-PeF8e7E4/s1600-h/Passagem+10,+2004,+acr%C3%ADlico+sobre+alum%C3%ADnio.jpg"><img id="BLOGGER_PHOTO_ID_5188398669760019698" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-HcLW8uIdjboL38S3nHhDAFfL1a48fDemz083DChqUS-np-Vkg9FBLgMjTXlXr1BTOtrMmOYONJsgJzI4y0W9TijnZ7omySn6aS6K4CMvRfLWKmWXuZZbsyLRbEsx8D_ihd-PeF8e7E4/s400/Passagem+10,+2004,+acr%C3%ADlico+sobre+alum%C3%ADnio.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Passagem 10» 2004<br /></span><div><span style="font-size:85%;color:#660000;">(acrílico sobre alumínio)<br /></span><div><div><div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0ruxkNHGZU5EEwUeIyP3sBB4D2EvIO_NSmmk16ceTKFtwHCtciAyPgj97OCMtXpin7BZE1eBpaEXpYlPYWNPRrWFhm-VifSHyVeEbfO1vt_6ctwtuib0v_0hdjJEnMRH62fAVtCtVCEQ/s1600-h/Pedro+Calapez,+Planos+%2309,+2007+(alkyd+sobre+cart%C3%A3o+museu).jpg"><img id="BLOGGER_PHOTO_ID_5188397175111400626" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0ruxkNHGZU5EEwUeIyP3sBB4D2EvIO_NSmmk16ceTKFtwHCtciAyPgj97OCMtXpin7BZE1eBpaEXpYlPYWNPRrWFhm-VifSHyVeEbfO1vt_6ctwtuib0v_0hdjJEnMRH62fAVtCtVCEQ/s400/Pedro+Calapez,+Planos+%2309,+2007+(alkyd+sobre+cart%C3%A3o+museu).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Untitled 09» 2007</span></div><div><span style="font-size:85%;color:#660000;">(alkyd sobre cartão museu)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGJcohucjI8tg9EF7IQxa-Lq35U8v4Vl8Jsf9ajMFRZDpnp6lTnp_0ZNOUbmTTEWTTB6xE1vvDh0Lj3NvXmIik_xfryWx4YL69d34XLbI-1IhYne2JW8Virc6wGNhXyBi_hfUfyJ6VQms/s1600-h/PC,+Para+l%C3%A1+da+montanha+(Fumos+Verdes),+2006,+exhibition+view.jpg"><img id="BLOGGER_PHOTO_ID_5188396689780096162" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGJcohucjI8tg9EF7IQxa-Lq35U8v4Vl8Jsf9ajMFRZDpnp6lTnp_0ZNOUbmTTEWTTB6xE1vvDh0Lj3NvXmIik_xfryWx4YL69d34XLbI-1IhYne2JW8Virc6wGNhXyBi_hfUfyJ6VQms/s400/PC,+Para+l%C3%A1+da+montanha+(Fumos+Verdes),+2006,+exhibition+view.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Fumos Verdes» 2006</span></div><div><span style="font-size:85%;color:#660000;">(acrílico sobre alumínio) </span></div><div><span style="font-size:85%;color:#ffffff;">*</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhscokTe3n-pCrTt5iMrxm-1M204syynUGV2njqbgNWYBhlQoMXfRUxYvwGZp0oKqS9rlprX3tCNRBCzSdgpmZKn-LzozejptureEY9CU9Vl-E2rLqUDkJMCv8zwWBrJ7VlMqtTgJ5ki98/s1600-h/Lugar+da+subtil+diferen%C3%A7a,+2003,+acr%C3%ADlico+sobre+alum%C3%ADnio.jpg"><img id="BLOGGER_PHOTO_ID_5188396294643104914" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhscokTe3n-pCrTt5iMrxm-1M204syynUGV2njqbgNWYBhlQoMXfRUxYvwGZp0oKqS9rlprX3tCNRBCzSdgpmZKn-LzozejptureEY9CU9Vl-E2rLqUDkJMCv8zwWBrJ7VlMqtTgJ5ki98/s400/Lugar+da+subtil+diferen%C3%A7a,+2003,+acr%C3%ADlico+sobre+alum%C3%ADnio.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Lugar da subtil diferença» 2003</span></div><div><span style="font-size:85%;color:#660000;">(acrílico sobre alumínio)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYCP5BSLqVxaoHctCPKj9wCRrnT2zywcAEPheuc9QOPLVAsHPpaS9Xl5UQ02gnnlSQM4cvVDx6yR6UqbFF_xExhz1l3aZbVOgcVw1R-jCOVwU9x29b3VMOHTc98gE8MBtaVH-vQ82dTCc/s1600-h/Lugar+do+deleite,+2003,+acr%C3%ADlico+sobre+alum%C3%ADnio.jpg"><img id="BLOGGER_PHOTO_ID_5188395976815524994" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYCP5BSLqVxaoHctCPKj9wCRrnT2zywcAEPheuc9QOPLVAsHPpaS9Xl5UQ02gnnlSQM4cvVDx6yR6UqbFF_xExhz1l3aZbVOgcVw1R-jCOVwU9x29b3VMOHTc98gE8MBtaVH-vQ82dTCc/s400/Lugar+do+deleite,+2003,+acr%C3%ADlico+sobre+alum%C3%ADnio.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Lugar do deleite» 2003</span></div><div><span style="font-size:85%;color:#660000;">(acrílico sobre alumínio)</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE3YtRXUou5OUFTd5fHscTTGXdj4DnpwxfI70vhEM-JTpDRLkd6VnsGX9h8_m6UoC5KawbG75yiBV7ihSsGsG0xhRBvWQF1ao1jdsBiOovjhJHfoj6Aax7hdcZhh6Lb9QdwkTFoUO30PY/s1600-h/RAM+04,+2001,+acr%C3%ADlico+sobre+alum%C3%ADnio.jpg"><img id="BLOGGER_PHOTO_ID_5188395628923174002" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE3YtRXUou5OUFTd5fHscTTGXdj4DnpwxfI70vhEM-JTpDRLkd6VnsGX9h8_m6UoC5KawbG75yiBV7ihSsGsG0xhRBvWQF1ao1jdsBiOovjhJHfoj6Aax7hdcZhh6Lb9QdwkTFoUO30PY/s400/RAM+04,+2001,+acr%C3%ADlico+sobre+alum%C3%ADnio.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«RAM 04» 2001</span></div><div><span style="font-size:85%;color:#660000;">(acrílico sobre alumínio)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRbvKr0vcwgtvvR86tXxf0WpvFvYiAekbpkacypoqxpNQMT9CT-dSGwDnHiToye6eYbAzAZnOVqPMskSy4ZdsOhArYR5WvwSYQNMgEU33hts7JU_cCVucrb2VqWsGRNKA3SnqnbCxw9a0/s1600-h/Ground+02,+2005.jpg"><img id="BLOGGER_PHOTO_ID_5188395160771738722" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRbvKr0vcwgtvvR86tXxf0WpvFvYiAekbpkacypoqxpNQMT9CT-dSGwDnHiToye6eYbAzAZnOVqPMskSy4ZdsOhArYR5WvwSYQNMgEU33hts7JU_cCVucrb2VqWsGRNKA3SnqnbCxw9a0/s400/Ground+02,+2005.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Ground 02» 2005</span></div><div><span style="font-size:85%;color:#660000;">(conj. 43 peças de alumínio pintadas a tinta acrílica)</span></div><div><span style="font-size:85%;color:#cc0000;"><em>Mario Mauroner Contemporary Art, Viena Salzburg</em></span></div><div><span style="font-size:85%;color:#660000;">Installation view</span><br /></div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEuv73D6gkbKTwragfOXq2jyIHhHe8Ojz96199RfyL1ELdtHW6zeubC6uy-PnHGr3P-ho_MQKM9MBFo0CdfhduGNtVktyuw133RBBQ4h3_oikuVMKFE8Bhoyu9OjB9iaG_ZduJA7EPFJI/s1600-h/Exposi%C3%A7%C3%A3o+Planos+%C2%AB%2306%C2%BB+2007+(alkyd+sobre+museumboard).jpg"><img id="BLOGGER_PHOTO_ID_5188394185814162514" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEuv73D6gkbKTwragfOXq2jyIHhHe8Ojz96199RfyL1ELdtHW6zeubC6uy-PnHGr3P-ho_MQKM9MBFo0CdfhduGNtVktyuw133RBBQ4h3_oikuVMKFE8Bhoyu9OjB9iaG_ZduJA7EPFJI/s400/Exposi%C3%A7%C3%A3o+Planos+%C2%AB%2306%C2%BB+2007+(alkyd+sobre+museumboard).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Untitled 06» 2007</span></div><div><span style="font-size:85%;color:#660000;">(alkyd sobre cartão museu)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDjwimkVz4g-eyUc_unKqQ8qwhS2TMGtfGphVrV-7fmWPH9B2VC8m96WHP3ANgDZuvSq1RXxTC5kpm0yyNyNil0_9fGInVchgtr3cywCnqPcWluLs3A230lBoPBgetgUms7uxkwi2fHAU/s1600-h/Passagens,+1990.jpg"><img id="BLOGGER_PHOTO_ID_5188393898051353666" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDjwimkVz4g-eyUc_unKqQ8qwhS2TMGtfGphVrV-7fmWPH9B2VC8m96WHP3ANgDZuvSq1RXxTC5kpm0yyNyNil0_9fGInVchgtr3cywCnqPcWluLs3A230lBoPBgetgUms7uxkwi2fHAU/s400/Passagens,+1990.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Passagens» 1990</span></div><div><span style="font-size:85%;color:#660000;">(giz sobre tijolo maciço)</span></div><div><span style="font-size:85%;color:#cc0000;"><em>Convento de São Francisco, Beja</em></span></div><div><span style="font-size:85%;color:#660000;">Installation view</span></div><div><span style="font-size:85%;color:#ffffff;">*</span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghUc4vOblrpfFqNLF-RKMhOSQtI0857I5809Ru5NA5_GQ0ANwRCn3auuJ_Tn6aFWXaKPIQtTTJj1acaGVgUVKgHd0qYhDVqSGINg70YPHyEEyTl_GrixJ-dWuK4xuFcaIz4d29zoOQtjU/s1600-h/Projecto+de+Jardim+01,+1999,+acr%C3%ADlico+sobre+DM.jpg"><img id="BLOGGER_PHOTO_ID_5188393391245212722" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghUc4vOblrpfFqNLF-RKMhOSQtI0857I5809Ru5NA5_GQ0ANwRCn3auuJ_Tn6aFWXaKPIQtTTJj1acaGVgUVKgHd0qYhDVqSGINg70YPHyEEyTl_GrixJ-dWuK4xuFcaIz4d29zoOQtjU/s400/Projecto+de+Jardim+01,+1999,+acr%C3%ADlico+sobre+DM.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Projecto de jardim 01» 1999</span></div><div><span style="font-size:85%;color:#660000;">(acrílico sobre DM)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOpJq8_Rx1hvSGnlIZiktCQLD7tTICHSgpGedqAuEudy2Ad-F6T4QBOIuttqAyRKycOa_7rhyphenhyphenu2YGTMpQparqCMorUGAXPgCec0dfbE2QUIvpZG7P6ClPavcFdD4Y4Wdb_qGdXNW1YF0c/s1600-h/%C2%ABOrnamento+Escondido%C2%BB+2002,+Mosteiro+dos+Jer%C3%B3nimos.jpg"><img id="BLOGGER_PHOTO_ID_5188392785654823970" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOpJq8_Rx1hvSGnlIZiktCQLD7tTICHSgpGedqAuEudy2Ad-F6T4QBOIuttqAyRKycOa_7rhyphenhyphenu2YGTMpQparqCMorUGAXPgCec0dfbE2QUIvpZG7P6ClPavcFdD4Y4Wdb_qGdXNW1YF0c/s400/%C2%ABOrnamento+Escondido%C2%BB+2002,+Mosteiro+dos+Jer%C3%B3nimos.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Ornamento escondido» 2002</span></div><div><span style="font-size:85%;color:#660000;">(conj. 24 painéis de alumínio pintados)</span></div><div><span style="font-size:85%;color:#660000;"><em><span style="color:#cc0000;">Mosteiro dos Jerónimos, Lisboa</span></em><br />Installation view</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSsJO0kHAdoF5utbxtZ3FmSIdPN2sCSax7viX23WYHQCKBiIgc72ZXaJfhXP618rZOLdXJYSP7DqWaTETr4wyY4GGoxjtnCly3nVI8WNDv64tMHGJIjeuxyMA-vRcsINgIvm3W4xt08Y/s1600-h/%C2%ABOrnamento+escondido%C2%BB+2002,++Mosteiro+dos+Jer%C3%B3nimos.jpg"><img id="BLOGGER_PHOTO_ID_5188391041898101778" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSsJO0kHAdoF5utbxtZ3FmSIdPN2sCSax7viX23WYHQCKBiIgc72ZXaJfhXP618rZOLdXJYSP7DqWaTETr4wyY4GGoxjtnCly3nVI8WNDv64tMHGJIjeuxyMA-vRcsINgIvm3W4xt08Y/s400/%C2%ABOrnamento+escondido%C2%BB+2002,++Mosteiro+dos+Jer%C3%B3nimos.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Ornamento escondido» 2002<br /></span><br /></div><div align="justify"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>Pedro Calapez</strong> nasceu em Lisboa no ano de 1953.</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Estudou na Escola Superior de Belas Artes de Lisboa e afirmou-se como pintor na primeira metade da década de 80, em exposições como <em>Depois do Modernismo</em> e <em>Arquipélago</em>. Mantendo-se à margem da voragem situacionista e da expressividade escatológica que marcaram o então chamado “regresso à pintura”, Calapez empreendeu um percurso pautado pelo rigor metodológico no qual o desenho é a prática fundadora. Produzindo pinturas por incisão, próximas da tradição da gravura, o autor interessa-se sobretudo pelo tratamento pictórico/arquitectónico do espaço. A arquitectura é uma das referências organizadoras da obra de Calapez, mas esta arquitectura, riscada à superfície do suporte, apresenta caminhos, fachadas, ou pontos de fuga que se contradizem, criando paisagens inverosímeis. Uma arquitectura que remete para a cenografia, ao funcionar como um empilhar de fragmentos cuja aparência teatral insinua um espaço de representação. Calapez engloba na lógica cenográfica não apenas as referências arquitectónicas mas conjuntos de objectos que poderiam servir como adereços ou objectos de cena. Mas esta é uma cenografia residual, abandonada pelos actores, a narrativa e o drama que algum dia a terão habitado.<br />Ao longo da última década a vocação arquitectónica materializou-se numa obra como <em>Muro contra Muro</em> <em>(1994)</em> em que os painéis pintados são instalados na galeria sob a forma de corredores que determinam, de modo directo, o percurso e as condições de visibilidade para o observador. O mesmo tipo de efeito de controlo do olhar revela-se numa série de objectos recentes: cubos abertos, sem face superior, com as paredes interiores pintadas que surgem como “caixas de pintura” que aprisionam o espaço do visível. </span></div><div align="justify"><span style="font-size:85%;color:#330000;">No mesmo período desenvolve-se uma nova linha de trabalho do artista. A apetência pelas texturas e pela criação de paisagens manifesta-se agora através da prática cada vez mais desenvolta de uma pintura abstracta que se deleita nos prazeres do exercício de aplicação das tintas e da gestão dos jogos de cores. Muitas vezes estas pinturas tomam a forma de painéis que reunindo múltiplos elementos de modo a ocupar o espaço de uma parede instauram, uma vez mais, um diálogo privilegiado com o espaço e a luz que as acolhe.<br /></span><span style="font-size:85%;color:#330000;"><strong>Alexandre Melo, sociólogo e crítico de arte</strong> </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span><em><span style="color:#990000;">in «Arte e Artistas em Portugal» Maio 2007</span> </em></span></div><div align="justify"><em><span style="font-size:85%;color:#ffffff;">*</span></em></div><div align="justify"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>Nota:</strong> A biografia do autor, assim como os vídeos de duas exposições, poderão ser consultados no sítio oficial de Pedro Calapez.</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Actualmente, as suas obras encontram-se expostas no Museu de Arte Contemporânea de Elvas (MACE), integrando a "Colecção António Cachola". </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">**</span></div><div align="left"><span style="font-size:85%;color:#cc0000;"><strong>Crítica:</strong></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>El retablo del deseo de Pedro Calapez </strong></span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong><span style="color:#ffffff;">*<br /></span></strong>Desde hace casi una década, Pedro Calapez (Lisboa, 1953) ha conocido en nuestro país un éxito notable, confirmado por algunos premios y por las exposiciones que le han dedicado el MEIAC de Badajoz (Ecos de la materia, 1996) y la Fundación Miró de Mallorca (Campo de Sombras, 1997). Las composiciones de Calapez, integradas por pequeños “cuadros” de colores intensos, organizados en hileras contrastadas y rítmicas, poseen un encanto casi musical. Alguien podría interpretarlas como “instalaciones” de pintura, en el sentido por ejemplo de los surrogates de Allan McCollum, cuyos elementos se agrupan en número y distribución variable dependiendo del espacio de cada exposición. Pero no son nada de eso. No se trata de meros agregados, sino de composiciones coherentes. Como explica el propio Calapez, los orígenes más remotos de su formación plástica están ligados al espíritu de la Bauhaus y su planteamiento del proceso creativo es rigurosamente constructivo: el artista realiza primero un boceto del conjunto y luego pinta cada uno de los elementos que la integrarán. En todas las composiciones, incluso cuando tienen un contorno irregular o una estructura aparentemente aleatoria, descubrimos paralelismos, inversiones, simetrías latentes y secretas entre las hiladas de “ladrillos” de diversos formatos, volúmenes y colores.</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>La obra de Calapez se entronca con el interés por el políptico, por la composición articulada en varios elementos separados, que recorre la tradición de la pintura sistemática del siglo XX. Desde el Rojo-Amarillo-Azul de Rodchenko o los trípticos de Theo van Doesburg hasta la proliferación de polípticos en torno al minimalismo, en la obra de Ellsworth Kelly, Frank Stella, Robert Ryman, Brice Marden, Robert Mangold, Alan Charlton o Jo Baer. Lo que añade Calapez a esta tradición es una mayor intensidad pictórica, una mayor riqueza de acontecimientos en el interior de cada uno de los “cuadros” que forman sus composiciones. Algunos de estos “cuadros” presentan un dibujo esquemático esgrafiado sobre una capa de pintura monocroma (que procede de los dibujos en blanco y negro que Calapez realizaba a comienzos de los noventa). Otros elementos, la mayoría, combinan varios colores en una composición abstracta cuya factura recuerda a veces a Gerhard Richter y a veces a Howard Hodgkin. Calapez extiende con la espátula, sobre una capa de pintura todavía húmeda, otra capa de un color en furioso contraste con ella, de forma que se mezcle un poco con lo de abajo, pero sólo un poco. </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>Como sugieren los títulos (Lugar dos pequenos lugares, Lugar de la sutil diferencia, Lugar dos dois caminhos, Lugar do deleite, Lugar da ilusao) las composiciones de Calapez evocan paisajes: senderos, bosques, montañas, jardines, escenarios arquitectónicos recompuestos a través de un puñado de fragmentos. Ninguno de estos fragmentos llega a ser un foco fijo de nuestra atención, ninguno de ellos retiene mucho tiempo la mirada, que vaga de uno en otro sin detenerse apenas. Calapez compara esa errancia con el modo en que, al pasear por las calles de una ciudad, nuestros ojos saltan de una cornisa a una torre, de un balcón a una puerta, de una esquina a otra. O con nuestra manera de recordar un gran cuadro que hemos visto en un museo, como una sucesión de detalles vívidos pero difíciles de encajar entre sí. En todo caso, los retablos de Calapez, sus rompecabezas imperfectos, nos hablan del afán de reconstruir una totalidad perdida, presente sólo en la memoria o en el deseo, a partir de sus ruinas.</span></div><div align="justify"><span style="font-size:85%;"><span style="color:#330000;"><strong>Guillermo Solana, El Mundo</strong></span></span></div><div align="center"><span style="font-size:85%;"><strong></strong><span style="color:#330000;"><span style="color:#ffffff;">*<br /></span><span style="color:#330000;">* * *<br /></span><span style="color:#ffffff;">*<br /></span></div></span></span><span style="font-family:lucida grande;font-size:85%;color:#330000;"></span><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Faire vivre de manière permanente une œuvre contemporaine dans un grand bâtiment historique est délicat, et souvent peu réussi. Un des rares chefs d’œuvre de ce type que je connaisse, ce sont les vitraux de Pierre Soulages à Conques, sur le chemin de Saint-Jacques. Le Monastère des Hiéronymites, à Belém, est un lieu mythique de l’histoire du Portugal.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Dans l’escalier du cloître, <a href="http://images.google.com/imgres?imgurl=http://lunettesrouges.blog.lemonde.fr/files/calapez.jpg&imgrefurl=http://lunettesrouges.blog.lemonde.fr/lunettesrouges/2005/05/maria_elena_vie.html&h=594&w=640&sz=110&hl=en&start=12&tbnid=Gg7M4_IDHYg4ZM:&tbnh=127&tbnw=137&prev=/images%3Fq%3Dpedro%2Bcalapez%2B%26gbv%3D2%26hl%3Den%26sa%3DG"><span style="color:#ff6666;"><strong>Pedro Calapez</strong></span> </a>a installé cette œuvre au premier abord peu lisible : 24 panneaux d’aluminium disjoints, de deux tailles différentes (80×130 et 130×130) et deux épaisseurs (6 et 10 cm), d’où un effet de construction en moellons et de profondeur, sur un ensemble de plus de 25 mètres carrés. Trois jeux de couleur, un fond jaune, puis un dessin orangé, et, en surface, des traits rouge sombre. Quand l’œil s’habitue, on reconnaît dans le dessin orangé l’architecture du monastère, des arches, des marches, des sculptures ; les veines rouges qui irriguent le tableau peuvent évoquer une végétation luxuriante ou Cy Twombly. L’œuvre s’appelle Ornement non divulgué, elle porte en elle une dimension religieuse, historique très forte et s’harmonise parfaitement avec ce lieu, en le transcendant.</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="center"><span style="font-size:85%;color:#330000;">* * *</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Pedro Calapez was born in Lisbon, where he lives and works. He began his studies in civil engineering but then transferred to the Escola de Belas Artes (School of Fine Arts) after having attended the Fine Arts Course at the Sociedade Nacional de Belas Artes (National Association of Fine Arts). While attending Belas Artes he worked as a professional photogropher until 1985, when he was able to dedicate himself exclusively to painting.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">He began taking part in exhibitions in the seventies and in 1982 had his first individual exhibition. He has exhibited his work individually in various galleries and museums, most notably Histórias de objectos, Casa de la Cittá, Roma, Carré des Arts, Paris and Fundação Calouste.Gulbenkian, Lisboa (1991); Petit jardin et paysage [instalação], Capela Salpêtriére, Paris (1993); Memória involuntária, Museu do Chiado, Lisboa (1996); Campo de Sombras, Fundació Pilar i Joan Miró, Mallorca (1997); Studiolo, INTERVAL-Raum fur Kunst & Kultur, Witten, Germany (1998) ; Madre Agua, Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz and Centro Andaluz de Arte Contemporáneo (2002); Selected works 1992-2004, Fundação Calouste.Gulbenkian, Lisboa (2004); piso zero, CGAC- Centro Galego de Arte Contemporáneo (2005).</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Most oustanding among the various collective exhibitions in which he has taken part are the biennials of Venice (1986) and S.Paulo (1987 and 1991) and the exhibitions: 10 Contemporâneos, Museu de Serralves, Porto (1992); Perspectives, Centre d'art contemporain, Marne-La-Vallée (1994); Depois de Amanhã, Centro Cultural de Belém, Lisboa (1994); Ecos de la materia, Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz (1996); Tage Der Dunkelheit Und Des Lichts, Kunstmuseum Bonn (1999); EDP.ARTE, Museu de Serralves, Porto (2001).</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">He has also designed stage sets for theatre as well as having carried out various public works, such as a square for the World Exhibition of Lisbon 1998.<br />Pedro Calapez is represented in various public and private collections including, for example, the Museu Serralves, Porto; Fundação Calouste Gulbenkian, Lisboa; Fundação Luso Americana, Lisboa; Caixa Geral de Depósitos, Lisboa; Chase Manhattan Bank N.A, New York; Fundació Pilar i Joan Miró, Palma de Mallorca; Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz; Centro Galego de Arte Contemporânea, Santiago de Compostela; Fondación Prosegur, Madrid; Fundación Coca-Cola España, Madrid; Central European Bank, Frankfurt; Centro de Arte Caja Burgos, Burgos; European Investment Bank, Luxembourg and other public and private collections.<br />He has received, among others, the União Latina prize in 1990, the Prize for Drawing from the Fundació Pilar I Joan Miró in Majorca 1995 and the Prize for Painting from EDP-Art Foundation, Lisbon, 2001.<br /><strong>MAM Mario Mauroner Contemporary Art, Salzburg<br /></strong><span style="color:#ffffff;"><strong>*<br />*</strong></span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><a href="http://www.pedrocalapez.com/"><strong><span style="color:#ff6666;">Pedro Calapez website </span></strong></a></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#cc0000;"><strong>«Algumas das imagens cedidas por cortesia do autor»</strong></span></div><div align="justify"></div></div></div></div></div><div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com5tag:blogger.com,1999:blog-2054748435853847162.post-84289091873751214442008-03-31T20:36:00.048+01:002008-04-02T21:03:57.285+01:00John Stezaker, Worcester / Reino Unido - arte conceptual contemporânea<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjndkIY2Dkju18iDqIyhCxJufGgiex-eT0FXjSUfe9OQJMcVLZSu-_pLL8zbSRZafFOWxqE6V-MKpXs67lbLoYmcHBbcToOIqANczwQRGhEGwv5jsbhXsudGDUAfxYu5fylvzF1AC9b0Ho/s1600-h/Mask+LX,+2007,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184321790569332834" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjndkIY2Dkju18iDqIyhCxJufGgiex-eT0FXjSUfe9OQJMcVLZSu-_pLL8zbSRZafFOWxqE6V-MKpXs67lbLoYmcHBbcToOIqANczwQRGhEGwv5jsbhXsudGDUAfxYu5fylvzF1AC9b0Ho/s400/Mask+LX,+2007,+collage.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;"> Mask series «LX» 2007, collage</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL9ccV71u9TyznsntRbPe3bc1zddXgKF-85lDNFY9MMcPRxrqtHx9pFHNZuyLui7Eexh4ots-H0jOdBXw0TcxNPeB4vpFWp1lz5qDzlfqOuVWwEqkeHJFz0OBaeUn41QLpKzPX3LUNz7g/s1600-h/Mask+LXV,+2007,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184321468446785618" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiL9ccV71u9TyznsntRbPe3bc1zddXgKF-85lDNFY9MMcPRxrqtHx9pFHNZuyLui7Eexh4ots-H0jOdBXw0TcxNPeB4vpFWp1lz5qDzlfqOuVWwEqkeHJFz0OBaeUn41QLpKzPX3LUNz7g/s400/Mask+LXV,+2007,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Mask series «LXV» 2007, collage</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidlGmsvOrAPvBqw2s2_b4y-g14vLfbrD_1jRas9nzZHI0vMKss9RCU_PhkN9wusiOWj2rL6m7-8jSGceVNr0FBeKdist3aiIaUfnXBhHussVaf2-jWSXmoluZlYtIQ3ZqnJkfw3TzYLq4/s1600-h/Mask+III,+1991-1992,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184321210748747842" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidlGmsvOrAPvBqw2s2_b4y-g14vLfbrD_1jRas9nzZHI0vMKss9RCU_PhkN9wusiOWj2rL6m7-8jSGceVNr0FBeKdist3aiIaUfnXBhHussVaf2-jWSXmoluZlYtIQ3ZqnJkfw3TzYLq4/s400/Mask+III,+1991-1992,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Mask series «III» 1991-92, collage</span><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfO9dBEoIkp70hnFpCk65Z0Zas8NSZXQ_nmtf6xBCuQ8MsF-y8pX3XUCej62sE9wEc7f8vZpuxOONOhyphenhyphenVNYB0C79g2mCB8HVRbbOP0ZFdYEpDXow96lsCZ-AtWZJQZxwfw7C3-figkqyM/s1600-h/Mask+II,+2007,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184321008885284914" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfO9dBEoIkp70hnFpCk65Z0Zas8NSZXQ_nmtf6xBCuQ8MsF-y8pX3XUCej62sE9wEc7f8vZpuxOONOhyphenhyphenVNYB0C79g2mCB8HVRbbOP0ZFdYEpDXow96lsCZ-AtWZJQZxwfw7C3-figkqyM/s400/Mask+II,+2007,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Mask series «II» 2007, collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizi6A5ub3WRHEnfDaoyh81-lkbgRn8CLz5u2wItfOCiu2G29-M_EfQmn6wegDSUVuEqfBWTNomqBXHyD1VyOwbE5q0Q0L_C8FeV3dR8h96t7MpLujCTKK3pseI2dbazg6uWlP3o4eV7I4/s1600-h/Bird+Mask+II,+2006.jpg"><img id="BLOGGER_PHOTO_ID_5184320824201691170" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizi6A5ub3WRHEnfDaoyh81-lkbgRn8CLz5u2wItfOCiu2G29-M_EfQmn6wegDSUVuEqfBWTNomqBXHyD1VyOwbE5q0Q0L_C8FeV3dR8h96t7MpLujCTKK3pseI2dbazg6uWlP3o4eV7I4/s400/Bird+Mask+II,+2006.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Mask series «Bird Mask II» 2006, collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAyYZ3Q_gXYeVZcJPbPrsFmBgAFMWQ-oKRqfIc5Z3MnmIrb9WbKiD-drk6wndQj-Fo7dyraoC1zMNSngWqIfhAdp_JKAt78ksAWW7PfjflLYtojOoJnf-I9o5WZgU4mt2hB6-2cwk36eM/s1600-h/Mask+XXIV,+2006,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184320635223130130" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAyYZ3Q_gXYeVZcJPbPrsFmBgAFMWQ-oKRqfIc5Z3MnmIrb9WbKiD-drk6wndQj-Fo7dyraoC1zMNSngWqIfhAdp_JKAt78ksAWW7PfjflLYtojOoJnf-I9o5WZgU4mt2hB6-2cwk36eM/s400/Mask+XXIV,+2006,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Mask series «XXIV» 2006, collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmFVlfJMs0ySDhibC4ESvmZwfGeIc-Fzl60wnvyksIujvQ4R499q51NkMKqi7lGJqwydyfHqI81fdELV18zZKRjkHE3HOjUbReet9svMeqvPnseVtA8ZKaNjxavcM6izIrp9nZIIqmiPo/s1600-h/Mask+XXV,+2006,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184320351755288578" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmFVlfJMs0ySDhibC4ESvmZwfGeIc-Fzl60wnvyksIujvQ4R499q51NkMKqi7lGJqwydyfHqI81fdELV18zZKRjkHE3HOjUbReet9svMeqvPnseVtA8ZKaNjxavcM6izIrp9nZIIqmiPo/s400/Mask+XXV,+2006,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Mask series «XXV» 2006, collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuCDWpeoyEOxSIBmOaAFth9TZlmhghmFfChBXk-Nbo_hVkY7tLspAu9jBdlAms7UcGlbvD4CcBoq09IK5MFBcOMYrEylawKjIlPzKwQLqDAGECfvDfFI9mRfN1g1jVuc21SSxOFtOh76w/s1600-h/Mask+XL+VIII,+2007,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184320124122021874" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjuCDWpeoyEOxSIBmOaAFth9TZlmhghmFfChBXk-Nbo_hVkY7tLspAu9jBdlAms7UcGlbvD4CcBoq09IK5MFBcOMYrEylawKjIlPzKwQLqDAGECfvDfFI9mRfN1g1jVuc21SSxOFtOh76w/s400/Mask+XL+VIII,+2007,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Mask series «XLVIII» 2007, collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLfBBXfdx_UnPpsJyZ88gqxHV2tHSHgn5YJz-8QvPNQnVkw5IGE1Em9t7vVq6-B6g6bQteNSkhc49d4pO6WHWfy70GZQc5DiVlPI4Zy7TUL13mid7qY-2xJzDqwj4fJxRUOfzmy7yIExM/s1600-h/Mask+XXVI,+2006,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184319707510194146" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLfBBXfdx_UnPpsJyZ88gqxHV2tHSHgn5YJz-8QvPNQnVkw5IGE1Em9t7vVq6-B6g6bQteNSkhc49d4pO6WHWfy70GZQc5DiVlPI4Zy7TUL13mid7qY-2xJzDqwj4fJxRUOfzmy7yIExM/s400/Mask+XXVI,+2006,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Mask series «XXVI» 2006, collage<br /></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlrO9uzQOfwx9iNxxL6PNHKmd82Ru0M4E9wyE8SM2Gv22JhJkhBdZmcaNqlJCbz5qaJziOzqWeqlZfXSoIWpbAsSjX1S62F3NuB8-uw4Vz1jHglrPZ5M37q5t9daOhcKwJnDqAMG1Dpf0/s1600-h/Mask+L+II,+2007,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184319355322875858" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlrO9uzQOfwx9iNxxL6PNHKmd82Ru0M4E9wyE8SM2Gv22JhJkhBdZmcaNqlJCbz5qaJziOzqWeqlZfXSoIWpbAsSjX1S62F3NuB8-uw4Vz1jHglrPZ5M37q5t9daOhcKwJnDqAMG1Dpf0/s400/Mask+L+II,+2007,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Mask series «LII» 2007, collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtAwx-LhgQVXe02z5XtM0FK0iD5M-gVFqiHoAUpcWq7gCp5z7k5k1_1HMg6VIHZTrItyVEdJODEkGpchfrOrxEVBhhkVf22aZ5Ads_O0XEemXq903nr4iKWc5OIwLEb9DwrgM-xtQDn40/s1600-h/Mask+LXIV,+2007,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184319136279543746" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtAwx-LhgQVXe02z5XtM0FK0iD5M-gVFqiHoAUpcWq7gCp5z7k5k1_1HMg6VIHZTrItyVEdJODEkGpchfrOrxEVBhhkVf22aZ5Ads_O0XEemXq903nr4iKWc5OIwLEb9DwrgM-xtQDn40/s400/Mask+LXIV,+2007,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Mask series «LXIV» 2007, collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTzsm1DAG6EXqHxLcEsqaQYpgWWhxopZTNXoc_7Y62ux-shUGjiMw1PblM2tF7MTKSlJyE2zo0FAnArY31OOaEpEgvHC6ki_CKJE1LMF-zV6NTMBXvbhiFoKXoHtH9VOtJAtCwOb12Ddw/s1600-h/Film+Portrait+(Landscape)+V,+2005,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184318766912356274" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTzsm1DAG6EXqHxLcEsqaQYpgWWhxopZTNXoc_7Y62ux-shUGjiMw1PblM2tF7MTKSlJyE2zo0FAnArY31OOaEpEgvHC6ki_CKJE1LMF-zV6NTMBXvbhiFoKXoHtH9VOtJAtCwOb12Ddw/s400/Film+Portrait+(Landscape)+V,+2005,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Landscape series «V» 2005, film portrait collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKh8hQanmemqedQ-uOanpZ58OZkXD1D8x-oPWk5ZVpYnisLecYFHC6iUNFgoHdCXgoHgfBhKf4hVnY5YSzVOsSw6UG_KvV7aaTrakbubwSXS2e1dqFUkpi2FWp7XM9HJLhC1eRtoSP070/s1600-h/Film+Portrait+(Landscape)+VIII,+2005,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184318616588500898" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKh8hQanmemqedQ-uOanpZ58OZkXD1D8x-oPWk5ZVpYnisLecYFHC6iUNFgoHdCXgoHgfBhKf4hVnY5YSzVOsSw6UG_KvV7aaTrakbubwSXS2e1dqFUkpi2FWp7XM9HJLhC1eRtoSP070/s400/Film+Portrait+(Landscape)+VIII,+2005,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Landscape series «VIII» 2005, film portrait collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDL9gynKqh-yzCzuq74jqN_ltVahyhz4rBCG_uKjMzmm64Jz2MaiXZtoNG8KmQiMGw4zTYcWfHRtjHMjjwkGMOKLSryb8yuVARh3kXotbB2N9a4TSlo3X4oCtLfLQJNG0FsRv1sdf5NYs/s1600-h/Marriage+(Film+Portrait+Collage)+VII,+2006.jpg"><img id="BLOGGER_PHOTO_ID_5184318092602490770" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDL9gynKqh-yzCzuq74jqN_ltVahyhz4rBCG_uKjMzmm64Jz2MaiXZtoNG8KmQiMGw4zTYcWfHRtjHMjjwkGMOKLSryb8yuVARh3kXotbB2N9a4TSlo3X4oCtLfLQJNG0FsRv1sdf5NYs/s400/Marriage+(Film+Portrait+Collage)+VII,+2006.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Marriage series «VII» 2006, film portrait collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqqekfta-F9H4wefKesl3tm14Y4nAj_jX7yE4I0AgoUvQMLhkne3Y0KGISGQ43ixowwX4dVu-6D2dRCnooVf1fkXLsbrLXw8vu3X2MB7xB1fg2p6H0vJA2o6ZcGO3XfK_B5O4FBPhctRk/s1600-h/Marriage+(Film+Portrait+Collage)+I,+2006.jpg"><img id="BLOGGER_PHOTO_ID_5184317766184976258" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqqekfta-F9H4wefKesl3tm14Y4nAj_jX7yE4I0AgoUvQMLhkne3Y0KGISGQ43ixowwX4dVu-6D2dRCnooVf1fkXLsbrLXw8vu3X2MB7xB1fg2p6H0vJA2o6ZcGO3XfK_B5O4FBPhctRk/s400/Marriage+(Film+Portrait+Collage)+I,+2006.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Marriage series «I» 2006, film portrait collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqELZGsgUJHVQovEz3_ARj80c5joZD8a2li9uOTVDb4REQLhR5ahpkj28BGISBOLdcx5Q1dIzd_8gFq6GRpJn7f0yEl_-ur2v8TikMP6At2LsUoht82RdjnoDH6m0UCy6xe3iLhKTMO6c/s1600-h/Marriage+XV,+2006,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184317401112756082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqELZGsgUJHVQovEz3_ARj80c5joZD8a2li9uOTVDb4REQLhR5ahpkj28BGISBOLdcx5Q1dIzd_8gFq6GRpJn7f0yEl_-ur2v8TikMP6At2LsUoht82RdjnoDH6m0UCy6xe3iLhKTMO6c/s400/Marriage+XV,+2006,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Marriage series «XV» 2006, collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQQPs2zH_5pYcRd3fW648KEhb7R3PaWuFqwrMGltEDN35i7Esznp44MwV3NsLbdQ2RsLUbP5WbjIOMaM201TmHwmyo20UxtnDanEzQiCg95JAU84WO1emGRrPMxjPxrm8yVHHKORYB8Mw/s1600-h/JS,+Marriage+(Film+Portrait+XXVIII)+2007,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184317169184522082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQQPs2zH_5pYcRd3fW648KEhb7R3PaWuFqwrMGltEDN35i7Esznp44MwV3NsLbdQ2RsLUbP5WbjIOMaM201TmHwmyo20UxtnDanEzQiCg95JAU84WO1emGRrPMxjPxrm8yVHHKORYB8Mw/s400/JS,+Marriage+(Film+Portrait+XXVIII)+2007,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Marriage series «XXVIII» 2007, film portrait collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCNi-_-o9h2ZOmuiQ4GI0GbTm7JIP5X0yi8Pl45tai-tRDF6BN3WwefGrtQZZwelbiJ6Fv21-nxoioK_9LbZ2tQPuhPu2WnZREH-v0C8EE7xuL1028AkPzOGSzA4m2zTW8qyy9jAa8JgI/s1600-h/Marriage+(Film+Portrait+Collage)+X,+2006.jpg"><img id="BLOGGER_PHOTO_ID_5184316890011647826" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCNi-_-o9h2ZOmuiQ4GI0GbTm7JIP5X0yi8Pl45tai-tRDF6BN3WwefGrtQZZwelbiJ6Fv21-nxoioK_9LbZ2tQPuhPu2WnZREH-v0C8EE7xuL1028AkPzOGSzA4m2zTW8qyy9jAa8JgI/s400/Marriage+(Film+Portrait+Collage)+X,+2006.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Marriage series «X» 2006, film portrait collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc2EbCRSCYHkpI7o9AjkriAEbSRHWk-hmmw7NKq28juY5j8GLEBvEYjAIKNXpcsyZ1IKWnpTUIDAGMoeHsGaIOZY-WpVBfVkTMHy8f0h6-EplaaoUGuTq07YlfLg9ZKNoC8wCC6bLXJck/s1600-h/Marriage+(Film+Portrait+Collage)+VI,+2006.jpg"><img id="BLOGGER_PHOTO_ID_5184316743982759746" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgc2EbCRSCYHkpI7o9AjkriAEbSRHWk-hmmw7NKq28juY5j8GLEBvEYjAIKNXpcsyZ1IKWnpTUIDAGMoeHsGaIOZY-WpVBfVkTMHy8f0h6-EplaaoUGuTq07YlfLg9ZKNoC8wCC6bLXJck/s400/Marriage+(Film+Portrait+Collage)+VI,+2006.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Marriage series «VI» 2006, film portrait collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAwgOOay4lkFhaYpCjBHWFcZZWQUxNcJGY8SjtnjwqYTU7svwJz86Qa9UFYQMGbsnQwp9EqyEcwyn1SQqs_X40lsN-WW-pEK5R9TfuyXCyADdpzzaXat87kv2GnQkJcErohpOkoOVl3uw/s1600-h/John+Stezaker,+Untitled,+2006,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184315799089954610" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAwgOOay4lkFhaYpCjBHWFcZZWQUxNcJGY8SjtnjwqYTU7svwJz86Qa9UFYQMGbsnQwp9EqyEcwyn1SQqs_X40lsN-WW-pEK5R9TfuyXCyADdpzzaXat87kv2GnQkJcErohpOkoOVl3uw/s400/John+Stezaker,+Untitled,+2006,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Untitled» 2006, collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRU6iLCr7j64stk3HdlDs5SKc6otj_YoxWfNSVFZpFfgCSNHCA2jjtH5cZATIoAKje6C7knzd5KQ0MprumsrAO8_CNw3n9CJQAImP4nRKHol-dQL0-TWtDfncYwZRPzIIyf0qXDIvaNko/s1600-h/Pair+VIII,+2007,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184315571456687906" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRU6iLCr7j64stk3HdlDs5SKc6otj_YoxWfNSVFZpFfgCSNHCA2jjtH5cZATIoAKje6C7knzd5KQ0MprumsrAO8_CNw3n9CJQAImP4nRKHol-dQL0-TWtDfncYwZRPzIIyf0qXDIvaNko/s400/Pair+VIII,+2007,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Pairs series «VIII» 2007, film portrait collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjECXOzoNO0mG0Kg-QaaFWN0vYwG2h6Xklw0xOKdMhyphenhyphen7xlgqXzacoVZH3prW3QnANVCx556IOBW-ZZrriUtXqZ0Of0k1Z5yH8759irxf8gfAiFttIlu3z6xw4h88jO48QAEudHwQFGI6mE/s1600-h/Pair+III,+2007,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184315154844860178" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjECXOzoNO0mG0Kg-QaaFWN0vYwG2h6Xklw0xOKdMhyphenhyphen7xlgqXzacoVZH3prW3QnANVCx556IOBW-ZZrriUtXqZ0Of0k1Z5yH8759irxf8gfAiFttIlu3z6xw4h88jO48QAEudHwQFGI6mE/s400/Pair+III,+2007,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Pairs series «III» 2007, film portrait collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB7I_aDUd9CspfooCvGu9RwpIoDXP-3JFSwb_cTe2WJgNIq_6bf2xle6W9NJJoi4tprmDYjnuusjx797K6MrKeSIQNoKLC2tc0xY7NbmhnoHZdnicI388py0IHv2kfAdzQAuG7aHK4w7E/s1600-h/Pair+II,+2007,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184314854197149442" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB7I_aDUd9CspfooCvGu9RwpIoDXP-3JFSwb_cTe2WJgNIq_6bf2xle6W9NJJoi4tprmDYjnuusjx797K6MrKeSIQNoKLC2tc0xY7NbmhnoHZdnicI388py0IHv2kfAdzQAuG7aHK4w7E/s400/Pair+II,+2007,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Pairs series «II» 2007, film portrait collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEikFcjzE3NSBf6vkfHPPz_5w8338DMgCNHZYCqkO9bDiQ-wCnXSThm0YUFWnRP2ykPuwNVtU9-BP4fpkeCCYS5eQ03B688AORNYxK7uykVrXDWZuENlpRCRf4AKTlEJPSVtCPzMgOx7s/s1600-h/Nest+III,+2007,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184314386045714162" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhEikFcjzE3NSBf6vkfHPPz_5w8338DMgCNHZYCqkO9bDiQ-wCnXSThm0YUFWnRP2ykPuwNVtU9-BP4fpkeCCYS5eQ03B688AORNYxK7uykVrXDWZuENlpRCRf4AKTlEJPSVtCPzMgOx7s/s400/Nest+III,+2007,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Nest series «III» 2007, film portrait collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi60n54pPt3xt2V_onorQSaauoMWzFT0xq9dYGejHVbcJkMJykwOM0uyaCFA-BGDFlXIqjUqomfFEg51o0zF78klbHW9Zjp3Pj-2XJyPf0UvbGOja0jDF_b2dCGKJg8K0nVyTNY8i1oZQg/s1600-h/Third+Person,+1988-1990,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184313896419442402" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi60n54pPt3xt2V_onorQSaauoMWzFT0xq9dYGejHVbcJkMJykwOM0uyaCFA-BGDFlXIqjUqomfFEg51o0zF78klbHW9Zjp3Pj-2XJyPf0UvbGOja0jDF_b2dCGKJg8K0nVyTNY8i1oZQg/s400/Third+Person,+1988-1990,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Third Person series «I» 1988-1990, film portrait collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH9QDeuRoU4LaLFYdpKRDJt3xJ5IZyD7kNgJZ7OA_msA4TaFJzWPPJs-dosgkkPmVRt8ZEugZhgp9TUQUiNwnPam2JLMcOxMnsl1_eRzEP2cD4tb4NsgBexPxJXJE2qx1C4B7pLxc-5aE/s1600-h/John+Stezaker,+Film+Portrait+(She)+VIII,+2005,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184313595771731666" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH9QDeuRoU4LaLFYdpKRDJt3xJ5IZyD7kNgJZ7OA_msA4TaFJzWPPJs-dosgkkPmVRt8ZEugZhgp9TUQUiNwnPam2JLMcOxMnsl1_eRzEP2cD4tb4NsgBexPxJXJE2qx1C4B7pLxc-5aE/s400/John+Stezaker,+Film+Portrait+(She)+VIII,+2005,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Untitled «She VIII» 2005, film portrait collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqT7ucWmbGOOu3A_U8OC8xGUkUL_FZOxt5ZpOfYPgA3oyljf6e7YklLLC4IsDqktOe2-7HyJ7gCTr918x9imqJzALScTXH4Crma4swsE3VB90RfLQYdlz5e2irnyQbE2mxQMxIol8IwEM/s1600-h/JS,+Angel,+1988-90,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184313368138464962" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqT7ucWmbGOOu3A_U8OC8xGUkUL_FZOxt5ZpOfYPgA3oyljf6e7YklLLC4IsDqktOe2-7HyJ7gCTr918x9imqJzALScTXH4Crma4swsE3VB90RfLQYdlz5e2irnyQbE2mxQMxIol8IwEM/s400/JS,+Angel,+1988-90,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> The Face series «Angel» 1988-1990, film portrait collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZIrbt42YAX10TnRiQFXr-Uy0PA7RhrCcvRKvH5rhu70MY7RvUM4iAk82HtM0diSFTFu1EF2fioL5nks6u8ER26BXzlyJXbrFZHVvwt-2h4pjDaUCA84a3ThmjwRmE72ugpJb_5mfYyMk/s1600-h/JS,+Film+Portrait+(Incision)+III,+2005,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184312290101673650" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZIrbt42YAX10TnRiQFXr-Uy0PA7RhrCcvRKvH5rhu70MY7RvUM4iAk82HtM0diSFTFu1EF2fioL5nks6u8ER26BXzlyJXbrFZHVvwt-2h4pjDaUCA84a3ThmjwRmE72ugpJb_5mfYyMk/s400/JS,+Film+Portrait+(Incision)+III,+2005,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Untitled «Incision III» 2005, film portrait collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjs4i_tdqsTff4cbT778zIUI1ZgGPvR5d56bZFwK6JIvai992NCzdPktrphqrskK5TSVLuuQ7gqCLzL4CGOUzNb7o2VHEJyVXTSwuwHOm2SUxtDf2iaPNf94ZvLQYQui5cOdDV06RYbGM/s1600-h/Eros+VII.jpg"><img id="BLOGGER_PHOTO_ID_5184311980864028322" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjs4i_tdqsTff4cbT778zIUI1ZgGPvR5d56bZFwK6JIvai992NCzdPktrphqrskK5TSVLuuQ7gqCLzL4CGOUzNb7o2VHEJyVXTSwuwHOm2SUxtDf2iaPNf94ZvLQYQui5cOdDV06RYbGM/s400/Eros+VII.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Eros series «VII» 2007, collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiytQKEPLbiE_-DozksJw1JW9wik5roOalFehUDhuWJWfRrvqIFrwCZ2BfOwIWeuLaepygRNITsGDUgiDoSl-0LN6cfnWqKYy11Ya0WwMM1VullnntuxZk-oveT6oJjIDmQEwF38gTjkDs/s1600-h/Underworld+IV,+1988-1990,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184311525597494930" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiytQKEPLbiE_-DozksJw1JW9wik5roOalFehUDhuWJWfRrvqIFrwCZ2BfOwIWeuLaepygRNITsGDUgiDoSl-0LN6cfnWqKYy11Ya0WwMM1VullnntuxZk-oveT6oJjIDmQEwF38gTjkDs/s400/Underworld+IV,+1988-1990,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Untitled «Underworld IV» 1988-1990, film portrait collage<br /></span><div></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioPLgLem2mz7yP4H8qB2op4WyjVu5yP4wl5eqLdlMou58jJvnVBL1iUdpQSf3i6kLdYHtWaEADxQNKB2RQ0s-ZjPHZ_p8IK189loAVeUZAvon8VFVeiA60ttMbsVUYyd73qLEeF82VlwI/s1600-h/Untitle+(Africa)+I,+2005,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184311023086321266" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioPLgLem2mz7yP4H8qB2op4WyjVu5yP4wl5eqLdlMou58jJvnVBL1iUdpQSf3i6kLdYHtWaEADxQNKB2RQ0s-ZjPHZ_p8IK189loAVeUZAvon8VFVeiA60ttMbsVUYyd73qLEeF82VlwI/s400/Untitle+(Africa)+I,+2005,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Untitled «Africa I» 2005, collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Q0fw4pgiz6gnLlZ0AEBxMLovT-pv6a3t8KI8Z86A60DNhLJtgmnlVJA9zPbRAH92PQBrYObnhzfZuRsqJ0yb7rl1X8FQNf4qfYLmUUHDRPm57fX8y2qA7IbtXRnfKWF3zYpn5uTKdoQ/s1600-h/Resurrection-Bratislava,+2006,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184309618632015458" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7Q0fw4pgiz6gnLlZ0AEBxMLovT-pv6a3t8KI8Z86A60DNhLJtgmnlVJA9zPbRAH92PQBrYObnhzfZuRsqJ0yb7rl1X8FQNf4qfYLmUUHDRPm57fX8y2qA7IbtXRnfKWF3zYpn5uTKdoQ/s400/Resurrection-Bratislava,+2006,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Resurrection-Bratislava» 2006, collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkfNX92a_a7KEwDo593WGwItraSD9HRCNhpXVs96lHmG7VqSZ4H0SRlJPWiTKOqXSmP9WeDYnZiSWjMJSVorJtvCsxh6pCN6fmZ5biTi8ub_ht4a66vB9Lq5jetBLUjD2E9VJjnFW5coI/s1600-h/Christ's+Entry+Into+Bergen,+1992,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184309017336594002" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkfNX92a_a7KEwDo593WGwItraSD9HRCNhpXVs96lHmG7VqSZ4H0SRlJPWiTKOqXSmP9WeDYnZiSWjMJSVorJtvCsxh6pCN6fmZ5biTi8ub_ht4a66vB9Lq5jetBLUjD2E9VJjnFW5coI/s400/Christ's+Entry+Into+Bergen,+1992,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Christ's Entry Into Bergen» 1992, collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1wj5uyL6GS4SZA7G-tJIu3_d9CaWuDs0YoCZMkJfHmBgv6TZGt-U2B0hfM4Kld6UzXlRdM1CBXNTrkBlAgYgS9SZkghUBBZirRmqrcHXodN8cYdoRHeLvlD-PK54Z1p-7-_k0pjmafrA/s1600-h/Christ's+Entry+Into+Essex+Road,+2006,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184308626494570050" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1wj5uyL6GS4SZA7G-tJIu3_d9CaWuDs0YoCZMkJfHmBgv6TZGt-U2B0hfM4Kld6UzXlRdM1CBXNTrkBlAgYgS9SZkghUBBZirRmqrcHXodN8cYdoRHeLvlD-PK54Z1p-7-_k0pjmafrA/s400/Christ's+Entry+Into+Essex+Road,+2006,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Christ's Entry Into Essex Road» 2006, collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyBqXEAk_1FgonW_Rpk5kUGZJZYrnzNVYhoevRROwirzqDWuYsFE6SqGnj2iw5VpCtAh86FzTdfwCEthX4wB3WJZooQI_NNQExO6yGUSv-P2jDEmCPxSkD2edJhMAIYiyzorq3vjtgkfE/s1600-h/Raft,+2006,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184308433221041714" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyBqXEAk_1FgonW_Rpk5kUGZJZYrnzNVYhoevRROwirzqDWuYsFE6SqGnj2iw5VpCtAh86FzTdfwCEthX4wB3WJZooQI_NNQExO6yGUSv-P2jDEmCPxSkD2edJhMAIYiyzorq3vjtgkfE/s400/Raft,+2006,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Raft» 2006, collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGst_aE9YC6OCrHZXgdNFZ7WSL2kcwgyYiZv_AphxsS6Ve7W4wfgAEcabZSbkym_7liQUK279QRHbarI01gvlUc3NVnfWHy7dO1d-tsOGSLMAKJk_SX7X09fcwBxSqgDzpP0pQ6jyBo6s/s1600-h/Bridge+I,+2007,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184308072443788834" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGst_aE9YC6OCrHZXgdNFZ7WSL2kcwgyYiZv_AphxsS6Ve7W4wfgAEcabZSbkym_7liQUK279QRHbarI01gvlUc3NVnfWHy7dO1d-tsOGSLMAKJk_SX7X09fcwBxSqgDzpP0pQ6jyBo6s/s400/Bridge+I,+2007,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Bridge series «I» 2007, film portrait collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibKniCuBQw2prFq9v0ofp9uKPF5ujwYYHHJIoQUxkF9c3BXHTHEmU5FhyFGA5kGcb-kqCAKW2MIRC6IG_9Wrjcc-wxvIyJPexB-bFGIbvRVbYRj_lTvWV9FZcI4GQvgzi2ExbPWCI77oo/s1600-h/Horse+IV,+2006,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184307874875293202" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibKniCuBQw2prFq9v0ofp9uKPF5ujwYYHHJIoQUxkF9c3BXHTHEmU5FhyFGA5kGcb-kqCAKW2MIRC6IG_9Wrjcc-wxvIyJPexB-bFGIbvRVbYRj_lTvWV9FZcI4GQvgzi2ExbPWCI77oo/s400/Horse+IV,+2006,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Horse series «IV» 2006, collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSTFSrVMn2ORumLHAWY2GdhTcIFhStiSNpk_Aue0NR2U_rokomfFgktX9xXEuNWJwNVQtvje42t4hjSAS7zPuK0MGGvZmg4Ht9dbT1iQeRuNappcg6B0IIWnhOlxtDh0xMkgK3mDzb0Y/s1600-h/Cinema+2+II,+2005,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184307591407451650" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGSTFSrVMn2ORumLHAWY2GdhTcIFhStiSNpk_Aue0NR2U_rokomfFgktX9xXEuNWJwNVQtvje42t4hjSAS7zPuK0MGGvZmg4Ht9dbT1iQeRuNappcg6B0IIWnhOlxtDh0xMkgK3mDzb0Y/s400/Cinema+2+II,+2005,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Cinema 2 series «II» 2005, collage</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcfIvBkLPDQcarMmL6OMBFyO-XJ-fvixL97osmHIJ83QoSmHJnKUmochT55BoViBJkfgPjC_X8Zv3chtqXFqO0NvhVHMOJcOl29n1f6877q9M8oaHO9Tu0Xkl8Wj6PAgTzPn-yTUsgqlQ/s1600-h/Shadow+11,+2006,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184307368069152242" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcfIvBkLPDQcarMmL6OMBFyO-XJ-fvixL97osmHIJ83QoSmHJnKUmochT55BoViBJkfgPjC_X8Zv3chtqXFqO0NvhVHMOJcOl29n1f6877q9M8oaHO9Tu0Xkl8Wj6PAgTzPn-yTUsgqlQ/s400/Shadow+11,+2006,+collage.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Untitled «Shadow 11» 2006, film portrait collage<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF0a7IHYYRHsjqPAZVzM-H5LMiZ1vU59azATf2NUWRQ61lNs0OcRM-nKEc9rB8RIvXeAFvS3CgqDtMJ5S3vk0SyUZHCdZU9YQiCK_fge7NbyeZ1pLp1j-iUhPSxVGrcSmzWQv8jlWj_MY/s1600-h/Cinema+1+I,+2005,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184305383794261474" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF0a7IHYYRHsjqPAZVzM-H5LMiZ1vU59azATf2NUWRQ61lNs0OcRM-nKEc9rB8RIvXeAFvS3CgqDtMJ5S3vk0SyUZHCdZU9YQiCK_fge7NbyeZ1pLp1j-iUhPSxVGrcSmzWQv8jlWj_MY/s400/Cinema+1+I,+2005,+collage.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Cinema 1 series «I» 2005, film portrait collage<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_9s0mT7AKVL2JGx4_Xc2WRiNs3QxJlkKlZCJ9sYQxWOmza-zQXMCdcWEnzyqrTdyRb6PoZvgHzkkntn11WOzENq0n0hOCk90_sW4KB9MUiVSK-EhUmaigrWY3k9InTLm3BlGbkW_VNtM/s1600-h/Vanishing+Point+-+Vantage+Point,+Insert,+1979,+collage.jpg"><img id="BLOGGER_PHOTO_ID_5184305113211321810" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_9s0mT7AKVL2JGx4_Xc2WRiNs3QxJlkKlZCJ9sYQxWOmza-zQXMCdcWEnzyqrTdyRb6PoZvgHzkkntn11WOzENq0n0hOCk90_sW4KB9MUiVSK-EhUmaigrWY3k9InTLm3BlGbkW_VNtM/s400/Vanishing+Point+-+Vantage+Point,+Insert,+1979,+collage.jpg" border="0" /></a> «<span style="font-size:85%;color:#660000;">Vanishing Point, Vantage Point series (Insert)» 1979, film portrait collage<br /></span></div><div></div><br /><div></div><br /><br /><div align="justify"><span style="font-size:85%;color:#330000;"><strong>John Stezaker</strong> nasceu em Worcester no Reino Unido, no ano de 1949. É um artista que ganhou fama internacional pelos seus trabalhos de colagem em fotografia. Foi um dos artistas da arte conceptual britânica da primeira geração, a expor nos anos 60 e princípio dos anos 70. </span><span style="font-size:85%;color:#330000;">Durante a década de 70, foi pioneiro na arte da fotografia, expondo, através de mostras individuais ou colectivas, no Reino Unido e na Europa, tendo igualmente participado nas bienais de Veneza e de Paris. O seu envolvimento com a fotografia antiga e a técnica da colagem foi altamente influenciado, nos finais dos anos 70, principio dos anos 80, pelo movimento <em>“New Image Art”</em> nascido nos Estados-Unidos.<br />Na década de 90, este seu envolvimento com a linguagem imagética e o seu compromisso com a “fotografia antiga”, acabaram por servir de inspiração a uma nova geração de jovens artistas britânicos, os <a href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=320"><span style="color:#ff6666;"><strong><em>“YBAs”,</em></strong></span> </a>com os quais veio a expor, a partir de meados dos anos 90, em colectivas na Austrália, na América e na Europa: a “<em>Picture Britanica</em>” em Sydney na Austrália; a “<em>Life, Live</em>” em Paris, no Museu de Arte Moderna; na bienal de fotografia em Ljubljana na Eslovénia e na “<em>British Art Show</em>” em Hayward na Califórnia, no ano de 2000.<br /><span style="color:#ffffff;">*<br /></span>John Stezaker é um artista fascinado pelo poder das imagens, que questiona a autoridade das fotografias que encontra em livros, revistas, postais ilustrados e enciclopédias, intervindo directamente no espaço físico que ocupam. Stezaker divide para voltar a unir, inverte ou simplesmente ajusta uma imagem, através de um processo manual, cujo objectivo é o de reconstruir a imagem a partir da sua “desconstrução”, permitindo, assim, a sua participação activa no mundo actual.<br />Os seus trabalhos de colagem que fazem parte das várias séries já criadas, evocam a presença lúdica e fantástica que sugere o carácter sobrenatural das obras surrealistas. Através de processos de desconstrução e reconstituição, Stezaker oferece uma experiência fragmentada e participada de um mundo gerador de uma realidade estranha e desarticulada.<br /><span style="color:#ffffff;">*<br /></span>No trabalho em série “<strong>Marriage</strong>”, Stezaker concentra-se no conceito de “retratismo”, tanto do ponto de vista de género artístico histórico como no de identidade pública. Utilizando “<em>spots</em>” publicitários de estrelas de filmes clássicos, o artista separa e “cola” rostos famosos, criando ícones híbridos que dissocia da sua natureza familiar para criar sensações do domínio do sobrenatural. Ao juntar identidade masculina e feminina através da unificação de carácteres, o artista aponta para uma harmonia desarticulada em que a não reconciliação da diferença tanto complementa como desvaloriza o conjunto. Na interdependência das suas imagens, as personalidades (e como nós as idealizamos) tornam-se dispensáveis e vazias, convertendo-se em seres abjectos através das suas imperfeições levadas ao exagero e da luta pelo predomínio visual.<br />No trabalho em série “<strong>Masks</strong>”, Stezaker prossegue no seu interesse pela face escondida. Imagens de postais ilustrados encobrem e substituem a fisiognomonia do sujeito, deixando um vestígio de cabelo, pescoço e roupas. Em “<strong>Pairs</strong>”, o postal ilustrado serve de máscara à cabeça dos casais, para, a partir do ponto em que se encontram ou se tocam, seja produzido um efeito surreal pela imagem sobreposta. Paisagens de cavernas tomam o lugar de expressões faciais fazendo-as combinar com cenários narrativos imaginários. Em “<strong>Nest</strong>”, é a imagem de uma coruja que constitui o elemento de ocultação que joga com a qualidade estética e psicológica do ninho e em que simbolicamente é criada a ambiguidade de síntese entre as figuras e os elementos “colados”.<br /></span></div><br /><div align="center"><span style="font-size:85%;color:#330000;">* * *</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">John Stezaker collects postcards, movie portraits, stills and lobby cards with an archivist’s zeal. But the way in which they are re-functioned as art is not at all congruent with such an approach. One of the things that makes Stezaker’s practice so intriguing is the extent to which the works more or less follow Conceptual art orthodoxy up to when he makes his ‘cut’, bringing the two images together, after which all other decisions are intuited. The ‘idea’ of the works is straightforward and consistent, and Stezaker has constructed them in much the same way for more than 20 years: two different images are brought together, each destroyed in some important way in order to birth a new one. Yet the logic, or meaning, of the new images remains mysterious. </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>The cards are all placed squarely on the photographs, never at an angle, sometimes inverted and sometimes overlapping the edge of the photograph. They are normally positioned so that the face of the actor or actors is obscured. In one, Pair VIII (2007), a couple are embracing on a bed. The man, his face not obscured, moustachioed, and with a cigarette held limply in the corner of his mouth, stares longingly into the eyes of some forgotten starlet. The only part of her face visible is her chin and heavily glossed lips. The rest is obscured by a postcard of a painted image of a stream running through a dense wood. The man’s eyes are therefore diverted from the woman’s face and instead follow the line of the stream up through the trees. </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>In Mask XLVIII (2007), an actress poses, her hair and chin framing a photographic postcard image of a small waterfall. When seen together, the cascading water from the postcard resembles hair and the anonymous sitter’s hair looks like shimmering water. The effect might be called ‘uncanny’, but perhaps this is to rely too heavily on existing discourses historically called upon to critically engage with the collage technique.</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>Where these works depart from the biting satire found in Dadaist collage or in the Surrealists’ playful plumbing of the ‘unconscious’ is the point at which the strategies of Minimalist and Conceptual art are evoked. This puts one in mind of the theoretical dingdong about the relationship between the historical and the neo avant-gardes, under the terms of Peter Bürger’s famous distinction, reigniting (intentionally or not) the debate about the validity of an ‘aesthetic’ avant-garde. Serious critical work on Stezaker is sadly thin on the ground, but hopefully this will be prompted by recent commercial and curatorial interest. </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>Dan Kidner, </strong></span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>Frieze Magazine, December 2007, (excerpt)</strong></span><span style="color:#ffffff;"><br />*</span></div><br /><div align="left"><span style="font-size:85%;color:#330000;"><strong>Nota</strong>: Os trabalhos deste artista estão em exposição em Portugal na </span><a href="http://www.ellipsefoundation.com/site/pt/index.html"><span style="font-size:85%;color:#ff6666;"><strong>Ellipse Foundation Art Centre </strong></span></a><span style="font-size:85%;color:#330000;">em Cascais e em Miami nos Estados-Unidos, na </span><a href="http://www.rubellfamilycollection.com/mobile/m.RFC.exhibitions.html#JS"><span style="font-size:85%;color:#ff6666;"><strong>Contemporary Arts Foundation</strong></span></a><span style="font-size:85%;color:#330000;"> da Rubell Family.</span></div><br /><div align="left"></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0tag:blogger.com,1999:blog-2054748435853847162.post-32632918498908988342008-03-24T22:41:00.070+00:002008-03-25T18:52:15.809+00:00Katharina Grosse, Friburg / Alemanha - arte contemporânea - neo-conceptualismo<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2D_a-_M9DN3VLWEjvrGhjnRaEO6Ax2krK1SnBb7DrRDs34nhBQD08RPZUQOOYrrY-pa3HlXXeRzd6WlZmi1JSsTOvAdaWGAN2xEB60ck-B6KWKVzkpTMYPlqdnw4wcwHwoenJdqdqNXs/s1600-h/Untitled,+2007,+acrylic+on+table+tops+(Christopher+Grimes+Gallery).jpg"><img id="BLOGGER_PHOTO_ID_5181681145891503410" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2D_a-_M9DN3VLWEjvrGhjnRaEO6Ax2krK1SnBb7DrRDs34nhBQD08RPZUQOOYrrY-pa3HlXXeRzd6WlZmi1JSsTOvAdaWGAN2xEB60ck-B6KWKVzkpTMYPlqdnw4wcwHwoenJdqdqNXs/s400/Untitled,+2007,+acrylic+on+table+tops+(Christopher+Grimes+Gallery).jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">Untitled, 2007, acrylic paint on table tops<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7ikOwsLepdPSXQ4C1BM6LGOXDSypYZ2_A7P2yC1T2fTTKcDmeQo0t2Ojwun5tY7IY9bIfIo4co9ZKuhlslmb_c3iU_CyUIskhDWLz-_wy0YHZdHYq_orbzRxcIHjEKH_IernLvNDoQlk/s1600-h/Atoms+outside+Eggs,+2007,+acrylic+on+wall,+floor+and+styrofoam+on+polyurethane+on+wood.jpg"><img id="BLOGGER_PHOTO_ID_5181672341208546578" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7ikOwsLepdPSXQ4C1BM6LGOXDSypYZ2_A7P2yC1T2fTTKcDmeQo0t2Ojwun5tY7IY9bIfIo4co9ZKuhlslmb_c3iU_CyUIskhDWLz-_wy0YHZdHYq_orbzRxcIHjEKH_IernLvNDoQlk/s400/Atoms+outside+Eggs,+2007,+acrylic+on+wall,+floor+and+styrofoam+on+polyurethane+on+wood.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Atoms outside Eggs» 2007, installation view/instalação,</span><br /><span style="font-size:85%;color:#660000;">acrylic paint on wall, floor, styrofoam on polyurethane on wood</span><br /><span style="font-size:85%;color:#990000;"><em>(Museu de Arte Contemporânea de Serralves, Porto)<br /></em></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj37YgurrhiSkHyY43Ybja2XxJ-iba30yqE4w5OKYUFzYcHXNmdKxOf7ZrzzUGuCdFDbP4uuUjHLZyTwxXl7nHyAmZ3N4FcBeUpR-PuclRDABhoM8-jnJCS97BZniRjy6qAWQoovYmPEo0/s1600-h/img000955.jpg"><img id="BLOGGER_PHOTO_ID_5181672160819920130" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj37YgurrhiSkHyY43Ybja2XxJ-iba30yqE4w5OKYUFzYcHXNmdKxOf7ZrzzUGuCdFDbP4uuUjHLZyTwxXl7nHyAmZ3N4FcBeUpR-PuclRDABhoM8-jnJCS97BZniRjy6qAWQoovYmPEo0/s400/img000955.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Atoms outside Eggs» 2007 (detail)</span><br /><span style="font-size:85%;color:#660000;"><br /><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvz8KkHSxOkqPSxmP76qx9tUuX_Fz39aflSACnBpxq5RlI2b04Nc84Hgkr9wOtBtMZzalfxUmc7WVtOHGODaBx8TZ-2J2a1ilosmoc2SoT4y-pD9PB0icR3DneTFZkwlMYLEOvfsSQ9Ao/s1600-h/Atoms+outside+Eggs,+Untitled,+2007,+acrylic+on+wall,+floor,+canvas+and+soil.jpg"><img id="BLOGGER_PHOTO_ID_5181671911711816946" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvz8KkHSxOkqPSxmP76qx9tUuX_Fz39aflSACnBpxq5RlI2b04Nc84Hgkr9wOtBtMZzalfxUmc7WVtOHGODaBx8TZ-2J2a1ilosmoc2SoT4y-pD9PB0icR3DneTFZkwlMYLEOvfsSQ9Ao/s400/Atoms+outside+Eggs,+Untitled,+2007,+acrylic+on+wall,+floor,+canvas+and+soil.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Atoms outside Eggs» 2007 (detail)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqqwqbxnSDhEO3gQqqLhktr6i_iIb9rqqKQiH2TfFCtX5WUKtCBKxENp6gWskT721QxYAX3IgiGzeD_jeWGqKxdrTRhlMgRXJL9T1__y_zDmTq4SbQ6Vq70MXK0qC4bA7foDBu2KIY2qI/s1600-h/Atoms+outside+Eggs,+2007+(Museu+de+Arte+Contempor%C3%A2nea+de+Serralves,+Porto).jpg"><img id="BLOGGER_PHOTO_ID_5181671628243975394" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqqwqbxnSDhEO3gQqqLhktr6i_iIb9rqqKQiH2TfFCtX5WUKtCBKxENp6gWskT721QxYAX3IgiGzeD_jeWGqKxdrTRhlMgRXJL9T1__y_zDmTq4SbQ6Vq70MXK0qC4bA7foDBu2KIY2qI/s400/Atoms+outside+Eggs,+2007+(Museu+de+Arte+Contempor%C3%A2nea+de+Serralves,+Porto).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Atoms outside Eggs» 2007 (detail)<br /></span><div><div><div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqX75CFHt69t2SzLMaqFHspfswltwuzMGskeausyJ27PA8x7cRT0soDhvhjV3IamaYO-4azb6jnJ7t0FFXKWLQ48l-F5fjD1lsj6yKacetUpEorld1mf-lnTnICoVK6uP1A5ynsRlgAhk/s1600-h/Town+and+Country,+2006,+acrylic+on+soil,+floor,+steel+container+and+tin+shelves+(The+Factory+for+Art+and+Design,+Copenhagen).jpg"><img id="BLOGGER_PHOTO_ID_5181669467875425394" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqX75CFHt69t2SzLMaqFHspfswltwuzMGskeausyJ27PA8x7cRT0soDhvhjV3IamaYO-4azb6jnJ7t0FFXKWLQ48l-F5fjD1lsj6yKacetUpEorld1mf-lnTnICoVK6uP1A5ynsRlgAhk/s400/Town+and+Country,+2006,+acrylic+on+soil,+floor,+steel+container+and+tin+shelves+(The+Factory+for+Art+and+Design,+Copenhagen).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Town and Country» 2006, installation view/instalação,</span></div><div><span style="font-size:85%;color:#660000;">acrylic paint on soil, floor, steel container, tin shelves</span></div><div><span style="font-size:85%;color:#990000;"><em>(The Factory for Art and Design, Copenhagen) </em></span></div><div><span style="font-size:85%;"><em><span style="color:#ffffff;">*</span></div></em></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw_UNg1uMl24VYubWV5Ao_jd4mAHZ_viTj6uA2FvOz9WJD1nDkx-7ua-iLmleCwB5Krk3-35asp_wsqewHYTq34VdzgKZpAIaWwxpvzfM8cHS2xZNorvYiv0BjtRph6NQZJ41wuxxXzoA/s1600-h/Town+and+Country+(detail).jpg"><img id="BLOGGER_PHOTO_ID_5181669171522681954" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgw_UNg1uMl24VYubWV5Ao_jd4mAHZ_viTj6uA2FvOz9WJD1nDkx-7ua-iLmleCwB5Krk3-35asp_wsqewHYTq34VdzgKZpAIaWwxpvzfM8cHS2xZNorvYiv0BjtRph6NQZJ41wuxxXzoA/s400/Town+and+Country+(detail).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Town and Country» 2006 (detail)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFDS-ayKw2MPSHqFuewCYkC8qas3QTzeBQum7DodxO-Z2AeRVYNRNble9ywzUxOf52RnHYriBt-FV7dLZYfLr-e70zDHesC8aVsX4xP8rhRnEyzL50cdl2Cciq3uk5IgzP2j3cOrUswXk/s1600-h/Untitled,+2000,+acrylic+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5181668626061835346" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFDS-ayKw2MPSHqFuewCYkC8qas3QTzeBQum7DodxO-Z2AeRVYNRNble9ywzUxOf52RnHYriBt-FV7dLZYfLr-e70zDHesC8aVsX4xP8rhRnEyzL50cdl2Cciq3uk5IgzP2j3cOrUswXk/s400/Untitled,+2000,+acrylic+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Untitled, 2000, acrylic paint on canvas</span><br /><div><div><div><div><div><div><div><div><div><div><div><div><div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNvXqBYMDh58u4JC_bQujVMsH52DjkPVrvY6fQTDFvZq6eHVvbg71836_v6blLX_iFQ-MVm5XwQXumJu9CZvssglPW5x_ewXSWngeXRlUAXYLLOCb3bG7v3a5kp-pcWRLv4ngXtI6W86w/s1600-h/Untitled,+2006,+acrylic+on+wall+and+canvas+(Museum+Bochum).jpg"><img id="BLOGGER_PHOTO_ID_5181452460357827218" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNvXqBYMDh58u4JC_bQujVMsH52DjkPVrvY6fQTDFvZq6eHVvbg71836_v6blLX_iFQ-MVm5XwQXumJu9CZvssglPW5x_ewXSWngeXRlUAXYLLOCb3bG7v3a5kp-pcWRLv4ngXtI6W86w/s400/Untitled,+2006,+acrylic+on+wall+and+canvas+(Museum+Bochum).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Untitled» 2006, instalação/installation view,</span></div><div><span style="font-size:85%;color:#660000;">acrylic paint on wall and canvas</span></div><div><span style="font-size:85%;color:#990000;"><em>(Kunstmuseum Bochum, Germany) </em></span></div><div><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">*</span></div></em></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT51wM1j7uP67IkIzYKRsRQEwf79tFnc5cCLO8JnYm1k19NfVfd9nhNBNceOhsEodFwkb1_NyiquFUgUwSXiNbxMWA5VS0ZC-o8GPruTLULlBgrIuAknQAJMLKxGdG46_fAIVbV-Loit0/s1600-h/Museum+Bochum,+detail.jpg"><img id="BLOGGER_PHOTO_ID_5181452181184952962" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT51wM1j7uP67IkIzYKRsRQEwf79tFnc5cCLO8JnYm1k19NfVfd9nhNBNceOhsEodFwkb1_NyiquFUgUwSXiNbxMWA5VS0ZC-o8GPruTLULlBgrIuAknQAJMLKxGdG46_fAIVbV-Loit0/s400/Museum+Bochum,+detail.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Untitled» 2006 (detail)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8SF_mHTf8M2ZMo4MsC7j7BSC2v-9V6BLz7VJcP8mMOrBCsxtpcSoYZx4pdloKrRYX4wYK_7C8esyIzC1oOQUdW6rV01NjapHaYAHUv3C3Bhu776D4CDbWadL7f4t3BWO860iiPW4CKGE/s1600-h/Untitled,+2007,+acrylic+on+table+tops+2+(Christopher+Grimes+Gallery).jpg"><img id="BLOGGER_PHOTO_ID_5181451979321490034" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8SF_mHTf8M2ZMo4MsC7j7BSC2v-9V6BLz7VJcP8mMOrBCsxtpcSoYZx4pdloKrRYX4wYK_7C8esyIzC1oOQUdW6rV01NjapHaYAHUv3C3Bhu776D4CDbWadL7f4t3BWO860iiPW4CKGE/s400/Untitled,+2007,+acrylic+on+table+tops+2+(Christopher+Grimes+Gallery).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Untitled, 2007, acrylic paint on table tops<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcG6rFv5ruh35UoN3XExgMbNTz2AIKQ8QWYjFShUcMKK1IawoUrU62utSHZKuVe9SGDX6vP-bpghfLaPi11_9Rfe9r1NMOWzXtpp-k7R52Ywcpe6OfbrU2NVQRppICPMWV0Z-A-HsU2xc/s1600-h/Holey+Residue,+2006+de+appel+amsterdam.jpg"><img id="BLOGGER_PHOTO_ID_5181451687263713890" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcG6rFv5ruh35UoN3XExgMbNTz2AIKQ8QWYjFShUcMKK1IawoUrU62utSHZKuVe9SGDX6vP-bpghfLaPi11_9Rfe9r1NMOWzXtpp-k7R52Ywcpe6OfbrU2NVQRppICPMWV0Z-A-HsU2xc/s400/Holey+Residue,+2006+de+appel+amsterdam.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Holey Residue» 2006, installation view/instalação</span></div><div><span style="font-size:85%;color:#660000;">acrylic paint on wall, floor and soil<br /><em><span style="color:#990000;">(De Apppel Centre for Contemporary Art, Amsterdam)<br /></span></em></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz3B00d4yZPwzVs2XGFWsxaHXbYv4Ze-bxMHyxoOudf5S3fksY3u4UYCcRosKTAgi7N8aQF7cSoRP2gRH0e36PSMbpx3pcIwj_qUiHini4cOoS-bVVhmYwKqqMNA1m_7VQHxw6s6R2GmA/s1600-h/Holey+Residue,+2006+(De+Appel+Centre+for+Contemporary+Art,+Amsterdam).jpg"><img id="BLOGGER_PHOTO_ID_5181451459630447186" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz3B00d4yZPwzVs2XGFWsxaHXbYv4Ze-bxMHyxoOudf5S3fksY3u4UYCcRosKTAgi7N8aQF7cSoRP2gRH0e36PSMbpx3pcIwj_qUiHini4cOoS-bVVhmYwKqqMNA1m_7VQHxw6s6R2GmA/s400/Holey+Residue,+2006+(De+Appel+Centre+for+Contemporary+Art,+Amsterdam).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Holey Residue» 2006 (detail)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTGCd1bLgUsKuzrX8tcNn-YdxQc0yoN54tqOtst6aPWc7V40dbKqtImYvXJj6GVVPcntqUmrMZXNtPJV3_L0Wc6Z70jBd6o21FrGeCsvWy54AjZEfrI4pw5XDIQhnQXTQP4V9YumdT1BA/s1600-h/Holey+Residue,+2006,+(De+Appel+Centre+for+Contemporary+Art,+Amsterdam).jpg"><img id="BLOGGER_PHOTO_ID_5181451197637442114" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTGCd1bLgUsKuzrX8tcNn-YdxQc0yoN54tqOtst6aPWc7V40dbKqtImYvXJj6GVVPcntqUmrMZXNtPJV3_L0Wc6Z70jBd6o21FrGeCsvWy54AjZEfrI4pw5XDIQhnQXTQP4V9YumdT1BA/s400/Holey+Residue,+2006,+(De+Appel+Centre+for+Contemporary+Art,+Amsterdam).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Holey Residue» 2006 (detail)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpwxJw8ZbBzGtaJdScHe-6ep6zhFP529mZ1DOGWdq8ghlDZgvzXZfoEPPFWeYnYUbG2BXnt-LRQ5kQLwHNAOMZ0E6OjjaFPPXIll8d5-UEGGFwkpTDFfkmPRieVoi2q6gOW2rJvSw62IQ/s1600-h/Untitled,+2002,+acrylic+on+canvas+(Galerie+Conrads,+D%C3%BCsseldorf).jpg"><img id="BLOGGER_PHOTO_ID_5181450978594110002" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhpwxJw8ZbBzGtaJdScHe-6ep6zhFP529mZ1DOGWdq8ghlDZgvzXZfoEPPFWeYnYUbG2BXnt-LRQ5kQLwHNAOMZ0E6OjjaFPPXIll8d5-UEGGFwkpTDFfkmPRieVoi2q6gOW2rJvSw62IQ/s400/Untitled,+2002,+acrylic+on+canvas+(Galerie+Conrads,+D%C3%BCsseldorf).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Untitled, 2002, acrylic paint on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTMWC0JQJNhGb5r6s3OdmHI9WGAYJV9i5OlTN58mfS00EDqiynuoxiwJH3akr-2KFM5puHXYqkHTMfjYqDyyLA2yOPbMty_vvMQ2yztY2wzKgqfUZMo9qBQjtvWQRkncOrpckJ_DFWnv4/s1600-h/German+Wall+Pieces+-+Seven+Scenarios+of+New+German+Paintings,+2006+Museum+of+Modern+and+Contemporary+Art,+Bolzano,+Italy).jpg"><img id="BLOGGER_PHOTO_ID_5181450630701759010" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTMWC0JQJNhGb5r6s3OdmHI9WGAYJV9i5OlTN58mfS00EDqiynuoxiwJH3akr-2KFM5puHXYqkHTMfjYqDyyLA2yOPbMty_vvMQ2yztY2wzKgqfUZMo9qBQjtvWQRkncOrpckJ_DFWnv4/s400/German+Wall+Pieces+-+Seven+Scenarios+of+New+German+Paintings,+2006+Museum+of+Modern+and+Contemporary+Art,+Bolzano,+Italy).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Seven Scenarios of New German Paintings» 2006, </span></div><div><span style="font-size:85%;color:#660000;">installation view/instalação, acrylic paint on wall and floor, rocks<br /><em><span style="color:#990000;">(Museum of Modern and Contemporary Art, Bolzano, Italy)<br /></span></em></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZVkHdjfDzo-FFnvGI67wUM8l4kkrl1jOnpyU1H-YvhYHQk7IZUMu98YamTLtO9KsmfIf0GQttDjxjWZp1XnBd7A8yBTYzzKsfUCHv8dZ5zWKdZLM-t1x4E7W3I8uzPAVyUsBhKEAdBNU/s1600-h/Untitled,+1995,+oil+on+canvas+(paintings).jpg"><img id="BLOGGER_PHOTO_ID_5181450360118819346" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZVkHdjfDzo-FFnvGI67wUM8l4kkrl1jOnpyU1H-YvhYHQk7IZUMu98YamTLtO9KsmfIf0GQttDjxjWZp1XnBd7A8yBTYzzKsfUCHv8dZ5zWKdZLM-t1x4E7W3I8uzPAVyUsBhKEAdBNU/s400/Untitled,+1995,+oil+on+canvas+(paintings).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Untitled, 1995, oil on canvas</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoPii84Rc3Pq1zI5pmVweR_4_yr_9uMj0crn3eiZB2O942WitMoFkWrqgV0HFW6dj3LH526PM6amj9PRmdiRmQxvtE_wU6YjTO6rj2JHlxY8KdIHpqqnt5P4BY1ARVsQ3aCVZMzPvYe8s/s1600-h/Bee+Troot,+2005,+acrylic+on+wall,+floor,+futon,+books,+clothes+and+canvas+(Christopher+Grimes+Gallery,+Los+Angeles).jpg"><img id="BLOGGER_PHOTO_ID_5181449969276795394" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoPii84Rc3Pq1zI5pmVweR_4_yr_9uMj0crn3eiZB2O942WitMoFkWrqgV0HFW6dj3LH526PM6amj9PRmdiRmQxvtE_wU6YjTO6rj2JHlxY8KdIHpqqnt5P4BY1ARVsQ3aCVZMzPvYe8s/s400/Bee+Troot,+2005,+acrylic+on+wall,+floor,+futon,+books,+clothes+and+canvas+(Christopher+Grimes+Gallery,+Los+Angeles).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Bee Troot» 2005, installation view/instalação</span></div><div><span style="font-size:85%;color:#660000;">acrylic on wall, floor, futon, books, clothes and canvas<br /><em><span style="color:#990000;">(Christopher Grimes Gallery, Santa Monica, California)<br /></span></em></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNDf89AlQSabSQkRZHTSgULRtqk40V244cdNwymN0PxUKJdvgynpYrpZCGvAfhlzraynuBSqSpq8u5tBoZly_FgxvIrnvUHcfv0b7tpPinfQwFCrJbNYT4vOKZWoOy3xCERkVHuYGp_gA/s1600-h/Bee+Troot+(detail).jpg"><img id="BLOGGER_PHOTO_ID_5181449776003267058" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNDf89AlQSabSQkRZHTSgULRtqk40V244cdNwymN0PxUKJdvgynpYrpZCGvAfhlzraynuBSqSpq8u5tBoZly_FgxvIrnvUHcfv0b7tpPinfQwFCrJbNYT4vOKZWoOy3xCERkVHuYGp_gA/s400/Bee+Troot+(detail).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Bee Troot» 2005 (detail)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj08O-bSbhdHmT69aRWfg80bBkrlQlJp-RGr__fO2mVq4cGPgO7yzkfL-xgly_86m3UsRrRgEropU6UsvR35Hgza_NQ_PqDdAcDsYb738xjSYhtww9U39i9UftZoT54vXoc6ZNLqEW2ccI/s1600-h/Untitled,+2005,+acrylic+on+canvas+2.jpg"><img id="BLOGGER_PHOTO_ID_5181449565549869538" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj08O-bSbhdHmT69aRWfg80bBkrlQlJp-RGr__fO2mVq4cGPgO7yzkfL-xgly_86m3UsRrRgEropU6UsvR35Hgza_NQ_PqDdAcDsYb738xjSYhtww9U39i9UftZoT54vXoc6ZNLqEW2ccI/s400/Untitled,+2005,+acrylic+on+canvas+2.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Untitled, 2005, acrylic paint on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8C_d16jOxRXS0qs_XIP0KE6suQ6aBr1Y33u_npnmMKnLppG2VDC0h42BTV0o7qLIbW2LUCxZlA9A4QK7wDCMSek-wNkanSDOraNQ-YhXr7UO-rLjB4UnMpIhK3J7gz30rNoquTPKGEoM/s1600-h/Process,+Untitled,+2003,+acrylic+on+wall+(Kiasma+-+Museum+of+Contemporary+Art,+Helsinki).jpg"><img id="BLOGGER_PHOTO_ID_5181449221952485842" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8C_d16jOxRXS0qs_XIP0KE6suQ6aBr1Y33u_npnmMKnLppG2VDC0h42BTV0o7qLIbW2LUCxZlA9A4QK7wDCMSek-wNkanSDOraNQ-YhXr7UO-rLjB4UnMpIhK3J7gz30rNoquTPKGEoM/s400/Process,+Untitled,+2003,+acrylic+on+wall+(Kiasma+-+Museum+of+Contemporary+Art,+Helsinki).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Process» 2003, installation view/instalação,<br />acrylic paint on wall<br /><em><span style="color:#990000;">(Kiasma - Museum of Contemporary Art, Helsinki, Finland)<br /></span></em></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4mkA6N4cXnv3NxXiaIsBv0YqqbXf0x8P1QXGuw94doAJt-8U3sa5Qe4YeeIi4MrQr9CL1nef2zvgE_pmhMgqUM87Goobm98sIJQ-eWbifxOSNvb6v8Irn_ZNjTpmTfSrwTRUAVgeo6k8/s1600-h/Process+(detail).jpg"><img id="BLOGGER_PHOTO_ID_5181449058743728578" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4mkA6N4cXnv3NxXiaIsBv0YqqbXf0x8P1QXGuw94doAJt-8U3sa5Qe4YeeIi4MrQr9CL1nef2zvgE_pmhMgqUM87Goobm98sIJQ-eWbifxOSNvb6v8Irn_ZNjTpmTfSrwTRUAVgeo6k8/s400/Process+(detail).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Process» 2003 (detail)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1yr_vtHDpmTA8okhtSGSrMDh9d00RYPx_uq4v-Dr6yxWWQw9xNSo_sw5QVu6sT70F0xY7ly-Baj8CKmMfTR3adDzJfXQ5VAVTsAf1Mo3PeRnka4d2y9AnCdGzwbchMlzlEp0EZ7VWZZc/s1600-h/Untitled,+2005,+acrylic+on+canvas+3.jpg"><img id="BLOGGER_PHOTO_ID_5181448706556410290" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1yr_vtHDpmTA8okhtSGSrMDh9d00RYPx_uq4v-Dr6yxWWQw9xNSo_sw5QVu6sT70F0xY7ly-Baj8CKmMfTR3adDzJfXQ5VAVTsAf1Mo3PeRnka4d2y9AnCdGzwbchMlzlEp0EZ7VWZZc/s400/Untitled,+2005,+acrylic+on+canvas+3.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Untitled, 2005, acrylic paint on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwx0oDZKMuzjRxxzrJDOPjXOSMheAGKx-a3jbutbQhhBSh7GJJ13Lf8gDsVCgW92-z_5tSpBS8oJgkj5135JuvsLYnqe-TQd0HwrnUHxU5vv916EL_6r3lSQxlyyk_Dedlxh_jCU-S8aw/s1600-h/Cincy,+2006+(The+Contemporary+Art+Centre,+Cincinnatti)+2006.jpg"><img id="BLOGGER_PHOTO_ID_5181448431678503330" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwx0oDZKMuzjRxxzrJDOPjXOSMheAGKx-a3jbutbQhhBSh7GJJ13Lf8gDsVCgW92-z_5tSpBS8oJgkj5135JuvsLYnqe-TQd0HwrnUHxU5vv916EL_6r3lSQxlyyk_Dedlxh_jCU-S8aw/s400/Cincy,+2006+(The+Contemporary+Art+Centre,+Cincinnatti)+2006.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Cincy» 2006, installation view/instalação,</span></div><div><span style="font-size:85%;color:#660000;">acrylic paint on wall, floor, glass, styrofoam and soil</span></div><div><span style="font-size:85%;color:#990000;"><em>(The Contemporary Art Centre, Cincinatti, Ohio) </em></span></div><div><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">*</span></div></em></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKNh4vqojebIxciQcY2EjadiVqeFi_1XS_ONBrFQVsaKqFy78KGOonBhFMdMSsu7S7T51ojENKZxdGKsQIQt-eFcSsIOyIuFyPL3yRcTRdJQDDiG73xIZHFU2PHDomiz5jP46XE6dMtQc/s1600-h/Cincy,+2006,+acrylic+on+wall,+floor,+glas,+styrofoam+and+soil+(detail).jpg"><img id="BLOGGER_PHOTO_ID_5181448131030792594" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKNh4vqojebIxciQcY2EjadiVqeFi_1XS_ONBrFQVsaKqFy78KGOonBhFMdMSsu7S7T51ojENKZxdGKsQIQt-eFcSsIOyIuFyPL3yRcTRdJQDDiG73xIZHFU2PHDomiz5jP46XE6dMtQc/s400/Cincy,+2006,+acrylic+on+wall,+floor,+glas,+styrofoam+and+soil+(detail).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Cincy» 2006 (detail)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5fkw9EKa25MaWHfH9W4yUHCDNnOUIecu_IYRxm5xM5bayty3eRd2FyG7Ff2Y7ESRj_bTxSB-USWDedJDBS1H_l7IWZGXkmmdnOT9KeArPMpkJlqW7Ary60xLDw7z2WXWSPQabHZywrq8/s1600-h/Untitled,+1999,+acrylic+on+canvas+(paintings).jpg"><img id="BLOGGER_PHOTO_ID_5181447727303866754" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5fkw9EKa25MaWHfH9W4yUHCDNnOUIecu_IYRxm5xM5bayty3eRd2FyG7Ff2Y7ESRj_bTxSB-USWDedJDBS1H_l7IWZGXkmmdnOT9KeArPMpkJlqW7Ary60xLDw7z2WXWSPQabHZywrq8/s400/Untitled,+1999,+acrylic+on+canvas+(paintings).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Untitled, 1999, acrylic paint on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3EioUTaaNNHrgENQLZoM01V5G_2_-3sXPa2rIaqxie-PhqvhK-XqO2OiwbBcYnRgIvuaFvHJgVNh78HSE1YrOEjOXO5QoQJ41-jraeoeSh4fe4ddJqvLxZqMvG_HzMp-voMiA0xZG8RQ/s1600-h/Exodus,+2001,+acrylic+on+wall+(Haifa+Museum+of+Art).jpg"><img id="BLOGGER_PHOTO_ID_5181447456720927090" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3EioUTaaNNHrgENQLZoM01V5G_2_-3sXPa2rIaqxie-PhqvhK-XqO2OiwbBcYnRgIvuaFvHJgVNh78HSE1YrOEjOXO5QoQJ41-jraeoeSh4fe4ddJqvLxZqMvG_HzMp-voMiA0xZG8RQ/s400/Exodus,+2001,+acrylic+on+wall+(Haifa+Museum+of+Art).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Exodus» 2001, installation view/instalação</span></div><div><span style="font-size:85%;color:#660000;">acrylic paint on wall<br /><em><span style="color:#990000;">(Haifa Museum of Art, Israel)<br /></span></em></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglww-dOX4bdmXUG1-FHWa_VMN1RFLCbNuXXDFY1mqCrMLGLuL17IvmIiu7aTLnvD0FKDXbVlhXpY-O3YpQ5M1rb0J83MaVR03dp24gpTzFB2nE7X5p2oAtBVTsbGfezYye4yR3EBlWzfU/s1600-h/Exodus+(detail).jpg"><img id="BLOGGER_PHOTO_ID_5181447207612823906" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglww-dOX4bdmXUG1-FHWa_VMN1RFLCbNuXXDFY1mqCrMLGLuL17IvmIiu7aTLnvD0FKDXbVlhXpY-O3YpQ5M1rb0J83MaVR03dp24gpTzFB2nE7X5p2oAtBVTsbGfezYye4yR3EBlWzfU/s400/Exodus+(detail).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Exodus» 2001 (detail)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDGP6u65ynOLObiL675QwTR9xI1vV2WejMpIMBqeeOOCLjl-24nO7A8uTxGIP1bqL-TJ_8sRHSpPSCZ-LIES2vUDIyU5CekdLvTbpIR_El0eAKj4uDOiSoSxzjdoe4dJjTW4zPvT_sk04/s1600-h/There's+no+land+but+the+land+(up+there+is+just+a+sea+of+possibilities)+2003+acrylic+on+wall+and+bookshelf,+Meyer+Rieger+Galerie.jpg"><img id="BLOGGER_PHOTO_ID_5181446937029884242" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDGP6u65ynOLObiL675QwTR9xI1vV2WejMpIMBqeeOOCLjl-24nO7A8uTxGIP1bqL-TJ_8sRHSpPSCZ-LIES2vUDIyU5CekdLvTbpIR_El0eAKj4uDOiSoSxzjdoe4dJjTW4zPvT_sk04/s400/There's+no+land+but+the+land+(up+there+is+just+a+sea+of+possibilities)+2003+acrylic+on+wall+and+bookshelf,+Meyer+Rieger+Galerie.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «There is no Land but the Land (up there is just a sea of possibilites)»</span></div><div><span style="font-size:85%;color:#660000;">installation view/instalação, 2003, acrylic on wall and bookshelf<br /><em><span style="color:#990000;">(Meyer Riegger, Karlsruhe, Germany)<br /></span></em></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipseUPq6tX_cmqc-uCIosKcrxUQ_KkUSYrV8QTb_JMn6oNJulqpUj28L8JYejWkWpVcOooHi4BOXfd7EOzFIRQECd6RUfloPZB55P4HlUi70n_HjGla4-B8HpjLPAIJds10mPlPJVRgLY/s1600-h/Untitled,+2004,+acrylicon+wall+and+various+objects+(D%C3%BCsseldorf).jpg"><img id="BLOGGER_PHOTO_ID_5181443952027613506" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipseUPq6tX_cmqc-uCIosKcrxUQ_KkUSYrV8QTb_JMn6oNJulqpUj28L8JYejWkWpVcOooHi4BOXfd7EOzFIRQECd6RUfloPZB55P4HlUi70n_HjGla4-B8HpjLPAIJds10mPlPJVRgLY/s400/Untitled,+2004,+acrylicon+wall+and+various+objects+(D%C3%BCsseldorf).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Untitled» 2004, installation view/instalação</span></div><div><span style="font-size:85%;color:#660000;">mixed media and acrylic paint on wall<br /><span style="color:#990000;"><em>(Kunsthalle, Düsseldorf, Germany)<br /></em></span></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwXie1unbZ0xZVfds-2Y4ZIrbKYD5xrl4LZLc6lTR6Qv0m708_yVdR1kigGXXxSvm-msIBO0ZZvm3yr_0_HG60Ogm8HZVxSzbZ4kYtoIv1N3iCsM47B-jMSf8TcbnZv0qiOicntssn23E/s1600-h/Grazie,+Untitled,+2003,+acrylic+on+wall+(Schloss+Dyck,+J%C3%BCchen).jpg"><img id="BLOGGER_PHOTO_ID_5181443638495000882" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwXie1unbZ0xZVfds-2Y4ZIrbKYD5xrl4LZLc6lTR6Qv0m708_yVdR1kigGXXxSvm-msIBO0ZZvm3yr_0_HG60Ogm8HZVxSzbZ4kYtoIv1N3iCsM47B-jMSf8TcbnZv0qiOicntssn23E/s400/Grazie,+Untitled,+2003,+acrylic+on+wall+(Schloss+Dyck,+J%C3%BCchen).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Untitled» 2003, installation view/instalação,</span></div><div><span style="font-size:85%;color:#660000;">acrylic paint on wall</span></div><div><span style="font-size:85%;color:#990000;"><em>(Schloss Dyck, Jüchen, Germany) </em></span></div><div><span style="font-size:85%;"><em><span style="color:#ffffff;">*</span></div></em></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvxBIt2Bnc9RKR4_fuPCa-AAXaDkQ3ryra_c-GpwEAUSQfbFgk5rR6Q8NFpoqGMWrzk5XmpERTBTkBrjPrv8oO8EnJJKlJ6OzRnTbbeoIcQasInMGYpTX2Wa1GbXa2phkQCg-pqVT9rlY/s1600-h/Untitled,+2003,+acrylic+on+canvas+(paintings).jpg"><img id="BLOGGER_PHOTO_ID_5181442607702849810" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvxBIt2Bnc9RKR4_fuPCa-AAXaDkQ3ryra_c-GpwEAUSQfbFgk5rR6Q8NFpoqGMWrzk5XmpERTBTkBrjPrv8oO8EnJJKlJ6OzRnTbbeoIcQasInMGYpTX2Wa1GbXa2phkQCg-pqVT9rlY/s400/Untitled,+2003,+acrylic+on+canvas+(paintings).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Untitled, 2003, acrylic paint on canvas </span></div><div><span style="font-size:85%;color:#ffffff;">*<br />*</span></div><div><span style="font-size:85%;color:#ffffff;">*</span></div><div></div><div></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>Katharina Grosse</strong> nasceu em 1961 na cidade de Friburgo, Alemanha, vive e trabalha em Dusseldorf e Berlim e é professora na Kunsthochschule Berlin-Weissensee desde 2000. Entre 1996 e a actualidade apresentou exposições individuais um pouco por todo o mundo - Alemanha, Áustria, Reino Unido, Suiça, Estados Unidos, Nova Zelândia, Austrália e Coreia do Sul, entre outros países. </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>Famosa pela forma singular de desafiar a arquitectura dos espaços expositivos através do uso de spray de cores, Katharina Grosse produziu dois novos e ambiciosos trabalhos especificamente pensados para os espaços do Museu de Serralves. Um dos trabalhos ocupa a sala central dos espaços expositivos do Museu, onde Grosse se interessou especialmente pelos diferentes níveis do espaço e pela janela alta na parede ao fundo dessa mesma sala. Ali foram colocados volumosos objectos produzidos para esta exposição – esferas e ovos com cerca de 70 cm de diâmetro. A artista pintou o chão, as paredes, as esferas e os ovos usando um compressor e uma pistola de tinta – para o efeito, a artista veste um fato protector que cobre todo o seu corpo. No corredor do lado direito do espaço expositivo do Museu, com cerca de 40 metros, a artista distribuiu pilhas de terra e pintou o chão, a terra e as paredes. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#990000;"><strong>Extraído do <em>press release</em> da exposição «Atoms outside Eggs» </strong></span></div><div align="justify"><span style="font-size:85%;color:#990000;"><strong>do <a href="http://www.serralves.pt/actividades/detalhes.php?id=975"><span style="color:#ff6666;">Museu de Serralves</span> </a>no Porto.</strong></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">«Foi em 1998 que Grosse utilizou primeiro as tintas em spray, depois de ter desenvolvido um conjunto de pinturas em diferentes suportes que eram simultaneamente estruturais, coloridas e sensuais. Desde aí, a sua obra tem vindo a desenvolver-se, a tornar-se cada vez mais extraordinária, e a atingir resultados espectaculares: a nebulosidade da tinta em spray, em todas as cores e combinações possíveis, a cobrir suportes arquitectónicos, a interagir com diferentes formas e massas tridimensionais introduzidas num dado espaço pela própria pintora.<br />Ao mesmo tempo que se traduz numa obra divertida e estimulante, esta exposição pretende também levar o público a focar algumas questões essenciais da natureza formal da pintura e problemas que estão no centro da realidade contemporânea, como a contaminação, quando Grosse espalha as suas cores em spray sobre pilhas de terra.<br />Como pintora, Katharina Grosse coloca a seguinte questão: que tipo de realidade é a pintura? Esta pergunta é colocada através de outras perguntas: qual é o lugar da pintura; quais as relações entre a tinta, a cor e o seu suporte; quais as diferenças entre pintar e imagem? A linguagem que utiliza para colocar todas estas perguntas é, no entanto, totalmente fora do comum e aproxima-se do espectacular: pinta usando pistola de tinta ou spray, usa cores violentas e movimentos de grande alcance que atravessam todas as componentes de um dado cenário arquitectónico incluindo a mobília, as roupas, o solo, os objectos geométricos, etc.»</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>Ulrich Loock, Comissário da Exposição </strong></span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>e Director-adjunto do Museu de Serralves</strong></span></div><div align="justify"><span style="color:#ffffff;">*</span></div><div align="center"><span style="font-size:85%;color:#330000;">* * *</span></div><div align="justify"><span style="color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Since the 1990s, Katharina Grosse has built up a repertoire consisting of large painted canvasses and bright acrylic colours sprayed onto both interior and exterior walls, ceilings and floors. It is a way of working related to Colour Field Painting and Abstract Expressionism, between Impressionism and graffiti, performance, process and installation art. She investigates the limits of painting by using different concepts belonging to contemporary and traditional artistic expression, in which making and presenting paintings continues to occupy an important place.</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">The spray gun and the spray can are the tools that Grosse employs. Canvasses, strips of paper, walls and ceilings, as well as organic materials and objects are her supports. Re-use is central to Grosse’s work, so that the development of her ideas becomes visible and transparent. This accessibility ensures that the viewer becomes part of the painting process, as he has to immediately look for points of contact and to reconstruct the different parts from which Grosse’s narrative installations are constructed. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Dressed from head to foot in protective white overalls and wearing a mask, gloves and earplugs, Grosse looks like a scientist making tests in a laboratory or a member of a team clearing up after a toxic disaster when you see her at work. It has little in common with the traditional way of painting but everything that is characteristic of painting - light, colour, composition, texture and painterly treatment - also underlies her art practice. These impressive works bring painting back to its essence: the applying of pure colour onto a surface. By repainting, removing and relocating parts, the dynamism of the working process is revealed. The complex works possess a large degree of drama Sometimes they are light and airy, but more often they are dark and destructive. There is always more to discover: Grosse’s unorthodox work deserves to be viewed meticulously. The detail demands just as much attention as the whole that obtains a three-dimensional dimension. Her paintings run effortlessly from wall to ceiling or floor, bending round corners of adjacent surfaces. You are literally standing in the middle of a painting. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Katharina Grosse has created an overwhelming installation in De Appel, composed of enormous canvasses, tondos, sand, clay and sheets of styrofoam onto which virtually the entire colour spectrum has been sprayed in light and dark tones. Here and there condensing into areas with drips running down along the walls or elsewhere dissolving gradually into a trace. Circular white holes suggest the absence of paintings, leaving a negative print in the space. She sprays all over and everywhere, ignoring the surface. Everything disappears in the violence of the sprayed patterns reminiscent of a filmic landscape where the spectator is allotted the role of a white-suited laboratory assistant.</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">* </span></div><div align="justify"><span style="font-size:85%;"><span style="color:#330000;"><strong>Holey Residue</strong> is an extensive project that has been specially generated for De Appel and follows a series of projects in such buildings as UCLA, Los Angeles; The White Cube, London; Magasin 3, Stockholm and Palais de Tokyo, Paris, and public spaces like Toronto Airport, Canada. </span></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#990000;"><strong>De Appel Arts Centre, Amsterdam,</strong> <em><strong>press release</strong></em></span></div><div align="justify"><strong><em><span style="font-size:85%;color:#ffffff;">*</span></em></strong></div><div align="justify"><strong><em><span style="font-size:85%;color:#ffffff;">*</span></em></strong></div><div align="justify"><span style="color:#990000;"></span></div><div align="justify"></div><div align="justify"><a href="http://www.katharinagrosse.com/"><span style="font-size:85%;color:#ff6666;"><strong><em>Katharina Grosse's website</em></strong></span></a></div><div align="justify"> </div><div align="justify"> </div><div align="justify"></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0tag:blogger.com,1999:blog-2054748435853847162.post-87719330102763673182008-03-16T22:57:00.037+00:002008-05-02T22:50:35.157+01:00Adriana Varejão, Rio de Janeiro / Brasil - arte contemporânea - neo-conceptualismo<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvoF50UZhx1eU2pzJ9e3rXgqXXw5OFlaDTxtl0iG_ULaUQLG-0jhLOz8ikPhowdsKybnEgNsQ6Rowcu29tXpjsWjVpkdfRa6mmlVUAHBUolKXINNdJMyHq2UwCXqChwZOU3X1fIhDBLes/s1600-h/Figura+de+Convite+I,+1997,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5179116400949896290" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvoF50UZhx1eU2pzJ9e3rXgqXXw5OFlaDTxtl0iG_ULaUQLG-0jhLOz8ikPhowdsKybnEgNsQ6Rowcu29tXpjsWjVpkdfRa6mmlVUAHBUolKXINNdJMyHq2UwCXqChwZOU3X1fIhDBLes/s400/Figura+de+Convite+I,+1997,+oil+on+canvas.jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">«Figura de Convite I» 1997, óleo sobre tela</span></div><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsw2TKNiDoI1MQwVtlX9279o0IQQuKAs7Prh1U9j22w0VQCsM9t5in6f4rGGN37aDzJygPcBkzdhcKPnRdDBv4Ho80MVuqH02vmjBJNGO05QAHTXs6fSeo0k3Jk_v_C83VtTvGqSmPsGY/s1600-h/Figura+de+Convite+II,+1998+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5179116160431727698" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsw2TKNiDoI1MQwVtlX9279o0IQQuKAs7Prh1U9j22w0VQCsM9t5in6f4rGGN37aDzJygPcBkzdhcKPnRdDBv4Ho80MVuqH02vmjBJNGO05QAHTXs6fSeo0k3Jk_v_C83VtTvGqSmPsGY/s400/Figura+de+Convite+II,+1998+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Figura de Convite II» 1998, óleo sobre tela<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-Z9T4-PvvhpGrNcRKv-ea8KvyF09OWGyIlY3gJ9Ij2pMJ2ynXqa2O2eFNO4HC4b22L2d8rcCepGijFyiTm-lRabS4EJJ2psmaw4gin0_7ysOIsppzFBLPw15X-ZTxXZVAqBVLHAWQlg/s1600-h/AV,+Tilework+with+Horizontal+Incision,+1999,+wood,+aluminium,+polierethane+and+oil+paint.jpg"><img id="BLOGGER_PHOTO_ID_5179115851194082370" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR-Z9T4-PvvhpGrNcRKv-ea8KvyF09OWGyIlY3gJ9Ij2pMJ2ynXqa2O2eFNO4HC4b22L2d8rcCepGijFyiTm-lRabS4EJJ2psmaw4gin0_7ysOIsppzFBLPw15X-ZTxXZVAqBVLHAWQlg/s400/AV,+Tilework+with+Horizontal+Incision,+1999,+wood,+aluminium,+polierethane+and+oil+paint.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Azulejaria em Carne Viva series </span><br /><span style="font-size:85%;color:#660000;">«Azulejaria com Incisão Horizontal» 1999</span><br /><span style="font-size:85%;color:#660000;">(madeira, alumínio, poliuretano e tinta de óleo)</span><br /><span style="font-size:85%;color:#990000;"><strong>- em exposição no Museu Berardo Lisboa -<br /></strong></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6PZkeJ2C1PcvOQMvWfdWSWSJB5sG6-iiyh-fvU9yrg3JZoiIlfqDzHu5m1NOUYQ39FkeMKLPzDY7oAETnbw40gDisr907_sDs7TN2jops2xKCzk56UBXjowYSBh7G01wQN1F8TJhq9KE/s1600-h/AV,+Ruina+de+Charque+-+Quina+(Corner+Jerked-Beef+Ruin)+2003,+oil+on+wood+and+polyurethane.jpg"><img id="BLOGGER_PHOTO_ID_5179115559136306226" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6PZkeJ2C1PcvOQMvWfdWSWSJB5sG6-iiyh-fvU9yrg3JZoiIlfqDzHu5m1NOUYQ39FkeMKLPzDY7oAETnbw40gDisr907_sDs7TN2jops2xKCzk56UBXjowYSBh7G01wQN1F8TJhq9KE/s400/AV,+Ruina+de+Charque+-+Quina+(Corner+Jerked-Beef+Ruin)+2003,+oil+on+wood+and+polyurethane.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Ruina de Charque series «Quina» 2003</span><br /><span style="font-size:85%;color:#660000;">(tinta de óleo sobre madeira e poliuretano)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQfevoeuSFA14Fxs7abQqlP3fXB2oSa7TRr3arLb_EQDEAF3xYETC9QixHYI9kxfCWF0RuymqOon98HGMDcliDEoIjN2d-K6vdLbhTMmdUiKEufkd-u5J0icmPOCol_pAf-x-FBqcte-0/s1600-h/AV,+Green+Tilework+in+Live+Flesh,+2000,+mixed+media+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5179115370157745186" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQfevoeuSFA14Fxs7abQqlP3fXB2oSa7TRr3arLb_EQDEAF3xYETC9QixHYI9kxfCWF0RuymqOon98HGMDcliDEoIjN2d-K6vdLbhTMmdUiKEufkd-u5J0icmPOCol_pAf-x-FBqcte-0/s400/AV,+Green+Tilework+in+Live+Flesh,+2000,+mixed+media+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Azulejaria em Carne Viva series «Azulejaria Verde» 2000</span><br /><span style="font-size:85%;color:#660000;">(técnica mista sobre tela)<br /><span style="color:#990000;"><strong>- Tate Gallery Collection -<br /></strong></span></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9BiSbZSHG-Zbn_YTaybN0ky-9mqORJ6GHKcg1IW4oul_tn45O4DhPPIZJuhg2AKN0DFMCDaHIlY-TQq_1GWrUcizxqOpjxaEad1uL_NN7r4t4n-niATakwWjjz9L256oFpcBH2G0Kp30/s1600-h/L%C3%ADngua+com+Padr%C3%A3o+Sinuoso,+1998,+oil+on+canvas+and+polyerethane+on+wood+and+alu.jpg"><img id="BLOGGER_PHOTO_ID_5179115043740230674" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9BiSbZSHG-Zbn_YTaybN0ky-9mqORJ6GHKcg1IW4oul_tn45O4DhPPIZJuhg2AKN0DFMCDaHIlY-TQq_1GWrUcizxqOpjxaEad1uL_NN7r4t4n-niATakwWjjz9L256oFpcBH2G0Kp30/s400/L%C3%ADngua+com+Padr%C3%A3o+Sinuoso,+1998,+oil+on+canvas+and+polyerethane+on+wood+and+alu.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Azulejaria em Carne Viva series «Lingua com Padrão Sinuoso» 1998</span><br /><span style="font-size:85%;color:#660000;">(óleo sobre tela, poliuretano sobre madeira e alumínio)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFsAvrqZU84TLRiAJ1cpZzhBWZspp_EX3ASDVKKW6UOS4pvDLQw4JShg1tjd1LjK7tr0c5jbwjhyphenhyphenehyphenhyphenJEuwAFVqjlQ55MpVyAtaL0lXPHx889WVMiRsGmjzSLOqXgG2mpzjdysG39IHMs/s1600-h/Filho+Bastardo+I,+1992,+oil+on+wood.jpg"><img id="BLOGGER_PHOTO_ID_5179114786042192898" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFsAvrqZU84TLRiAJ1cpZzhBWZspp_EX3ASDVKKW6UOS4pvDLQw4JShg1tjd1LjK7tr0c5jbwjhyphenhyphenehyphenhyphenJEuwAFVqjlQ55MpVyAtaL0lXPHx889WVMiRsGmjzSLOqXgG2mpzjdysG39IHMs/s400/Filho+Bastardo+I,+1992,+oil+on+wood.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Filho Bastardo I» 1992</span><br /><span style="font-size:85%;color:#660000;">(óleo sobre madeira)</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYt3_E6hkZp8c1QfCcBoMj0pRQFQuCD32IikVCtRjWWxlYBI5YNuK1jLxGJ-_gtRjoVuH9yvEhylNZk4z_dQkzIo5jzwLCmPLHUJCZGgf6XlezM-4zk14pHKR2CHWSCZaWxV0FMxzWGZQ/s1600-h/AV,+Filho+Bastardo+II,+1997,+oil+on+wood.jpg"><img id="BLOGGER_PHOTO_ID_5179114506869318642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhYt3_E6hkZp8c1QfCcBoMj0pRQFQuCD32IikVCtRjWWxlYBI5YNuK1jLxGJ-_gtRjoVuH9yvEhylNZk4z_dQkzIo5jzwLCmPLHUJCZGgf6XlezM-4zk14pHKR2CHWSCZaWxV0FMxzWGZQ/s400/AV,+Filho+Bastardo+II,+1997,+oil+on+wood.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Filho Bastardo II» 1997</span><br /><span style="font-size:85%;color:#660000;">(óleo sobre madeira)</span><br /><span style="font-size:85%;color:#990000;"><strong>- em exposição no Museu Berardo Lisboa -<br /></strong></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh95satVBC1xZOd6fF9btDPwSBRPXbmojmCSMamO-0qAg3KRqp5cHdYE-iYQLaq4KmUKlwrb67ikIwjYlAukGFZO5HGOW2bDy2yblojN7bMjWH6ccbebNG-iRmwdIQqC9RIXYk4FCDIq_A/s1600-h/AV,+Ruina+de+Charque+-+Nova+Capela+(Nova+Capela+Jerked-Beef+Ruin)+2003,+oil+on+wood+and+polyurethane.jpg"><img id="BLOGGER_PHOTO_ID_5179114326480692194" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh95satVBC1xZOd6fF9btDPwSBRPXbmojmCSMamO-0qAg3KRqp5cHdYE-iYQLaq4KmUKlwrb67ikIwjYlAukGFZO5HGOW2bDy2yblojN7bMjWH6ccbebNG-iRmwdIQqC9RIXYk4FCDIq_A/s400/AV,+Ruina+de+Charque+-+Nova+Capela+(Nova+Capela+Jerked-Beef+Ruin)+2003,+oil+on+wood+and+polyurethane.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Ruina de Charque series «Nova Capela» 2003</span></div><div><span style="font-size:85%;color:#660000;">(óleo sobre madeira e poliuretano)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9oSrWOc12Y1CEmFfskXGJ0Ek5Mxye8ie56fl115kfwbrJBCyH_7q4PWPsajafwe7CccOCOHTYjxA4lKxiRadHu-ieiRlOg2x5_2vOd0fw-uczh1BzepGbsS1qn2ksgr9O6DtBJeA9E6I/s1600-h/AV,+Mapa+de+Lopo+Homem+(Map+of+Lopo+Homem)+1992,+oil+on+wood+with+suture+thread.jpg"><img id="BLOGGER_PHOTO_ID_5179114077372589010" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9oSrWOc12Y1CEmFfskXGJ0Ek5Mxye8ie56fl115kfwbrJBCyH_7q4PWPsajafwe7CccOCOHTYjxA4lKxiRadHu-ieiRlOg2x5_2vOd0fw-uczh1BzepGbsS1qn2ksgr9O6DtBJeA9E6I/s400/AV,+Mapa+de+Lopo+Homem+(Map+of+Lopo+Homem)+1992,+oil+on+wood+with+suture+thread.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Mapa de Lopo Homem» 1992 </span></div><div><span style="font-size:85%;color:#660000;">(óleo sobre madeira com fio de sutura)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI_gEEthCHJ19o8usGspC0dUl4D_VLbs6LqAbpRIZhrXB712YYLfK-Y-U8F-MtVZ9oS3Lk-MhJmBSGuzAugk70OI1mUYaEpRTq4EyoldkjFdi3nBzfUNBT42m5W9zdQn4Epx7cx033E60/s1600-h/Parede+com+Incis%C3%B5es+a+La+Fontana,+2000,+oil+on+canvas,+polyurethane+and+aluminium+on+wood.jpg"><img id="BLOGGER_PHOTO_ID_5179113892688995266" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgI_gEEthCHJ19o8usGspC0dUl4D_VLbs6LqAbpRIZhrXB712YYLfK-Y-U8F-MtVZ9oS3Lk-MhJmBSGuzAugk70OI1mUYaEpRTq4EyoldkjFdi3nBzfUNBT42m5W9zdQn4Epx7cx033E60/s400/Parede+com+Incis%C3%B5es+a+La+Fontana,+2000,+oil+on+canvas,+polyurethane+and+aluminium+on+wood.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Parede com Incisões a la Fontana» 2000</span></div><div><span style="font-size:85%;color:#660000;">(óleo sobre tela, poliuretano e alumínio sobre madeira)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPTkBWM24yfm8grtalfseSkVL6zF4v4abJSPAwv413UwOvjj13A-FPW7Iolxji5ODopWIgzejPc-4redXnbNlBbbEbYeIouzZ7BoIJCi7AtPYajXZpUi_YNqxa815UoV3LlJcZkc717A/s1600-h/Azulejaria+%C2%ABDe+Tapete+em+Carne+Viva%C2%BB+1999,+oil,+foam,+alu,+wood+and+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5179113592041284530" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjPTkBWM24yfm8grtalfseSkVL6zF4v4abJSPAwv413UwOvjj13A-FPW7Iolxji5ODopWIgzejPc-4redXnbNlBbbEbYeIouzZ7BoIJCi7AtPYajXZpUi_YNqxa815UoV3LlJcZkc717A/s400/Azulejaria+%C2%ABDe+Tapete+em+Carne+Viva%C2%BB+1999,+oil,+foam,+alu,+wood+and+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Azulejaria em Carne Viva series «Tapete em Carne Viva» 1999</span></div><div><span style="font-size:85%;color:#660000;">(óleo, espuma, alumínio, madeira e tela)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjztBUlLnnt6QJsd31lQnDlV6m53yIQsXqfgdLgs6Kwmd3vU09VYwbkjlh52iCw2jleZmOkeSdaxepLkM27auh7n2S-v0Zij2HRnwgeKu5QwvbgZbkppTskwkf7vAkVrpQbXkavmheiNew/s1600-h/comida%2520copia.jpg"><img id="BLOGGER_PHOTO_ID_5179113304278475682" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjztBUlLnnt6QJsd31lQnDlV6m53yIQsXqfgdLgs6Kwmd3vU09VYwbkjlh52iCw2jleZmOkeSdaxepLkM27auh7n2S-v0Zij2HRnwgeKu5QwvbgZbkppTskwkf7vAkVrpQbXkavmheiNew/s400/comida%2520copia.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Comida» 1992</span></div><div><span style="font-size:85%;color:#660000;">(óleo sobre tela)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi9WRiEhKd_mMOSDpgoeaB5jbs6w0_27PWG_ESubKs9jZ0i-xL0RGWpK8Hqgheg0BxMQFDKFlxiRQqtwXxMAR_H9wxEpU3HvSWgMOQHzMr903wMHc1jrXjvI7gfFXuR-6npmYu5M8NAV4/s1600-h/Azujelaria+em+carne+viva,+1999,+oil+on+canvas,+polyurethane+on+aluminium+and+wood.jpg"><img id="BLOGGER_PHOTO_ID_5179113093825078162" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgi9WRiEhKd_mMOSDpgoeaB5jbs6w0_27PWG_ESubKs9jZ0i-xL0RGWpK8Hqgheg0BxMQFDKFlxiRQqtwXxMAR_H9wxEpU3HvSWgMOQHzMr903wMHc1jrXjvI7gfFXuR-6npmYu5M8NAV4/s400/Azujelaria+em+carne+viva,+1999,+oil+on+canvas,+polyurethane+on+aluminium+and+wood.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Azulejaria em Carne Viva series «Untitled» 2002</span></div><div><span style="font-size:85%;color:#660000;">(óleo sobre tela, poliuretano sobre alumínio e madeira)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimMrp3-VMdli4wEG2znydSE14yva6pGJi_OD4VlRkLiLjetTQL5a3vUhZskUlflYAOWnBQkFxwx1R3PcU_pZ_wFueGC09P3r0R-TZ-eMzeDBlDqkiIiec9lGpflG0ZZm4WIL-Hp-wOpM0/s1600-h/Linda+do+Ros%C3%A1rio,+2004,+oil+on+alu+and+polyurethane+%2B+Celacanto+Provoca+Maremoto,+2004,+oil+and+plaster+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5179112741637759874" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimMrp3-VMdli4wEG2znydSE14yva6pGJi_OD4VlRkLiLjetTQL5a3vUhZskUlflYAOWnBQkFxwx1R3PcU_pZ_wFueGC09P3r0R-TZ-eMzeDBlDqkiIiec9lGpflG0ZZm4WIL-Hp-wOpM0/s400/Linda+do+Ros%C3%A1rio,+2004,+oil+on+alu+and+polyurethane+%2B+Celacanto+Provoca+Maremoto,+2004,+oil+and+plaster+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Linda do Rosário» 2004 </span></div><div><span style="font-size:85%;color:#660000;">(tinta de óleo s/ alumínio e poliuretano)</span></div><div><span style="font-size:85%;color:#660000;">«Celacanto provoca Maremoto» 2004 </span></div><div><span style="font-size:85%;color:#660000;">(tinta de óleo e gesso s/ tela) </span></div><div><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*</span></div></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_wrECnt9dpeTDY1MH4lha4oBtVBGkjOX8x8vbBsR6oWg7GLq7ulImvxftpk4h3lT5hclvcp2zQyR5RYtacFGNITR7L7Zn47eS4cHMtJRtr5jrvqJljdef1p2vr7hU-re7C9-jsjOAoYY/s1600-h/AV,+Linda+Lapa,+2004,+aluminium,+polyurethane,+oil.jpg"><img id="BLOGGER_PHOTO_ID_5179112514004493170" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_wrECnt9dpeTDY1MH4lha4oBtVBGkjOX8x8vbBsR6oWg7GLq7ulImvxftpk4h3lT5hclvcp2zQyR5RYtacFGNITR7L7Zn47eS4cHMtJRtr5jrvqJljdef1p2vr7hU-re7C9-jsjOAoYY/s400/AV,+Linda+Lapa,+2004,+aluminium,+polyurethane,+oil.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Linda Lapa» 2004</span></div><div><span style="font-size:85%;color:#660000;">(alumínio, poliuretano, tinta de óleo)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6VC5QsApBZnBodd1Yzd8BuhOFcPCkkY8H3FTuyMIUvCBx4LZFu_aO1wDdPT_68Lq4bS_6Vu19B1GoxSq-uWzVokIkPxjAdRJ2MNgAYhYx2DOVS08QPTOC1Jc4VkSPNxDTamck5ZPcI_E/s1600-h/AV,+Instala%C3%A7%C3%A3o+no+Centro+Cultural+Banco+do+Brasil,+RJ,+2001.jpg"><img id="BLOGGER_PHOTO_ID_5179112294961161058" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6VC5QsApBZnBodd1Yzd8BuhOFcPCkkY8H3FTuyMIUvCBx4LZFu_aO1wDdPT_68Lq4bS_6Vu19B1GoxSq-uWzVokIkPxjAdRJ2MNgAYhYx2DOVS08QPTOC1Jc4VkSPNxDTamck5ZPcI_E/s400/AV,+Instala%C3%A7%C3%A3o+no+Centro+Cultural+Banco+do+Brasil,+RJ,+2001.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Azulejões» 2001</span></div><div><span style="font-size:85%;color:#660000;">(gesso sobre tela, tinta de óleo)</span></div><div><span style="font-size:85%;color:#990000;"><strong>- Centro Cultural Banco do Brasil, Rio - </strong></span></div><div><span style="font-size:85%;color:#990000;"><strong><span style="color:#ffffff;">*</span></div></strong></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6IJ7QqDzOSEwQryNR_XkvmROz7Jvr0aWA9MnTlHVoLEYj3ZTKrRCtyPOAyP5MHk4YiQLPuGfcAKELztY7hcbVYw_9MeTDEryM2ZvsUd6w-SzjPwa_4V2g1zCVaOf2_UZIxgI0XE6184g/s1600-h/Azulej%C3%B5es+(Big+blue+tiles)+2001,+plaster+on+canvas,+oil+painting.jpg"><img id="BLOGGER_PHOTO_ID_5179112045853057874" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6IJ7QqDzOSEwQryNR_XkvmROz7Jvr0aWA9MnTlHVoLEYj3ZTKrRCtyPOAyP5MHk4YiQLPuGfcAKELztY7hcbVYw_9MeTDEryM2ZvsUd6w-SzjPwa_4V2g1zCVaOf2_UZIxgI0XE6184g/s400/Azulej%C3%B5es+(Big+blue+tiles)+2001,+plaster+on+canvas,+oil+painting.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Azulejões» (pormenor) 2001<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpjGIYxIBm_hKg74r4FcOkEVEYtRoBMZKjLA6BENpsUgmku2V_H3qV8nGZKfdRdOon90ba73FFurixBzb8awZzsiV9CLXLE-_FJFrpw8kVan4O5t_borQx5XCftScBOnykmTFDkVEVVU0/s1600-h/AV,+Carne+Marinha+(Marine+Meet),+1999,+oil,+foam,+porcelain+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5179111676485870402" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpjGIYxIBm_hKg74r4FcOkEVEYtRoBMZKjLA6BENpsUgmku2V_H3qV8nGZKfdRdOon90ba73FFurixBzb8awZzsiV9CLXLE-_FJFrpw8kVan4O5t_borQx5XCftScBOnykmTFDkVEVVU0/s400/AV,+Carne+Marinha+(Marine+Meet),+1999,+oil,+foam,+porcelain+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Carne Marinha» 1999<br />(tela, tinta de óleo, espuma, porcelanas)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQmzbHF_kpld10HH1TZURmSo802O0WFXLToB0fGUOMLRCZb0NM6z8nbR-uR92ubgQhQwOhFOvYD-7aoigkcZQAlI3LU_lO4tF7NY-_r4eLAmjVbDHcCcr-dRJKyMcpTVZFpRFqzWp5gPo/s1600-h/Cacos+e+Peixes,+1999,+tinta+de+%C3%B3leo,+gesso+e+cola+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5179111440262669106" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQmzbHF_kpld10HH1TZURmSo802O0WFXLToB0fGUOMLRCZb0NM6z8nbR-uR92ubgQhQwOhFOvYD-7aoigkcZQAlI3LU_lO4tF7NY-_r4eLAmjVbDHcCcr-dRJKyMcpTVZFpRFqzWp5gPo/s400/Cacos+e+Peixes,+1999,+tinta+de+%C3%B3leo,+gesso+e+cola+sobre+tela.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Cacos e Peixes» 1999</span></div><div><span style="font-size:85%;color:#660000;">(tinta de óleo, gesso e cola sobre tela)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlIZoK4FwHYMxAz_mwu90PGE8FVQNHPuS4z6OxOXsaieJfwcq6OEpdm83dMacwJSg0cJqnQG7Ded9Va1JEIZsCjWNR14NVJtKmHUPk3tcF2-FZSbTT3Mcfi3iuTCZeWYtX36npnIql0aI/s1600-h/Milagre+dos+Peixes,+1991,+plaster+on+canvas,+oil+painting.jpg"><img id="BLOGGER_PHOTO_ID_5179111173974696738" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlIZoK4FwHYMxAz_mwu90PGE8FVQNHPuS4z6OxOXsaieJfwcq6OEpdm83dMacwJSg0cJqnQG7Ded9Va1JEIZsCjWNR14NVJtKmHUPk3tcF2-FZSbTT3Mcfi3iuTCZeWYtX36npnIql0aI/s400/Milagre+dos+Peixes,+1991,+plaster+on+canvas,+oil+painting.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Milagre dos Peixes» 1991</span></div><div><span style="font-size:85%;color:#660000;">(gesso sobre tela, tinta de óleo)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYD2HTeTd29wtkrQt2QA8Bnf7G1KDw-4LWE4QvksOQbqj87XYtvLLMm-5H5TguxUR5uFyhOiAYZBYPpWdoEPUS8S5_JZIDn00ZH7n0q_1b3ZDpm6DdHd51M7zAJi4Wehmokh6SZ0eNSQ8/s1600-h/AV,+White+Sauna,+2003,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5179110976406201106" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYD2HTeTd29wtkrQt2QA8Bnf7G1KDw-4LWE4QvksOQbqj87XYtvLLMm-5H5TguxUR5uFyhOiAYZBYPpWdoEPUS8S5_JZIDn00ZH7n0q_1b3ZDpm6DdHd51M7zAJi4Wehmokh6SZ0eNSQ8/s400/AV,+White+Sauna,+2003,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Sauna series «Sauna Branca» 2003</span></div><div><span style="font-size:85%;color:#660000;">(aguarela sobre papel)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0qXwha-8r5K15Q8yrkz6fZW81QbsiR3v8BFRzD8E7VeAZnh-CQ_ToFJDqJkdtXDWaiO9ceWcQr9Z_SllZ6aJ2U4xKGgaz4lny2j4GUq1q0-hjzYQk6wULTbwpaHARll6zdAHome7ucRs/s1600-h/O+Convidado+(The+Guest),+2006,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5179110723003130626" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0qXwha-8r5K15Q8yrkz6fZW81QbsiR3v8BFRzD8E7VeAZnh-CQ_ToFJDqJkdtXDWaiO9ceWcQr9Z_SllZ6aJ2U4xKGgaz4lny2j4GUq1q0-hjzYQk6wULTbwpaHARll6zdAHome7ucRs/s400/O+Convidado+(The+Guest),+2006,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«O Convidado» 2006 </span></div><div><span style="font-size:85%;color:#660000;">(óleo sobre tela)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_fd7T66QFP1InWATfFrdGF0L4e_cxTyIjErlWJAhPNPaU7hbwgSIrn7oEwWRMuAErEwc5VMhL_Q5VgVTg77gHmKy4904Fvcr2bm0vBSDVtUHLK2zAvx5P1lAqJBlxXCGghFCYvovpjbc/s1600-h/AV,+Green+Sauna,+2003,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5179110495369863922" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_fd7T66QFP1InWATfFrdGF0L4e_cxTyIjErlWJAhPNPaU7hbwgSIrn7oEwWRMuAErEwc5VMhL_Q5VgVTg77gHmKy4904Fvcr2bm0vBSDVtUHLK2zAvx5P1lAqJBlxXCGghFCYvovpjbc/s400/AV,+Green+Sauna,+2003,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Sauna series «Sauna Verde» 2003</span></div><div><span style="font-size:85%;color:#660000;">(óleo sobre tela)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaEKOVjiTPS0SxngM669eAZIuITCEudR8HRHJu6FkSUrApSJWGj_Ls-CF_hPpn9WMHmkLfgOu8IM780g_ZMk3_G0UsstzlfwxvfqZonEo8Xxi6h-ukvT2yKnkW2GVqHPFsy4evLflLBL0/s1600-h/AV,+A+Diva+(The+Diva),+2004,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5179110250556728034" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaEKOVjiTPS0SxngM669eAZIuITCEudR8HRHJu6FkSUrApSJWGj_Ls-CF_hPpn9WMHmkLfgOu8IM780g_ZMk3_G0UsstzlfwxvfqZonEo8Xxi6h-ukvT2yKnkW2GVqHPFsy4evLflLBL0/s400/AV,+A+Diva+(The+Diva),+2004,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Sauna series «A Diva» 2004 </span></div><div><span style="font-size:85%;color:#660000;">(óleo sobre tela)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLfNwgwvNLGSUReVBn-bwC_adNUjIp3WlhYUJPDVZ53ugm597idWQKS57QH8yq1fVx1XTxIXRK6H_oVhbWSjVbLpOuqvx4oHdulwDtylb8itVIP9Wu8fKb-i99dbcwDD8_5B_EnveWXd8/s1600-h/Blue+Sauna,+2002,+watercolor+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5179110074463068882" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLfNwgwvNLGSUReVBn-bwC_adNUjIp3WlhYUJPDVZ53ugm597idWQKS57QH8yq1fVx1XTxIXRK6H_oVhbWSjVbLpOuqvx4oHdulwDtylb8itVIP9Wu8fKb-i99dbcwDD8_5B_EnveWXd8/s400/Blue+Sauna,+2002,+watercolor+on+paper.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Sauna series «Sauna Azul» 2002</span></div><div><span style="font-size:85%;color:#660000;">(aguarela sobre papel)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYxmSd-hpqxFy2smGPqKlI24U5_GxiE5RCfERwWbE-_UZw0P-dP-s3pYl0F-q7peE_ydwdrza07t-gVqTtiPoaKru0py6WAzLZ50_W9uX7ceaxdNvcpjKYey_44CEbMnUm-T8byM22HzA/s1600-h/O+Obsessivo+(The+Obsessive)+2004,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5179109786700260034" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYxmSd-hpqxFy2smGPqKlI24U5_GxiE5RCfERwWbE-_UZw0P-dP-s3pYl0F-q7peE_ydwdrza07t-gVqTtiPoaKru0py6WAzLZ50_W9uX7ceaxdNvcpjKYey_44CEbMnUm-T8byM22HzA/s400/O+Obsessivo+(The+Obsessive)+2004,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«O Obsessivo» 2004</span></div><div><span style="font-size:85%;color:#660000;">(óleo sobre tela)<br /></span><div><div align="center"><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM9PthFrXbpgzpgbSXqu-4IWwGcDvHmoeVqnck_fXpl7AFCzlo9n01KUj9FeA2TfhMhggCWXhZIEVHrdG0S29a8rfoAXsfVFiyyfeXF5rzAmx0XQtyvNfn3Pr7R93M0AhwG9pyIrlW9t4/s1600-h/O+Predilecto+(The+Favorite),+2005,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5178478568241668418" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiM9PthFrXbpgzpgbSXqu-4IWwGcDvHmoeVqnck_fXpl7AFCzlo9n01KUj9FeA2TfhMhggCWXhZIEVHrdG0S29a8rfoAXsfVFiyyfeXF5rzAmx0XQtyvNfn3Pr7R93M0AhwG9pyIrlW9t4/s400/O+Predilecto+(The+Favorite),+2005,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «O Predilecto» 2005</span></div><div align="center"><span style="font-size:85%;color:#660000;">(óleo sobre tela)<br /></span><br /><div align="center"></div><div align="justify"><br /></div><div align="justify"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="justify"><span style="color:#330000;"><span style="font-size:85%;"><strong>Adriana Varejão</strong> é actualmente uma das artistas brasileiras mais destacadas da cena artística contemporânea, no Brasil e no exterior.<br />Nascida em 1964, no Rio de Janeiro, iniciou a sua carreira nos anos 80 e fez a sua primeira exposição individual em 1988, na galeria Thomas Cohn em S. Paulo, no Brasil.<br />Na década de 90, foi incluída em inúmeras mostras importantes e aos poucos foi revelando o amadurecimento da sua obra. Participou na Bienal de São Paulo, em 1994 e 1998 e nas Bienais de Havana em 1994, Johannesburgo em 1995 e Liverpool em 1999.<br />Em 2002, Adriana Varejão realizou exposições individuais na galeria Victoria Miro em Londres e na Galeria Fortes Vilaça, em São Paulo, no Brasil. Posteriormente, expôs no Museu de Arte Contemporânea, MoMA, em Nova Iorque, com a instalação “Azulejões”, e no Centro Cultural Banco do Brasil do Rio de Janeiro. Em 2005, expôs em Paris, na Fundação Cartier, com a instalação "Câmara de Ecos" e em Lisboa, no Centro Cultural de Belém.<br />A sua obra reproduz elementos históricos e culturais, com temas ligados à colonização, ao barroco e à azulejaria. Investiga também a utilização do corpo humano, da visceralidade e da representação da carne como elemento estético. Apesar de remeter ao barroco, adquire forte contemporaneidade em decorrência do acúmulo excessivo de materiais, camadas de tinta e informações. </span></span><br /></div><div align="left"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="left"><span style="font-size:85%;color:#cc0000;"><strong>Crítica:</strong></span><br /></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Partindo do seu interesse pela reprodução de elementos históricos e culturais da tradição brasileira, Adriana Varejão satisfaz o seu desejo de reconfigurar o corpo humano, através da representação da carne corporal como elemento estético. A carne humana é colocada sobre o símbolo da colonização <strong>"Azulejões"</strong> para chamar de novo a atenção sobre a atrocidade desta experiência. Os colonizadores aparecem como os carniceiros do mundo do final do século XIX. A artista “desconstrói” o corpo e a sua imagem, dando-nos a ver os fragmentos ensanguentados do corpo humano e do «corpo» social. Esta é uma clara alusão à violência que caracteriza a História social do Brasil. </span><span style="font-family:lucida grande;font-size:85%;color:#330000;">A violência, expressa na obra da artista, permite uma profunda reflexão sobre o sofrimento das camadas sociais no Brasil, durante o período da colonização e da escravatura.<br />O «corpo» social, histórico mas também individual, é colocado entre a experiência exterior na sua dimensão carnal e fugaz, e a experiência interior na procura de si próprio. A artista mostra, assim, de uma forma muito singular, os laços entre o real e o imaginário, através da dilaceração e da exposição dos corpos dos mártires da História colonial. Através do processo de reapropriação, o corpo imerge na realidade para, por sua vez, ser transposto do interior para o exterior e do exterior para o interior. Através dos sentidos, o corpo participa da realidade mesmo por meio das suas feridas, sendo definitivamente penetrado pelo mundo exterior.<br />A carne “barroca” mostra-se e vem descobrir sensações do exterior. A pele da pintura está nua e sem defesa, ela experiencia a vida, mas é também uma superfície passiva, exposta e, portanto, aberta ao exterior. O laço entre a interioridade e a exterioridade é conseguido a partir da ferida. A vitalidade das suas feridas demonstra uma riqueza e um dinamismo que, constantemente, evoca a memória de existências espedaçadas. O corpo mistura-se com a pintura a fim de revelar a sua própria identidade de carne ferida e martirizada. A ideia do corpo passa pela pior manifestação, através dos seus despojos, aprendendo a nunca mais sentir vergonha de si próprio. A densidade material e metafórica das feridas do corpo exprimem a densidade da memória mortificada.</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">A beleza dos quadros de Adriana Varejão contrasta fortemente com a atrocidade dos ferimentos que aí são descritos. A destruição da pintura, o efeito “trompe-l’œil”, a abundância da matéria, as instalações dos corpos desmembrados, tudo isto assalta o espectador que, perante a obra da artista, fica perturbado, perdido num espaço onde se confundem violências reais e imaginárias. O corpo mutilado e desmembrado faz assim justiça às diferenças de classes, de géneros e de etnias, tirando do sério todos os binarismos. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Todo este processo espelha uma transformação contínua, uma agressão que reflecte uma fragmentação da experiência através de um outro plano imaginário, também ele composto por sintomas, traços, sinais, percursos, incorporações.A abjecção e o desmembramento do corpo/obra transformam-se assim em metáforas da abjecção que sai do corpo real que sofreu uma violência. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Muitos dos trabalhos de Adriana Varejão fazem-nos lembrar o conceito de abjecção exprimindo-se também este barroco exacerbado no estilo formal das margens em que os motivos entrelaçados conseguem cada vez mais catalisar as nossas atenções. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">No quadro oval "<em><strong>Filho Bastardo I"</strong></em>, <span style="color:#990000;">(</span><em><span style="color:#990000;"><span style="color:#990000;">a</span> forma das pinturas ovais deriva dos painéis pintados por Leandro Joaquim para ornamentar o passeio público do Rio de Janeiro, sic.)</span><span style="color:#330000;">,</span></em><span style="color:#330000;"> </span>podem ver-se, numa paisagem exótica de floresta, duas cenas de dominação, uma através do estupro de uma escrava por um padre que antes a amarra pelo pescoço a uma árvore, reduzindo-a assim à condição de animal; outra, em que duas personagens (soldados), desta vez representando não a Igreja mas o Estado, ataram os pés e as mãos de uma índia a uma árvore, parecendo-nos que se preparam para a açoitar através dos chicotes que orgulhosamente carregam sobre os seus ombros. A artista rasgou a tela no meio onde aplicou a cor vermelha criando uma superfície pastosa, por conseguinte, uma espessura.<br />A cena representada por Adriana Varejão, mostra-nos o poder autoritário da colonização portuguesa através da violação do corpo. A intenção da artista é a de colocar em evidência a memória da História dolorosamente ocultada. Na obra "<em><strong>Filho Bastardo I",</strong></em> o ferimento que ressalta do quadro faz reviver a ferida original de uma civilização violentada. Adriana Varejão parece exorcizar a violência do passado através da “profanação” da tela que se abre num sexo avermelhado pela violência do acto. Ela intervém nas telas do passado histórico com uma dupla intenção: subverter, quer a continuidade da história, quer a concepção de unicidade da obra de arte. A representação sangrenta da violência em "<em><strong>Filho Bastardo"</strong></em>, que está na base da formação étnica da sociedade brasileira questiona o conhecimento histórico, cultural que se tem do Brasil. Consequentemente, a história parece escrever-se no sangue, no sofrimento e na violência.<br />A obra <em><strong>“Mapa de Lopo Homem”</strong></em> ou Caminho de Adão, um quadro oval com as mesmas dimensões que as do “Filho Bastardo”, é um mapa de Atlas Miller de 1519, do cartógrafo português Lopo Homem.<br />O mapa representa a continuidade geográfica entre a Ásia e a América. Aqui a artista rasgou a tela em dois locais: no meio como no anterior quadro, e no canto esquerdo da tela, que corresponde ao ponto de contacto entre a Ásia e a América; esta costura liga os dois continentes como refere <strong>Paulo Herkenhoff [1] :</strong> <em><span style="color:#990000;">“O capricho cartográfico de Lopo Homem reconciliava as antigas concepções Ptolemaicas frente à descoberta da América. Reassegurava o papel bíblico de Adão como pai da humanidade”</span></em>. Nesta obra, a ferida que rasga o continente africano e marca a divisão do mundo inteiro é aqui simbolizada pelo sangue que dela jorra. A artista desenha pontos de sutura sobre a costura, no meio, precisamente sobre a Europa, deixando a ferida aberta sobre o continente africano onde deixam de existir os pontos de sutura. Ainda se pode ver no quadro traços de sangue espalhados, simbolizando corpos de escravos dispersos no mar. A colonização implicava o horror da escravatura que aqui é mostrada como sofrimento universal.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">**<br /></span>Esta costura lembra-nos a elegância das incisões de <a href="http://dasartesplasticas.blogspot.com/2007/10/lucio-fontana-milo-itlia-arte-informal.html"><span style="color:#ff6666;"><strong>Lúcio Fontana</strong></span> </a>na sua obra artística. Enquanto representação simbólica, ela é uma cicatriz impossível de cicatrizar, a partir daquele momento. Como em <em>Fontana</em>, existe nos rasgões de Adriana Varejão, uma abertura em direcção a outros mundos, a outras possibilidades de interpretação. Nas obras de <em>Lúcio Fontana</em> <span style="color:#990000;"><em><strong>“Attese”</strong><span style="color:#330000;">,</span></em></span> o artista abre espaço para um novo conceito na pintura: “conceito espacial” ou espacialismo, que desenvolverá ao longo da sua carreira. Quando dá forma às suas telas, introduz o relevo e coloca a obra numa terceira dimensão. Assim o espaço do espectador e o da obra são os mesmos, permitindo abolir a distância entre o observador e a obra artística. Na interpenetração destes espaços, a matéria torna-se vital e a experiência do espectador uma viagem psicosensorial. A sua obra <strong><span style="color:#330000;"><em>“Parede com Incisões a la Fontana</em>”,</span></strong> evoca o artista italiano, como o próprio nome indica.<br /><span style="color:#ffffff;">* </span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">O trabalho em série <span style="color:#330000;"><strong><em>«Ruina de Charque»</em></strong></span> joga com o volume da matéria; observamos um muro cortado assimetricamente numa superfície de azulejos que cobre uma camada espessa composta de carnes e órgãos diversos e variados. E se Fontana , através de um simples entalhe, “parte” a pintura para a transformar em escultura, Adriana Varejão transforma as suas incisões em corpos violentados e desmembrados. Existe uma diferença significativa entre os trabalhos de Fontana e de Varejão, apesar da influència do artista italiano na artista nos parecer evidente. Com efeito, se Fontana deixa abertos os seus rasgos, Varejão antevê a possibilidade de os “tratar” por meio da sutura.<br /><em><strong>«Comida»,</strong></em> trata-se de uma tela pintada a óleo, em que o corpo de uma mulher indígena se encontra dependurado entre animais; uma galinha, um veado, um peixe e um porco, como eles, exposta à venda e à degustação. Esta imagem provocadora coloca-nos a questão do valor de mercado do ser humano e da existência do canibalismo, tanto psíquico como efectivo. Em volta, podemos ver traços de pinturas apresentando uma consistência orgânica que parecem simbolizar bocados de carne, fazendo-nos lembrar de forma explicita o destino dado à cultura autóctone brasileira “absorvida” pelos colonizadores. Aqui a prática do canibalismo da antropofagia encerra um significado cultural e político.<br />Parece inferir-se deste contexto estético, um forte contraste entre a alegria estranha do rosto da mulher que parece aceitar a sua situação de vitima e a brutalidade da cena.<br />Adriana Varejão ao fazer uso do conceito de canibalismo da antropofagia, tão central na arte moderna e contemporânea brasileira, explora a relação entre o poder de domínio do invasor e o acolhimento “de convivência pacífica” dos povos autóctones.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>As obras <em><strong>“Figura de Convite I”</strong></em> e <em><strong>“Figura de Convite II”</strong></em> são dois exemplos inspirados na arte colonial do período barroco. Os quadros remetem-nos para duas gravuras do artista holandês <em>Theodor de Bry</em>. Aqui, uma vez mais, a artista recorre à reutilização de um material histórico e à subtracção da sua imagem para fins militantes.<br />Recorrendo, como habitualmente, à utilisação dos azulejos, a artista mostra a figura da América, uma mulher com um sorriso malicioso e afável, representada nua e abrindo os braços. Esta figura feminina faz um gesto de acolhimento ao novo mundo, imediatamente contraditado ou justificado pela cena apresentada em segundo plano, onde se pode ver a representação de uma «festa» de canibais, em que os indígenas depois de terem capturado os invasores europeus, os comem, cozinhados ou crus, sendo o acto acompanhado de uma dança jubilosa.<br />Nesta obra, a bela figura branca feminina que representa a América, faz alusão à tirania do colonialismo que acumulou riquezas graças à exploração de seres humanos e ao racismo. A artista tira a máscara do colonisador, revelando as injustiças implícitas a que a tirania colonial deu lugar. Na segunda obra, ao estilo da figura mítica de Holoferne, a mulher dá as boas vindas, não já de uma forma tão afável, como se pode ver pela cabeça decapitada de mulher que segura na sua mão direita, em sinal de vitória. A imagem de fundo que apresenta cerâmicas que parecem fazer parte de um cenário doméstico, na realidade são ilustrações de cenários mais dramáticos, tratando-se de oferendas prometidas a divindades.<br />A voz de Adriana Varejão eleva-se alto e forte; como o estrondo de um trovão que sacode o mundo com o fim de reivindicar a existência das diferenças e conquistar um lugar, não no centro, mas nas extremidades, onde a subjectividade é móvel e capaz de se libertar de todas as convenções sociais.<br /></span><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>«Fragments de Corps», </strong></span><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Nuevo Mundo / Mundos Nuevos </strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>(traduzido por Fernanda Valente)</strong></span><br /><span style="color:#ffffff;">*</span></div><div align="justify"><span style="color:#ffffff;">*</span></div></div><div align="left"><span style="font-size:85%;"><span style="color:#330000;">[1] <strong>Paulo Herkenhoff</strong>, critico de arte brasileiro e autor do texto do catálogo Adriana Varejão, Pintura/Sutura, Painting/Suturing</span><span style="color:#330000;">,</span> </span><span style="font-size:85%;color:#990000;"><strong>Galeria Fortes Vilaça</strong></span><span style="font-size:85%;"><span style="color:#330000;"><span style="color:#990000;">,</span> S. Paulo, 1996.<br /></span></span></div><div align="center"><span style="color:#ffffff;">*<br />*</span></div><div align="center"><span style="font-size:85%;color:#330000;">* * *</span><br /><span style="color:#ffffff;">*</span></div><div align="center"><span style="color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">The fine color gradations that enliven the apparent chromatic uniformity of Adriana Varejao's <em><strong>Ruina de</strong></em> <strong><em>charque-Portugal (Jerked-beef ruin--Portugal)</em></strong> all works 2001, or the delicate mesh that furrows its surface, might seem to evoke the traditions of Minimalist or monochrome painting. It is thus tempting to discuss the Brazilian artist's work in terms of the history of modernism and the possible significance of its survival. A more attentive look, however, shows us that this not a strict exercise in abstract painting but rather the representation of a surfce clad in tiles. The painting, when it becomes a duplicate of the wall (or of the floor, as we see in another work in the series, Ruina de charque--Porto), creates a direct confrontation with the space that houses it and raises architectural issues, becoming something more like an installation.<br />In her recent exhibitions <em><strong>"Azuleja" (Big tile)</strong></em> in Rio de Janeiro and <em><strong>"Azule" (Big tiles)</strong></em> in São Paulo, Varejão lined gallery walls with canvases that functioned as enlargements of the panels a tiled wall. Their motifs were variations on those of traditional Portuguese tile work, which had considerable architectural and religious importance in the of the colonization of Brazil. In effect artist made anew wall and a new space inside the gallery. The same thing happened here with Parede (Wall), in which eighteen superimposed canvases of varing sizes gave the illusion of a simple dimensional painting on one flat support, thus playing with the function of the in an even more complex manner. </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;"><br /></span>In <em><strong>Jerked-Beef Ruin--Portugal</strong></em> the lined space that Varejão's painting evokes is not a virtual space, neutral, separate the world. It brings to mind concrete situations: a butcher shop, a bar, a kitchen, a bathroom, or a hospital; social space, domestic space, intimate space--space in which the body must be contained protected, just as tiles protect a wall, which in turn defines the structure of a building. The objective would be to keep the body under cover, but Varejao suggests that it is impossible to hide the body. The lateral edge of the painted surfaces takes the of a large mass of meat that overflow limits of the painting, squashed between the front surface of the painting and wall or floor. The work emerges as an immense, monstrous sandwich of meat between two walls, one real, the off painted. The extraordinary presence of this mass of meat is the real point of works, the moment when our astonnishment and our excitement are registered, an intersection of scandal and fascin What is this meat? Where does it com, and from what is it doing here? </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;"><br /></span><em><strong>"Charque",</strong></em> according to the dictionary, means "a large slab of meat, salted, and sun-dried." Meat is the flesh of a body. Varejão's works, reference to stereotypes representations of the body often takes the form of a deconstruction of colonialist representations of subjugated peoples. In that sense, the meat is also, at a metaphorical level, the flesh of a spec social community: the subjugated populations of colonial and contemporary Brazil, in whose cultural forms bodily expression plays a prominent role (e.g., dance, music, Carnival). The presence of flesh thus becomes the expression of breadth of a history that can no longer be ignored, as well as of the irreducibility of personal experience. </span></div><div align="justify"><span style="font-size:85%;color:#990000;"><strong>Alexandre Melo, Artforum International</strong></span></div><div align="justify"></div><div align="justify"></div><div align="justify"></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com1tag:blogger.com,1999:blog-2054748435853847162.post-33018219859361993632008-03-09T10:16:00.036+00:002008-03-09T23:05:15.873+00:00Berlinde De Bruyckere, Ghent / Bélgica - Escultura<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfSN34wlg0gFR9ZdDSHr0Xe5bxNwHYVQ8GZQrp9xsYyp2bsJDTdLRcspTdMXtrZrrSyBf97ry7b52vXdNciIEmFCVvOFshYKgANc9ct5vbnYhfhP1xF86QpFyYnMdb3OnaI1cSEhxAyxA/s1600-h/Lichaam+(Corpse)+2006,+horse+skin,+horse+hair,+epoxy,+iron.jpg"><img id="BLOGGER_PHOTO_ID_5175707640025882754" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfSN34wlg0gFR9ZdDSHr0Xe5bxNwHYVQ8GZQrp9xsYyp2bsJDTdLRcspTdMXtrZrrSyBf97ry7b52vXdNciIEmFCVvOFshYKgANc9ct5vbnYhfhP1xF86QpFyYnMdb3OnaI1cSEhxAyxA/s400/Lichaam+(Corpse)+2006,+horse+skin,+horse+hair,+epoxy,+iron.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Lichaam (Corpse) 2006</span></div><div align="center"><span style="font-size:85%;color:#660000;">(horse skin, horse hair, epoxy resin, iron) </span></div><div align="center"><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIrlItmA1c0DZomdBeA04Jwtnu52bflwLKg3JrUK9_fbr2cWJ-g9gk4uyiz4QaFTy2GEmpKTapZixLKM0Rjafrge78rjRYP7X2t75HxeH1DuOwJaPsvf5z1QKBSjgnhKuzfPJK95xWkcs/s1600-h/Berlinde+de+Bruyckere,+J.L.+2005,+wax,+epoxy,+wood,+metal+G.jpg"><img id="BLOGGER_PHOTO_ID_5175707232003989618" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIrlItmA1c0DZomdBeA04Jwtnu52bflwLKg3JrUK9_fbr2cWJ-g9gk4uyiz4QaFTy2GEmpKTapZixLKM0Rjafrge78rjRYP7X2t75HxeH1DuOwJaPsvf5z1QKBSjgnhKuzfPJK95xWkcs/s400/Berlinde+de+Bruyckere,+J.L.+2005,+wax,+epoxy,+wood,+metal+G.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Innocence Can be Hell series «Jelle Luipaard» 2005</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wax, epoxy resin, metal, wood)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9MJ0L2UX2dvplefhQDaaAjSE0kn2UcgCS2y5FQdH2Ji1xr6en8PDHBySiJhYTqabGSxOh8njgIRxnEk4wFdFNTh3RVl9vBFOYgcIy1N-gmcfxxg7KKcqk09EAmx7f-Lx7G6GJflY1wCs/s1600-h/Innocence+can+be+Hell+series+%C2%ABJelle+Luipaard+I%C2%BB+2004.bmp"><img id="BLOGGER_PHOTO_ID_5175706892701573218" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9MJ0L2UX2dvplefhQDaaAjSE0kn2UcgCS2y5FQdH2Ji1xr6en8PDHBySiJhYTqabGSxOh8njgIRxnEk4wFdFNTh3RVl9vBFOYgcIy1N-gmcfxxg7KKcqk09EAmx7f-Lx7G6GJflY1wCs/s400/Innocence+can+be+Hell+series+%C2%ABJelle+Luipaard+I%C2%BB+2004.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Innocence Can be Hell series «Jelle Luipaard I» 2004</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wax, epoxy resin, wood, iron) </span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*</span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijL5D5LUP0jNYDkKkFaQQyBCKIohKr4CkDlTgO2FKDFUvcvVoi4HHzIxA57zUw8jOiAX1jqwwG4oKiM81Z_Rt_9A4CiZ-o0SYX3RSSIV9xsusIStvvOlXiKVARELsInp98JUnGAZ3CsFU/s1600-h/Innocence+can+be+Hell+series+%C2%AB+Jelle+Luipaard+II,+2004.jpg"><img id="BLOGGER_PHOTO_ID_5175706377305497682" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijL5D5LUP0jNYDkKkFaQQyBCKIohKr4CkDlTgO2FKDFUvcvVoi4HHzIxA57zUw8jOiAX1jqwwG4oKiM81Z_Rt_9A4CiZ-o0SYX3RSSIV9xsusIStvvOlXiKVARELsInp98JUnGAZ3CsFU/s400/Innocence+can+be+Hell+series+%C2%AB+Jelle+Luipaard+II,+2004.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Innocence Can be Hell series (Jelle Luipaard II) 2004</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wax, epoxy resin, wood, iron)<br /></span></div><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIGJTkEwIb-xGXoEHHCI8lYxtqXeRnNPm_UddYiikxom6XvHOF85sUoUA0L-o0eO8oHeyBER1Er72o2i0yQMJ-LUCfc1jliLcNvTqf7UxV-i32VAGRnaSeWtLScTrgg7B5cP6bj-VLC00/s1600-h/BB,+The+Black+Horse+series,+K-36,+2003,+P.U.+mousse,+horse+skin,+wood,+iron+horse+life+size,+table.jpg"><img id="BLOGGER_PHOTO_ID_5175704131037601794" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIGJTkEwIb-xGXoEHHCI8lYxtqXeRnNPm_UddYiikxom6XvHOF85sUoUA0L-o0eO8oHeyBER1Er72o2i0yQMJ-LUCfc1jliLcNvTqf7UxV-i32VAGRnaSeWtLScTrgg7B5cP6bj-VLC00/s400/BB,+The+Black+Horse+series,+K-36,+2003,+P.U.+mousse,+horse+skin,+wood,+iron+horse+life+size,+table.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">The Black Horse series «K36» 2003</span></div><div align="center"><span style="font-size:85%;color:#660000;">(foam, horse skin, wood, iron) </span></div><div align="center"><span style="font-size:85%;"><span style="color:#ffffff;">*</span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdUgldvBsPUDp1nPFLvDrQ9Fx_F7FmKbG28WYwv_WwA317bOUOr-Nb0SY5p4Fts6VcvPhhq6lvbzdEPZPgdsqQMcETTNlQqmAKogTETnna9-S14yMnx1uR8DwM6SrPujYdKePm3ZqPGCw/s1600-h/Aan%C3%A9en+series+(Vers+l%27Un)+2003-04,+wax,+epoxy,+wood,+iron,+blankets.bmp"><img id="BLOGGER_PHOTO_ID_5175703778850283506" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdUgldvBsPUDp1nPFLvDrQ9Fx_F7FmKbG28WYwv_WwA317bOUOr-Nb0SY5p4Fts6VcvPhhq6lvbzdEPZPgdsqQMcETTNlQqmAKogTETnna9-S14yMnx1uR8DwM6SrPujYdKePm3ZqPGCw/s400/Aan%C3%A9en+series+(Vers+l%27Un)+2003-04,+wax,+epoxy,+wood,+iron,+blankets.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Aanééan (becoming one) series «Untitled» 2003-04</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wax, epoxy resin, wood, iron, blankets)</span></div><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj47q0qX5juBcbiKDHGfT1aNgFwBzCX5Ch4_7mBu8-pJV3CmuVMBaq4dyEooUVi4EIMg_p3ODBGSQK8owRz8CMvYtPElIM_koZDQ8mtcHdyP5roL1wZjK7W0jZfFQfH-iLDw91q7UAL7cM/s1600-h/Aan%C3%A9en,+2003-2004,+wax,+epoxy,+wood,+blanket,+iron.jpg"><img id="BLOGGER_PHOTO_ID_5175703422367997922" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj47q0qX5juBcbiKDHGfT1aNgFwBzCX5Ch4_7mBu8-pJV3CmuVMBaq4dyEooUVi4EIMg_p3ODBGSQK8owRz8CMvYtPElIM_koZDQ8mtcHdyP5roL1wZjK7W0jZfFQfH-iLDw91q7UAL7cM/s400/Aan%C3%A9en,+2003-2004,+wax,+epoxy,+wood,+blanket,+iron.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Aanéén (becoming one) series «Untitled» 2003-04</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wax, epoxy resin, wood, iron, blankets) </span></div><div align="center"><span style="font-size:85%;"><span style="color:#ffffff;">*</span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9yPqExmkeq_yYBbwVNlrcl2sISzomwjjp52z4u2Ngu1gn2AEBsufXvVq7HvHLrieelh4o5nQYluMZDXValmr0wyqdqJ7zktS4q5TKrnI9Da7vzAK1czmV2Bm9IYLdaB9d5GjtN4k6U-w/s1600-h/Exposition+E%C3%A9n+(Un),+2003.bmp"><img id="BLOGGER_PHOTO_ID_5175703194734731218" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9yPqExmkeq_yYBbwVNlrcl2sISzomwjjp52z4u2Ngu1gn2AEBsufXvVq7HvHLrieelh4o5nQYluMZDXValmr0wyqdqJ7zktS4q5TKrnI9Da7vzAK1czmV2Bm9IYLdaB9d5GjtN4k6U-w/s400/Exposition+E%C3%A9n+(Un),+2003.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Aanéén (becoming one) series «Untitled» 2003</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wax, epoxy resin, wood, iron)</span></div><div align="center"><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh93-MmQgLB46kQXgAP7VRBAQrdDhgR8F66kRXoXDyK4ccaq5lAw8KZSPrsUfW1XfCy79U5yKjzWj2MnTjCFTaSJIrn7VAMaVQrTX0aloutZNvHem3wfT41EaIc-FcuC8r5L8gbtbUy22U/s1600-h/The+Black+Horse+series+%C2%ABK36%C2%BB+2003,+P.U.+foam,+horse+skin,+wood,+iron.jpg"><img id="BLOGGER_PHOTO_ID_5175702791007805378" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh93-MmQgLB46kQXgAP7VRBAQrdDhgR8F66kRXoXDyK4ccaq5lAw8KZSPrsUfW1XfCy79U5yKjzWj2MnTjCFTaSJIrn7VAMaVQrTX0aloutZNvHem3wfT41EaIc-FcuC8r5L8gbtbUy22U/s400/The+Black+Horse+series+%C2%ABK36%C2%BB+2003,+P.U.+foam,+horse+skin,+wood,+iron.jpg" border="0" /></a><br /><div align="center"><span style="font-size:85%;color:#660000;">The Black Horse series «K36»2003 (back view)</span></div><div align="center"><span style="font-size:85%;color:#660000;">(foam, horse skin, wood, iron)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3VMmT8sTw050YQfa12Sngus-wqFlcjIg3st58yonjX-g4L7M0RqHr-xYxrr42vxPBX11eltRoYnwEd91-2_XdhNZpYVUPnQcWD3HAKEa5U7uo1DcmmhBNK7V_1hx51z3kvwlDFGmlOoc/s1600-h/La+femme+sans++t%C3%AAte,+2005,+wax,+epoxy,+closet.jpg"><img id="BLOGGER_PHOTO_ID_5175702391575846834" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3VMmT8sTw050YQfa12Sngus-wqFlcjIg3st58yonjX-g4L7M0RqHr-xYxrr42vxPBX11eltRoYnwEd91-2_XdhNZpYVUPnQcWD3HAKEa5U7uo1DcmmhBNK7V_1hx51z3kvwlDFGmlOoc/s400/La+femme+sans++t%C3%AAte,+2005,+wax,+epoxy,+closet.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Woman Without Head series «Untitled» 2005</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wax, epoxy resin, iron)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnKV5iP9RstrXOq_mFPE6R4M9C-kzr0R_KT3DdzLABOewMbj0i-2tfB-jxAoOb29OXL8tL6xSUA7EJpAeAPriEgILaHIIvNuQdmFTuBgMeuTvvhxC_u5AceDkHMXTQ_9M2VdvoFvDLjE4/s1600-h/La+Femme+sans+T%C3%AAte,+2003,+wax,+epoxy,+iron.jpg"><img id="BLOGGER_PHOTO_ID_5175701858999902114" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnKV5iP9RstrXOq_mFPE6R4M9C-kzr0R_KT3DdzLABOewMbj0i-2tfB-jxAoOb29OXL8tL6xSUA7EJpAeAPriEgILaHIIvNuQdmFTuBgMeuTvvhxC_u5AceDkHMXTQ_9M2VdvoFvDLjE4/s400/La+Femme+sans+T%C3%AAte,+2003,+wax,+epoxy,+iron.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Woman Without Head series «Untitled» 2003</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wax, epoxy resin, iron) </span></div><div align="center"><span style="font-size:85%;"><span style="color:#ffffff;">*</span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZbWo0ZLeQ_aS1JiCEs7huVNq9iCBfAHqKuKf0Ghr6kOiJfvI5_hJNwoVOvnKYDUmVb8i3LWEbBMdoz-GT3hs_54WNmyA7kkc6y4VpNQpQ4RC-Z7NoO186AmRimoKmrV5YXTd3My1uQgs/s1600-h/Femmes+%C3%A0+la+couverture+series,+E%C3%A9n,+2005,+wx,+resin,+wood,+iron.jpg"><img id="BLOGGER_PHOTO_ID_5175701416618270610" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZbWo0ZLeQ_aS1JiCEs7huVNq9iCBfAHqKuKf0Ghr6kOiJfvI5_hJNwoVOvnKYDUmVb8i3LWEbBMdoz-GT3hs_54WNmyA7kkc6y4VpNQpQ4RC-Z7NoO186AmRimoKmrV5YXTd3My1uQgs/s400/Femmes+%C3%A0+la+couverture+series,+E%C3%A9n,+2005,+wx,+resin,+wood,+iron.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Covered Women series «Wezen» 2005</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wax, epoxy resin, wood, iron, blanket)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEQGn4b-gerh9mNmlBYzqvYG3ecu4_wASugnHzLOeVUKVRKjl7ezt95ectAb58VYagaPtnboHGltQY1qogO3EoD_qvetXXIp1adMLvuEHUwNRJD9WZwKxZTTJRV0UKbm6LY0j-67A0OgM/s1600-h/Aan%C3%A9%C3%A9n-genaaid,+2003,+blankets,+wool,+wood,+wax,+iron.jpg"><img id="BLOGGER_PHOTO_ID_5175700939876900738" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEQGn4b-gerh9mNmlBYzqvYG3ecu4_wASugnHzLOeVUKVRKjl7ezt95ectAb58VYagaPtnboHGltQY1qogO3EoD_qvetXXIp1adMLvuEHUwNRJD9WZwKxZTTJRV0UKbm6LY0j-67A0OgM/s400/Aan%C3%A9%C3%A9n-genaaid,+2003,+blankets,+wool,+wood,+wax,+iron.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Aanéén-genaaid (Sewn together) series «I» 2000</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wool, wood, wax, iron)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiutWJRYKvfDetXSY1FCxK8y1zTSJN1hQEMqEUc_VqCucHJWgogm9Fs3c4t01nKW5sqxarHxhCnwZmkY-CsnnfJ3G4MAgW4bRvzQzYJjOfQqkOb5SkDbGbW_jVo_mzPMwG-1sSOtGCq3II/s1600-h/Aan%C3%A9%C3%A9n-genaaid,+2002.jpg"><img id="BLOGGER_PHOTO_ID_5175700609164418930" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiutWJRYKvfDetXSY1FCxK8y1zTSJN1hQEMqEUc_VqCucHJWgogm9Fs3c4t01nKW5sqxarHxhCnwZmkY-CsnnfJ3G4MAgW4bRvzQzYJjOfQqkOb5SkDbGbW_jVo_mzPMwG-1sSOtGCq3II/s400/Aan%C3%A9%C3%A9n-genaaid,+2002.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Aanéén-genaaid (Sewn together) series «II» 2000</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wool, wood, wax, iron)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn2DTWseBgEZXcSHTeFMF2gQiHwBB5TpGYK0M9TWVHpq1Z4Ww9VTP7o6KZGdd9Z9nfRlaKJQjwnSNEyXhGutPPajSo4yCUeRFmSwmRbJG3FgecjqtL0hyJzqOdl1iaXJtVAMutrhV3izs/s1600-h/Speechless+Grey+Horse,+2004,+polyvinyl,+resin,+skin+of+a+horse,+cord.jpg"><img id="BLOGGER_PHOTO_ID_5175700089473376098" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjn2DTWseBgEZXcSHTeFMF2gQiHwBB5TpGYK0M9TWVHpq1Z4Ww9VTP7o6KZGdd9Z9nfRlaKJQjwnSNEyXhGutPPajSo4yCUeRFmSwmRbJG3FgecjqtL0hyJzqOdl1iaXJtVAMutrhV3izs/s400/Speechless+Grey+Horse,+2004,+polyvinyl,+resin,+skin+of+a+horse,+cord.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Speechless Grey Horse» 2004</span></div><div align="center"><span style="font-size:85%;color:#660000;">(polyvinyl, epoxy resin, horse skin, cord)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1bzKpY04GWwokVsICuRHv_2t-Lq2r5OGFTkOykILFv2ttFoDwE78a0NeLzSO-LLz9fFptzMxTyBdcvTyQLQohvKnCbvr3HI3oNXjtNkNQ4ctFCD2QOvVZDe8RYF3grlD3ITJEWe51lp0/s1600-h/Schmerzensmann+IV,+2006,+epoxy,+wax+and+iron.jpg"><img id="BLOGGER_PHOTO_ID_5175699084451028818" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1bzKpY04GWwokVsICuRHv_2t-Lq2r5OGFTkOykILFv2ttFoDwE78a0NeLzSO-LLz9fFptzMxTyBdcvTyQLQohvKnCbvr3HI3oNXjtNkNQ4ctFCD2QOvVZDe8RYF3grlD3ITJEWe51lp0/s400/Schmerzensmann+IV,+2006,+epoxy,+wax+and+iron.jpg" border="0" /></a> <a href="http://www.steidlville.com/books/469-Schmerzensmann.html"><span style="font-size:85%;color:#ff6666;"><strong>Schmerzensmann </strong></span></a><span style="font-size:85%;color:#660000;">(Man of Suffering) series, 2006</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wax, epoxy resin, iron) </span></div><div align="center"><span style="font-size:85%;"><span style="color:#ffffff;">*</span></div></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6uJ58R-2pB2raEhB-8qVOyCeWPmE82DDjjMDLQZOaTedzIS9IcJc0HuDpXcc2FdFR4GrYLDl-7pCG7oAobPJwxFjGJZ6kYCtgXmDZbEySIr8_FYt_hz2ECRptRK6yZgIFw3Z6hvtxo7c/s1600-h/Schmerzensmann+series+II.jpg"><img id="BLOGGER_PHOTO_ID_5175698766623448898" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6uJ58R-2pB2raEhB-8qVOyCeWPmE82DDjjMDLQZOaTedzIS9IcJc0HuDpXcc2FdFR4GrYLDl-7pCG7oAobPJwxFjGJZ6kYCtgXmDZbEySIr8_FYt_hz2ECRptRK6yZgIFw3Z6hvtxo7c/s400/Schmerzensmann+series+II.jpg" border="0" /></a><br /><div align="center"><span style="font-size:85%;color:#660000;">Schmerzensmann (Man of Suffering) series, 2006<br />(wax, epoxy resin, iron)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSWIRnaf270ptQuHF41iN2BRx6n45nK1dz4XslEI35eUKFSKt6KyCaG7_iQ30sHDD8F-ZnAHGkXLNtbyw3LcB516Uhj8IkEhhHoBIp9KvzVJKbsKZg21q_LqivTmSNEpU19GIfvpUGhMk/s1600-h/Schmerzensmann+series,+2006.jpg"><img id="BLOGGER_PHOTO_ID_5175698367191490354" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSWIRnaf270ptQuHF41iN2BRx6n45nK1dz4XslEI35eUKFSKt6KyCaG7_iQ30sHDD8F-ZnAHGkXLNtbyw3LcB516Uhj8IkEhhHoBIp9KvzVJKbsKZg21q_LqivTmSNEpU19GIfvpUGhMk/s400/Schmerzensmann+series,+2006.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Schmerzensmann (Man of Suffering) series, 2006</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wax, epoxy resin, iron) </span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*</span></div></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDHkzRJhQ1o79i2m8bM4VMJGla8MIJFT8y6jojXXbtCT2SqmjvhQ_c74_AiY-QFmXszSB13oiG4t3iVyDo88t0l0EOSH0hq6HgKx5ItReXQ-McppCD8SHG0kP1Qp5ObdLPP1xAzSt7x4U/s1600-h/310303491_f8875a5f5f_o.jpg"><img id="BLOGGER_PHOTO_ID_5175697959169597218" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDHkzRJhQ1o79i2m8bM4VMJGla8MIJFT8y6jojXXbtCT2SqmjvhQ_c74_AiY-QFmXszSB13oiG4t3iVyDo88t0l0EOSH0hq6HgKx5ItReXQ-McppCD8SHG0kP1Qp5ObdLPP1xAzSt7x4U/s400/310303491_f8875a5f5f_o.jpg" border="0" /> <p align="center"></a><span style="font-size:85%;color:#660000;">Schmerzensmann (Man of Suffering) series, 2006 </span></p><p align="center"><span style="font-size:85%;color:#660000;">(wax, epoxy resin, iron) </span></p><p align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuTAS6d-_VN51838wCeQQyztsqLlp50H6kzht2ol8AUUH7091Q-Zfs8ddK5vK4wX5gzQpp8BEzxuaP-zWjm2XKFW-Nhdbmujiu8JD0TT30iNxg_OwArGY7AKzgw_Z8zo4Q2JoiqfnYDRY/s1600-h/Lost,+2006,+Horse+skin,+epoxy+resin,+ropes.jpg"><img id="BLOGGER_PHOTO_ID_5175687543873904386" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiuTAS6d-_VN51838wCeQQyztsqLlp50H6kzht2ol8AUUH7091Q-Zfs8ddK5vK4wX5gzQpp8BEzxuaP-zWjm2XKFW-Nhdbmujiu8JD0TT30iNxg_OwArGY7AKzgw_Z8zo4Q2JoiqfnYDRY/s400/Lost,+2006,+Horse+skin,+epoxy+resin,+ropes.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Lost» 2006 </span><span style="font-size:85%;color:#660000;">(epoxy resin, horse skin, wood, ropes) </span></p><div align="center"><span style="font-size:85%;"><span style="color:#ffffff;">*</span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTQkcJVO4S0AZ9tYMS6ZoqmCyVhvAt3tkPFthkF6KdH0C1ED31KmJM9s2Xhi_yw2iprgW5-dvkld-gdOhvDmv4pIToScq_iIW8vTOriA9N6-QCH344fM45gFZYiZG8tC11lex0XnUgo5I/s1600-h/Kooi,+1995.jpg"><img id="BLOGGER_PHOTO_ID_5175687122967109362" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTQkcJVO4S0AZ9tYMS6ZoqmCyVhvAt3tkPFthkF6KdH0C1ED31KmJM9s2Xhi_yw2iprgW5-dvkld-gdOhvDmv4pIToScq_iIW8vTOriA9N6-QCH344fM45gFZYiZG8tC11lex0XnUgo5I/s400/Kooi,+1995.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Kooi (Cage)» 1995</span></div><div align="center"><span style="font-size:85%;color:#660000;">(iron, blankets) </span></div><div align="center"><span style="font-size:85%;"><span style="color:#ffffff;">*</span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3qblSt1E6kK2Jke-Uj8o8it6jT7tHK7uGUjIrDcMuo24vnh6kM_aEOQ5H6U7nEsrmgN4LlrqwrnDSc3ya6EfBiz_mFn7o7ZQKBsd5qad7CAYez_u3E1c7yyzkdc5ZOdNXKYff4QwRNm0/s1600-h/V.+Eeman,+1999.jpg"><img id="BLOGGER_PHOTO_ID_5175686766484823778" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3qblSt1E6kK2Jke-Uj8o8it6jT7tHK7uGUjIrDcMuo24vnh6kM_aEOQ5H6U7nEsrmgN4LlrqwrnDSc3ya6EfBiz_mFn7o7ZQKBsd5qad7CAYez_u3E1c7yyzkdc5ZOdNXKYff4QwRNm0/s400/V.+Eeman,+1999.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Covered Women series «V. Eeman» 1999</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wax, polyester, wood, blankets) </span></div><div align="center"><span style="font-size:85%;"><span style="color:#ffffff;">*</span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNUy6eMjcVxg2yKGaeYIx7WhWhda68qeoqD4qS99gPTp66MkZoQVhhLav6WOBJJd5TqvY_nLvUkedSDqU_EKG0H0RWU-nZ5KiaJg0kUNaTsew-gVAnxEObma8xykMr3vbr7uMZNJRmgaI/s1600-h/Deckenhuis+(House+of+Blankets),+1993.jpg"><img id="BLOGGER_PHOTO_ID_5175685898901429970" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNUy6eMjcVxg2yKGaeYIx7WhWhda68qeoqD4qS99gPTp66MkZoQVhhLav6WOBJJd5TqvY_nLvUkedSDqU_EKG0H0RWU-nZ5KiaJg0kUNaTsew-gVAnxEObma8xykMr3vbr7uMZNJRmgaI/s400/Deckenhuis+(House+of+Blankets),+1993.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Deckenhuis (House of Blankets)» 1993</span></div><div align="center"><span style="font-size:85%;color:#660000;">(iron, wood, blankets) </span></div><div align="center"><span style="font-size:85%;"><span style="color:#ffffff;">*</span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8sFFe2hIZNlQdsxTIfMdOCE3Rq4VZktRfr9b2fcAjr3OL-I3xwkvYH5AC3dpSuxKUBaORoduoLyd0LfAlJ5Z1gOhOxSNLmaq6dr5fRoGTbUTJWY-ryAupe32i5Oj28JmrxYWT9bjWChA/s1600-h/Spreken,+1999.jpg"><img id="BLOGGER_PHOTO_ID_5175685473699667650" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8sFFe2hIZNlQdsxTIfMdOCE3Rq4VZktRfr9b2fcAjr3OL-I3xwkvYH5AC3dpSuxKUBaORoduoLyd0LfAlJ5Z1gOhOxSNLmaq6dr5fRoGTbUTJWY-ryAupe32i5Oj28JmrxYWT9bjWChA/s400/Spreken,+1999.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Spreken (Speak)» 1999</span></div><div align="center"><span style="font-size:85%;color:#660000;">(blankets, wax, polyester, wood) </span></div><div align="center"><span style="font-size:85%;"><span style="color:#ffffff;">*</span></div></span><div align="center"></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZaTBr2InqtMKLJR3qfQ0-1bSi31JkOF4haRSliXTla-_g_oenDZV2TCwm04EBxYQ3AJs0K8FlCYveTBQEqtQI6vvjJ4pmPN-0lhrkutv8cF4Cj41XqK-oVyhK5G1OfoJB4v3ToUD3-4/s1600-h/Aan%C3%A9%C3%A9n-genaaid+series,+2000,+plaster,+wax,+polyurethane,+blanket.jpg"><img id="BLOGGER_PHOTO_ID_5175684490152156834" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvZaTBr2InqtMKLJR3qfQ0-1bSi31JkOF4haRSliXTla-_g_oenDZV2TCwm04EBxYQ3AJs0K8FlCYveTBQEqtQI6vvjJ4pmPN-0lhrkutv8cF4Cj41XqK-oVyhK5G1OfoJB4v3ToUD3-4/s400/Aan%C3%A9%C3%A9n-genaaid+series,+2000,+plaster,+wax,+polyurethane,+blanket.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Aanéén-genaaid series «Untitled» 2000</span></div><div align="center"><span style="font-size:85%;color:#660000;">(plaster, wax, polyurethane, blanket)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV0VxSRNzWrzRWwVd57A1UHxO-RSmpVhPFy-ltaRF4Toq38o5NLTYiKQckfiLyNlth_O3fBFX22hkp9_A3Vw_ZN7_WCHEqXLPVLeSZIoUYSUPgzPH3zNISarEvbe24LsQeseBTRrzmAzM/s1600-h/berlindedebruyckere.jpg"><img id="BLOGGER_PHOTO_ID_5175684193799413394" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjV0VxSRNzWrzRWwVd57A1UHxO-RSmpVhPFy-ltaRF4Toq38o5NLTYiKQckfiLyNlth_O3fBFX22hkp9_A3Vw_ZN7_WCHEqXLPVLeSZIoUYSUPgzPH3zNISarEvbe24LsQeseBTRrzmAzM/s400/berlindedebruyckere.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Cart with bankets» 2005</span></div><div align="center"><span style="font-size:85%;color:#660000;">(iron structure, blankets)<br /></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="justify"><span style="color:#330000;"><span style="font-size:85%;"><strong>Berlinde de Bruyckere</strong> nasceu em Ghent, na Bélgica, em 1964, onde vive e trabalha.<br />Participou com as suas esculturas, na Bienal de Veneza de 2003, no pavilhão italiano, onde obteve reconhecimento internacional. A partir daí, expôs individualmente em Zürich, na galeria Hauser & Wirth, em 2004 e na Fundação para a arte contemporânea De Pont em Tilburg, em 2005. Também em 2005, apresentou a exposição “Eén (One)” na Maison Rouge, Fundação Antoine de Galbert, em Paris. Posteriormente, em 2006 participou na 4ª Bienal de Berlim para a arte contemporânea e na exposição colectiva do centro cultural Kunsthalle em Düsseldorf. Actualmente os seus trabalhos fazem parte de uma exposição colectiva na Galeria Continua / Le Moulin na região de Paris, em Boissy-le-Châtel.</span></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#cc0000;"><strong>Crítica:</strong></span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>Desde o inicio dos anos 90 que Berlinde De Bruyckere tem vindo a trabalhar com cobertores – cobertores de lã, símbolo de agasalho e protecção – como o material utilizado nas suas esculturas e instalações. Eles simbolizam para a artista, não só peças de agasalho e abrigo, como também vulnerabilidade e medo. Medo que faz com que as pessoas se desloquem sob cobertores, e vulnerabilidade ligada a situações de frio, doença, catástrofes naturais e guerra. São estas as imagens que diariamente nos são transmitidas pelos meios de comunicação, provenientes da Somália, do Ruanda ou do Kosovo: imagens resgatadas dos focos de violência que obrigam as populações a fugir, a esconderem-se ou a refugiarem-se do frio. As vítimas são envolvidas em cobertores. O sofrimento está encoberto. No estúdio de De Bruyckere, recortes de jornais com fotografias a lembrar estes cenários coabitam pacificamente com os lembretes do dia-a-dia. Imagens onde a tristeza e a beleza parecem competir ao chamar a nossa atenção.<br /><span style="color:#ffffff;">*<br /></span>Uma das primeiras esculturas da artista com cobertores, consistia numa pilha simples de cobertores dobrados, colocados sobre um precário estrado de madeira. A base de madeira que assenta irregularmente, enfraquece o equilíbrio da pilha de cobertores que foi colocada de uma forma ordenada. <em>Dekenhuis</em> <em>(House of</em> <em>Blankets)</em> de 1993 é uma estrutura de metal que foi coberta por cobertores. Um dos cantos da estrutura permanece descoberto, mas a <em>House of Blankets</em> pretende ser inacessível, unicamente sugerindo a ideia de abrigo. De acordo com Berlinde de Bruyckere, a utilização de cobertores no seu trabalho, significa: <em><span style="color:#990000;">“Para mim, um cobertor é um símbolo de segurança. Possui uma alma que normalmente tem uma conotação positiva. Um cobertor aconchega-te; sentes-te como a criança sentada em casa enquanto chove lá fora. Também utilizo o cobertor como um objecto negativo. Podes dar a alguém tanto amor e segurança que o sufoca, em que ele já não se possa encontrar a si próprio. Ficar sob uma pilha de cobertores pode desorientar! Gosto de brincar com essa ambiguidade no meu trabalho.”<br /></span></em><span style="color:#ffffff;">*<br /></span>É com a dualidade entre amor e sofrimento, perigo e protecção, vida e morte que, invariavelmente, trata o trabalho de Berlinde De Bruyckere. Na sua exposição de 1995 no <strong>Museu Middeheim</strong>, intitulada <em>Innocence</em> <em>can be Hell</em>, criou, entre outras coisas, contentores abertos cheios de pilhas de cobertores <em>(Kooi 1995).</em> Alegremente coloridos, mas, ao mesmo tempo, de aparência macabra.: um transporte de emergência de ajuda humanitária, que nunca chegaria ao seu destino. A sensação de impotência produzida por este trabalho, aparece repetida nas várias figuras de mulheres que apresentam os braços e as pernas destapados, mas cujos corpos se encontram escondidos debaixo de cobertores, em posição de repouso. Nesta exposição, ela colocou uma dessas figuras numa árvore, que sentada num ramo agarra o vigoroso tronco. A artista compara o isolamento em que a mulher se encontra ao da criança que se esconde e que pensa: “Se eu não os vejo, eles não podem ver-me a mim”. Relativamente às suas esculturas <em>“Blanket Women”,</em> a artista acrescenta: <em><span style="color:#990000;">“A relação entre expor-se e esconder-se é uma relação que ocorre dentro de uma única imagem. Produzi a imagem da mulher envolta em cobertor pela primeira vez durante o período do genocídio no Ruanda em 1993-1994. Mostro a imagem de alguém que no fundo não quer ser visto. Nesse ponto, eu própria estava ocupada com a questão da essência de uma casa. Para mim, este é o lugar onde nos podemos esconder, ficar sozinhos, sermos capazes de pensar. Então, assisti a pessoas a fugir com um único cobertor a protegê-las, a cobri-las. Foi assim que a imagem me surgiu.<br /></span></em><span style="color:#ffffff;">*</span></span></div><div align="justify"><span style="font-size:85%;color:#330000;">A segurança ameaçada também tem a sua expressão numa instalação com três camas <em>(Untitled)</em> de 1996. Duas camas individuais e uma cama de criança estão sobrecarregadas com uma pilha contendo cem cobertores coloridos. Os cobertores foram perfurados com buracos profundos em vários locais.</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>Contribuiu para um projecto de exterior, <em>“Speelhoven 98”</em>, que consistiu na construção de uma carpete com 112.000 begónias, medindo dezoito por vinte e sete metros, e que nos lembra a mortalidade a partir da evolução degenerativa das flores. Este trabalho vem no seguimento de um outro, anterior, intitulado <em>“I Never</em> <em>Promised you a Rose Garden”</em> de 1992, que compreendia um cesto de verga cheio de rosas feitas de chumbo.</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>A instalação intitulada <em>“Flanders Fields”</em> em que são mostrados cinco cavalos, dominou as atenções. Berlinde de Bruyckere produziu este trabalho durante o verão de 2000 e apresentou-o no <strong>Museu In Flanders Fields</strong> em Ieper, na Bélgica. Aqui foram moldados corpos de cavalos que se cobriram com a pele e se modelaram nas poses dramáticas que resultaram das suas mortes agonizantes. Neste trabalho, cavalos possantes retratam desespero e vulnerabilidade como na Guernica de Picasso, onde é mostrada a queda dos seus corpos dilacerados e contorcidos. Em outras exposições, <em>Lustwarande/</em><em>pleasure garden</em> <em>(Tilburg 2000)</em> e <em>Locus/Focus (Arnhem 2001),</em> a artista apresentou, para choque de muitos visitantes, corpos de cavalos pendurados em árvores.</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>Os temas da mortalidade e da dualidade entre vida e morte, estão presentes na colecção <strong>De Pont</strong>: <em>Het har</em> <em>uitgerukt (The heart torn out)</em> é o título de um trabalho em série de desenhos de 1997-1998, que retratam a morbidez de rostos fixados em nós com um olhar vazio. Na escultura <em>Asnéén-genaaid I (Sewn together I) 2000,</em> o torso é formado por cobertores cozidos uns aos outros, enquanto as penas nuas parecem conceder ao conjunto um mínimo de estabilidade. No trabalho em série dos desenhos com o mesmo título, são mostradas formas humanas que se fundiram entre si.<br /><strong><span style="color:#330000;">De Pont museum of contemporary art, Tilburg, Holanda</span></strong><br /><strong>(traduzido por Fernanda Valente)</strong></span></div><div align="justify"><span style="font-size:85%;"><span style="color:#ffffff;">*<br />*</span></div></span><div align="justify"><span style="color:#990000;"><span style="font-size:85%;"><strong>De Pont museum of contemporary art, </strong></span></span><a href="http://www.depont.nl/nc/en/collection/the-collection/kunstenaar/10/info/"><span style="font-size:85%;color:#330000;"><span style="color:#ff6666;"><strong>english version</strong></span><br /></span></a><span style="font-size:85%;color:#ffffff;">*</span></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com1tag:blogger.com,1999:blog-2054748435853847162.post-56769815288090520962008-02-27T19:00:00.046+00:002008-03-03T19:26:31.837+00:00Vários Artistas - (Action Painting) - Parte I Expressionismo abstracto norte-americano / Informalismo europeu<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU5QaFzrPbLc3-VvRWtjYrJmKWZpNgnpAlBubNBQc9nKt7lb5dPg8C0E32ofRLe85P8z77GgvQjVQnUQtwho-srJvGdyhqGKtZQ2KVbaPGl9H9f77k-w26kERwhYAPKzsZhVUOm6VlilE/s1600-h/Jackson+Pollock,+%C2%ABOut+of+the+Web,+No.+7%C2%BB+1949,+oil+and+enamel+on+fibreboard+(Staatsgalerie+Stuttgart).jpg"><img id="BLOGGER_PHOTO_ID_5173566987157911650" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiU5QaFzrPbLc3-VvRWtjYrJmKWZpNgnpAlBubNBQc9nKt7lb5dPg8C0E32ofRLe85P8z77GgvQjVQnUQtwho-srJvGdyhqGKtZQ2KVbaPGl9H9f77k-w26kERwhYAPKzsZhVUOm6VlilE/s400/Jackson+Pollock,+%C2%ABOut+of+the+Web,+No.+7%C2%BB+1949,+oil+and+enamel+on+fibreboard+(Staatsgalerie+Stuttgart).jpg" border="0" /></a><span style="color:#660000;"><strong> </strong><span style="font-family:lucida grande;font-size:85%;"><strong>Jackson Pollock</strong> (1912-1956) Estados-Unidos da América</span></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">«Out of the Web, No. 7» 1949, oil and enamel on fibreboard</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#990000;"><em>(Staatsgalerie Stuttgart)</em></span></div><div align="center"><em><span style="font-size:85%;color:#ffffff;">*</span></em></div><div align="center"></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEsSWDRqm3RASIFPR75CTOS2f9M1mJL6B_4oSdcTFf-QkUbZJiSc1y2aNDl7Q1R0xLu9RMxhdSFBiK2ptb9woYrJRE3HU_Umu3pgCqsmaoUInmgpCpkOxPBHAj8oC1LEU5guE-ii2jgtM/s1600-h/Jackson+Pollock,+Search,+1955,+oil+and+enamel+on+canvas+(Fujii+International,+Japan).jpg"><img id="BLOGGER_PHOTO_ID_5173566656445429842" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEsSWDRqm3RASIFPR75CTOS2f9M1mJL6B_4oSdcTFf-QkUbZJiSc1y2aNDl7Q1R0xLu9RMxhdSFBiK2ptb9woYrJRE3HU_Umu3pgCqsmaoUInmgpCpkOxPBHAj8oC1LEU5guE-ii2jgtM/s400/Jackson+Pollock,+Search,+1955,+oil+and+enamel+on+canvas+(Fujii+International,+Japan).jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;"> «Search» 1955, oil and enamel on canvas</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#990000;"><em>(Fujii International, Japan)<br /></em></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcq-oP9OYizkRLRHjzbdee_7nPTRecR_R8G3aV6RVyO1wTAn9uSJjE9vmvXk-gmLqbmzl_Za5R4mitdUfRvHeWfqrzdlOTFikPpS4tncHwd1c4ERPWPvkEirEylW_O4B0LcQj-eTyNNHc/s1600-h/4DPict.jpg"><img id="BLOGGER_PHOTO_ID_5173566334322882626" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcq-oP9OYizkRLRHjzbdee_7nPTRecR_R8G3aV6RVyO1wTAn9uSJjE9vmvXk-gmLqbmzl_Za5R4mitdUfRvHeWfqrzdlOTFikPpS4tncHwd1c4ERPWPvkEirEylW_O4B0LcQj-eTyNNHc/s400/4DPict.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Bird» 1938-41, oil and sand on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(The Museum of Modern Art, New York) </em></span></div><div align="center"><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">*<br /></span></div></em></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3ueDJjSqKMUEPmxEBMqE_jYh3ncxt3G8kRPkxnbS-0fqxWJDWOJYMi95g2Mzn7OWbLs0y5huSLh641F-iQGsxiYdrJABNooH3jTu5R1Kn34togb8-b514dwtkc86Va9iCuYvgw88BW9A/s1600-h/Jackson+Pollock,+The+Moon-Woman+cuts+the+Circle,+1943,+oil+on+Canvas+(Centre+Georges+Pompidou,+Paris).jpg"><img id="BLOGGER_PHOTO_ID_5173566029380204594" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3ueDJjSqKMUEPmxEBMqE_jYh3ncxt3G8kRPkxnbS-0fqxWJDWOJYMi95g2Mzn7OWbLs0y5huSLh641F-iQGsxiYdrJABNooH3jTu5R1Kn34togb8-b514dwtkc86Va9iCuYvgw88BW9A/s400/Jackson+Pollock,+The+Moon-Woman+cuts+the+Circle,+1943,+oil+on+Canvas+(Centre+Georges+Pompidou,+Paris).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «The Moon-Woman cuts the Circle» 1943, oil on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Centre Georges Pompidou, Paris)<br /></em></span><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0bQv59gchcQB4fNbEXbFDPvGucPkIo9APpSVia7QPhmnN6VKplzpsbKrk9b4teHouYRlzxiluPRjBwrDZfaBCH3RImfKaSutuFbDwOzuZieIUbu_9YY2jqLXz6H7SgLFPkQWtdt5gAXE/s1600-h/PX5CASUPA0NCAZ67BU7CAQVCM74CAEJ5JWSCAL35HK5CAU6489BCA6MQ7FFCAJ2IOHBCA9SYFPHCAMBDL98CA4B6026CAX7YJYLCA1NBW5VCA7JKA9UCAMVFUZ2CACJECD7CAF5TIAECAE84Z7A.jpg"><img id="BLOGGER_PHOTO_ID_5173565681487853602" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0bQv59gchcQB4fNbEXbFDPvGucPkIo9APpSVia7QPhmnN6VKplzpsbKrk9b4teHouYRlzxiluPRjBwrDZfaBCH3RImfKaSutuFbDwOzuZieIUbu_9YY2jqLXz6H7SgLFPkQWtdt5gAXE/s400/PX5CASUPA0NCAZ67BU7CAQVCM74CAEJ5JWSCAL35HK5CAU6489BCA6MQ7FFCAJ2IOHBCA9SYFPHCAMBDL98CA4B6026CAX7YJYLCA1NBW5VCA7JKA9UCAMVFUZ2CACJECD7CAF5TIAECAE84Z7A.jpg" border="0" /></a><br /><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong>Wilhelm de Kooning</strong> (1904-1997) Holanda</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">«Woman I» 1950-52, oil on canvas</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#990000;"><em>(The Museum of Modern Art, New York) </em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#990000;"><em><span style="color:#ffffff;">*<br /></span></div></em></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAyQOIeWs2uKPtvFmVi_TllWLN6zp_CwDGtpfotjk_DZe1F6Tqr9orqs5rmXy210sawSzZnJfUv_RJYZ3wRkr4kR1cnMlrsabvNmnvjmgff2zDHqt8n8Cj5YEfFwZd1LZeRQ7qCo70Z0c/s1600-h/WK,+Seated+Woman,+1940,+oil+and+charcoal+on+composition+board+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5173565471034456082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjAyQOIeWs2uKPtvFmVi_TllWLN6zp_CwDGtpfotjk_DZe1F6Tqr9orqs5rmXy210sawSzZnJfUv_RJYZ3wRkr4kR1cnMlrsabvNmnvjmgff2zDHqt8n8Cj5YEfFwZd1LZeRQ7qCo70Z0c/s400/WK,+Seated+Woman,+1940,+oil+and+charcoal+on+composition+board+(Private+Collection).jpg" border="0" /></a></div><div align="center"><span style="font-size:85%;color:#660000;">«Seated Woman» 1940, oil and charcoal on composition board</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection) </em></span></div><div align="center"><em><span style="font-size:85%;color:#ffffff;">*</span></em></div><div align="center"><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;"></div></span></em></span><div align="center"></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2LaK21vCXSTEcj-HSDUKp7FPwu07T8Bd1BQCcdNLvJ7zQXyX-vwGxvtDXtuBKHU_mLGVnyB9XrkSRy4Aso_JcoKTO5aboH9wPL3dSGnv6HGG9rwoiWjpUOpJ5cafWqQ5ca1m-tNdLz2E/s1600-h/Wilhelm%252Bde%252BKooning,%252BA%252BTree%252Bin%252BNaples,%252B1960,%252Boil%252Bon%252Bcanvas%252B(MOMA,%252BNew%252BYork).jpg"><img id="BLOGGER_PHOTO_ID_5173564165364398066" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2LaK21vCXSTEcj-HSDUKp7FPwu07T8Bd1BQCcdNLvJ7zQXyX-vwGxvtDXtuBKHU_mLGVnyB9XrkSRy4Aso_JcoKTO5aboH9wPL3dSGnv6HGG9rwoiWjpUOpJ5cafWqQ5ca1m-tNdLz2E/s400/Wilhelm%252Bde%252BKooning,%252BA%252BTree%252Bin%252BNaples,%252B1960,%252Boil%252Bon%252Bcanvas%252B(MOMA,%252BNew%252BYork).jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«A Tree in Naples» 1960, oil on canvas</span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#990000;"><em>(The Museum of Modern Art, New York) </em></span></span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#990000;"><em><span style="color:#ffffff;">*<br /></span></div></em></span></span><div align="center"></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_oj9ivVJ4_0UrcbNisOKcJY0medFmTB_K3NndYnTi0tc552GGRqNjQyIXwZlqnYkLY2G_AEB9vycpL0rzfu9iHB_Sgtq3Y7TulK4shoDTc3G-RHIR4ubsXeAeE-ZuXsBTs8bKuVwOX6o/s1600-h/Clifford+Still,+July+1945-R,+1945,+oil+on+canvas+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5173563684328060882" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi_oj9ivVJ4_0UrcbNisOKcJY0medFmTB_K3NndYnTi0tc552GGRqNjQyIXwZlqnYkLY2G_AEB9vycpL0rzfu9iHB_Sgtq3Y7TulK4shoDTc3G-RHIR4ubsXeAeE-ZuXsBTs8bKuVwOX6o/s400/Clifford+Still,+July+1945-R,+1945,+oil+on+canvas+(Private+Collection).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>Clyfford Still</strong> (1904-1970) Estados-Unidos da América</span></div><div align="center"><span style="font-size:85%;color:#660000;">«July 1945-R» 1945, oil on canvas<br /><span style="color:#990000;"><em>(Private Collection)<br /></em></span></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhweMiVa_C7WNKciqiINS8kMFLO8vh0uOdEHUjHRC0ZrUzGBy609duRwgirX4VmIpuaUM-mdSz9MFvS9hxU5Y85dCq0wEaDjouVDNaAb8rd6Zblbf04eBNeNhNoPe7NcXFse3LQhffTy-c/s1600-h/Clyfford%252BStill,%252B%25C2%25AB1949%252BNo_%252B1%252B(PH-385)%25C2%25BB%252B1949,%252Boil%252Bon%252Bcanvas%252B(Clyfford%252BStill%252BMuseum,%252BDenver,%252BColorado).jpg"><img id="BLOGGER_PHOTO_ID_5173563508234401730" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhweMiVa_C7WNKciqiINS8kMFLO8vh0uOdEHUjHRC0ZrUzGBy609duRwgirX4VmIpuaUM-mdSz9MFvS9hxU5Y85dCq0wEaDjouVDNaAb8rd6Zblbf04eBNeNhNoPe7NcXFse3LQhffTy-c/s400/Clyfford%252BStill,%252B%25C2%25AB1949%252BNo_%252B1%252B(PH-385)%25C2%25BB%252B1949,%252Boil%252Bon%252Bcanvas%252B(Clyfford%252BStill%252BMuseum,%252BDenver,%252BColorado).jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«1949 No. 1 (PH 385)»1949, oil on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(The Denver Art Museum)</em></span></div><div align="center"><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv4pzjmqF3_FVYLFzrHjH47RCAbXOb5XdEEjGPwohCd-4bpnJ2paEYyMW7nPfpvenBg-L6wLYVQgfeOvLvvajofqoJmRmh6fCMpp4JLH2sE9Dv8SBzVDmj4Y6jd44n3ZK3Yb_mJ4TgCdI/s1600-h/Clyford%252BStill,%252B1957-D%252BNo_%252B2,%252B1957,%252Boil%252Bon%252Bcotton.jpg"><img id="BLOGGER_PHOTO_ID_5173563302075971506" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv4pzjmqF3_FVYLFzrHjH47RCAbXOb5XdEEjGPwohCd-4bpnJ2paEYyMW7nPfpvenBg-L6wLYVQgfeOvLvvajofqoJmRmh6fCMpp4JLH2sE9Dv8SBzVDmj4Y6jd44n3ZK3Yb_mJ4TgCdI/s400/Clyford%252BStill,%252B1957-D%252BNo_%252B2,%252B1957,%252Boil%252Bon%252Bcotton.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«1957-D No. 2» 1957, oil on cotton</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection) </em></span></div><div align="center"><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">*<br /></span></div></em></span><div align="center"></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg92xCnEcWWfnGlLSY4MzsaViNW48bx_RuE29axJQ6TCvq9qdBpoK8reG8wseFejngZC_YANGgTx6VExtMDz6D65bsPb1s8P4H0wrXTjQ5GLbL3KmKY-hJcxNp9e-TjBUcthxP3KSLLGo/s1600-h/Sam%252BFrancis,%252BBlue%252Band%252BRed%252BBalls,%252B1962,%252Bacrylic%252Bon%252Bpaper%252B(MOCA,%252BLos%252BAngeles).jpg"><img id="BLOGGER_PHOTO_ID_5173562644945975186" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg92xCnEcWWfnGlLSY4MzsaViNW48bx_RuE29axJQ6TCvq9qdBpoK8reG8wseFejngZC_YANGgTx6VExtMDz6D65bsPb1s8P4H0wrXTjQ5GLbL3KmKY-hJcxNp9e-TjBUcthxP3KSLLGo/s400/Sam%252BFrancis,%252BBlue%252Band%252BRed%252BBalls,%252B1962,%252Bacrylic%252Bon%252Bpaper%252B(MOCA,%252BLos%252BAngeles).jpg" border="0" /></a><br /><span style="font-size:85%;color:#660000;"><strong>Sam Francis</strong> (1923-1994) Estados-Unidos da América</span></div><div align="center"><span style="font-size:85%;color:#660000;">«Blue and Red Balls» 1962, acrylic on paper</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(The Museum of Contemporary Art, Los Angeles)<br /></em></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioQwXA84pGESFhQBidpJAzv-xgNMEFNf-zgh_wMGyH7OKIDLlJzQ9zGKtCO5NksWP4hIcwmjEhA25GoZi_qYs9AlaGMOGmyINpqyJ-BNSVBQTKmFnbOlSTDD54pp-N-lc3rqSKPlu3iHY/s1600-h/Sam%252BFrancis,%252BUntitled,%252B1954,%252Bwatercolor%252Bon%252Bpaper%252B(MOCA,%252BLos%252BAngeles).jpg"><img id="BLOGGER_PHOTO_ID_5173562413017741186" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioQwXA84pGESFhQBidpJAzv-xgNMEFNf-zgh_wMGyH7OKIDLlJzQ9zGKtCO5NksWP4hIcwmjEhA25GoZi_qYs9AlaGMOGmyINpqyJ-BNSVBQTKmFnbOlSTDD54pp-N-lc3rqSKPlu3iHY/s400/Sam%252BFrancis,%252BUntitled,%252B1954,%252Bwatercolor%252Bon%252Bpaper%252B(MOCA,%252BLos%252BAngeles).jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Untitled» 1954, watercolor on paper</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(The Museum of Contemporary Art, Los Angeles) </em></span></div><div align="center"><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">*<br /></span></div></em></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxBPXXsKkMUPifukgVsF3_Z0uhMJPiEHCfvDrsL7SLhmIkySZNBZzwpoXbaR8wsTAim7j7qWkMag8Ew7whM8t7jN-XdqnfPHLoENUrvy0dcuMB5GLkPaTXbMaPLgDLK_FS9HMKz9x9iQQ/s1600-h/Roberto%252BMatta,%252BFiery%252BLandscape,%252B1940,%252Bcrayon%252Band%252Bpencil%252Bon%252Bpaper%252B(Private%252BCollection).jpg"><img id="BLOGGER_PHOTO_ID_5173561833197156210" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxBPXXsKkMUPifukgVsF3_Z0uhMJPiEHCfvDrsL7SLhmIkySZNBZzwpoXbaR8wsTAim7j7qWkMag8Ew7whM8t7jN-XdqnfPHLoENUrvy0dcuMB5GLkPaTXbMaPLgDLK_FS9HMKz9x9iQQ/s400/Roberto%252BMatta,%252BFiery%252BLandscape,%252B1940,%252Bcrayon%252Band%252Bpencil%252Bon%252Bpaper%252B(Private%252BCollection).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>Roberto Matta</strong> (1911-2002) Santiago do Chile</span></div><div align="center"><span style="font-size:85%;color:#660000;">«Fiery Landscape» 1940, crayon and pencil on paper</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection)<br /></em></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrw75AofWnVl5eTOGVISGZhjJo69ZE4hz2EeGyCp4CB89C1cUJELkCG_26Y9jeNIGBSk3IsizA0QJNjcb6LWxfO7dxlMsRiLDsY9epHJ099L-ZGDdhKf5Ueeiji1yORHt_i7xOgnVSgc8/s1600-h/Roberto%252BMatta,%252BListen%252Bto%252BLiving,%252B1941,%252Boil%252Bon%252Bcanvas%252B(MOMA,%252BNew%252BYork).jpg"><img id="BLOGGER_PHOTO_ID_5173560321368668002" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrw75AofWnVl5eTOGVISGZhjJo69ZE4hz2EeGyCp4CB89C1cUJELkCG_26Y9jeNIGBSk3IsizA0QJNjcb6LWxfO7dxlMsRiLDsY9epHJ099L-ZGDdhKf5Ueeiji1yORHt_i7xOgnVSgc8/s400/Roberto%252BMatta,%252BListen%252Bto%252BLiving,%252B1941,%252Boil%252Bon%252Bcanvas%252B(MOMA,%252BNew%252BYork).jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Listen to Living» 1941, oil on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(The Museum of Modern Art, New York) </em></span></div><div align="center"><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">*<br /></span></div></em></span><div align="center"></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj71KE1e3aPHWps_YvNby3kJCwsXC_BaYziCe_QJJ9fKoPx6IjZOjjOzxSOfXp1GocA3uyjDpZOU7xkk0p-L8sFjmaJAaS1JqUhI4TuYAa4W7BX7A4js9TiAs79aynsFLHq7838Y_LaJ4Q/s1600-h/RM,+Las+Grandes+Expectativas,+1966,+oleo+s+lienzo,+Museo+Thyssen-Bornemisza,Madrid).jpg"><img id="BLOGGER_PHOTO_ID_5173559019993577266" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj71KE1e3aPHWps_YvNby3kJCwsXC_BaYziCe_QJJ9fKoPx6IjZOjjOzxSOfXp1GocA3uyjDpZOU7xkk0p-L8sFjmaJAaS1JqUhI4TuYAa4W7BX7A4js9TiAs79aynsFLHq7838Y_LaJ4Q/s400/RM,+Las+Grandes+Expectativas,+1966,+oleo+s+lienzo,+Museo+Thyssen-Bornemisza,Madrid).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Las Grandes Expectativas» 1966, oil on canvas<br /><span style="color:#990000;"><em>(Museo Thyssen-Bornemisza, Madrid)<br /></em></span></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBn7qqdmAVm1cCxWguuVuhZFYL9Xj_aV5huXnuXB1as3-lWgxu_fgTV8MvG40rFXosFPwFbTInnCFh1YmtcyS8BnKWEjfQLw75xdOMUU65V3j-ZMsq9VSr_-WB91zILTi8MpRsuByxd_E/s1600-h/Pierre%252BSoulages,%252B%25C2%25ABPeinture%252B1963%25C2%25BB%252B1963,%252Boil%252Bon%252Bcanvas%252B(Museu%252BBerardo,%252BLisboa).jpg"><img id="BLOGGER_PHOTO_ID_5173558766590506786" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBn7qqdmAVm1cCxWguuVuhZFYL9Xj_aV5huXnuXB1as3-lWgxu_fgTV8MvG40rFXosFPwFbTInnCFh1YmtcyS8BnKWEjfQLw75xdOMUU65V3j-ZMsq9VSr_-WB91zILTi8MpRsuByxd_E/s400/Pierre%252BSoulages,%252B%25C2%25ABPeinture%252B1963%25C2%25BB%252B1963,%252Boil%252Bon%252Bcanvas%252B(Museu%252BBerardo,%252BLisboa).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>Pierre Soulages</strong> (1919-) França</span><br /><span style="font-size:85%;color:#660000;">«Peinture, 1963» 1963, oil on canvas</span><br /><span style="font-size:85%;color:#990000;"><em>(Museu Berardo, Lisboa)<br /></em></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUg6nR_TZ-2eMYbJjD83OhiemytqrXVBukqUmFX3lEB4V-sifOCrlcPT5JAgn9UNB0N-1faLLoFzVbgExieZAhENp96SefNG0xV2grGVtyiM_ig2j3rQEJtCtUWsvvEmInFWQQH3JZKr4/s1600-h/Pierre%252BSoulages,%252BPeinture,%252B1959,%252Boil%252Bon%252Bcanvas.jpg"><img id="BLOGGER_PHOTO_ID_5173558607676716818" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUg6nR_TZ-2eMYbJjD83OhiemytqrXVBukqUmFX3lEB4V-sifOCrlcPT5JAgn9UNB0N-1faLLoFzVbgExieZAhENp96SefNG0xV2grGVtyiM_ig2j3rQEJtCtUWsvvEmInFWQQH3JZKr4/s400/Pierre%252BSoulages,%252BPeinture,%252B1959,%252Boil%252Bon%252Bcanvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Peinture, 28 décembre 1959» 1959, oil on canvas</span><br /><span style="font-size:85%;color:#990000;"><em>(Beyeler Foundation, Basel)<br /></em></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYMMtG8VLSQ9CccaMaajmJrKPXjTfToi1zKnYf8ntjOFhV1Tv0GznDsap2HOsylpKcIQ5Al3hP3sSekXdJaQynFOw5vinIT4xiyZkAomjaZLqR1XEaCFxBVPelVe4up8uBx1PwNGv-nR8/s1600-h/Ernst+Wilhelm+Nay,+Scheiben,+1956,+aquarell+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5173558401518286594" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYMMtG8VLSQ9CccaMaajmJrKPXjTfToi1zKnYf8ntjOFhV1Tv0GznDsap2HOsylpKcIQ5Al3hP3sSekXdJaQynFOw5vinIT4xiyZkAomjaZLqR1XEaCFxBVPelVe4up8uBx1PwNGv-nR8/s400/Ernst+Wilhelm+Nay,+Scheiben,+1956,+aquarell+(Private+Collection).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>Ernst Wilhelm Nay</strong> (1902-1968) Alemanha</span><br /><span style="font-size:85%;color:#660000;">«Scheiben» 1956, watercolor<br /><span style="color:#990000;"><em>(Private Collection)<br /></em></span></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4CTaNF1E1qBGaY9hIa140Mr3zbogew_e8Byqv5i7gOWh6LOKVNfz1dNbv1lf0LCERBglENBA10miSUOkNeSV45woqap-Bdln2W0dC-ivy9iiXD0HVr0JqX0joByDE3jZfXxizIxkh4uA/s1600-h/Ernst+Wilhelm+Nay,+Polychrome,+1959,+oil+on+canvas+(Museo+Thyssen-Bornemisza).jpg"><img id="BLOGGER_PHOTO_ID_5173558216834692850" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4CTaNF1E1qBGaY9hIa140Mr3zbogew_e8Byqv5i7gOWh6LOKVNfz1dNbv1lf0LCERBglENBA10miSUOkNeSV45woqap-Bdln2W0dC-ivy9iiXD0HVr0JqX0joByDE3jZfXxizIxkh4uA/s400/Ernst+Wilhelm+Nay,+Polychrome,+1959,+oil+on+canvas+(Museo+Thyssen-Bornemisza).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Polychrome» 1959, oil on canvas</span><br /><span style="font-size:85%;color:#990000;"><em>(Museo Thyssen-Bornemisza, Madrid)<br /></em></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKjs-1ZlKQQl4TQYYYwSOSgnlAFXT1wuWVFm3uG64ZfaXGZiS586r-BVSa1zbJN1l2WtcwVgoWMB1RGY62ncGy-vcK4kDU5NHWXznJ1_dh24RcJv1ITMZSHP04FW8PCiW3rNKhmN2-qzY/s1600-h/le%252BGorky,%252BStudy%252Bfor%252BBull%252Bin%252Bthe%252BSun,%252Bca_%252B1942,%252Bgouache,%252Bindia%252Bink%252Band%252Bpencil%252Bon%252Bpaper%252B(Museu%252BBerardo,%252BLisboa).jpg"><img id="BLOGGER_PHOTO_ID_5173557705733584610" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKjs-1ZlKQQl4TQYYYwSOSgnlAFXT1wuWVFm3uG64ZfaXGZiS586r-BVSa1zbJN1l2WtcwVgoWMB1RGY62ncGy-vcK4kDU5NHWXznJ1_dh24RcJv1ITMZSHP04FW8PCiW3rNKhmN2-qzY/s400/le%252BGorky,%252BStudy%252Bfor%252BBull%252Bin%252Bthe%252BSun,%252Bca_%252B1942,%252Bgouache,%252Bindia%252Bink%252Band%252Bpencil%252Bon%252Bpaper%252B(Museu%252BBerardo,%252BLisboa).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>Arshile Gorky</strong> (1904-1948) Arménia</span><br /><span style="font-size:85%;color:#660000;">«Study for Bullin the Sun» ca. 1942, gouache, india ink</span><br /><span style="font-size:85%;color:#660000;">and pencil on paper</span><br /><span style="font-size:85%;color:#990000;"><em>(Museu Berardo, Lisboa) </em></span><br /><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">* </span><br /></em></span><span style="font-size:85%;color:#990000;"><em></em></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFg0plOWI_vDNR_PQeEqZmoNIDhhmk-O5NB8UD9AchPT-JKpSSQoDKDFRHg5MZTjygNNR0rzJOVh74OKYINUgO0rzv-i2VoQr8egvpTxvbHcLxuL6CdcZ8MK-yHY3sB1yOes9IDJ0GNJU/s1600-h/AG,+Sin+Titulo,+1943,+wax+and+charcoal+on+paper+(Solomon+R.+Guggenheim+Museum).jpg"><img id="BLOGGER_PHOTO_ID_5173556966999209666" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFg0plOWI_vDNR_PQeEqZmoNIDhhmk-O5NB8UD9AchPT-JKpSSQoDKDFRHg5MZTjygNNR0rzJOVh74OKYINUgO0rzv-i2VoQr8egvpTxvbHcLxuL6CdcZ8MK-yHY3sB1yOes9IDJ0GNJU/s400/AG,+Sin+Titulo,+1943,+wax+and+charcoal+on+paper+(Solomon+R.+Guggenheim+Museum).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Untitled» 1943, wax and charcoal on paper</span><br /><span style="font-size:85%;color:#990000;"><em>(Solomon R. Guggenheim Museum, New York) </em></span><br /><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">* </span><br /></em></span><span style="font-size:85%;color:#990000;"><em></em></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwYDRXt6AlQ9Qh3hSpP8WJM9WGdGiL8Yuh9gMNjPx_qoFLtpN5wKO4btMR9iJUsqZpqh6G1S9MPP3g5T44W1zS0AqO-sMO8yfsx1zg75MpDgO6mxfVa9m4-zNsJjC2zXa_WsRrwWV0zoM/s1600-h/Arshile%252BGorky,%252BThe%252BLeaf%252Bof%252Bthe%252BArtichoke%252Bis%252Ban%252BOwl,%252B1944,%252Boil%252Bon%252Bcanvas%252B(MOMA,%252BNew%252BYork).jpg"><img id="BLOGGER_PHOTO_ID_5173556786610583218" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwYDRXt6AlQ9Qh3hSpP8WJM9WGdGiL8Yuh9gMNjPx_qoFLtpN5wKO4btMR9iJUsqZpqh6G1S9MPP3g5T44W1zS0AqO-sMO8yfsx1zg75MpDgO6mxfVa9m4-zNsJjC2zXa_WsRrwWV0zoM/s400/Arshile%252BGorky,%252BThe%252BLeaf%252Bof%252Bthe%252BArtichoke%252Bis%252Ban%252BOwl,%252B1944,%252Boil%252Bon%252Bcanvas%252B(MOMA,%252BNew%252BYork).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«The Leaf of the Artichoke is an Owl» 1944, oil on canvas</span><br /><span style="font-size:85%;color:#990000;"><em>(The Museum of Modern Art, New York) </em></span><br /><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">* </span><br /></em></span><span style="font-size:85%;color:#990000;"><em></em></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHBwI0C4BcH37BAUe3XKTRBRwkr7dStVXerEjpAbIGvu5j4BGqCg4KJta92NVfUBsNhA8Wawdfu7LNufpkf0nPR4Hr1hkUz1iGSK0qotOWqBbBAU1ERjllSUYlidhccZr4MihMZYiThl8/s1600-h/Alfred%252BOtto%252BWolfgang%252BSchulze%252B(wols),%252BIt%2527s%252BAll%252BOver%252B-%252BThe%252BCity,%252B1946-47,%252Boil,%252Bgrattage%252Band%252Bimprints%252Bon%252Bcanvas.jpg"><img id="BLOGGER_PHOTO_ID_5173556460193068706" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHBwI0C4BcH37BAUe3XKTRBRwkr7dStVXerEjpAbIGvu5j4BGqCg4KJta92NVfUBsNhA8Wawdfu7LNufpkf0nPR4Hr1hkUz1iGSK0qotOWqBbBAU1ERjllSUYlidhccZr4MihMZYiThl8/s400/Alfred%252BOtto%252BWolfgang%252BSchulze%252B(wols),%252BIt%2527s%252BAll%252BOver%252B-%252BThe%252BCity,%252B1946-47,%252Boil,%252Bgrattage%252Band%252Bimprints%252Bon%252Bcanvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong>Alfred Otto Wolfgang Shulze</strong> (1913-1951) Alemanha</span><br /><span style="font-size:85%;color:#660000;">«It's All Over - The City» 1946-47, oil, grattage</span><br /><span style="font-size:85%;color:#660000;">and imprints on canvas</span><br /><span style="font-size:85%;color:#990000;"><em>(Beyeler Foundation, Basel) </em></span><br /><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">* </span><br /></em></span><span style="font-size:85%;color:#990000;"><em></em></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7JKnPSeXA4PdvNbYQhs8YsfRAsw22WJ4TG0bvxlN26CdMTjWxVNptWK3edWT5NjCyzBaPcJj4l-DCnMSVBF4TP14rCTh9vju-NWkDEQSL2bTobX5aWoQU-tnlEODu6xrAZygRH62CMb4/s1600-h/Wols,%252BPainting,%252B1946-47,%252Boil%252Bon%252Bcanvas%252B(MOMA,%252BNew%252BYork).jpg"><img id="BLOGGER_PHOTO_ID_5173556314164180626" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7JKnPSeXA4PdvNbYQhs8YsfRAsw22WJ4TG0bvxlN26CdMTjWxVNptWK3edWT5NjCyzBaPcJj4l-DCnMSVBF4TP14rCTh9vju-NWkDEQSL2bTobX5aWoQU-tnlEODu6xrAZygRH62CMb4/s400/Wols,%252BPainting,%252B1946-47,%252Boil%252Bon%252Bcanvas%252B(MOMA,%252BNew%252BYork).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Painting» 1946-47, oil on canvas</span><br /><span style="font-size:85%;color:#990000;"><em>(The Museum of Modern Art, New York)<br /></em></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3aN0ynQtwfZWO4OLKHbn-TMS7VYqOMq2rS24LIzjYfbWRkGwD6oFvjgXcJnU_gZQo6Tfsq89OV_2nAeuA8-4blBFKSdGgaouLcU6ZvxvEXUjOC9hAyGP6nVl0DwiitTPebPAzkromeB4/s1600-h/Wolz,+La+Cuidad,+1950-51,+gouache,+paint+and+acquarell+on+paper+(Museo+Thyssen-Bornemisza).jpg"><img id="BLOGGER_PHOTO_ID_5173556034991306370" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3aN0ynQtwfZWO4OLKHbn-TMS7VYqOMq2rS24LIzjYfbWRkGwD6oFvjgXcJnU_gZQo6Tfsq89OV_2nAeuA8-4blBFKSdGgaouLcU6ZvxvEXUjOC9hAyGP6nVl0DwiitTPebPAzkromeB4/s400/Wolz,+La+Cuidad,+1950-51,+gouache,+paint+and+acquarell+on+paper+(Museo+Thyssen-Bornemisza).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «La Ciudad» 1950-51, gouache, paint and watercolor on paper</span><br /><span style="font-size:85%;color:#990000;"><em>(Museo Thyssen-Bornemisza, Madrid) </em></span><br /><span style="color:#ffffff;">*</span></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKS6qE1gjqd_P_a5h9szEeL64WDIECLs0TiLUDDzkc0FCTJYKsFKQ1QkHJpH6VmaIiChpKq_bTbsmLmBzh9ZHfCUTsv5sBFyKigjixMgJy8fi4IMkC65etQwNIrWpsbMtArztRjG0jGKk/s1600-h/Morris%252BLouis,%252BOmega%252BIV,%252B1959-60,%252Bsynthetic%252Bresin%252Bon%252Bcanvas.jpg"><img id="BLOGGER_PHOTO_ID_5173555111573337682" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKS6qE1gjqd_P_a5h9szEeL64WDIECLs0TiLUDDzkc0FCTJYKsFKQ1QkHJpH6VmaIiChpKq_bTbsmLmBzh9ZHfCUTsv5sBFyKigjixMgJy8fi4IMkC65etQwNIrWpsbMtArztRjG0jGKk/s400/Morris%252BLouis,%252BOmega%252BIV,%252B1959-60,%252Bsynthetic%252Bresin%252Bon%252Bcanvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"></span> <span style="font-size:85%;color:#660000;"><strong>Morris Louis</strong> (1912-1962) Estados-Unidos da América</span><br /><span style="font-size:85%;color:#660000;">«Omega IV» 1959-60, synthetic resin on canvas</span><br /><span style="font-size:85%;color:#990000;"><em>(Beyeler Foundation, Basel)<br /></em></span><div align="center"><br /></div><div align="center"><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0B2IcqcE4Ftbj37YqpxySM-BgrBz-enFG5RPgpAFBX6uk_i0xMUoQcm1lWsWw2DVrlVM09D1b4EHPjx8ovRpcU0ZmwXl4ei6eyeEVMfDcPiMxsKWD0gZvuQxetzeBxuTzYTbmKM6BJ3E/s1600-h/Kazuo+Shiraga,+Yugi,+1992,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5171758760015204178" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0B2IcqcE4Ftbj37YqpxySM-BgrBz-enFG5RPgpAFBX6uk_i0xMUoQcm1lWsWw2DVrlVM09D1b4EHPjx8ovRpcU0ZmwXl4ei6eyeEVMfDcPiMxsKWD0gZvuQxetzeBxuTzYTbmKM6BJ3E/s400/Kazuo+Shiraga,+Yugi,+1992,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong>Kazuo Shiraga</strong> (1924-) Japão<br />«Yugi» 1992, oil on canvas<br /><em><span style="color:#990000;">(Private Collection)</span></em></span></div><div align="center"><span style="color:#ffffff;"><em><span style="font-size:85%;">*</span></em><br /></div></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmxxdVJQPJwykgKbk6Xd43WXDU9Hh2pWuvk3NQQ2s-Eu6Kec_eh9LluprZoym2_8SMtEP2ayqvTesisZnwMCc7yp3XOiGDwLRimWx218GE0Bnmhyphenhyphenpc16uGXszvPy6Z20UucWF46COZw3I/s1600-h/Kazuo+Shiraga,+Yugyo,+1989,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5171752970399289042" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgmxxdVJQPJwykgKbk6Xd43WXDU9Hh2pWuvk3NQQ2s-Eu6Kec_eh9LluprZoym2_8SMtEP2ayqvTesisZnwMCc7yp3XOiGDwLRimWx218GE0Bnmhyphenhyphenpc16uGXszvPy6Z20UucWF46COZw3I/s400/Kazuo+Shiraga,+Yugyo,+1989,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Yugyo» 1989, oil on canvas<br /><em><span style="color:#990000;">(Private Collection) </span></em></span></div><span style="font-size:85%;color:#660000;"><em><span style="color:#990000;"><span style="color:#ffffff;">*</span></span></em></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGKFpa4tzs7wqTLJxaBBzvHA_-iW6rxsyMjOKtvZtLJzVsJwjE6z7zocprog-SttCFWas6vdI-ksoWxF9nYgnv-pokCA0M-slqf7-ftJlvD019cKic-409R8sXdnfjSuKXgpdPqw2gbPU/s1600-h/Eva+Hesse,+No+Title,+1961,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5171752729881120450" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGKFpa4tzs7wqTLJxaBBzvHA_-iW6rxsyMjOKtvZtLJzVsJwjE6z7zocprog-SttCFWas6vdI-ksoWxF9nYgnv-pokCA0M-slqf7-ftJlvD019cKic-409R8sXdnfjSuKXgpdPqw2gbPU/s400/Eva+Hesse,+No+Title,+1961,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> Eva Hesse</strong> (1936-1970) Alemanha<br />«No Title» 1961, oil on canvas<br /><em><span style="color:#990000;">(Beyeler Foundation, Basel)<br /></span></em></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFdozreVPS9b2dJK5u4B8MRP4d_e5ERpLruSrV-2zBbFjJtwtwiQ-ki6y9qZtN81HZ89AMuIepda2jo0N0iGlg8hTd9nUBnwFCf9JyrMfGnTjA8xMwr5vmVoHJSCUV67k4hvPKZSYISE0/s1600-h/Eva+Hesse,+Untitled,+ca.+1962,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5171752528017657522" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFdozreVPS9b2dJK5u4B8MRP4d_e5ERpLruSrV-2zBbFjJtwtwiQ-ki6y9qZtN81HZ89AMuIepda2jo0N0iGlg8hTd9nUBnwFCf9JyrMfGnTjA8xMwr5vmVoHJSCUV67k4hvPKZSYISE0/s400/Eva+Hesse,+Untitled,+ca.+1962,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Untitled» ca. 1962, oil on canvas<br /><span style="color:#990000;"><em>(Private Collection)<br /></em></span></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWuI2Hh1UIJVO27ZmpZPqOEti4wGFAxBnzgDhyphenhyphentIcWaGYGWzuucI7CxMplUc_qrX9qTpH0DggydOWYUreWF6w8T5jTsqu21X78DFRqQs4hNe_NG0NsAdMO4otwrGU4WOIWWCnqpJIoeik/s1600-h/Cy+Twombly,+Leda+and+the+Swan,+1962,+oil,+pencil+and+crayon+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5171752296089423522" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWuI2Hh1UIJVO27ZmpZPqOEti4wGFAxBnzgDhyphenhyphentIcWaGYGWzuucI7CxMplUc_qrX9qTpH0DggydOWYUreWF6w8T5jTsqu21X78DFRqQs4hNe_NG0NsAdMO4otwrGU4WOIWWCnqpJIoeik/s400/Cy+Twombly,+Leda+and+the+Swan,+1962,+oil,+pencil+and+crayon+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>Cy Twombly</strong> (1928-) Estados-Unidos da América<br />«Leda and the Swan» 1962, oil, pencil and crayon on canvas<br /><em><span style="color:#990000;">(Private Collection)<br /></span></em></span><br /><br /></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="color:#330000;"><span style="font-size:85%;">A </span><a href="http://www.beyeler.com/fondation/e/html_11sonderaus/01_aktuelle/intro.htm"><span style="font-size:85%;"><span style="color:#ff6666;"><strong>Fundação Beyeler</strong></span> </span></a></span><span style="font-family:lucida grande;font-size:85%;color:#330000;">em Basileia, na Suiça, tem patente até ao próximo dia 12 de Maio, uma exposição das obras mais emblemáticas de uma das correntes mais representativas do expressionismo abstracto norte-americano, designada por <em>Action Painting</em>.<br />A <em>Action Painting</em> ou pintura de acção foi um movimento artístico surgido no início dos anos 40, em Nova Iorque, que ganhou força expressiva própria, inspirado nas teorias derivadas do conceito de «automatismo psíquico» do Primeiro Manifesto do Surrealismo em 1924, que utilizava uma espécie de “escrita por sinais”, mas, ao mesmo tempo, impulsionado pelas tendências Expressionistas.<br />A técnica adoptada estava muito longe da arte figurativa, sendo o seu objectivo o próprio acto em si da pintura. O termo <em>Action Painting</em> foi utilizado em 1952, pelo critico de arte norte-americano, Harold Rosenberg. As obras eram produzidas a grande velocidade, simbolizando a urgência da comunicação. Enquanto o resultado obtido era criado pela espontaneidade dos gestos, foi adoptado o termo <em>gestura</em>l <em>painting</em> ou pintura gestual para os descrever. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span><strong>Jackson Pollock</strong> (1912-1956), mundialmente reconhecido como o pintor mais representativo da história do Expressionismo Abstracto na pintura, particularmente no que se refere à <em>Action Painting</em>, expressava-se vertendo a tinta directamente para a tela, através de um tubo ou balde, cobrindo-a em camadas sucessivas e espargindo a tinta numa tentativa de interagir directamente com a tela, cuja superfície se encontrava horizontalmente estendida no chão.<br /><strong>Franz Kline</strong> (1910-1962), por outro lado, utilizava uma vulgar trincha de decorador para fazer a projecção de linhas de cor preta numa superfície branca, com uma veemência gestual de grande impacto visual.<br /><strong>Sam Francis</strong> (1923-1994) adoptou métodos idênticos aos de Pollock, utilizando a técnica do espargimento em telas de grande dimensão, mas os resultados obtidos foram menos convincentes. Estes ensaios eram demonstrativos de como na ausência de uma qualquer linha orientadora do processo criativo, um estilo artístico que se baseasse unicamente na combinação das cores recorrendo aos mais variados métodos, corria o risco de ficar reduzido a mera superficialidade decorativa.<br />Contudo, a <strong>Wilhelm de Kooning</strong> (1904-1997) deverá ser reservado um lugar especial neste movimento, que, enquanto definitivamente um artista gestual, mantinha um cunho de uma essência realista. As suas obras são abstracções dinâmicas que, não obstante, apresentam formas orgânicas ou biomórficas. A figura humana é um tema central: por ex., no seu trabalho em série «<strong>Women</strong>» (Mulheres), as figuras são dificilmente discerníveis, mesmo que a trincha tenha distorcido a sua forma no processo criativo da construção ou no da destruição. As figuras parecem estar prestes a desintegrar-se e, no entanto, impressionam pela sua presença através do rodopio de cor em que imergem. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;"><br /></span>Na Europa, foi dado o nome de <em>Art Informel</em> ou Informalismo ao movimento artístico que utilizou a técnica da pintura de acção, tendo sido o pintor francês <strong>Jean Fautrier</strong> (1898-1964) o percursor desse movimento. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Em 1954, esta técnica teve outros desenvolvimentos artísticos, tendo sido adoptado o termo de <em>Tachisme</em> pelo crítico francês Charles Estienne, para descrever uma forma de pintura caracterizada pela técnica da mancha, a partir da dispersão da tinta sobre a tela. Jean Fautrier utilizou esta técnica, dando às suas obras uma consistência táctil construindo camadas disformes de têmpera (cal e cola), espessadas em cor branca, resultando em superfícies pastosas de intensidade dramática. No seu trabalho em série «<strong>Hostages</strong>» (Reféns), esta metodologia evocou, de uma forma brilhante, a reacção de Fautrier ao massacre dos prisioneiros de guerra. Os seus quadros produziam um efeito de profundeza e poder. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Apesar de terem sido vários os estilos adoptados sob a designação de Arte Informal, prevaleceu um denominador comum na maior parte das obras traduzido pela sua natureza autobiográfica. Elas transformaram-se simbolicamente no espelho da natureza intrínseca do artista, reflectindo a sua objecção à aparente falta de individualidade na sociedade industrial contemporânea.<br /><br /><span style="color:#990000;"><strong>Fonte: A World History of Art<br /></strong></span></span><span style="font-size:85%;color:#ffffff;">*</span><br /></div><div align="center"><span style="font-size:85%;color:#330000;">* * *</span></div><div align="center"><span style="font-size:85%;color:#ffffff;"></span></div><div align="center"><span style="font-size:85%;color:#ffffff;">**</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Jackson Pollock, circling like a dancer around a canvas spread out on the floor, dripping and pouring paint – this film image of an “action painter” not only confirmed Pollock’s standing as the leading protagonist of one of the most influential avant-gardes of the twentieth century. It also became an unforgettable icon of modern art in general. Our exhibition, Action Painting, is devoted to the phenomenon of abstract gestural painting, which emerged in Europe and the United States in the wake of the Second World War. Despite all the differences between European L’Art informel and American Abstract Expressionism, in hindsight the similarities appear to predominate. Artists on both sides of the Atlantic dared a revolutionary new beginning by transcending the borders of traditional art. By radically concentrating on the spontaneous painting gesture, the artist’s personality and state of mind were to be directly manifested on the canvas.<br /><br />On our journey through a modern myth we encounter, in addition to Pollock, other famous painters like Willem de Kooning, Clyfford Still, Sam Francis, Roberto Matta, and Pierre Soulages, as well as some who, once celebrated, were soon forgotten and have recently been rediscovered. Paintings by Ernst Wilhelm Nay, Arshile Gorky, Wols, Morris Louis, and Kazuo Shiraga, reflect the multifarious visual potentials of color and gesture. Representing the following generation are Eva Hesse and Cy Twombly, who expanded the concept of Action Painting. The exhibition comprises about one hundred works by twenty-seven artists from Europe, South and North America, and Asia.<br /><br />Basically we focus on two forms of expression in abstract painting that depend on “action”: first, the painting gesture as a “protocol” on canvas; and second, paint traces left up to the workings of controlled chance. Combinations of these two working principles are common, as is especially obvious in Pollock’s case. A large group of important Pollocks, done between 1946 and 1953 and showing the full range of his expressive devices, forms the center of the exhibition. The group includes such legendary works as Out of the Web, 1949, from the Staatsgalerie Stuttgart; Number 7, 1950, from the MoMA in New York; and Search, 1955, the last picture the artist completed (courtesy Galerie Hauser & Wirth). Pollock’s works are manifestations of his physical movements; yet the most fascinating thing about his drippings and pourings is the fact that the paint, between leaving his hand and hitting the canvas, was no longer subject to the artist’s will.<br /><br />This technique was adopted and ramified by various other artists. One is Helen Frankenthaler, who instead of applying paint in the usual manner used like a dye, letting it seep into the canvas. Morris Louis took this method further. His large-format “stained paintings,” radically reduced visual configurations, are among the absolute sensations in the exhibition – a significant series the likes of which has not been seen in Europe for many years. Gerhard Hoehme and Eva Hesse, inspired by gestural painting, are represented here by large compositions that show their concern with the three-dimensionality of paint, as if extending the weave of Pollock’s entangled paint filaments. Lynda Benglis with her cast paint sculptures, and Arman with his Accumulations of squeezed paint tubes, developed Action Painting in a compelling and ironic direction as they visualized the results of a creative process, indeed a performance.<br /><br />The possible variations in the use of color and line to express movement are virtually infinite. This becomes clear in the exhibition, in which groups of works by the artists are arranged for the most part chronologically. Each can be seen to have his or her unique touch, as personal as handwriting. In small-format paintings and drawings, frequently influenced by the Surrealist idea of écriture automatique, artists such as Jean Fautrier, Wols, and Hans Hartung produced gestural imagery in which – especially in Fautrier’s case – there is no distinct line between figuration and abstraction. An entire exhibition room is devoted to Wols, who in Jean-Paul Sartre’s eyes embodied the existentialist artist par excellence. The notion of a painterly calligraphy immediately brings Cy Twombly to mind, a series of whose works is likewise on view at the Fondation Beyeler. In sharp contrast to Twombly’s delicate inscriptions stand the “paint orgies” of Kazuo Shiraga, the leading representative of the Japanese artists group “Gutai.” Inspired above all by Pollock and executed with his feet, Shiraga’s works were preceded by phases of intensive meditation.<br /><br />The opposition between figuration and abstraction, once a topic of heated critical debate, was apparently less crucial to the artists themselves. This is confirmed by a juxtaposition of selected works by the “Cobra” artists Karel Appel and Asger Jorn with significant paintings by the star Abstract Expressionist, Willem de Kooning. All of these artists, like Pollock himself, took the figure as point of departure for their compositions.<br /><br />Especially interesting are the close ties that existed between Europe and America. Arshile Gorky, a survivor of the Armenian genocide who emigrated to the U.S., is a case in point. After adapting the approaches of his European ideals, Cézanne and Picasso, Gorky both built on them and liberated himself from them by developing a unique gestural style. Like Gorky, the German-born Hans Hofmann is still too little known in Europe. After beginning under the influence of Henri Matisse and moving to America, Hofmann not only became a pioneer of gestural painting, experimenting with dripping techniques even before Pollock, but the teacher of an entire generation of artists of the New York School. These included Lee Krasner, who is unjustifiably viewed primarily as Pollock’s wife – her paintings show her to have been an outstanding abstract artist. Artists like Joan Mitchell and Sam Francis, who lived in Europe for long periods, likewise freely developed impulses from Claude Monet and others, and combined these with experiences gained from the New York School. Francis’s outstanding painting Round the World, from the Beyeler Collection, forms the hub of a compelling group of the artist’s works from the late 1950s.<br /><br />In the U.S. as in Europe, the development of abstract gestural art went hand in hand with a liberation from the small format. A pioneer in this respect was Roberto Matta. Although perhaps not an action painter in the narrower sense, Matta’s large-format and smaller yet equally expansive “visual galaxies” set an example for artists like Pollock, Franz Kline, and Clyfford Still. Compelling works by Kline, and examples of Still’s wonderful, sublimely fissured paintings, are on view. Ernst Wilhelm Nay, who stood in the tradition of Wassily Kandinsky and Paul Klee and now tends to be underestimated, was one of the first European artists to employ very large formats for his compositions in color. The well-nigh forgotten monumental Freiburg Painting (1956), a commissioned work for the University of Freiburg im Breisgau, is on loan to our exhibition – a veritable sensation. The most recent work on view is by Pierre Soulages, the doyen of French L’Art informel. His breakthrough came in the late 1940s and early 1950s, at about the same time as Pollock’s. Soulages, the last living member of the first generation of action painters, is represented by five examples from every phase of his career.<br /><br />As our review suggests, gestural painting is predicated to a great extent on an actively receptive audience. These pictures make considerable demands on us as viewers, challenging us, as it were, to finish them in our own minds. Art that concentrates on the artist’s personality, gestures, and paint substance prompts us to participate, to virtually enter the picture. Action painting invites “action viewing”.<br /><span style="color:#ffffff;">*</span></span></div><div align="justify"><span style="font-size:85%;color:#990000;"><strong>Beyeler Foundation, press release<br /></strong></span></div><div></div><br /></div></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0tag:blogger.com,1999:blog-2054748435853847162.post-11148320837739504182008-02-27T18:59:00.055+00:002008-03-02T19:53:11.997+00:00Vários Artistas - (Action Painting) - Parte II Expressionismo abstracto norte-americano / Informalismo europeu<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2dXzB8OtyqrLnUPlYTukoXLnPxwNuD_CR94XhVsC6baYzdul4U39-wQGap_KWeMzsRYti3PrkjXYFLvfoqBkQO_glQBZCjXxW5YD4N-Sb65wHZR2Rj8L6pybUcV2Zo2CXg7z7ZJhq7L8/s1600-h/Jean+Fautrier,+Fleurs,+1927,+huile+sur+toile.jpg"><img id="BLOGGER_PHOTO_ID_5172951870531712562" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2dXzB8OtyqrLnUPlYTukoXLnPxwNuD_CR94XhVsC6baYzdul4U39-wQGap_KWeMzsRYti3PrkjXYFLvfoqBkQO_glQBZCjXxW5YD4N-Sb65wHZR2Rj8L6pybUcV2Zo2CXg7z7ZJhq7L8/s400/Jean+Fautrier,+Fleurs,+1927,+huile+sur+toile.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>Jean Fautrier</strong> (1898-1964) França</span></div><div align="center"><span style="font-size:85%;color:#660000;">«Fleurs» 1927, oil on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection)</em></span></div><div align="center"><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxShfwGbD79ShKMLlf-mMdYAQs1sgwxldSbMFACPdaJSBP4Vb6zDno5u6GZEgAvEW4Ob0Yy3RUOfpQWHoLCQddqBMdwL6ZZPD-AJReV2giQCtUqzMMbBxPM2J512O8yr_55RZ59hIU8Ag/s1600-h/JF,+Fruits+dans+un+compotier+et+fleurs,+oil+on+paper+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5172951655783347746" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhxShfwGbD79ShKMLlf-mMdYAQs1sgwxldSbMFACPdaJSBP4Vb6zDno5u6GZEgAvEW4Ob0Yy3RUOfpQWHoLCQddqBMdwL6ZZPD-AJReV2giQCtUqzMMbBxPM2J512O8yr_55RZ59hIU8Ag/s400/JF,+Fruits+dans+un+compotier+et+fleurs,+oil+on+paper+on+canvas.jpg" border="0" /></a><span style="color:#660000;"> <span style="font-size:85%;">«Fruits dans un Compotier et Fleurs» (date n/a) oil on paper on canvas</span></span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection)<br /></em></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0-nqUOPwfkotMb59jDUnQ4hkGBW-hbC8iNPHhNrQFlRY_lT6tBNCD4pBfukV0K7rLw8q0m5GTjGzz3X6e83FMOK_WXccEuApzmVQetiKgOVK44JQ9jGzYbZo0f0awXX4nWMaXv5w0obg/s1600-h/Jean+Fautrier,+Head+of+a+Hostage,+1944,+oil+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5172951385200408082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0-nqUOPwfkotMb59jDUnQ4hkGBW-hbC8iNPHhNrQFlRY_lT6tBNCD4pBfukV0K7rLw8q0m5GTjGzz3X6e83FMOK_WXccEuApzmVQetiKgOVK44JQ9jGzYbZo0f0awXX4nWMaXv5w0obg/s400/Jean+Fautrier,+Head+of+a+Hostage,+1944,+oil+on+paper.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Head of a Hostage» 1944, oil on paper</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection)</em></span></div><div align="center"><span style="font-size:85%;"><em><span style="color:#ffffff;">*</span></div></em></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdarxJZdvxQfrEWyneqd6GXn1H-ASTVz01tfAMmgYzgzjzpYjchf3cd7AMbNSaArtuwRjHtQo5B_UPgYpKg2KXeL9DA8tdttz7gjYizqr8pzeuk6nAATMsz2UPcqban1HMx-LY9AypcBo/s1600-h/HH,+T46-17,1946,+oil+on+canvas+(Museu+Berardo,+Lisboa).jpg"><img id="BLOGGER_PHOTO_ID_5172951234876552706" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdarxJZdvxQfrEWyneqd6GXn1H-ASTVz01tfAMmgYzgzjzpYjchf3cd7AMbNSaArtuwRjHtQo5B_UPgYpKg2KXeL9DA8tdttz7gjYizqr8pzeuk6nAATMsz2UPcqban1HMx-LY9AypcBo/s400/HH,+T46-17,1946,+oil+on+canvas+(Museu+Berardo,+Lisboa).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> Hans Hartung</strong> (1904-1989) Alemanha</span></div><div align="center"><span style="font-size:85%;color:#660000;">«T46-17» 1946, oil on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Museu Berardo, Lisboa)<br /></em></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij1Dz4Ja4G5iFcsUvpRHHmKWOEjlyJ_9wP1tJULEq_hBIQSO2gPgsY8cILur0ZL3647q2E9rfSz_f1gxBGDQ3hsg8sb_hsl0Ynk1CvfYsyoTNbruLtf8nFJowvORq-EUTexjBzVDK1Tdg/s1600-h/Asger+Jorn,+Varens+Offer,+1952,+oil+on+wood+(Museu+Berardo,+Lisboa).jpg"><img id="BLOGGER_PHOTO_ID_5172950242739107282" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEij1Dz4Ja4G5iFcsUvpRHHmKWOEjlyJ_9wP1tJULEq_hBIQSO2gPgsY8cILur0ZL3647q2E9rfSz_f1gxBGDQ3hsg8sb_hsl0Ynk1CvfYsyoTNbruLtf8nFJowvORq-EUTexjBzVDK1Tdg/s400/Asger+Jorn,+Varens+Offer,+1952,+oil+on+wood+(Museu+Berardo,+Lisboa).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong>Asger Jorn</strong> (1914-1973) Dinamarca</span></div><div align="center"><span style="font-size:85%;color:#660000;">«Varens Offer» 1952, oil on wood</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Museu Berardo, Lisboa)<br /></em></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQbFa2my4cZH2ZOlru2Vl2cs2N_HB-ZxeOCxMx6l323el8f8oS3NE2tzpa4ivqifyLryf3P2qYttrsLrCYvZ7ffqJH_KRZF-YALtJOrlrr_OeUBPlvrjRQVSP6XyCHfXvBQ3UlKeujWlc/s1600-h/Asger+Jorn,+La+Lune+et+les+Animaux.jpg"><img id="BLOGGER_PHOTO_ID_5172950032285709762" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQbFa2my4cZH2ZOlru2Vl2cs2N_HB-ZxeOCxMx6l323el8f8oS3NE2tzpa4ivqifyLryf3P2qYttrsLrCYvZ7ffqJH_KRZF-YALtJOrlrr_OeUBPlvrjRQVSP6XyCHfXvBQ3UlKeujWlc/s400/Asger+Jorn,+La+Lune+et+les+Animaux.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«La Lune et les Animaux» (date n/a), oil on wood</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection) </em></span></div><div align="center"><span style="font-size:85%;"><em><span style="color:#ffffff;">*</span></div></em></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQVKALHMRPvaCO-RGMtXHxxa19LwDxx7BjQbiDBbKW9nXHbqT2jN20DdxQPAEEDtcMh7gcs0CVs99uGoRtssXAtz_M9x8-PpSTwdFU9aVlzjNMTPruX82y6RwPzsHnCIvlBEnA4Ec3AwA/s1600-h/Asger+Jorn,+Untitled,+1956-57,+oil+on+canvas+(Guggenheim+Museum,+New+York).jpg"><img id="BLOGGER_PHOTO_ID_5172949856192050610" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQVKALHMRPvaCO-RGMtXHxxa19LwDxx7BjQbiDBbKW9nXHbqT2jN20DdxQPAEEDtcMh7gcs0CVs99uGoRtssXAtz_M9x8-PpSTwdFU9aVlzjNMTPruX82y6RwPzsHnCIvlBEnA4Ec3AwA/s400/Asger+Jorn,+Untitled,+1956-57,+oil+on+canvas+(Guggenheim+Museum,+New+York).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Untitled» 1956-57, oil on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Solomon R. Guggenheim Museum, New York) </em></span></div><div align="center"><span style="font-size:85%;"><em><span style="color:#ffffff;">*</span></div></em></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdT-vrYOTObWoPhv4qxKJb89WAclaTzj26DKH_jEwsnpg89u1ofQHyrnSDMS5Hv0eMWGt7xY-AmWotlctEBdl9uLpVTqYZzK9bn9qVsBcZkX0Vy_llf49Nn_CbDtthjIsL7N0DzDgIxI4/s1600-h/Karel+Appel,+Amorous+Dance,+1955,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5172949456760092066" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdT-vrYOTObWoPhv4qxKJb89WAclaTzj26DKH_jEwsnpg89u1ofQHyrnSDMS5Hv0eMWGt7xY-AmWotlctEBdl9uLpVTqYZzK9bn9qVsBcZkX0Vy_llf49Nn_CbDtthjIsL7N0DzDgIxI4/s400/Karel+Appel,+Amorous+Dance,+1955,+oil+on+canvas.jpg" border="0" /></a><strong> </strong><span style="font-size:85%;color:#660000;"><strong>Karel Appel</strong> (1921-2006) Holanda</span></div><div align="center"><span style="font-size:85%;color:#660000;">«Amorous Dance» 1955, oil on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection) </em></span></div><div align="center"><span style="font-size:85%;"><em><span style="color:#ffffff;">*</span></div></em></span><div align="center"></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk2B3qAeV4Aa98mChESt7BCwJgBeypfWlLWmM98QaeqrtHlR7l0-VNUX4be9jCHk5XdqdppTaYEFJUMfLPSxkk0sQrmh1MsIxLmNGGa3SN5aiTes4ropVrlBZcP74_q7eqfCfuBcy9iB0/s1600-h/KA,+People,+Birds+and+Sun,+1954,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5172935343497557218" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk2B3qAeV4Aa98mChESt7BCwJgBeypfWlLWmM98QaeqrtHlR7l0-VNUX4be9jCHk5XdqdppTaYEFJUMfLPSxkk0sQrmh1MsIxLmNGGa3SN5aiTes4ropVrlBZcP74_q7eqfCfuBcy9iB0/s400/KA,+People,+Birds+and+Sun,+1954,+oil+on+canvas.jpg" border="0" /> <p align="center"></a><span style="font-size:85%;color:#660000;">«People, Birds and Sun» 1954, oil on canvas </span><span style="font-size:85%;color:#990000;"><em>(Private Collection)</em></span></p><p align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioFGrKpf3v-OiJ2_R3DJgj6XjanmbeV9Axa_7XgCoE-AI3Knhzy7F6V0L3FLWw7-4xAqJP65il1Y2dZ1v3KyjZ3CwDYtIXnvQCzaAG0FtG_IMk46ewhVGAsy_TLsxsjNCuzJXj3SY9nJk/s1600-h/Hans+Hofmann,+Nocturnal+Splendor,+1963,+oil+on+canvas+(Berkeley+Art+Museum).jpg"><img id="BLOGGER_PHOTO_ID_5172935133044159698" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioFGrKpf3v-OiJ2_R3DJgj6XjanmbeV9Axa_7XgCoE-AI3Knhzy7F6V0L3FLWw7-4xAqJP65il1Y2dZ1v3KyjZ3CwDYtIXnvQCzaAG0FtG_IMk46ewhVGAsy_TLsxsjNCuzJXj3SY9nJk/s400/Hans+Hofmann,+Nocturnal+Splendor,+1963,+oil+on+canvas+(Berkeley+Art+Museum).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>Hans Hofmann</strong> (1880-1966) Alemanha </span><span style="font-size:85%;color:#660000;">«Nocturnal Spendor» 1963, oil on canvas </span><span style="font-size:85%;color:#990000;"><em>(Berkeley Art Museum)<br /></em></span></p><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ90NGmBFfCIAErsU2UFPKWM34ueXqvKHpmGfuoUZ0HWrC5SABTd8mWDmnRO9r8_j9dOc4sZNI4IFIco5cexpOIJLl3jZAhQB9PGpre29yga_XKkMNeP56MUjAk50LVJc1GfUlmgh2558/s1600-h/Hans+Hofmann,+Untitled,+1949,+tempera+on+canvas+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172934969835402434" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ90NGmBFfCIAErsU2UFPKWM34ueXqvKHpmGfuoUZ0HWrC5SABTd8mWDmnRO9r8_j9dOc4sZNI4IFIco5cexpOIJLl3jZAhQB9PGpre29yga_XKkMNeP56MUjAk50LVJc1GfUlmgh2558/s400/Hans+Hofmann,+Untitled,+1949,+tempera+on+canvas+(Private+Collection).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Untitled» 1949, tempera on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection)<br /></em></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP9hbYOkLeKLbEA3XcmrSh0kqzsrw6dLqwGaOzA8D3X81TkS6Xfxjl0kg3ohv5oCUwkVe9s-YJ590z2wL50CuVWaWVG_E3KEFgp_kJwgXRlTzLLyPbjupdQ7kNHHUiD2wAwHvjf3FxZqU/s1600-h/Hans+Hofmann,+Fermented+Soil,+1965,+oil+on+canvas+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172934368539980978" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP9hbYOkLeKLbEA3XcmrSh0kqzsrw6dLqwGaOzA8D3X81TkS6Xfxjl0kg3ohv5oCUwkVe9s-YJ590z2wL50CuVWaWVG_E3KEFgp_kJwgXRlTzLLyPbjupdQ7kNHHUiD2wAwHvjf3FxZqU/s400/Hans+Hofmann,+Fermented+Soil,+1965,+oil+on+canvas+(Private+Collection).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Fermented Soil» 1965, oil on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection) </em></span></div><div align="center"><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">*<br /></span></em></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0lYvjrmVh_RUfC7BPVmjfBGTfzkzNA_kv3Oic4Rh7fxkAxosalGj_pI3IBk1RA0Dikg171zn-dYkYxjkKsrsHNn0TnkPopaGYJfhREnttM9wu6EpbafYQdWuk-JTsBjrLu8kxdZm7bjY/s1600-h/Lee+Krasner,+The+Farthest+Point,+1981,+oil+on+paper+collage+on+canvas+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172934128021812386" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0lYvjrmVh_RUfC7BPVmjfBGTfzkzNA_kv3Oic4Rh7fxkAxosalGj_pI3IBk1RA0Dikg171zn-dYkYxjkKsrsHNn0TnkPopaGYJfhREnttM9wu6EpbafYQdWuk-JTsBjrLu8kxdZm7bjY/s400/Lee+Krasner,+The+Farthest+Point,+1981,+oil+on+paper+collage+on+canvas+(Private+Collection).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>Lee Krasner</strong> (1908-1984) Estados-Unidos da América</span></div><div align="center"><span style="font-size:85%;color:#660000;">«The Farthest Point» 1981, oil on paper, collage on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection)</em></span></div><div align="center"><em><span style="font-size:85%;color:#ffffff;">*</span></em></div><div align="center"><span style="font-size:85%;color:#660000;"></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRrLYqfYcLwOJEfzG0e61tbnsNRWxd2a3shRsM1Aikdmd_bAD74Fhyphenhyphenb7fISQdyd0h6uTtrdvIixZldntCE59RJ8kUG6tL2LKbnKAl0mL8FoFnDuBbg0TAt9Wsj9IAGUJyvOJlR-wo6fss/s1600-h/Lee+Krasner,+Sundial,+1972,+oil+on+canvas+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172933934748284050" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRrLYqfYcLwOJEfzG0e61tbnsNRWxd2a3shRsM1Aikdmd_bAD74Fhyphenhyphenb7fISQdyd0h6uTtrdvIixZldntCE59RJ8kUG6tL2LKbnKAl0mL8FoFnDuBbg0TAt9Wsj9IAGUJyvOJlR-wo6fss/s400/Lee+Krasner,+Sundial,+1972,+oil+on+canvas+(Private+Collection).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sundial» 1972, oil on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection) </em></span></div><div align="center"><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">*</span></div></em></span><div align="center"></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS6QleQmeWDdY1Am3e92R6wYnC7Xve-4kDmnA8_vM11LrOEsAojsB1caE31iABQhxY9BJ61P2UJ86_XMd-4ioDkGw5jJMkR4ZFZQmG_Jn6xF3ebB5tlKXFFXbfNzWCgIhyphenhyphenGUwpsEbbqwk/s1600-h/Lee+Krasner,+Messenger,+1959,+oil+on+canvas+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172933118704497778" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjS6QleQmeWDdY1Am3e92R6wYnC7Xve-4kDmnA8_vM11LrOEsAojsB1caE31iABQhxY9BJ61P2UJ86_XMd-4ioDkGw5jJMkR4ZFZQmG_Jn6xF3ebB5tlKXFFXbfNzWCgIhyphenhyphenGUwpsEbbqwk/s400/Lee+Krasner,+Messenger,+1959,+oil+on+canvas+(Private+Collection).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Messenger» 1959, oil on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection) </em></span></div><div align="center"><span style="font-size:85%;color:#990000;"><em><br /></div></em></span><p align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixWNRUX-xk_ORksN7dCqZRJ9UESL8yDp_OQVc0XU-Hl2HUveHIrA4srmzxs8JCoedWh7BCEYryI7wEnYi5DjqmAg-SlQu5bVBEdaCVYfyI6sSKPvrTbQc-SgB-DTJGLyUMCkGSjhUWqAo/s1600-h/Franz+Kline,+Chief,+1950,+oil+on+canvas+(MOMA,+New+York).jpg"><img id="BLOGGER_PHOTO_ID_5172931765789799490" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixWNRUX-xk_ORksN7dCqZRJ9UESL8yDp_OQVc0XU-Hl2HUveHIrA4srmzxs8JCoedWh7BCEYryI7wEnYi5DjqmAg-SlQu5bVBEdaCVYfyI6sSKPvrTbQc-SgB-DTJGLyUMCkGSjhUWqAo/s400/Franz+Kline,+Chief,+1950,+oil+on+canvas+(MOMA,+New+York).jpg" border="0" /></a><strong> </strong><span style="font-size:85%;color:#660000;"><strong>Franz Kline</strong> (1910-1962) Estados-Unidos da América </span><span style="font-size:85%;color:#660000;">«Chief» 1950, oil on canvas </span><span style="font-size:85%;color:#990000;"><em>(The Museum of Modern Art, New York)</em></span></p><div align="center"><em><span style="font-size:85%;color:#ffffff;">*</span></em><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgEjXwIq7Z2bBuYmg2jZZAAGFnSuErB4lBm3G9ppTGOf1kX8kYhOih3tZS3tn_glJnU6Z5qfeRuunZ2yHf4RNK9Cyw5EK4PghxNcmSKG5ME5jv5ft5qVcxPawZrrNn99MryXguwHSkLE8/s1600-h/Joan+Mitchell,+City+Landscape,+1955,+oil+on+linen+(The+Art+Institute+of+Chicago).jpg"><img id="BLOGGER_PHOTO_ID_5172931383537710114" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjgEjXwIq7Z2bBuYmg2jZZAAGFnSuErB4lBm3G9ppTGOf1kX8kYhOih3tZS3tn_glJnU6Z5qfeRuunZ2yHf4RNK9Cyw5EK4PghxNcmSKG5ME5jv5ft5qVcxPawZrrNn99MryXguwHSkLE8/s400/Joan+Mitchell,+City+Landscape,+1955,+oil+on+linen+(The+Art+Institute+of+Chicago).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> Joan Mitchell</strong> (1925-1992) Estados-Unidos da América</span></div><div align="center"><span style="font-size:85%;color:#660000;">«City Landscape) 1955, oil on linen</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(The Art Institute of Chicago)</em></span></div><div align="center"><em><span style="font-size:85%;color:#ffffff;">*</span></em></div><div align="center"><span style="font-size:85%;color:#660000;"></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi90FpyCshlITj_6tu_F5YmzZ1_tTcJeBEMhZ5ApnI_qP7qzrUsWyOuw5zLocYmiYyhLU60rW-_wG-TlZl6nPwVYh4xDiK0e-ABVyO9Y85WAm5x6oSl4EzS-x4aiB8XngANH-EsRKWkdls/s1600-h/Joan+Mitchell,+Untitled,+ca.+1956,+oil+on+canvas+(The+Kentucky+Art+Museum).jpg"><img id="BLOGGER_PHOTO_ID_5172931224623920146" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi90FpyCshlITj_6tu_F5YmzZ1_tTcJeBEMhZ5ApnI_qP7qzrUsWyOuw5zLocYmiYyhLU60rW-_wG-TlZl6nPwVYh4xDiK0e-ABVyO9Y85WAm5x6oSl4EzS-x4aiB8XngANH-EsRKWkdls/s400/Joan+Mitchell,+Untitled,+ca.+1956,+oil+on+canvas+(The+Kentucky+Art+Museum).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Untitled» ca. 1956, oil on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(The Kentucky Art Museum) </em></span></div><div align="center"><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">*<br /></span></em></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7ti_bGQdQ5b7ufUeI7VNCpB6rhTzwDrSsVlQZD5ygeXJ3yGZic9pRVO7wkhjG6KVJ9e5eMdlF6sjMprWDiS_-lwrtimBVoFhFM22KvcISvGy38HsmnYux0X-mDD86Z1fcVyfLT9bOhC8/s1600-h/Robert+Motherwell,+Personnage+(Autoportrait),+1943,+paper+collage,+gouache+and+ink+on+board+(Solomon+R.+Guggenheim+Museum,+New+York).jpg"><img id="BLOGGER_PHOTO_ID_5172930971220849666" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7ti_bGQdQ5b7ufUeI7VNCpB6rhTzwDrSsVlQZD5ygeXJ3yGZic9pRVO7wkhjG6KVJ9e5eMdlF6sjMprWDiS_-lwrtimBVoFhFM22KvcISvGy38HsmnYux0X-mDD86Z1fcVyfLT9bOhC8/s400/Robert+Motherwell,+Personnage+(Autoportrait),+1943,+paper+collage,+gouache+and+ink+on+board+(Solomon+R.+Guggenheim+Museum,+New+York).jpg" border="0" /></a><strong> </strong><span style="font-size:85%;color:#660000;"><strong>Robert Motherwell</strong> (1915-1991) Estados-Unidos da América</span></div><div align="center"><span style="font-size:85%;color:#660000;">«Personnage» (Autoportrait), 1943, </span></div><div align="center"><span style="font-size:85%;color:#660000;">paper collage, </span><span style="font-size:85%;color:#660000;">gouache and ink on board<br /><span style="color:#990000;"><em>(Solomon R. Guggenheim Museum, New York)</em></span></span></div><div align="center"><em><span style="font-size:85%;color:#ffffff;">*</span></em></div><div align="center"></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPfEy9g3OS-7KgKXLg-q7VDTmOatDLuxCQ1nGW43XuekcEBkTmRbquqq5eWwv1UnErpDYznsXpFmz3lyLSzh2vY1XJN202ACwl-QEeyQ6BvpNYgzPFnYrgsCXHELZTr3a1QwZ3DWaG9NE/s1600-h/Robert+Motherwell,+The+Measure+of+Things,+1979,+oil+on+gessoed+panel+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172930674868106226" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPfEy9g3OS-7KgKXLg-q7VDTmOatDLuxCQ1nGW43XuekcEBkTmRbquqq5eWwv1UnErpDYznsXpFmz3lyLSzh2vY1XJN202ACwl-QEeyQ6BvpNYgzPFnYrgsCXHELZTr3a1QwZ3DWaG9NE/s400/Robert+Motherwell,+The+Measure+of+Things,+1979,+oil+on+gessoed+panel+(Private+Collection).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «The Measure of Things» 1979, oil on gessoed panel</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection)<br /></em></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiIj9XP5qY1DDgyWqm_eAIOFaGawpg4Pt-7ze1JcxmwbvsaVu5CXrfZNwq0RH7_NkMbIVJTrREOaigQgaSIr6PExhCivmVWwbvjLBzmLtA_64rGhjr7LC80UXznh0h6Ov1F7zSn5Ln4CI/s1600-h/Lynda+Benglis,+Quartered+meteor,+1969,+cast+lead+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172930438644904930" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiIj9XP5qY1DDgyWqm_eAIOFaGawpg4Pt-7ze1JcxmwbvsaVu5CXrfZNwq0RH7_NkMbIVJTrREOaigQgaSIr6PExhCivmVWwbvjLBzmLtA_64rGhjr7LC80UXznh0h6Ov1F7zSn5Ln4CI/s400/Lynda+Benglis,+Quartered+meteor,+1969,+cast+lead+(Private+Collection).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> Lynda Benglis</strong> (1941-) Estados-Unidos da América</span></div><div align="center"><span style="font-size:85%;color:#660000;">«Quartered Meteor» 1969, sculpture, cast lead</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection)</em></span></div><div align="center"><em><span style="font-size:85%;color:#ffffff;">*</span></em></div><div align="center"><span style="font-size:85%;color:#660000;"></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFzQ05VPIiYN6yUPBwPxQ6ag5n0suvs6ot1MVCGu2JsdNrdw4LeIuEYqhugXRHV0yOw0zE-3ePR_9aheGxJAkTv-y4rbSoeQ4e6_MdoAV9As4bEdCppwb4Y1x4hZrNXNE0z66V01P8Ogg/s1600-h/Helen+Frankenthaler,+Canyon,+1965,+acrylic+on+canvas+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172930275436147666" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFzQ05VPIiYN6yUPBwPxQ6ag5n0suvs6ot1MVCGu2JsdNrdw4LeIuEYqhugXRHV0yOw0zE-3ePR_9aheGxJAkTv-y4rbSoeQ4e6_MdoAV9As4bEdCppwb4Y1x4hZrNXNE0z66V01P8Ogg/s400/Helen+Frankenthaler,+Canyon,+1965,+acrylic+on+canvas+(Private+Collection).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> Helen Frankenthaler</strong> (1928-) Estados-Unidos da América</span></div><div align="center"><span style="font-size:85%;color:#660000;">«Canyon» 1965, acrylic on canvas</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection)<br /></em></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDbfRH4QIEygTfuIhJW_n5_AeNdTdJ5aTXMYsHyEpZ9OZw4VBw7ki4om4Ad7hfAMWMuCYQDo11HkaPozAOgppqZfhyvan-moMMvHOB8-D5ncBnvNvS1R0DpBbA5CDQHmRYd_4TQzHvC2E/s1600-h/Helen+Frankenthaler,+Half+Moon,+1981,+acrylic+on+paper+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172930112227390402" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgDbfRH4QIEygTfuIhJW_n5_AeNdTdJ5aTXMYsHyEpZ9OZw4VBw7ki4om4Ad7hfAMWMuCYQDo11HkaPozAOgppqZfhyvan-moMMvHOB8-D5ncBnvNvS1R0DpBbA5CDQHmRYd_4TQzHvC2E/s400/Helen+Frankenthaler,+Half+Moon,+1981,+acrylic+on+paper+(Private+Collection).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Half Moon» 1951, acrylic on paper</span></div><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection) </em></span></div><div align="center"><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">*</span></div></em></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRvDOtaBe4hw69qoCO32zuYvIuHO9mvoZhgnrRGBliFMtOIxBgB59xaNXwQ_NLG9BJy9BaMEnU0wB9C9aeEIBcnrWQzlFcKgBpmXK9i0G8KwN3CMZ3NsqURVhrtPIEr9qexalB-DFLbjc/s1600-h/John+M.+Armleder,+Furniture+Sculpture+190,+1988,+marine+horns,+glossy+paint+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172929876004189106" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRvDOtaBe4hw69qoCO32zuYvIuHO9mvoZhgnrRGBliFMtOIxBgB59xaNXwQ_NLG9BJy9BaMEnU0wB9C9aeEIBcnrWQzlFcKgBpmXK9i0G8KwN3CMZ3NsqURVhrtPIEr9qexalB-DFLbjc/s400/John+M.+Armleder,+Furniture+Sculpture+190,+1988,+marine+horns,+glossy+paint+(Private+Collection).jpg" border="0" /></a><strong> </strong><span style="font-size:85%;color:#660000;"><strong>John M. Armleder</strong> (1948-) Suíça</span></div><div align="center"><span style="font-size:85%;color:#660000;">«Furniture Sculpture 190» 1988, marine horns, glossy paint<br /><span style="color:#990000;"><em>(Private Collection) </em></span></span></div><div align="center"><span style="font-size:85%;color:#660000;"><span style="color:#990000;"><em><span style="color:#ffffff;">*</span></div></em></span></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicS6Us7eEGt_EYwop472UimWfSVwF_g-_9RZulYBEdjaNI4QS4oTQzNl-XEdq_BJMJ1OSkOaiLvz2HzWozot59NuNfJ_dSVBYonXt9LKc2eV1dqh5L6Bz3CzRjvGVzvt8ahyphenhyphenr8QRE80lw/s1600-h/John+M.+Armleder,+Mondo-Fantasio,+2000,+etching+(spirograph+drawing)+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172929635486020514" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicS6Us7eEGt_EYwop472UimWfSVwF_g-_9RZulYBEdjaNI4QS4oTQzNl-XEdq_BJMJ1OSkOaiLvz2HzWozot59NuNfJ_dSVBYonXt9LKc2eV1dqh5L6Bz3CzRjvGVzvt8ahyphenhyphenr8QRE80lw/s400/John+M.+Armleder,+Mondo-Fantasio,+2000,+etching+(spirograph+drawing)+(Private+Collection).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Mondo-Fantasio» 2000, etching (spirograph drawing)<br /><span style="color:#990000;"><em>(Private Collection)<br /></em></span></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh0mxdF9K4lrISr6s7mYaHZaST2ifEOuC2Xy-6cvzAvs7lTtAIfUHMvjHluzjAdzkrdTq0lc3fhMCeLZqhCPWSKxZAWI2fnIjz2FRsyzqxPlYK5kC_tGTrKBUEY57qvsz-iGpUxISklc0/s1600-h/Pierre+Fern%C3%A1ndez+Arman,+Constellation+no.+18,+1976,+assemblage+(MOMA,+New+York).jpg"><img id="BLOGGER_PHOTO_ID_5172929231759094658" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhh0mxdF9K4lrISr6s7mYaHZaST2ifEOuC2Xy-6cvzAvs7lTtAIfUHMvjHluzjAdzkrdTq0lc3fhMCeLZqhCPWSKxZAWI2fnIjz2FRsyzqxPlYK5kC_tGTrKBUEY57qvsz-iGpUxISklc0/s400/Pierre+Fern%C3%A1ndez+Arman,+Constellation+no.+18,+1976,+assemblage+(MOMA,+New+York).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> <strong>Pierre Fernández Arman</strong> (1928-2005) França</span><br /><span style="font-size:85%;color:#660000;">«Constellation no. 18) 1976, assemblage</span><br /><span style="font-size:85%;color:#990000;"><em>(The Museum of Modern Art, New York) </em></span><br /><span style="font-size:85%;color:#990000;"><em><span style="color:#ffffff;">*</span><br /></em></span><span style="font-size:85%;color:#990000;"><em></em></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5GefwWM-FozPHIPTZQwc8uKOBnpPdKtiN4EmpG5XKia5FCBFSNdQn6663xYYiPudb3t3dLt3hRenzJ3RDAjl_rNmjlQcdfgVpgbQwQFE5HMTov4cL_xQOvnznThaZAN-ixkN5Jki_pCw/s1600-h/Arman,+Accumulation,+1960,+squized+tubes+between+2+plexiglas+sheets+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172928982650991474" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi5GefwWM-FozPHIPTZQwc8uKOBnpPdKtiN4EmpG5XKia5FCBFSNdQn6663xYYiPudb3t3dLt3hRenzJ3RDAjl_rNmjlQcdfgVpgbQwQFE5HMTov4cL_xQOvnznThaZAN-ixkN5Jki_pCw/s400/Arman,+Accumulation,+1960,+squized+tubes+between+2+plexiglas+sheets+(Private+Collection).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Accumulation» 1960, squized tubes between plexiglas sheets, </span><br /><span style="font-size:85%;color:#660000;">installation view</span><br /><span style="font-size:85%;color:#990000;"><em>(Private Collection)<br /></em></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5104mQgX4Xt1GiT4n4tXgcMzTZeKNFc3fN6SEqxJwDrTiVWH6QcRJRr_qkG5oIRWcuP7cJUyU6TRMIkDxRbKONV9cs7X2kx5DQY96kdxorMrdTzCIPv6zz9_PSH3BAx7QJr7PIJNum3E/s1600-h/Gerhard+Hoehme,+Floraison+Dynamique,+1959,+oil,+collage+on+canvas.bmp"><img id="BLOGGER_PHOTO_ID_5172928785082495842" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5104mQgX4Xt1GiT4n4tXgcMzTZeKNFc3fN6SEqxJwDrTiVWH6QcRJRr_qkG5oIRWcuP7cJUyU6TRMIkDxRbKONV9cs7X2kx5DQY96kdxorMrdTzCIPv6zz9_PSH3BAx7QJr7PIJNum3E/s400/Gerhard+Hoehme,+Floraison+Dynamique,+1959,+oil,+collage+on+canvas.bmp" border="0" /></a><strong> </strong><span style="font-size:85%;color:#660000;"><strong>Gerhard Höhme</strong> (1920-1989) Alemanha</span><br /><span style="font-size:85%;color:#660000;">«Floraison Dynamique» 1959, oil, collage on canvas</span><br /><span style="font-size:85%;color:#990000;"><em>(Private Collection)</em></span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbRMks9bWB8JPg7NlZSGkkSwqKDl4a9M7mz_0m3cMcHBf35s1efkeYY6q4OODn-Gah-Qsr-NP2bJccCwABFxU6_akBTlig4lMczm5SATmWDvpHauKiLXgBz-IZnotiDDdmi6v1GO6Y9mM/s1600-h/Gerhard+H%C3%B6hme,+Struktur+eines+erloschenen+Clan,+1961,+oil,+color,+chalks,+pencil+and+glue+paint+on+canvas+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172928531679425362" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbRMks9bWB8JPg7NlZSGkkSwqKDl4a9M7mz_0m3cMcHBf35s1efkeYY6q4OODn-Gah-Qsr-NP2bJccCwABFxU6_akBTlig4lMczm5SATmWDvpHauKiLXgBz-IZnotiDDdmi6v1GO6Y9mM/s400/Gerhard+H%C3%B6hme,+Struktur+eines+erloschenen+Clan,+1961,+oil,+color,+chalks,+pencil+and+glue+paint+on+canvas+(Private+Collection).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Struktur eines erloschenen Clan» 1961, oil, color, chalks, </span><br /><span style="font-size:85%;color:#660000;">pencil and glue paint on canvas</span><br /><span style="font-size:85%;color:#990000;"><em>(Private Collection)<br /></em></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD1PfhLOpa1hpvgOzN3rTJdOcQHUBSoDIy7L5V729guC27-k4wfkH_2MB-Yvnr9DloAH1htZh0infnMM35NZXp7zFsuN_WCRdVc12C2hztWJ51craS0QplYnfPbZrSPUjSYghC9_nc59w/s1600-h/Norman+Bluhm,+Dusk,+1956,+watercolor+on+paper+(Private+Collection).jpg"><img id="BLOGGER_PHOTO_ID_5172927608261456690" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD1PfhLOpa1hpvgOzN3rTJdOcQHUBSoDIy7L5V729guC27-k4wfkH_2MB-Yvnr9DloAH1htZh0infnMM35NZXp7zFsuN_WCRdVc12C2hztWJ51craS0QplYnfPbZrSPUjSYghC9_nc59w/s400/Norman+Bluhm,+Dusk,+1956,+watercolor+on+paper+(Private+Collection).jpg" border="0" /></a><strong> </strong><span style="font-size:85%;color:#660000;"><strong>Norman Bluhm</strong> (1921-1999) Estados-Unidos da América</span><br /><span style="font-size:85%;color:#660000;">«Dusk» 1956, watercolor on paper</span><br /><div align="center"><span style="font-size:85%;color:#990000;"><em>(Private Collection)<br /></em></span><br /><br /></div><span style="font-size:85%;color:#660000;"></span><div align="justify"><span style="font-size:85%;color:#660000;">A </span><a href="http://www.beyeler.com/fondation/e/html_11sonderaus/01_aktuelle/intro.htm"><span style="font-size:85%;color:#ff6666;"><strong>Fundação Beyeler </strong></span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;">em Basileia, na Suiça, tem patente até ao próximo dia 12 de Maio, uma exposição das obras mais emblemáticas de uma das correntes mais representativas do expressionismo abstracto norte-americano, designada por <em>Action Painting</em>.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">A <em>Action Painting</em> ou pintura de acção foi um movimento artístico surgido no início dos anos 40, em Nova Iorque, que ganhou força expressiva própria, inspirado nas teorias derivadas do conceito de «automatismo psíquico» do Primeiro Manifesto do Surrealismo em 1924, que utilizava uma espécie de “escrita por sinais”, mas, ao mesmo tempo, impulsionado pelas tendências Expressionistas.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">A técnica adoptada estava muito longe da arte figurativa, sendo o seu objectivo o próprio acto em si da pintura. O termo <em>Action Painting</em> foi utilizado em 1952, pelo critico de arte norte-americano, Harold Rosenberg. As obras eram produzidas a grande velocidade, simbolizando a urgência da comunicação. Enquanto o resultado obtido era criado pela espontaneidade dos gestos, foi adoptado o termo G<em>estural Painting</em> ou pintura gestual para os descrever.<br /><span style="color:#ffffff;">*</span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Jackson Pollock</strong> (1912-1956), mundialmente reconhecido como o pintor mais representativo da história do Expressionismo Abstracto na pintura, particularmente no que se refere à <em>Action Painting</em>, expressava-se vertendo a tinta directamente para a tela, através de um tubo ou balde, cobrindo-a em camadas sucessivas e espargindo a tinta numa tentativa de interagir directamente com a tela, cuja superfície se encontrava horizontalmente estendida no chão.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Franz Kline</strong> (1910-1962), por outro lado, utilizava uma vulgar trincha de decorador para fazer a projecção de linhas de cor preta numa superfície branca, com uma veemência gestual de grande impacto visual.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Sam Francis</strong> (1923-1994) adoptou métodos idênticos aos de Pollock, utilizando a técnica do espargimento em telas de grande dimensão, mas os resultados obtidos foram menos convincentes. Estes ensaios eram demonstrativos de como na ausência de uma qualquer linha orientadora do processo criativo, um estilo artístico que se baseasse unicamente na combinação das cores recorrendo aos mais variados métodos, corria o risco de ficar reduzido a mera superficialidade decorativa</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">.Contudo, a <strong>Wilhelm de Kooning</strong> (1904-1997) deverá ser reservado um lugar especial neste movimento, que, enquanto definitivamente um artista gestual, mantinha um cunho de uma essência realista. As suas obras são abstracções dinâmicas que, não obstante, apresentam formas orgânicas ou biomórficas. A figura humana é um tema central: por ex., no seu trabalho em série «<strong>Women</strong>» (Mulheres), as figuras são dificilmente discerníveis, mesmo que a trincha tenha distorcido a sua forma no processo criativo da construção ou no da destruição. As figuras parecem estar prestes a desintegrar-se e, no entanto, impressionam pela sua presença através do rodopio de cor em que imergem.<br /><span style="color:#ffffff;">*</span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Na Europa, foi dado o nome de <em>Art Informel</em> ou Informalismo ao movimento artístico que utilizou a técnica da pintura de acção, tendo sido o pintor francês <strong>Jean Fautrier</strong> (1898-1964) o percursor desse movimento.<br />Em 1954, esta técnica teve outros desenvolvimentos artísticos, tendo sido adoptado o termo de <em>Tachisme</em> pelo crítico francês Charles Estienne, para descrever uma forma de pintura caracterizada pela técnica da mancha, a partir da dispersão da tinta sobre a tela. Jean Fautrier utilizou esta técnica, dando às suas obras uma consistência táctil construindo camadas disformes de têmpera (cal e cola), espessadas em cor branca, resultando em superfícies pastosas de intensidade dramática. No seu trabalho em série «<strong>Hostages</strong>» (Reféns), esta metodologia evocou, de uma forma brilhante, a reacção de Fautrier ao massacre dos prisioneiros de guerra. Os seus quadros produziam um efeito de profundeza e poder.<br />Apesar de terem sido vários os estilos adoptados sob a designação de Arte Informal, prevaleceu um denominador comum na maior parte das obras traduzido pela sua natureza autobiográfica. Elas transformaram-se simbolicamente no espelho da natureza intrínseca do artista, reflectindo a sua objecção à aparente falta de individualidade na sociedade industrial contemporânea.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#990000;"><strong>Fonte: A World History of Art</strong></span></div><div align="justify"></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="center"><span style="font-size:85%;color:#660000;">* * *</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#660000;">Jackson Pollock, circling like a dancer around a canvas spread out on the floor, dripping and pouring paint – this film image of an “action painter” not only confirmed Pollock’s standing as the leading protagonist of one of the most influential avant-gardes of the twentieth century. It also became an unforgettable icon of modern art in general. Our exhibition, Action Painting, is devoted to the phenomenon of abstract gestural painting, which emerged in Europe and the United States in the wake of the Second World War. Despite all the differences between European L’Art informel and American Abstract Expressionism, in hindsight the similarities appear to predominate. Artists on both sides of the Atlantic dared a revolutionary new beginning by transcending the borders of traditional art. By radically concentrating on the spontaneous painting gesture, the artist’s personality and state of mind were to be directly manifested on the canvas. <a href="http://dasartesplasticas.blogspot.com/2008/02/jackson-pollock-1912-1956-estados.html"><span style="color:#ff6666;"><strong>(read more)</strong></span></a></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#660000;"><span style="color:#990000;"><strong>Beyeler Foundation, press release</strong><br /></span><br /></span></div></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0tag:blogger.com,1999:blog-2054748435853847162.post-19631503474111170232008-02-17T21:37:00.041+00:002008-03-18T14:57:30.880+00:00Baltazar Torres, Figueira de Castelo Rodrigo / Portugal - arte contemporânea, neo-conceptualismo<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZe-X6FEXJb1os_7wxawools1zkd1NFJTXePmJmcp0mo7_sTqjkQFijZGzdoMIeuOUfksA4lkKa3UXDEVmDRaJbHVyNDd7GzLsK99Ocs-v60xj9x3v59Fso1kLI_8aNUmZ7crwJj1alQo/s1600-h/BT,+Hamful+Weeds+series+%C2%ABUrban+caves+-+New+cartographies%C2%BB+2004,+brick,+wood+and+PVC.jpg"><img id="BLOGGER_PHOTO_ID_5168081597994929218" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZe-X6FEXJb1os_7wxawools1zkd1NFJTXePmJmcp0mo7_sTqjkQFijZGzdoMIeuOUfksA4lkKa3UXDEVmDRaJbHVyNDd7GzLsK99Ocs-v60xj9x3v59Fso1kLI_8aNUmZ7crwJj1alQo/s400/BT,+Hamful+Weeds+series+%C2%ABUrban+caves+-+New+cartographies%C2%BB+2004,+brick,+wood+and+PVC.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Harmful Weeds series «Urban Caves-New Cartographies» 2004,</span></div><div align="center"><span style="font-size:85%;color:#660000;">installation view (brick, wood, PVC)</span></div><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA94Ig4fckurqmTg0vWJ8UiGiTUCb8pZX-ecRaaQvQPCIONyBvPgsdxY4Fa1Gi9t_b4-67mhGrUPJK42lM5We__H_cLJN0YykD2Nl0PZf0U5Q8w0zb4LYuNxCwkfX7DTEcXV67cMR3m_c/s1600-h/BT,+Harmful+Weeds+series+%C2%ABBeehive+-++Love%C2%BB+2004,+wood,+PVC,+aluminium,+cables,+steel,+tin,+acrylic,+oil.jpg"><img id="BLOGGER_PHOTO_ID_5168081456261008434" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiA94Ig4fckurqmTg0vWJ8UiGiTUCb8pZX-ecRaaQvQPCIONyBvPgsdxY4Fa1Gi9t_b4-67mhGrUPJK42lM5We__H_cLJN0YykD2Nl0PZf0U5Q8w0zb4LYuNxCwkfX7DTEcXV67cMR3m_c/s400/BT,+Harmful+Weeds+series+%C2%ABBeehive+-++Love%C2%BB+2004,+wood,+PVC,+aluminium,+cables,+steel,+tin,+acrylic,+oil.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Harmful Weeds series <span style="color:#990000;"><strong>«Beehive-Love»</strong></span> 2004, installation view</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wood, PVC, aluminium, cables, steel, tin, acrylic, oil)</span></div><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH1_8MAheFyUjkuyR0HbqMgpwjjTMsR7zQaoyHuc8K1g0AWlh7MDW-DJjzrl8bbVVHVs-5ELkSsqbsiMbjc31PbChcd99S4f-w16zoND8Zz74X0kgBetM9mxu2oXG4HVzBD6y6yICQi8k/s1600-h/BT,+Harmful+Weeds+series+%C2%ABBeehive+-+Love%C2%BB+detail,+2004.jpg"><img id="BLOGGER_PHOTO_ID_5168081258692512802" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH1_8MAheFyUjkuyR0HbqMgpwjjTMsR7zQaoyHuc8K1g0AWlh7MDW-DJjzrl8bbVVHVs-5ELkSsqbsiMbjc31PbChcd99S4f-w16zoND8Zz74X0kgBetM9mxu2oXG4HVzBD6y6yICQi8k/s400/BT,+Harmful+Weeds+series+%C2%ABBeehive+-+Love%C2%BB+detail,+2004.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Harmful Weeds series <span style="color:#990000;"><strong>«Beehive-Love»</strong></span> (detail) 2004<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitQMrnvZhmNYSMlGTegsv6radZ9v9EuxdGBUBjETrmUcyTQ8WUZK-zzZnwVQXGd0kH0wml086ZYDchBp9hC71pHGotafm3sQpnc6lIJeumG9KzPNKcd5UElhJnAGM3KqkXT1u8iutRyRA/s1600-h/BT,+Harmful+Weeds+series+%C2%ABBeehive-+Like+Brothers%C2%BB+2004,+wood+PVC,+aluminium,+copper,+plastic,+steel,+tin,+acrylic,+oil.jpg"><img id="BLOGGER_PHOTO_ID_5168080949454867474" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitQMrnvZhmNYSMlGTegsv6radZ9v9EuxdGBUBjETrmUcyTQ8WUZK-zzZnwVQXGd0kH0wml086ZYDchBp9hC71pHGotafm3sQpnc6lIJeumG9KzPNKcd5UElhJnAGM3KqkXT1u8iutRyRA/s400/BT,+Harmful+Weeds+series+%C2%ABBeehive-+Like+Brothers%C2%BB+2004,+wood+PVC,+aluminium,+copper,+plastic,+steel,+tin,+acrylic,+oil.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Harmful Weeds series<span style="color:#990000;"><strong>«Beehive-Like Brothers»</strong></span> 2004, </span></div><div align="center"><span style="font-size:85%;color:#660000;">installation view</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wood, PVC, aluminium, copper, plastic, steel, tin, acrylic, oil)<br /><br /></span></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY_TO0j5kscHggRvbJ9yRBZy4gUI5XNxhIcAJAohXGRvadxyrAi4GRQz23dl-GJ5oP09VLCQUcY9QxWs7rKbjDeFHtWmtGAr0MrFO662wRJx4iwDdAlVAz4OP_or5IlCmMZ5sKMifzois/s1600-h/BT,Harmful+Weeds+series+%C2%ABBeehive+-+Like+Brothers%C2%BB+detail,+2004.jpg"><img id="BLOGGER_PHOTO_ID_5168080567202778114" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhY_TO0j5kscHggRvbJ9yRBZy4gUI5XNxhIcAJAohXGRvadxyrAi4GRQz23dl-GJ5oP09VLCQUcY9QxWs7rKbjDeFHtWmtGAr0MrFO662wRJx4iwDdAlVAz4OP_or5IlCmMZ5sKMifzois/s400/BT,Harmful+Weeds+series+%C2%ABBeehive+-+Like+Brothers%C2%BB+detail,+2004.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Harmful Weeds series <span style="color:#990000;"><strong>«Beehive-Like Brothers»</strong></span> (detail) 2004<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjDY_EW1o01d6VNRkoY1a-Q1QN4aLRCU9mW1yhMBozYTIscM-PIi7at3cdKHvY5Jw0eiu2icyLab-_OCh6XnCdVdrfbZoaDBWCIS_YP3Hago0-57y8D011qUsFJRdBOyL_ZdItEKGBQUg/s1600-h/BT,+Harmful+Weeds+series+%C2%ABBeehive+-+Like+brothers%C2%BB+detail+II,+2004.jpg"><img id="BLOGGER_PHOTO_ID_5168080356749380594" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjDY_EW1o01d6VNRkoY1a-Q1QN4aLRCU9mW1yhMBozYTIscM-PIi7at3cdKHvY5Jw0eiu2icyLab-_OCh6XnCdVdrfbZoaDBWCIS_YP3Hago0-57y8D011qUsFJRdBOyL_ZdItEKGBQUg/s400/BT,+Harmful+Weeds+series+%C2%ABBeehive+-+Like+brothers%C2%BB+detail+II,+2004.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Harmful Weeds series <span style="color:#990000;"><strong>«Beehive-Like Brothers»</strong></span> (detail) 2004<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheF7jsvOa2e98n7oCfxM_PuGgAMXyJBK4CoAzHqJjnCduLxR0F12RkuchxB_LbGbn6gXlfzRVzZsC1W5TyZbnSuhMkXUw53Z3cG4X-watWb1cSrluS9tDSRJiBXogxPPJ5MipxUQv281c/s1600-h/BT,+Harmful+weeds+series+%C2%ABBeehive+-++Oxygen%C2%BB+2004.jpg"><img id="BLOGGER_PHOTO_ID_5168080142001015778" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEheF7jsvOa2e98n7oCfxM_PuGgAMXyJBK4CoAzHqJjnCduLxR0F12RkuchxB_LbGbn6gXlfzRVzZsC1W5TyZbnSuhMkXUw53Z3cG4X-watWb1cSrluS9tDSRJiBXogxPPJ5MipxUQv281c/s400/BT,+Harmful+weeds+series+%C2%ABBeehive+-++Oxygen%C2%BB+2004.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Harmful Weeds series <span style="color:#990000;"><strong>«Beehive-Oxygen»</strong></span> 2004, installation view</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wood, PVC, aluminium, plastic, steel, tin, acrylic, oil)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSxIcT9CU9Rtu_ovmwA3vnr6ToBwle2IGq-Fc6BRR5JjJB0GEnaRwC-bRASsZt37xDgzT35jVrug_jhX2qHble_gtk3qgGm232rRXtxvm7ZM3bftpwCVxknrwdnGNcl7H3JsQyLquzsyc/s1600-h/BT,+Harmful+Weeds+series+%C2%ABBeehive+-+Near+heaven+and+in+hell%C2%BB+2004,+hierro,+acero,+PVC,+madera,+aluminio,+esta%C3%B1o,+cobre,+pintura+acr%C3%ADlica+e+a+%C3%B3leo.jpg"><img id="BLOGGER_PHOTO_ID_5168080008857029586" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSxIcT9CU9Rtu_ovmwA3vnr6ToBwle2IGq-Fc6BRR5JjJB0GEnaRwC-bRASsZt37xDgzT35jVrug_jhX2qHble_gtk3qgGm232rRXtxvm7ZM3bftpwCVxknrwdnGNcl7H3JsQyLquzsyc/s400/BT,+Harmful+Weeds+series+%C2%ABBeehive+-+Near+heaven+and+in+hell%C2%BB+2004,+hierro,+acero,+PVC,+madera,+aluminio,+esta%C3%B1o,+cobre,+pintura+acr%C3%ADlica+e+a+%C3%B3leo.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Harmful Weeds series <span style="color:#990000;"><strong>«Beehive-Near Heaven and in Hell»</strong></span> 2004, </span></div><div align="center"><span style="font-size:85%;color:#660000;">installation view</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wood, PVC, aluminium, iron, steel, copper, tin, acrylic, oil)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgObabc_05CdjEvq_FBlAoNBSXgS-e1JiYzmtL824jGmQ6M6S6RS8zM19UFim0WHoPCJrdqIDu30CuMSnF8mkwPj9R9VmjfpCcC-8liIfgQJsSA1EWfcBeCRdytjWjCDkdI4ojjrV-32Bs/s1600-h/BT,+Spring+Sounds+series+%C2%ABSpring+Flowers%C2%BB+2006,+aluminium.jpg"><img id="BLOGGER_PHOTO_ID_5168079789813697474" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgObabc_05CdjEvq_FBlAoNBSXgS-e1JiYzmtL824jGmQ6M6S6RS8zM19UFim0WHoPCJrdqIDu30CuMSnF8mkwPj9R9VmjfpCcC-8liIfgQJsSA1EWfcBeCRdytjWjCDkdI4ojjrV-32Bs/s400/BT,+Spring+Sounds+series+%C2%ABSpring+Flowers%C2%BB+2006,+aluminium.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Spring Sounds series <span style="color:#990000;"><strong>«Spring Flowers»</strong></span> 2006, aluminium</span><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCAftGHzWXlHW38TJ_OjgvgtNlBwr32N4mxbbE7A7ug0IPQBaU5SvrgmdazxYZuXkitOfogEyQ9ezo-d0VqcBr26Qf1hw995jVmWs7fbPjod8shBzorI4Fv4u0i-sYuS_BEiZf0MnlE2c/s1600-h/BT,+Spring+Sounds+series+%C2%ABSpring+Flowers%C2%BB+(detail)+2006,+aluminium.jpg"><img id="BLOGGER_PHOTO_ID_5168079609425071026" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCAftGHzWXlHW38TJ_OjgvgtNlBwr32N4mxbbE7A7ug0IPQBaU5SvrgmdazxYZuXkitOfogEyQ9ezo-d0VqcBr26Qf1hw995jVmWs7fbPjod8shBzorI4Fv4u0i-sYuS_BEiZf0MnlE2c/s400/BT,+Spring+Sounds+series+%C2%ABSpring+Flowers%C2%BB+(detail)+2006,+aluminium.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Spring Sounds series <span style="color:#990000;"><strong>«Spring Flowers»</strong></span> (detail) 2006</span><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit600ZA69yxxXONuKrOL0J_TQ_vOHsQ0sZVEsKGqvLC_jEtJ3hED8SBWdjGKQoHt47hU4-OIfsDImXp_aHcMSSTk7QDEo2SrUXlVwWYqGMsdby1Q02MBIWXQg7LXjjdkOmeReW8sOs3Jc/s1600-h/BT,+Spring+Sounds+series+%C2%ABA+tutto+gas%C2%BB+2007.jpg"><img id="BLOGGER_PHOTO_ID_5168079347432065954" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit600ZA69yxxXONuKrOL0J_TQ_vOHsQ0sZVEsKGqvLC_jEtJ3hED8SBWdjGKQoHt47hU4-OIfsDImXp_aHcMSSTk7QDEo2SrUXlVwWYqGMsdby1Q02MBIWXQg7LXjjdkOmeReW8sOs3Jc/s400/BT,+Spring+Sounds+series+%C2%ABA+tutto+gas%C2%BB+2007.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Spring Sounds series <span style="color:#990000;"><strong>«A tutto gas»</strong></span> 2007, installation view</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wood, painted tin figures)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPfTJ1NpntwRHZRjb13zjewZURLoNAL4P5lS0UekPoOAyC4z8mP-doGE7a_gkS2lUBX_4ucNVD52CppAHS2YmLl96PnQeJLlxDCeoEG0jCdH7eDaWxzaZqUbrEHQK1xUyBTDR2xvFsvlQ/s1600-h/BT,+Spring+Sounds+series+%C2%ABA+tutto+gas%C2%BB+(detail)+2007,+madeira+e+figuras+de+estanho+pintadas.jpg"><img id="BLOGGER_PHOTO_ID_5168079179928341394" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPfTJ1NpntwRHZRjb13zjewZURLoNAL4P5lS0UekPoOAyC4z8mP-doGE7a_gkS2lUBX_4ucNVD52CppAHS2YmLl96PnQeJLlxDCeoEG0jCdH7eDaWxzaZqUbrEHQK1xUyBTDR2xvFsvlQ/s400/BT,+Spring+Sounds+series+%C2%ABA+tutto+gas%C2%BB+(detail)+2007,+madeira+e+figuras+de+estanho+pintadas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Spring Sounds series <span style="color:#990000;"><strong>«A tutto gas»</strong></span> (detail) 2007<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9C_fT1Rv_ZNgke_6FL2iPWC8mQBZZPVsvzSFwThE88QAJj3MtppyjfqgsFv2_8_7Gg01G2bh0knHuOB8WP7-65eZYEJsJ7YLR23yc6BlOWcz3M-4ouOs-IDU86nh_RSnXH2H7fHKnsVA/s1600-h/BT,+Spring+Sounds+series+%C2%ABA+tutto+gas%C2%BB++(detail)+2007,+madeira+e+figuras+de+estanho+pintadas+2.jpg"><img id="BLOGGER_PHOTO_ID_5168078866395728770" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9C_fT1Rv_ZNgke_6FL2iPWC8mQBZZPVsvzSFwThE88QAJj3MtppyjfqgsFv2_8_7Gg01G2bh0knHuOB8WP7-65eZYEJsJ7YLR23yc6BlOWcz3M-4ouOs-IDU86nh_RSnXH2H7fHKnsVA/s400/BT,+Spring+Sounds+series+%C2%ABA+tutto+gas%C2%BB++(detail)+2007,+madeira+e+figuras+de+estanho+pintadas+2.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Spring Sounds series <span style="color:#990000;"><strong>«A tutto gas»</strong></span> (detail) 2007<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx09rEz06m_3LDNQqSsW2k5eV6-EUpz2F9MRNNYy6yJ48373vHhDtr0YaDL4kLWDXH2urWdjPL3K22sP3SPYvn_K2l_0s1Vgp_NXMqdd8srZczaAceVa4k2RSoDObxb-1xf-p4ALqKWP0/s1600-h/BT,+Spring+Sounds+series+%C2%ABA+tutto+gas+(detail)+2007,+madeira+e+figuras+de+estanho+pintadas+3.jpg"><img id="BLOGGER_PHOTO_ID_5168078604402723698" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhx09rEz06m_3LDNQqSsW2k5eV6-EUpz2F9MRNNYy6yJ48373vHhDtr0YaDL4kLWDXH2urWdjPL3K22sP3SPYvn_K2l_0s1Vgp_NXMqdd8srZczaAceVa4k2RSoDObxb-1xf-p4ALqKWP0/s400/BT,+Spring+Sounds+series+%C2%ABA+tutto+gas+(detail)+2007,+madeira+e+figuras+de+estanho+pintadas+3.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Spring Sounds series <span style="color:#990000;"><strong>«A tutto gas»</strong></span> (detail) 2007<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhNr9Wcx1atQEPMaxfMlu4Y1OUw-ouuW8diHhy1qMFuWUidfN1uGx6wmL6P5EAbsd_hmgLuZ179iTxmnMIYImC7El1RH-gJezMn4FK1Hyfr2PkJL8VBtgldoO1jiBEZ0hIkOkKDZY7IPQ/s1600-h/BT,+Spring+Sounds+series+%C2%ABWrong+Way%C2%BB+2006,+carretera+de+goma+y+coches+de+plastico.jpg"><img id="BLOGGER_PHOTO_ID_5168078230740568930" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhNr9Wcx1atQEPMaxfMlu4Y1OUw-ouuW8diHhy1qMFuWUidfN1uGx6wmL6P5EAbsd_hmgLuZ179iTxmnMIYImC7El1RH-gJezMn4FK1Hyfr2PkJL8VBtgldoO1jiBEZ0hIkOkKDZY7IPQ/s400/BT,+Spring+Sounds+series+%C2%ABWrong+Way%C2%BB+2006,+carretera+de+goma+y+coches+de+plastico.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Spring Sounds series <strong><span style="color:#990000;">«Wrong Way»</span></strong> 2006, installation view</span></div><div align="center"><span style="font-size:85%;color:#660000;">(gum road, plastic cars)</span><br /><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqSkmAYjdKBb1Lpz3BER3jEjyz-rcVEYwWHuVovwJBssq1uc1UiLc9i_qL23bteSpl9gzHdOZFvnplyH6tlV70YLccfHx6iI1PsTK-l30Y_rwI47-HWLNg7zaNnmoq_kj8NHBT6Ng_NI0/s1600-h/BT,+Spring+Sounds+series+%C2%ABWrong+Way%C2%BB+(detail)+2006,+Carretera+de+goma+y+coches+de+pl%C3%A1stico.jpg"><img id="BLOGGER_PHOTO_ID_5168078037467040594" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqSkmAYjdKBb1Lpz3BER3jEjyz-rcVEYwWHuVovwJBssq1uc1UiLc9i_qL23bteSpl9gzHdOZFvnplyH6tlV70YLccfHx6iI1PsTK-l30Y_rwI47-HWLNg7zaNnmoq_kj8NHBT6Ng_NI0/s400/BT,+Spring+Sounds+series+%C2%ABWrong+Way%C2%BB+(detail)+2006,+Carretera+de+goma+y+coches+de+pl%C3%A1stico.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Spring Sounds series <span style="color:#990000;"><strong>«Wrong Way»</strong></span> (detail) 2006<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilJlSS8xrfAqiksjMsQJ3IgSjt_ZpsFcBukb88ofZCvR62WKxD2KkxBwd4RplxuTKqTAlCScxeu9u27TgFNNyr5TY25qaP243_XfUGJAWPjJw9he1g2Rsyo05gG8eCz1MpfXOjk8-KCxM/s1600-h/BT,+the+world+belongs+to+me+(Flag),+2005,+plomb+painted.jpg"><img id="BLOGGER_PHOTO_ID_5168077861373381442" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilJlSS8xrfAqiksjMsQJ3IgSjt_ZpsFcBukb88ofZCvR62WKxD2KkxBwd4RplxuTKqTAlCScxeu9u27TgFNNyr5TY25qaP243_XfUGJAWPjJw9he1g2Rsyo05gG8eCz1MpfXOjk8-KCxM/s400/BT,+the+world+belongs+to+me+(Flag),+2005,+plomb+painted.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">The World Belongs to Me series «Flag» 2005, sculpture</span></div><div align="center"><span style="font-size:85%;color:#660000;">(plom painted)<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUoTRzTg3JpQH0I_GuLVx6CRNFKg-_LghkTxqw7zCoCkDx9iuDibFSgaoMmBZmtpKe87Nk4R_9-Ib4FGg_5RCh5gs-F_fk4fmvqVTcnjL6WAshKJovgpmoLoVpGdBzCghBUUKwyZq7pUs/s1600-h/BT,+The+World+belongs+to+me+I,+2004,+acryl+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5168077620855212850" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUoTRzTg3JpQH0I_GuLVx6CRNFKg-_LghkTxqw7zCoCkDx9iuDibFSgaoMmBZmtpKe87Nk4R_9-Ib4FGg_5RCh5gs-F_fk4fmvqVTcnjL6WAshKJovgpmoLoVpGdBzCghBUUKwyZq7pUs/s400/BT,+The+World+belongs+to+me+I,+2004,+acryl+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">The World Belongs to Me series «Untitled» 2004</span></div><div align="center"><span style="font-size:85%;color:#660000;">acrylic paint on canvas<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr5DxFYlc6tjLCJKg5y1C5VR3Y90FQhzfpMF1DEiC9jRoEA5Ig7fG6VZFl5nSbntTSm7LMWyNpFCFu3ixdYocmQ9AWtL_oMqNWInaW2qWNWIrqLubVdUyTfxWX3qYzraRIVqupgCRBQfI/s1600-h/BT,+the+world+belongs+to+meII,+2004,+acryl+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5168077431876651810" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhr5DxFYlc6tjLCJKg5y1C5VR3Y90FQhzfpMF1DEiC9jRoEA5Ig7fG6VZFl5nSbntTSm7LMWyNpFCFu3ixdYocmQ9AWtL_oMqNWInaW2qWNWIrqLubVdUyTfxWX3qYzraRIVqupgCRBQfI/s400/BT,+the+world+belongs+to+meII,+2004,+acryl+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">The World Belongs to Me series «Untitled» 2004</span></div><div align="center"><span style="font-size:85%;color:#660000;">acrylic paint on canvas</span><br /><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDDspcyHlSjN5a46qcp8TG2X_OsOreAPtLgdiYP2sbUwLvS9hCShLJ-OUH9s3d-KCFHP3zV3dTnQ-iaKjsCL06fw8HWcKN8Kqxd7IxkaY7ctc9ETmuNZaRmD1GQqX6Jun8YP-ospQML1Q/s1600-h/BT,+Humanitarian+help,+2005,+plastic+and+plomb.jpg"><img id="BLOGGER_PHOTO_ID_5168077169883646738" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDDspcyHlSjN5a46qcp8TG2X_OsOreAPtLgdiYP2sbUwLvS9hCShLJ-OUH9s3d-KCFHP3zV3dTnQ-iaKjsCL06fw8HWcKN8Kqxd7IxkaY7ctc9ETmuNZaRmD1GQqX6Jun8YP-ospQML1Q/s400/BT,+Humanitarian+help,+2005,+plastic+and+plomb.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Humanitarian Help» 2005, installation view</span></div><div align="center"><span style="font-size:85%;color:#660000;">(plastic, plomb)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWEClnbb-rCRjec8mzVYPWPD2fss8nCOgtlvrHRbGAjKOEN-TsxQBaZNv650lrZsPpb5fRQzSwC1Wzds9To0mF7PJq3nwQqoC6NGfQaE2Bm7t8Fy4RzEs7T0pOP-fz88lNrbfjpgSsdh4/s1600-h/BT,+Invisible+attack,+2005,+paint+and+mixed+media.jpg"><img id="BLOGGER_PHOTO_ID_5168076968020183810" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWEClnbb-rCRjec8mzVYPWPD2fss8nCOgtlvrHRbGAjKOEN-TsxQBaZNv650lrZsPpb5fRQzSwC1Wzds9To0mF7PJq3nwQqoC6NGfQaE2Bm7t8Fy4RzEs7T0pOP-fz88lNrbfjpgSsdh4/s400/BT,+Invisible+attack,+2005,+paint+and+mixed+media.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Invisible Attack» 2005, installation view</span></div><div align="center"><span style="font-size:85%;color:#660000;">(paint, mixed media)</span><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7EVJa1WNnPPh3KYEjjclAqs0qcbCCfQptjV-AD1OZC299dgCsXwEM43AJrt9Cj9LIIW7VXpDmUtPrZxdeM5omSNPwQRrdt6QMtQU_uSReKOv-X_xeesmfhxliraYBhr4tyPA5lZ6KA4Q/s1600-h/BT,+Prozac,+2004,+wood,+plastic+and+plomb.jpg"><img id="BLOGGER_PHOTO_ID_5168076633012734706" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7EVJa1WNnPPh3KYEjjclAqs0qcbCCfQptjV-AD1OZC299dgCsXwEM43AJrt9Cj9LIIW7VXpDmUtPrZxdeM5omSNPwQRrdt6QMtQU_uSReKOv-X_xeesmfhxliraYBhr4tyPA5lZ6KA4Q/s400/BT,+Prozac,+2004,+wood,+plastic+and+plomb.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Prozac» 2004, installation view</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wood, plastic, plomb)<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_LhN_YM2MvT4kmnJbQvn2iFxiQemt0IOVxdG_fAldIB-m7w022xtgupuQAevNPrwUApIg6zcRfR49v37xqsX4Bl6dQPDuoHDYShoA_RyK0yNcEzrOAHdLihYV-o_MLt-IF6B_gvhf4-U/s1600-h/BT,+4.jpg"><img id="BLOGGER_PHOTO_ID_5168076388199598818" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_LhN_YM2MvT4kmnJbQvn2iFxiQemt0IOVxdG_fAldIB-m7w022xtgupuQAevNPrwUApIg6zcRfR49v37xqsX4Bl6dQPDuoHDYShoA_RyK0yNcEzrOAHdLihYV-o_MLt-IF6B_gvhf4-U/s400/BT,+4.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> n/a<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1obbiPaGyj8FK9ogRa1TFd2RIDIZkjtSKjmL6lnsc8i9p7GeHCYhgrqeD7jh4ShUn1txFKx-lAtGTWNNW08gfIQEg5ymDDPZbrLY36ZZZhngnFsI3ChtoZk8awq_xswvFmzm5YWXJKoQ/s1600-h/BT,+5.jpg"><img id="BLOGGER_PHOTO_ID_5168076109026724562" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1obbiPaGyj8FK9ogRa1TFd2RIDIZkjtSKjmL6lnsc8i9p7GeHCYhgrqeD7jh4ShUn1txFKx-lAtGTWNNW08gfIQEg5ymDDPZbrLY36ZZZhngnFsI3ChtoZk8awq_xswvFmzm5YWXJKoQ/s400/BT,+5.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> n/a<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKPZ_MeMJjeZoUNGJcTbkgjU_Lq1nAOxDPvKSIaLdeiAhG8W1-WdwnJrfe1tBEEezrZz_kTtiX9kUOkZOtrft88FZYDqUYHI8FdjykP3gq40_3TFsG6uExksBW0dMX-5JeQb4JUHUSI5Y/s1600-h/BT,+Building+Garden,+2007,+holz,+bronze,+silber,+%C3%B6lfarbe.jpg"><img id="BLOGGER_PHOTO_ID_5168075924343130818" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKPZ_MeMJjeZoUNGJcTbkgjU_Lq1nAOxDPvKSIaLdeiAhG8W1-WdwnJrfe1tBEEezrZz_kTtiX9kUOkZOtrft88FZYDqUYHI8FdjykP3gq40_3TFsG6uExksBW0dMX-5JeQb4JUHUSI5Y/s400/BT,+Building+Garden,+2007,+holz,+bronze,+silber,+%C3%B6lfarbe.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Building Garden» 2007, installation view</span></div><div align="center"><span style="font-size:85%;color:#660000;">(wood, bronze, silver, oil paint)<br /><br /></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3oYiDRJ_vT98I-633MN3wW3qoqUsp8JvKSEkwzFowZNrzoYOySBR_peemHq7l9pbV6ZxXrPaz8idcEvcbPuuD2G2VCCQeCN5bIt1cdVoM22FG-WcFF4gDocIflmWbUXSo3Gj6mc4hn64/s1600-h/BT,+City+Builder+-+White+Elephant,+bronze+pintado+a+esmalte.jpg"><img id="BLOGGER_PHOTO_ID_5168075778314242738" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3oYiDRJ_vT98I-633MN3wW3qoqUsp8JvKSEkwzFowZNrzoYOySBR_peemHq7l9pbV6ZxXrPaz8idcEvcbPuuD2G2VCCQeCN5bIt1cdVoM22FG-WcFF4gDocIflmWbUXSo3Gj6mc4hn64/s400/BT,+City+Builder+-+White+Elephant,+bronze+pintado+a+esmalte.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«City Builder-White Elephant» 2007, sculpture</span></div><div align="center"><span style="font-size:85%;color:#660000;">(bronze painted on enamel)</span><br /><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0dPu-ETyz_F6AjNluFTzrlWDjgML__DWCaH-4CLABkXHAXowFGHIVi-LoHCMqa_JOLQKSCYFTP1cZhNo-rKarcq11op68KawSN5K0P9F6bINlE70QJQ1kgg3SZ-BYBYki0t8gdLvOKwk/s1600-h/BT,+City+Builder+-+White+Elephant+(detail)+bronze+pintado+a+esmalte.jpg"><img id="BLOGGER_PHOTO_ID_5168075421831957154" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0dPu-ETyz_F6AjNluFTzrlWDjgML__DWCaH-4CLABkXHAXowFGHIVi-LoHCMqa_JOLQKSCYFTP1cZhNo-rKarcq11op68KawSN5K0P9F6bINlE70QJQ1kgg3SZ-BYBYki0t8gdLvOKwk/s400/BT,+City+Builder+-+White+Elephant+(detail)+bronze+pintado+a+esmalte.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «City Builder-White Elephant» (detail) 2007<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJjoMz2XWeuO3XkseeCtk6-p4-rQKrPfLb4VdTGIGhO3q6xeyIjWoTP74oPLAMmhtRzvN88lZakWXmwykEknMoRd_-omwDcYNIc8l_rIr_OBPlcRyW0mro2-IOn17PBp10iaE-BwCiKzs/s1600-h/BT,+Gold+Prospector,+bronze+pintado+a+esmalte.jpg"><img id="BLOGGER_PHOTO_ID_5168075125479213714" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJjoMz2XWeuO3XkseeCtk6-p4-rQKrPfLb4VdTGIGhO3q6xeyIjWoTP74oPLAMmhtRzvN88lZakWXmwykEknMoRd_-omwDcYNIc8l_rIr_OBPlcRyW0mro2-IOn17PBp10iaE-BwCiKzs/s400/BT,+Gold+Prospector,+bronze+pintado+a+esmalte.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Gold Prospector» 2007, sculpture </span></div><div align="center"><span style="font-size:85%;color:#660000;">(bronze painted on enamel)<br /><br /></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLyl6Z2aF4CpzKFLZTVSYOx9R3VLnK-TX6OYdisMZIS_lUEPIWgMBO0nLl6IdBGxFd0ZSHfG7zlIO5FPXzlwdCF4l4nCKyTpwzPRVl5uOyhCQs0TRKcrcgvGkRB5ww72h1C96eh-8wCpQ/s1600-h/BT,+Gold+Prospector+(detail)+bronze+pintado+a+esmalte.jpg"><img id="BLOGGER_PHOTO_ID_5168074833421437570" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLyl6Z2aF4CpzKFLZTVSYOx9R3VLnK-TX6OYdisMZIS_lUEPIWgMBO0nLl6IdBGxFd0ZSHfG7zlIO5FPXzlwdCF4l4nCKyTpwzPRVl5uOyhCQs0TRKcrcgvGkRB5ww72h1C96eh-8wCpQ/s400/BT,+Gold+Prospector+(detail)+bronze+pintado+a+esmalte.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Gold Prospector» (detail) 2007<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURUuTVHu4zeRnk9GN5K7ESgjSG_n0NyV_KErxX4nyodvF2EC7q9M8JbE8BNTkg9I0x0kQisvPvleOI1wLsTEkZEkS3cTST1fuJhg2w67A0bknr1MJAHEwV0EXpbAr0Fh9DLvenVpUNZ4/s1600-h/BT,%C2%AB+Looking+for+a+new+home+%23+1%C2%BB,+bronze+pintado+a+esmalte.jpg"><img id="BLOGGER_PHOTO_ID_5168074399629740642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgURUuTVHu4zeRnk9GN5K7ESgjSG_n0NyV_KErxX4nyodvF2EC7q9M8JbE8BNTkg9I0x0kQisvPvleOI1wLsTEkZEkS3cTST1fuJhg2w67A0bknr1MJAHEwV0EXpbAr0Fh9DLvenVpUNZ4/s400/BT,%C2%AB+Looking+for+a+new+home+%23+1%C2%BB,+bronze+pintado+a+esmalte.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Looking for a New Home» 2007, sculpture</span></div><div align="center"><span style="font-size:85%;color:#660000;">(bronze painted on enamel)<br /><br /></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip16j6aj_BYxph9OiNFLAP_yLQ_YEqzOsZPrFCwkkSpXcOJ1HdoxgWzYm9VfaF9V4d0DplZTXvB7qJJwSRsDJ1DKIIqpgul-v0AbI2uiGDUr1v_fRgRUa4__hRXZ4cp9mv965zd7LbfxA/s1600-h/BT,+Esp%C3%B3lio,+bronze+pintado+a+esmalte.jpg"><img id="BLOGGER_PHOTO_ID_5168073287233210962" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEip16j6aj_BYxph9OiNFLAP_yLQ_YEqzOsZPrFCwkkSpXcOJ1HdoxgWzYm9VfaF9V4d0DplZTXvB7qJJwSRsDJ1DKIIqpgul-v0AbI2uiGDUr1v_fRgRUa4__hRXZ4cp9mv965zd7LbfxA/s400/BT,+Esp%C3%B3lio,+bronze+pintado+a+esmalte.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Remains» 2007, sculpture (bronze painted on enamel)</span><br /><br /><div align="justify"><br /><br /><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Baltazar Torres</strong> nascido em 1961, é um artista plástico português que, com as suas obras, pretende chamar-nos a atenção para o fenómeno que resulta da concentração da massa humana nas grandes cidades, como consequência do factor migração impulsionado pelo desenvolvimento económico e industrial de uma economia globalizada e centralizada.<br />As zonas residenciais que coincidem com os enormes blocos de cimento onde as pessoas habitam nas grandes cidades, assim como os caminhos traçados que são as estradas e auto-estradas e os veículos que utilizamos, verdadeiros viciantes micro-espaços móveis, são sinónimos de uma vivência artificial, despersonalizada e alienadora.<br />Esta denúncia feita através das obras de Baltazar Torres, em relação às coisas insólitas deste mundo que já assumimos como normais, por força da nossa vontade acomodatícia, e também a componente auto-referencial na sua criação artística, em que o seu próprio retrato é esculpido em grande parte das suas obras, deixando transparecer as suas emoções, estimula as nossas inquietações que são, ao mesmo tempo, partilhadas pelo artista, fazendo um apelo às nossas consciências.<br />Na sua obra <span style="color:#990000;"><strong>“A perfect day in a perfect world”</strong></span><span style="color:#330000;">,</span> aqui apresentada em <a href="http://www.mefeedia.com/entry/baltazar-torres/3592767"><span style="color:#ff6666;"><strong>vídeo</strong></span></a>, Baltazar Torres foca o espaço físico da cidade como sendo “<em>um mundo de conflitos estruturais com o qual temos inevitavelmente que viver</em>”. Cidades ridiculamente monstruosas em que o ser humano, representado em miniatura, interage sufocado pelas consequências da sua própria acção, rodeado por estradas e “elefantes brancos” onde é total a ausência de espaços verdes, dando-nos uma visão do estado a que chegou o nosso meio ambiente que é tudo menos natural. A partir desta instalação o espectador experiencia, através da discrepante relação de escalas, os efeitos nocivos da sua acção, ao mesmo tempo que toma consciência do seu papel na sociedade e no espaço físico onde está inserido.<br /><span style="color:#ffffff;">*</span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#cc0000;"><strong>Crítica:</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Reconocido como uno de los artistas portugueses de mayor proyección internacional, Baltazar Torres (Figueira de Castelo Rodrigo, 1961) presenta Hierbas Dañinas, una exposición que él mismo ha considerado "su mejor trabajo" y que ha sido expresamente creada para el CAC Málaga. En ella, Torres reflexiona, a través de un entramado de maquetas y personajes en miniatura, sobre la sociedad contemporánea y del modo en el que el hombre transforma su entorno.<br /><strong><span style="color:#330000;">Hierbas Dañinas</span></strong> <span style="color:#990000;"><strong>(Harmful Weeds)</strong></span> reúne un total de catorce obras que representan pequeños escenarios en los que se desarrollan situaciones que ponen de relieve los problemas de deshumanización y lo absurdo de la vida moderna. El tamaño de las piezas permite al visitante observar los hechos con la claridad que aporta la distancia, ya que, a juicio de Baltazar Torres, la velocidad con la que se suceden los acontecimientos propicia que el hombre participe en el "enorme error" sin darse cuenta.<br />Torres examina la realidad a través de tropos y símbolos que se repiten una y otra vez en sus obras: espejos que reflejan aspiraciones y frustraciones; escaleras que al tiempo que comunican ponen en evidencia el aislamiento; ventanas que se abren a otros mundos; muros que limitan y en los que el hombre se lamenta; lobos como metáfora de la naturaleza amenazada que lucha por sobrevivir o maletas que encierran sueños.<br />Madera, pvc, cuero y estaño son algunos de los materiales utilizados para construir, de forma artesanal, una serie de personajes que, en el caso de esta exposición, tienen un gran componente autobiográfico, ya que muchos de los muebles, objetos e, incluso, ropa que parecen utilizar se inspiran en la realidad cotidiana del artista. El contraste de escalas entre éstos y otros elementos de las instalaciones, como las bombonas, los ladrillos o las sillas, enfatizan el sentido irónico de las obras y otorgan al espectador una privilegiada visión de conjunto.<br /><strong>Centro de Arte Contemporáneo de Málaga</strong><br /><span style="color:#ffffff;">**</span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;"><span style="color:#cc0000;"><span style="color:#990000;"><strong>Harmful Weeds</strong></span> <span style="color:#330000;"><strong>Exhibition</strong></span> </span><a href="http://www.absolutearts.com/artsnews/2004/06/23/32146.html"><span style="color:#ff6666;"><strong>(english version),</strong></span></a></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong><span style="color:#330000;">Contemporary Art Centre of Malaga<br /></span></strong></span></div><div align="justify"><span style="font-family:lucida grande;"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></span></div><div align="center"><span style="font-size:85%;color:#330000;"><strong>* * *</strong></span></div><div align="justify"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><span style="color:#330000;"><span style="font-family:lucida grande;"><span style="font-size:85%;"><strong><span style="color:#990000;">«Spring Flowers»</span></strong>, es un paisaje desolado. El artista propone una trama urbana sumida en el caos. Lejos quedan las alusiones a la retícula moderna, a aquella ciudad ideal que es hoy un bochornoso escenario especulativo, poblado de espabilados y ventajistas. Cimentada en un aluminio cutre, la ciudad es lo que el artista llama un conjunto de "islas de calor", fragmentos informes diseminados sin orden alguno. La figura humana está ausente. No es de extrañar: todos se han ido, aterrados ante el espectáculo visible. Esta ciudad de Baltazar Torres es, como la tierra que prevé Michel Houellebeq, un lugar agotado, exhausto de sí mismo. Creo que ésta es de las piezas más dramáticas y más rotundas del artista, acostumbrado a trabajar desde una melancólica y finísima ironía.</span></span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">En <span style="color:#990000;">«</span><strong><span style="color:#990000;">A tutto gas</span><span style="color:#990000;">»</span>,</strong> se puede ver una escenografía de maderas apiladas en un orden incierto. Pequeños hombrecillos de estaño realizan acciones diversas, uno con un hacha, otro con un rifle. La referencia a las talas es obvia, y también la metaforización del desastre. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">En <strong><span style="color:#990000;">«</span><span style="color:#990000;">Wrong Way</span><span style="color:#990000;">»</span></strong>, Torres escenifica el accidente por medio de una trama envolvente de autopistas imposibles. La comunicación frustrada, un tema recurrente en el artista, que una vez más nos invita a preguntarnos para qué sirve el progreso y sobre todo: ¿realmente es esto lo que andabais buscando?<br /><strong>Javier Hontoria</strong><br /><span style="color:#ffffff;">*</span></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>* * *</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>The works of Baltazar Torres open up critical, often political discourses in intently designed spaces. By radically reducing the scale of his figures and settings, he manages to show whole worlds, and allows the spectator to take up a new perspective. Often employing irony to make his point, he creates small, even cute-looking architectures and rooms, equipped with simplified symbols, and he works with easily recognizable, highly connoted images like tanks, maps, or garbage bags. But while his confrontations or combinations may at first seem obvious, they give rise to critical questioning.<br />Contentwise, Torres is clearly positioned in the present. His works investigate the way in which humans deal with their environment, and explore processes of mapping and re-mapping, examining the relevance of geography and cartography to establishing a nation. He makes the spectator look critically into the relationship of power and subjugation, see individual behaviour in the context of universal calamities and perceive the world in all its large - or small - size.<br /><strong>DNA Galerie, Berlin</strong><br /><br /></span></div><a href="http://www.absolutearts.com/artsnews/2004/06/23/32146.html"><span style="color:#ff6666;"><div align="justify"></span></a><span style="color:#ffffff;">*</span></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com1tag:blogger.com,1999:blog-2054748435853847162.post-19078868600497222522008-02-10T14:28:00.000+00:002008-02-12T01:20:56.304+00:00Michael Burges, Düsseldorf / Alemanha - pintura abstracta contemporânea<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrvaj4zqRRO1sSPUQhoa2xyoFh6HNERLrFwOlGyhWNXjEVws_weuqMJNc15c-ZEoEzj8X1Pyl9H1I6SbTAL4yvCZXnqhQ1xMpbKf1rb8MV4xUdffHlHN-YN-nEugquEpPmSgHja5fmte8/s1600-h/RGP+no.+1.jpg"><img id="BLOGGER_PHOTO_ID_5165362651768326466" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrvaj4zqRRO1sSPUQhoa2xyoFh6HNERLrFwOlGyhWNXjEVws_weuqMJNc15c-ZEoEzj8X1Pyl9H1I6SbTAL4yvCZXnqhQ1xMpbKf1rb8MV4xUdffHlHN-YN-nEugquEpPmSgHja5fmte8/s400/RGP+no.+1.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;">Reverse Glass Paintings series «No. 1» 2007 </span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">acrylic paint on plexiglass </span></div><div align="center"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="center"></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS0HDrkuAVgRFym9Gz3VtP9uvqGgu6G8fVX3MPEb9kgfvZ8uMCYQhR7YrUKkCQ6coUOJQfdySc6mGwQUKWvfHsiTiFqJZKc_fMEfy8I7w17sBbUSESqTXTgpycycZ89sI5Qsj0b4vUtJk/s1600-h/MB,+Reverse+Glass+Paintings+2.jpg"><img id="BLOGGER_PHOTO_ID_5165362458494798130" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhS0HDrkuAVgRFym9Gz3VtP9uvqGgu6G8fVX3MPEb9kgfvZ8uMCYQhR7YrUKkCQ6coUOJQfdySc6mGwQUKWvfHsiTiFqJZKc_fMEfy8I7w17sBbUSESqTXTgpycycZ89sI5Qsj0b4vUtJk/s400/MB,+Reverse+Glass+Paintings+2.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Reverse Glass Paintings series «No. 2» 2007 </span></div><div align="center"><span style="font-size:85%;color:#660000;">acrylic paint on plexiglass<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWFcmzJ7Ti76A76ct1Z9RbVlsMgCRDdR-Hg_mY8zlv_YVTsaknT9Q9JXrHxMuqi6HSJUbicqj-_I_s4rIp-hkaRLUZi3YL9CnEPnLqujnLQUpTrnx2XfA-pRhCwNEhyuoWjctqoC8by0o/s1600-h/MB,+Reverse+Glass+Paintings+3.jpg"><img id="BLOGGER_PHOTO_ID_5165362278106171682" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWFcmzJ7Ti76A76ct1Z9RbVlsMgCRDdR-Hg_mY8zlv_YVTsaknT9Q9JXrHxMuqi6HSJUbicqj-_I_s4rIp-hkaRLUZi3YL9CnEPnLqujnLQUpTrnx2XfA-pRhCwNEhyuoWjctqoC8by0o/s400/MB,+Reverse+Glass+Paintings+3.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Reverse Glass Paintings series «No. 3» 2007 </span></div><div align="center"><span style="font-size:85%;color:#660000;">acrylic paint on plexiglass<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOLBpsOyzOnQC14aiJK4fzNgbph4rn-5RvshFlZlcYEGifSk0fkEbu2lTWMkJkCif9rdTvpqiXtqjJmncBT3eM7_2KaKqJdKlojaxp4OMrRUzpbYih0HEiXS0bDYdKJ45jG9ocP3vNqGY/s1600-h/RGP+no.+4.jpg"><img id="BLOGGER_PHOTO_ID_5165362114897414418" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOLBpsOyzOnQC14aiJK4fzNgbph4rn-5RvshFlZlcYEGifSk0fkEbu2lTWMkJkCif9rdTvpqiXtqjJmncBT3eM7_2KaKqJdKlojaxp4OMrRUzpbYih0HEiXS0bDYdKJ45jG9ocP3vNqGY/s400/RGP+no.+4.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Reverse Glass Paintings series «No. 4» 2007 </span></div><div align="center"><span style="font-size:85%;color:#660000;">acrylic paint on plexiglass<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgALAW9v8tIauZfBiYug901cVhWF5pL1i5u6fEqqOJctUOiYi_2dGRhtmKOVTsTUl7crP3erGXpYnNfUl5uVsJTK9wsTSxtPQbHa3XoonNnHxi-QDctjzJHiY8Cex7B5iD09-moVLsjZkE/s1600-h/MB,+Reverse+Glass+Paintings+4.jpg"><img id="BLOGGER_PHOTO_ID_5165361792774867202" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgALAW9v8tIauZfBiYug901cVhWF5pL1i5u6fEqqOJctUOiYi_2dGRhtmKOVTsTUl7crP3erGXpYnNfUl5uVsJTK9wsTSxtPQbHa3XoonNnHxi-QDctjzJHiY8Cex7B5iD09-moVLsjZkE/s400/MB,+Reverse+Glass+Paintings+4.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Reverse Glass Paintings series «No. 5» 2007 </span></div><div align="center"><span style="font-size:85%;color:#660000;">acrylic paint on plexiglass<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8nRIIcnlzpwb2EN445nULIvmwxSjFuPiy1vFAYcCFN7KCvFXvaGD2PcAXk35__6eMz-iCgnzZkMDHyLtnB5icjudHrkw_7Pt8FJ-15ZDObAAlnMIdxn8JPOYvcbMXZ-1rFIEiJvR07_8/s1600-h/MB,+Reverse+Glass+Paintings+7.jpg"><img id="BLOGGER_PHOTO_ID_5165361616681208050" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8nRIIcnlzpwb2EN445nULIvmwxSjFuPiy1vFAYcCFN7KCvFXvaGD2PcAXk35__6eMz-iCgnzZkMDHyLtnB5icjudHrkw_7Pt8FJ-15ZDObAAlnMIdxn8JPOYvcbMXZ-1rFIEiJvR07_8/s400/MB,+Reverse+Glass+Paintings+7.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Reverse Glass Paintings series «No. 7» 2007 </span></div><div align="center"><span style="font-size:85%;color:#660000;">acrylic paint on plexiglass<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWxw9WvJg25RpimMpRAjlBuJ7NO7ltR-ihATWLndAC50iApeZiI9m9nY54CPQLyk5J_AD1dkQDdxDVvmxbgmn8qCzidk93sIkQxwQZCoELQvFay9fckV83RGR5JPDn4LgfvDAtgCI8Es4/s1600-h/MB,+Reverse+Glass+Paintings+1.jpg"><img id="BLOGGER_PHOTO_ID_5165361320328464610" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWxw9WvJg25RpimMpRAjlBuJ7NO7ltR-ihATWLndAC50iApeZiI9m9nY54CPQLyk5J_AD1dkQDdxDVvmxbgmn8qCzidk93sIkQxwQZCoELQvFay9fckV83RGR5JPDn4LgfvDAtgCI8Es4/s400/MB,+Reverse+Glass+Paintings+1.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Reverse Glass Paintings series «No. 11» 2007 </span></div><div align="center"><span style="font-size:85%;color:#660000;">acrylic paint on plexiglass<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVPGS5P9MzHAxC9qzHTgjy8CpTpJErI2F-a7Z_RYdHLtGFObwfU93mN6yR0kmCpFGyUjQYTwfVpZOwrHOX2UeKfLquIxXXgqG6RoSWn5SeLVIkqmZAfCUIb9RAnpCVnQmadC-fvLy9bTs/s1600-h/MB,+Reverse+Glass+Paintings+5.jpg"><img id="BLOGGER_PHOTO_ID_5165360946666309842" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhVPGS5P9MzHAxC9qzHTgjy8CpTpJErI2F-a7Z_RYdHLtGFObwfU93mN6yR0kmCpFGyUjQYTwfVpZOwrHOX2UeKfLquIxXXgqG6RoSWn5SeLVIkqmZAfCUIb9RAnpCVnQmadC-fvLy9bTs/s400/MB,+Reverse+Glass+Paintings+5.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Reverse Glass Paintings series «No. 15» 2007 </span></div><div align="center"><span style="font-size:85%;color:#660000;">acrylic paint on plexiglass<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgORkNqdXBquUOiKGJO-Z_AeQ1S4j1gnbRptleoRw2kbluO9TAovfJXyleoRNKfnsbF_MdITISpBUhDx3WYDl2KMgMBpkiDIYU-95XNY8nwZStmIx926FHsvLCny2BAxoEctlzeSavfurc/s1600-h/MB,+Reverse+Glass+Paintings+6.jpg"><img id="BLOGGER_PHOTO_ID_5165360749097814210" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgORkNqdXBquUOiKGJO-Z_AeQ1S4j1gnbRptleoRw2kbluO9TAovfJXyleoRNKfnsbF_MdITISpBUhDx3WYDl2KMgMBpkiDIYU-95XNY8nwZStmIx926FHsvLCny2BAxoEctlzeSavfurc/s400/MB,+Reverse+Glass+Paintings+6.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Reverse Glass Paintings series « No. 16» 2007 </span></div><div align="center"><span style="font-size:85%;color:#660000;">acrylic paint on plexiglass<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMqtB92unpCF1rc0gV-sZdi4sm5LVtCiAULqnMV70oseSAc-jBvje90UAZvTU9k-rOksD0Du0i0bEjS1CGHplYgEVKgn-l7rAttI51wFdx6xYbNLk7t7OdasxVPpFydgtR1UPQVjkmLrM/s1600-h/MB,+Reverse+Glass+Paintings+8+jpg.jpg"><img id="BLOGGER_PHOTO_ID_5165360590184024242" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMqtB92unpCF1rc0gV-sZdi4sm5LVtCiAULqnMV70oseSAc-jBvje90UAZvTU9k-rOksD0Du0i0bEjS1CGHplYgEVKgn-l7rAttI51wFdx6xYbNLk7t7OdasxVPpFydgtR1UPQVjkmLrM/s400/MB,+Reverse+Glass+Paintings+8+jpg.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Reverse Glass Paintings series «No. 18» 2007 </span></div><div align="center"><span style="font-size:85%;color:#660000;">acrylic paint on plexiglass<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT2jL5C2PTkiNr9LG8vuVyk2YD9rtuG8s1VNa0ShtpfD2tWDQeltjaJ20ULv-pnwNGJUFxl6Rvam6Dlge0ESMckda_BQZ9-bhAILvoGWxXbCPUpHt9Cx8Q9KEZ56XsFppxmqYubYsBlc8/s1600-h/MB,+Reverse+Glass+Paintings+9.jpg"><img id="BLOGGER_PHOTO_ID_5165358816362530914" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT2jL5C2PTkiNr9LG8vuVyk2YD9rtuG8s1VNa0ShtpfD2tWDQeltjaJ20ULv-pnwNGJUFxl6Rvam6Dlge0ESMckda_BQZ9-bhAILvoGWxXbCPUpHt9Cx8Q9KEZ56XsFppxmqYubYsBlc8/s400/MB,+Reverse+Glass+Paintings+9.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Reverse Glass Paintings series «No. 19» 2007 </span></div><div align="center"><span style="font-size:85%;color:#660000;">acrylic paint on plexiglass</span><br /><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiunVHZwGX2ow1WCAnu-xpb3_rwVh2rGt5v13uz8UTHBMZx_6cvtUs9_lHuocEp6Wn-b5zz49N1ppJi10P4vapUvCCUcxCbKZKtrWIKO-U7SrAu8IbEqV-_ccE_1YmgVK7t2Kx0GiWKtHo/s1600-h/MB,+Reverse+Glass+Paintings+10.jpg"><img id="BLOGGER_PHOTO_ID_5165358666038675538" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiunVHZwGX2ow1WCAnu-xpb3_rwVh2rGt5v13uz8UTHBMZx_6cvtUs9_lHuocEp6Wn-b5zz49N1ppJi10P4vapUvCCUcxCbKZKtrWIKO-U7SrAu8IbEqV-_ccE_1YmgVK7t2Kx0GiWKtHo/s400/MB,+Reverse+Glass+Paintings+10.jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">Reverse Glass Paintings series «No. 20» 2007 </span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">acrylic paint on plexiglass<br /><span style="color:#ffffff;">*</span></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span></div></span><span style="color:#330000;"></span><div align="justify"><span style="font-size:85%;color:#330000;">Desde os tempos mais remotos que sempre foi um dos principais objectivos da pintura o de transcender o plano do figurativo, e atingir uma autonomia pictórica acima e para além da imagem. Criar um espaço capaz de abrir as portas a uma outra dimensão, a um mundo para além da cor, da técnica e da temática. O carácter bidimensional da pintura pode ser reconhecido e alvo da crítica, mas pode também ser visto como um obstáculo. Só depois de vencido esse obstáculo é que uma obra de arte pode existir na mente de quem a observa.<br />Um antigo método a tentar atingir esse objectivo foi a “perspectiva artificial”, a invenção do espaço pictórico. Cedo se concluiu que uma paisagem só dá a impressão de ser uma paisagem quando é configurada e corresponde aos critérios do sistema da percepção humana, os “princípios básicos” da apreensão visual – uma das pré-condições básicas da pintura.</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Outro dos procedimentos com vista a transcender o figurativo foi o uso da cor. Isto conduziu à utilização de métodos tão profundamente abstractos e sensuais como no caso dos fundos dourados na pintura da Idade Média, em que a cor simbolizava a luz no plano do transcendental, ou – mesmo atingindo maior significado em posteriores desenvolvimentos - . </span></div><div align="justify"><span style="font-size:85%;color:#330000;">A cor é conhecida não por ser uma característica do objecto (como, por exemplo, a forma), mas meramente como uma aparência visual dependente da superfície estruturante do objecto, em que reflecte uma certa parte do espectro da luminosidade. A cor também é condicionada pelo nosso sistema de percepção. Por exemplo, o ser humano não consegue ver a luz ultravioleta, mas as abelhas sim. </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>O conceito de “luminiscência transcendental”, como é conhecido através de “<em>A Ressurreição</em>” de Grünewald, vem de Wolfgang Schöne (no seu “<em>Über das Licht in der Malerei</em>” – sobre a luz na pintura): cores luminosas que não representam a luz física na pintura, mas transcendência.<br />Na medida em que este conceito possa ter funcionado, a imagem foi sempre determinada pela superfície em que foi pintada. Evidenciava a técnica, um certo “estilo” e permitia rápido acesso ao observador. O próximo passo só teve lugar após a Era Barroca, em que elementos esculturais, por exemplo a perna de um anjo, eram movimentados na perspectiva bidimensional da pintura. Mas esta espécie de transcendência, embora tornando impossível precisar as localizações exactas do sujeito – pelo menos nas margens – não conseguia dissociar a imagem pintada da esfera do aparente plano físico. Para ter a certeza, com este desenvolvimento tornava-se impossível dizer a partir da posição desejada, exactamente onde três dimensões se transformavam em duas. No entanto, nunca se desprendendo da ilusão pintada. </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>Nos tempos modernos, foram feitas muitas tentativas para dar a este conceito uma dimensão mais alargada. A Op Art jogou com interferências e contrastes. Barnett Newman enleava o espectador com grandes superfícies monocromáticas. Julio Le Parc, Dan Flavin e muitos outros, jogavam com luz verdadeira. No entanto, e por mais que as várias correntes artísticas tenham tentado atingir o plano do “superficial” ou transcendental, o objecto pictórico sempre se definiu como uma imagem acessível, definível e, por último, “háptica” – ou táctil. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Com os novos trabalhos de <strong>Michael Burges</strong>, tudo mudou. Após o início da sua carreira com as instalações e as estruturas informais, Burges desenvolveu uma forma de pintar abstracta, focalizando-se física, formal e conceptualmente na sua ideia de um “espaço virtual” pintado.<br />O método utilizado por este artista, nascido em Düsseldorf em 1954, é o de colocar o seu trabalho num compartimento no qual não pode ser realmente visto, mas unicamente recriado na mente do espectador como uma “imagem” imaginária.<br /><span style="color:#ffffff;">*<br /></span>Abre-se aqui caminho a uma nova dimensão na pintura, em que a pintura é efectivamente transcendida, renunciando ao seu espaço físico por determinação da capacidade de percepção do espectador. Agora a pintura deambula até àquele lugar onde a imagem se transforma verdadeiramente numa imagem: a mente do espectador. Do ponto de vista conceptual, o factor decisivo é o de que a imagem que é vista pode ser percepcionada, mas não localizada. Flutua livremente no espaço, e transforma-se à medida que o espectador se movimenta. Ninguém consegue dizer onde ela realmente se encontra, para além do efeito que exerce sobre a mente do espectador.<br />A transformação da imagem com o movimento do espectador também implica uma multi-dimensionalidade – resultante das reflexões e interferências – que não é possível conseguir ou mesmo tentar conseguir em obras em que a tinta é aplicada a uma base convencional. Mas aqui, as variações que contam com o movimento do espectador são inteiramente intencionais.<br />Resulta, deste modo, um complexo produto o qual corresponde à complexidade das reacções emocionais do espectador, reflectindo-as esteticamente. </span></div><div align="justify"><span style="font-size:85%;"><span style="color:#330000;"><span style="color:#ffffff;">*<br /></span>Decisivo é o facto de o transcender da pintura acontecer através do acto criativo. Michael Burges introduz também um elemento técnico: um disco difusor (filtro). Contrastando com Stephan Kaluza cujo objectivo é atingir um determinado efeito, elevando o sujeito concreto ao nível geral através da aplicação de um disco (filtro) escurecido frente às suas pinturas, algo de inteiramente novo sucede com o disco difusor na obra de Burges. O processo que confere às imagens pintadas propriedade física é totalmente ultrapassado; a imagem flutua livremente na sala, transforma-se à medida que o espectador se move e torna-se inteiramente ilocalizável. Isto acontece sobretudo porque o que é representado não está nunca presente no “original”. É isto que o diferencia de Christa Winter.<br /><span style="color:#ffffff;">*<br /></span>O espectador não tem acesso à pintura sem a destruir. Ele vê-se a ele próprio rejeitado e tem que, esteticamente falando, viver com o facto de que as imagens resultantes do processo criativo se renovam continuamente na sua própria mente. Nesse sentido, essas imagens transformam-se em experiências transcendentais, uma vez que, <em>horribile dictu</em>, tudo o que restou da tradição desapareceu: a assinatura do artista, a técnica e a textura. No seu lugar, está a habilidade e a vontade do espectador em apreender, o que nos remete, por sua vez, para os princípios básicos da percepção visual.<br />Porque o espectador está perante uma imagem não-háptica, contrariando toda a história da arte, ele é radicalmente excluído do espaço ocupado pela pintura, que se torna virtual. Existe, mas não está “lá”. E se estiver presente, só estará de uma forma não acessível.<br /><span style="color:#ffffff;">*<br /></span>O que Michael Burges tenta fazer com o seu trabalho é a sistemática busca de sentido da “ciência da pintura”. Por um lado, ele abre mão de motivações subjectivas como expressão de um sujeito que – independentemente da forma - está em sofrimento. Por outro lado, ele investiga, sistematicamente, a essência da imagem, a sua função interna e externa, os efeitos que pode produzir e o modo como se relaciona com os nossos poderes de percepção. Todas as pinturas de Burges, mesmo os primeiros trabalhos, traduzem tentativas no sentido de nos tornar conscientes das características do pensamento e da percepção, e, por fim, do nosso conhecimento do mundo.<br /><span style="color:#ffffff;">*<br /></span>Isto ocorre com renovado vigor nos seus quadros da série “<em>Virtual Space</em>”, uma vez que é vedado ao espectador o acesso físico às pinturas. Assim como o físico quântico não pode simultaneamente determinar a velocidade da partícula e a sua localização, também o espectador que observa os recentes trabalhos de Michael Burges só se pode aperceber de um aspecto, um de uma série de estados possíveis.<br />Porque os quadros da série “<em>Virtual Space</em>” são, do ponto de vista conceptual, desprovidos de materialidade – no sentido de corporalidade – focalizando-se no sistema de percepção e na capacidade estética de análise do espectador, as pinturas da série “<em>Virtual Space</em>” colocam de novo a questão da imagem, da forma mais radical de sempre. Onde está a imagem? O que é a imagem? Qual o significado da imagem? Qual o seu alcance? Aqui, o processo criativo desenha-se a partir dos conceitos espacial e imaterial, continuando, no entanto, a fazer parte e a ser o centro da pintura. Michael Burges conferiu à pintura uma nova dimensão. Os seus novos quadros são por assim dizer “buracos brancos”. Eles irradiam tudo e são, ao mesmo tempo, impermeáveis.<br />Tudo acontece em nós, desde que munidos do conhecimento indispensável dos princípios básicos da percepção visual. Se não possuirmos esse conhecimento, eles não nos poderão ensinar.<br /></span><span style="color:#ffffff;"><strong>*</strong></span></span></div><div align="justify"><span style="font-size:85%;"><span style="color:#330000;"><strong>Gerhard Charles Ramp, </strong></span><a href="http://www.welt.de/print-welt/article161358/Eine_neue_Dimension_in_der_Malerei.html"><strong><span style="color:#ff6666;">Die Welt </span></strong></a><br /><span style="color:#330000;"><strong>(traduzido por Fernanda Valente)</strong></span></span></div><div align="justify"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><span style="font-size:85%;color:#330000;"></span></div><div align="justify"><span style="font-size:85%;color:#330000;"></span></div><div align="justify"><span style="font-size:85%;"><span style="color:#330000;"><strong>Nota</strong>: A versão deste artigo em inglês </span><span style="color:#ff6666;"><strong>(</strong></span><a href="http://www.michael-burges.de/"><span style="color:#ff6666;"><strong>A new dimension in painting - english version), </strong></span></a><span style="color:#330000;">assim como a biografia e os quadros do autor, da série "Virtual Space Works" a que este artigo faz referência, poderão ser consultados no sítio oficial de Michael Burges.</span></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;"></span></div><div align="justify"><span style="font-size:85%;color:#330000;"></span></div><span style="font-size:85%;"></span><span style="font-size:85%;"></span><span style="font-size:85%;"></span><br /><span style="font-size:85%;color:#330000;"><div align="justify"><a href="http://www.michael-burges.de/"><span style="color:#ff6666;"><strong>Michael Burges website</strong></span> </a></div><div align="justify"><span style="color:#ffffff;">*</span></div><div align="justify"></div><div align="justify"><em>«Imagens cedidas por cortesia do autor»<br /></em></div></span></div></div></div></div></div></div></div></div></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com1tag:blogger.com,1999:blog-2054748435853847162.post-45943849356233978292008-02-08T22:25:00.019+00:002008-02-23T17:33:12.534+00:00Anja Schrey, Viersen / Alemanha - desenho<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR6Wm4HxJM_8IJZqPRD9k4FCrUHBYz9yfvc77EgwjxI9RmDHxAKrVc6NBnHvyC5ZlUPEavS4bFRRpGCcf3CH6ob6WmwajskOqdSM308oa3ev8ANIC-GgHGuG-mdJ9fcp7hW58Gqc5-YbU/s1600-h/Umarmung,+2005.jpg"><img id="BLOGGER_PHOTO_ID_5166605078432877010" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR6Wm4HxJM_8IJZqPRD9k4FCrUHBYz9yfvc77EgwjxI9RmDHxAKrVc6NBnHvyC5ZlUPEavS4bFRRpGCcf3CH6ob6WmwajskOqdSM308oa3ev8ANIC-GgHGuG-mdJ9fcp7hW58Gqc5-YbU/s400/Umarmung,+2005.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Umarmung» 2005, colour pencil on paper </span></div><div align="center"><span style="font-size:85%;color:#660000;"></span></div><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ30b73cI9utxf2IfAAVUlJ66SuFBwgNGOM9qS0PHJdFtu4hY76COJF3c5BY5qtFAg154p2fPF5lWrdSCeP9Z3m0VJcYR7w2_02huRHmbU_C4nJUjf37_FXUMWE5_nuK6XLRgrTE2FgRM/s1600-h/AJ,+Pin-up+I,+2003,+colour+pencil+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5166604846504643010" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJ30b73cI9utxf2IfAAVUlJ66SuFBwgNGOM9qS0PHJdFtu4hY76COJF3c5BY5qtFAg154p2fPF5lWrdSCeP9Z3m0VJcYR7w2_02huRHmbU_C4nJUjf37_FXUMWE5_nuK6XLRgrTE2FgRM/s400/AJ,+Pin-up+I,+2003,+colour+pencil+on+paper.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Pin-up I» 2003, colour pencil on paper<br /><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZlaB6EW1_rL5ofXkAOsvMX1RTeeuZrP0EpuPy9Ux4WmeMUR-xR7-0wvf0sTx6hgVxEQqBqiVKNgMcnTqqGFE2Mq0H7rMg2bemIe0MdrNwo6yRVsUZPmNuxHSW_OEfccrDE5ZbwYQj57Q/s1600-h/Hockende+III%3B+2006,+colour+pencil+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5166604670410983858" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZlaB6EW1_rL5ofXkAOsvMX1RTeeuZrP0EpuPy9Ux4WmeMUR-xR7-0wvf0sTx6hgVxEQqBqiVKNgMcnTqqGFE2Mq0H7rMg2bemIe0MdrNwo6yRVsUZPmNuxHSW_OEfccrDE5ZbwYQj57Q/s400/Hockende+III%3B+2006,+colour+pencil+on+paper.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;"> «Hockende III» 2006, colour pencil on paper</span></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-sGEID0CQpbAqO_goQvm8WAYpG3fywh-klPgjK8IzHautE2pfy0ttgL38Boch7CTCUXDQJspVM5bu-6Hz_HGq5P2WIhg6IfiBujrvd68De0lULD-Kr59nlYxwbUgYkv_yWBAL8QniHrE/s1600-h/Portrait+mit+Stiefeln,+2003,+colour+pencil+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5166604464252553634" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-sGEID0CQpbAqO_goQvm8WAYpG3fywh-klPgjK8IzHautE2pfy0ttgL38Boch7CTCUXDQJspVM5bu-6Hz_HGq5P2WIhg6IfiBujrvd68De0lULD-Kr59nlYxwbUgYkv_yWBAL8QniHrE/s400/Portrait+mit+Stiefeln,+2003,+colour+pencil+on+paper.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Portrait mit Stiefeln» 2003, colour pencil on paper<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC6d0a-1Tp2EvU92xViXPQgAUxioiVGh8h8mLShlSP8JU3VqUXJU_D47_5HDlYX6ySZmGOKT8cMUJ5ZhYVAfY8KPUzXLjMpXpmylAz4gJSm9Uc2vV4_gSUlO4O4AcoNy3eMFk94h82jnI/s1600-h/PortraitIIIM.jpg"><img id="BLOGGER_PHOTO_ID_5166604172194777490" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiC6d0a-1Tp2EvU92xViXPQgAUxioiVGh8h8mLShlSP8JU3VqUXJU_D47_5HDlYX6ySZmGOKT8cMUJ5ZhYVAfY8KPUzXLjMpXpmylAz4gJSm9Uc2vV4_gSUlO4O4AcoNy3eMFk94h82jnI/s400/PortraitIIIM.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Portrait III» 2006, colour pencil on paper</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigplSv-ZmzNkIV3qPU8CQRXnR5q8hoP9DbBpP5BXYDptIoBTmcQIqoWjgnnmGrAsKswOs1j5eRTKRuGOUJpTUofcenizKljnrssNRjS3rH7BkwSowB-MLY0su7ndKNlnFML42zhx8v9QE/s1600-h/Knieende,+2002,+colour+pencil+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5166602222279625090" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigplSv-ZmzNkIV3qPU8CQRXnR5q8hoP9DbBpP5BXYDptIoBTmcQIqoWjgnnmGrAsKswOs1j5eRTKRuGOUJpTUofcenizKljnrssNRjS3rH7BkwSowB-MLY0su7ndKNlnFML42zhx8v9QE/s400/Knieende,+2002,+colour+pencil+on+paper.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Knieende» 2002, colour pencil on paper<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3v9bzOSxeTtP-0oySGmntqKdYuKEcsCMlc7DFr-iVtxNn5LDOWyb-l27uhFleBZqdJjmaKfvYem-3aZgcJ-pI3a2ZdiycVL_bzjZSAwrPUpPCLuwWrwzfTRIlxBP9TlPIkdgv7kiGXK0/s1600-h/Stehende+II,+2004,+colour+pencil+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5166601981761456498" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3v9bzOSxeTtP-0oySGmntqKdYuKEcsCMlc7DFr-iVtxNn5LDOWyb-l27uhFleBZqdJjmaKfvYem-3aZgcJ-pI3a2ZdiycVL_bzjZSAwrPUpPCLuwWrwzfTRIlxBP9TlPIkdgv7kiGXK0/s400/Stehende+II,+2004,+colour+pencil+on+paper.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Stehende II» 2004, colour pencil on paper </span></div><div align="center"><span style="font-size:85%;color:#ffffff;">*<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdb2uymMyE8dB1r1SZzZxxAkXxWKX1ehJQq1Pp7Pm-KC2XsLN6YEmUj0NcSSJoBHVjkG9XoIuXtw4PKlMzP1VBBRodk5YhDbMUlA7hMNYw-5z_OOwIpR1QnqYI5XTEVdnoBzSReuuSL-Q/s1600-h/Liegende+II,+2005,+colour+pencil+on+paper.jpg"></a><span style="font-size:85%;color:#660000;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ4KhR56pSQr-FWC1c8Mpko91PtUIZdVOKR8U3PmtqsLbrWJ5usLE7it-N-NP_tCNA0BQGuOV6CDEHKQH0jsS9ogZv3MyhIh8ROD6cAg0tz2tTdv967mBtY_zCYbn6RSsCQTFSzNIBHI8/s1600-h/Portrait+II,+2004,+colour+pencil+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5166601367581133138" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ4KhR56pSQr-FWC1c8Mpko91PtUIZdVOKR8U3PmtqsLbrWJ5usLE7it-N-NP_tCNA0BQGuOV6CDEHKQH0jsS9ogZv3MyhIh8ROD6cAg0tz2tTdv967mBtY_zCYbn6RSsCQTFSzNIBHI8/s400/Portrait+II,+2004,+colour+pencil+on+paper.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Portrait II» 2004, colour pencil on paper</span><br /><div align="justify"><br /><br /><span style="font-family:lucida grande;font-size:85%;color:#330000;">Anja Schrey nasceu no ano de 1967 em Viersen na Alemanha. Estudou de 1992 a 1998 na Academia de Artes de Düsseldorf. Após períodos com bolsas (Ringenberg e Kaiserring) concedidas por Fundações de Arte do Estado da Renânia do Norte-Westfália (2000 e 2004), foi viver para Berlim em 2006, onde trabalha e vive atualmente. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">A sua arte gira em torno da imaginação e de fantasias sobre a identidade feminina. O seu modelo de referência é o corpo humano, neste caso o próprio corpo, cuja performance ela encena nas mais variadas "poses", em tamanhos super dimensionados, ou em auto-retratos. Os desenhos, com lápis de cor sobre papel branco, refletem menos a reprodução do motivo, inerente à fotografia, mas são resultado de um longo processo quase meditativo de apropriação, tradução e pormenorização da figura. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Segundo Hans-Jürgen Hafner, a primeira reação do espectador ao se confrontar com o desenho é dizer: "parece real!" As figuras parecem estar vivas, tão reais que dir-se-ia pudessem ser tocadas. Mas, apesar do efeito causado por esse existir super-realista, elas mantêm-se reservadas, quase como se quisessem ganhar vida própria.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#cc0000;"><strong>Crítica:</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Over the last five years Schrey has made a remarkable collection of works on paper, augmenting her drawings through photography and performance. In all cases, it is always Schrey - the artist - who is the focus. Though she appears as the ‘constant’ throughout, the means by which she arrives at her varying poses often involves the participation of other people. It is not unusual for Schrey to invite others to suggest the differing guises, gestures and very often the clothing that she should wear. This ‘collaboration’ as such, through staged photo-shoots, manifests itself in poses that seem unnatural, forced and ill at ease. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Schrey is distinctly aware of the tradition within which she works and the sometimes contested history of the female body in Twentieth Century art practice. However, her performances and drawings do not operate on the same ‘sensationalist’ level as her forbears – they are ‘slower’, seemingly more modest, psychological as opposed to physical. And despite the implied eroticism in some of the works, they remain distant, cold, troubled – they attract and they repel. For instance, Schrey never engages in direct eye contact with the viewer, instead she avoids her audience favouring to stare into a space beyond the margins of the drawing.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">For Schrey, the drawing process acts as another layer of mediation and of distancing before the work is ‘re-presented’ back to the public. Drawing for Schrey signals a process of ‘re-clamation’ through which the artist seizes control and ownership once again of her image and of her self. It is a process of impressive skill and solitude. Alone in the studio, Schrey immaculately arranges her drawing table with hundreds of colour pencils all beautifully sharpened and fanned through the colours of the rainbow. It epitomises the precision and intent with which Schrey, through the act of drawing, almost ‘surgically’ reconstructs her self image.<br /><strong>Michael Stanley, Milton Keynes Gallery</strong></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#330000;">* * *</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Quel réalisme ! Voilà la réflexion qui nous vient presque naturellement à l’esprit lorsque nous voyons pour la première fois les dessins au crayon de couleur d’Anja Schrey. Et de fait, la figure (à l’image de l’artiste, qui se décline sur le papier dans des tenues et des poses sans cesse renouvelées) a l’air étrangement vivant, quasi palpable. Pourtant, en dépit de leur immédiateté, ces représentations conservent leur éloignement. Malgré leur présence, autrement dit l’effet produit par leur caractère hyper-réaliste, elles demeurent lointaines. Comme si elles conservaient une vie propre, qui resterait curieusement hors d’atteinte, même en y regardant de plus près. De prime abord, tout semble limpide. De toute évidence, Schrey est la clé de voûte de cette série de dessins. Réalisés au crayon de couleur sur papier, ils montrent des « portraits d’Anja Schrey ». L’artiste est non seulement le motif – résultant d’une pose et d’un habit qui se combinent pour générer l’image elle-même – mais aussi la réalisatrice, en tant qu’elle mène à bien le passage du projet de l’image à son résultat fini, dont les dimensions sont d’ailleurs très imposantes. Ce double rôle participe de certains principes fondamentaux : la tradition du réalisme (ce concept européen « classique » de reproduction de la réalité) compte beaucoup dans la réception, et des schémas interprétatifs émergent, tels que la catégorie de « l’autoportrait ». Il se peut que l’observateur, selon son degré de connaissance anticipée, identifie la présence particulière de Schrey à travers le réalisme plus grand que nature, pour ainsi dire, de ces portraits.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">(…) Les dessins de Schrey s’ancrent visiblement dans une perspective d’actualité : ici, aujourd’hui. Ils assument leur rôle de dessins en transmettant des codes parfaitement lisibles. Certes, la figure pose, mais elle s’entoure aussi et surtout de nombreux accessoires (vêtements, chaussures, coiffures) – tout un folklore qui inscrit l’œuvre dans un temps donné.(…) Pour autant, Schrey ne recourt pas aux vêtements et aux styles dans le seul but de faciliter l’identification. Ces éléments proposent en parallèle, et de façon indissociable, une sorte de mise en lumière d’une chronologie de « l’identité construite ». </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">(…) De plus en plus, l’apparence s’affirme comme un moyen délibéré d’insister sur la possibilité d’un « soi » central, exprimé par son va-et-vient entre une sorte de féminité exacerbée et une attitude de pin-up plus voulue que maîtrisée, ou encore entre un regard interloqué et hautain et un état renfermé, calme et explicite. Comme un aparté : le modèle interprétatif que l’on nomme lisibilité trouve ici sa limite, en tout dernier lieu. Il déploie une scène où projeter… (…) Le dessin résulte d’autre chose que du trait de crayon : la méthode est celle qu’on utilise pour fabriquer une image imaginée, développée en amont et restée longtemps détachée du « réel ». Voilà qui limite fortement la vie propre de l’œuvre ; le lien unissant la figure au support qui la fait exister tient plus de la mise au point d’un appareil photo, de sorte que la composition se subordonne au cadrage. Les contours dégagent nettement la figure de l’arrière-plan. (…) Chaque figure ressort par contraste, soigneusement et minutieusement travaillée, avec une naïveté presque didactique. Isolée, solitaire, déconnectée, fixée sur la blancheur écrasante du papier, la figure se concentre dans les limites des pré-histoires qui l’ont générée, et fige la tension extrême d’un instant dont la possible vie passée et future demeure secrètement et étrangement tangible. L’ultime manifestation de ses surfaces faites main, ou mieux, de sa texture haptène, s’opère hors du tableau. Carrément à distance du mur. Les feuilles étant simplement punaisées à la cimaise à l’aide de quelques pointes, la différence de nuance entre le papier et le mur est quasiment imperceptible, d’où un dangereux vacillement entre la présence plus grande que nature des figures (dont le rendu, en termes de lumière, d’ombre, de hauteur, de contours et de textures, est pratiquement physique) et leur façon de flotter, autonomes, devant le mur dont elles semblent s'affranchir. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Hans Jürgen Hafner </strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Tableaux vivants, 2004, (extrait), </strong></span><a href="http://andrea.nfrance.com/~eq26451/"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong>Les Filles du Calvaire</strong></span></a> </div><div align="justify"><span style="color:#ffffff;">*</span></div><div align="justify"></div><div align="justify"><a href="http://www.anjaschrey.de/index.php?id=7"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong>Anja Schrey's website</strong></span></a><br /></div><div align="left"><span style="color:#ffffff;">*</span></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0tag:blogger.com,1999:blog-2054748435853847162.post-77474185526507695592008-02-01T15:58:00.001+00:002008-11-21T21:44:54.059+00:00Pedro Cabrita Reis, Lisboa / Portugal - arte conceptual contemporânea<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKqmS0A3aNw7QDlUobXKgz_NQZJW6Kc_yeKcV9fb6FtWuYi-E-HJZO1PBHGDmJUGvOpz4p05-06n5N6UNuE_Nglrz_Hh_Xi8lkXho5DRinGuIKZb3hbxKZTCm5Cq6qUaCzaYuMAsfj8DU/s1600-h/The+Large+Self-Portrait+no.+10,+2005,+mixed+media+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5162051783948600402" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKqmS0A3aNw7QDlUobXKgz_NQZJW6Kc_yeKcV9fb6FtWuYi-E-HJZO1PBHGDmJUGvOpz4p05-06n5N6UNuE_Nglrz_Hh_Xi8lkXho5DRinGuIKZb3hbxKZTCm5Cq6qUaCzaYuMAsfj8DU/s400/The+Large+Self-Portrait+no.+10,+2005,+mixed+media+on+paper.jpg" border="0" /></a><span style="font-family:lucida grande;"> </span><span style="font-family:lucida grande;font-size:85%;color:#660000;">The Large Self-Portraits series «No. 10» 2005<br />mixed media on paper </span></div><div align="center"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="center"></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTYrETuR73ctxkD75y9wWWY9uI0Spe7xJ8ICgw85Z_qRGM57eHdTAx9u6UfBQaSk9YLaBHx60ulyBWv7qRWcY7sIN-MrJEb3lx1V3I8Wp1phMuUA_A0mfUgjoAQ6y_6BhI9W3z_ksXkZ8/s1600-h/A+room+for+a+poet,+2000,+bricks,+cement,+wood,+tree+(Installation+view+Storm+Centres,+Watou,+Belgium).jpg"><img id="BLOGGER_PHOTO_ID_5162051384516641858" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTYrETuR73ctxkD75y9wWWY9uI0Spe7xJ8ICgw85Z_qRGM57eHdTAx9u6UfBQaSk9YLaBHx60ulyBWv7qRWcY7sIN-MrJEb3lx1V3I8Wp1phMuUA_A0mfUgjoAQ6y_6BhI9W3z_ksXkZ8/s400/A+room+for+a+poet,+2000,+bricks,+cement,+wood,+tree+(Installation+view+Storm+Centres,+Watou,+Belgium).jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">«A Room for a Poet» 2000, installation view<br />brick, cement, wood, tree</span></div><div align="center"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="center"></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVTKDa3tnkksq0GHF5b898sovERGftarDz9uVbV32vAgY4QLkQNUNgCJnGl_JPRIVkYtX4FJ6qBkcXw6lpx3T2FTHusto3uhHAS3syqbt__HYiNvEsZZ9bqYxXsCi8hnH7r2BwiWr4B80/s1600-h/Catedral+%23+1,+1999,+Bonn,+bricks,+concrete,+enamel.jpg"><img id="BLOGGER_PHOTO_ID_5162051217012917298" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVTKDa3tnkksq0GHF5b898sovERGftarDz9uVbV32vAgY4QLkQNUNgCJnGl_JPRIVkYtX4FJ6qBkcXw6lpx3T2FTHusto3uhHAS3syqbt__HYiNvEsZZ9bqYxXsCi8hnH7r2BwiWr4B80/s400/Catedral+%23+1,+1999,+Bonn,+bricks,+concrete,+enamel.jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">Cathedral series «No. 1» 1999, installation view</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">bricks, concrete, enamel<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKNSqnjCm6Lwm_Yfl4BWaJByxRVRw8k5z-_0NANKiJZIKIRh5TbryZarQlYbiogRwQeCqCbIFl1ljNLn4JWgi5yw1ghIEDFPrPUxcTENyJm9Vw5aj1PHeo4cY16-A9py4flPFVJlVAn10/s1600-h/The+Large+Self-Portrait+no.+16,+2005,+mixed+media+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5162050963609846818" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKNSqnjCm6Lwm_Yfl4BWaJByxRVRw8k5z-_0NANKiJZIKIRh5TbryZarQlYbiogRwQeCqCbIFl1ljNLn4JWgi5yw1ghIEDFPrPUxcTENyJm9Vw5aj1PHeo4cY16-A9py4flPFVJlVAn10/s400/The+Large+Self-Portrait+no.+16,+2005,+mixed+media+on+paper.jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">The Large Self-Portraits series «No. 16» 2005<br />mixed media on paper<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsxR-r7xZqD2uF7IjFQB-yD_jBU46yQTW0t_nMnUJkEuoU5QbYUkknMlXRQbrRx_c9Vbb_wjc9iJn3_OM6-Jxi4ZJue85t1Js09-Pl6VPnm2BFAIlfJryVvJ9KBwChVYKkxAVhAAC9hUU/s1600-h/Serene+Disturbance,+2002,+mixed+media+(installation+view+at+Kestner+Gesellschaft,+Hannover).jpg"><img id="BLOGGER_PHOTO_ID_5162050628602397714" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsxR-r7xZqD2uF7IjFQB-yD_jBU46yQTW0t_nMnUJkEuoU5QbYUkknMlXRQbrRx_c9Vbb_wjc9iJn3_OM6-Jxi4ZJue85t1Js09-Pl6VPnm2BFAIlfJryVvJ9KBwChVYKkxAVhAAC9hUU/s400/Serene+Disturbance,+2002,+mixed+media+(installation+view+at+Kestner+Gesellschaft,+Hannover).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Serene Disturbance» 2002, mixed media, installation view<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW-JbQPOOQEF_y-SeELRliDhqylIfYkhksJH8H5IKkqrm0sv1vGXO-JUoxWSCBYafjXC_CaPpCniJuR5VVqngMUKEtRM4z5aC1lbvJUsOgmdsbY0acyGzjewqpsAQCqQFgZF9LaXR8QRY/s1600-h/Serene+Disturbance+(detail+2)+2002,+mixed+media+(installation+view+at+Kestner+Gesellschaft,+Hannover).jpg"><img id="BLOGGER_PHOTO_ID_5162050465393640450" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW-JbQPOOQEF_y-SeELRliDhqylIfYkhksJH8H5IKkqrm0sv1vGXO-JUoxWSCBYafjXC_CaPpCniJuR5VVqngMUKEtRM4z5aC1lbvJUsOgmdsbY0acyGzjewqpsAQCqQFgZF9LaXR8QRY/s400/Serene+Disturbance+(detail+2)+2002,+mixed+media+(installation+view+at+Kestner+Gesellschaft,+Hannover).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Serene Disturbance» 2002 (detail)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqcUixHwmMALN-J0FxqIB3Npb8SI3OM4vNDbGGB3uk0Sz_44yCtc_R3fJPfUdWO3rQ4VkNanD-IrM3FyFo4jxTKAhmaAZ9bybFsnJx0FLqLqvByyeUaJ_Pw-DqrVJ25YdvWa3SbQynU78/s1600-h/Serene+Disturbance+(detail)+2002,+mixed+media+(installation+view+at+Kestner+Gesellschaft,+Hannover).jpg"><img id="BLOGGER_PHOTO_ID_5162050340839588850" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqcUixHwmMALN-J0FxqIB3Npb8SI3OM4vNDbGGB3uk0Sz_44yCtc_R3fJPfUdWO3rQ4VkNanD-IrM3FyFo4jxTKAhmaAZ9bybFsnJx0FLqLqvByyeUaJ_Pw-DqrVJ25YdvWa3SbQynU78/s400/Serene+Disturbance+(detail)+2002,+mixed+media+(installation+view+at+Kestner+Gesellschaft,+Hannover).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Serene Disturbance» 2002 (detail)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzKxYjRonZ-cl1FnjtfeJT0IeitWlSivFLrlV88iKF98zmzxUdihvbgoS7zWoZAYS6ZpadEiUANtKvj-Llp_sSGpkwFL-VDSkm33gGTu1pqQNJnLiDr05HUko4iGxD27MK_jbv6SUaa3k/s1600-h/The+Large+Self-Portrait+no.+14,+2005.+mixed+media+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5162050121796256738" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzKxYjRonZ-cl1FnjtfeJT0IeitWlSivFLrlV88iKF98zmzxUdihvbgoS7zWoZAYS6ZpadEiUANtKvj-Llp_sSGpkwFL-VDSkm33gGTu1pqQNJnLiDr05HUko4iGxD27MK_jbv6SUaa3k/s400/The+Large+Self-Portrait+no.+14,+2005.+mixed+media+on+paper.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">The Large Self-Portraits series «No. 14» 2005<br />mixed media on paper<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhegQMJkC1TzekSmSyWlJhluOz28AQ85HKAJTEppsfJcka5pou29ZD6I9ekAOBZxqoerZiqTbc62H6wnp3GbUN9LYVLqEFlpOHaQYG6LGeDNzZh1d14SputNr_Vy9uDJp_ICiUkkoPHyOM/s1600-h/10+Quadros+para+o+Ano+2000+%C2%ABSem+T%C3%ADtulo%C2%BB+(Untitled)+ca.+1980-90,+enamel+and+acrylic+on+wood.jpg"><img id="BLOGGER_PHOTO_ID_5162049816853578706" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhegQMJkC1TzekSmSyWlJhluOz28AQ85HKAJTEppsfJcka5pou29ZD6I9ekAOBZxqoerZiqTbc62H6wnp3GbUN9LYVLqEFlpOHaQYG6LGeDNzZh1d14SputNr_Vy9uDJp_ICiUkkoPHyOM/s400/10+Quadros+para+o+Ano+2000+%C2%ABSem+T%C3%ADtulo%C2%BB+(Untitled)+ca.+1980-90,+enamel+and+acrylic+on+wood.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">10 Quadros para o Ano 2000 series «Untitled», ca. 1980-90</span><br /><span style="font-size:85%;color:#660000;">enamel and acrylic on wood</span><br /><a href="http://www.berardocollection.com/?toplevelid=33&CID=100&a1=artist&v1=323&lang=en&tab=works"><span style="font-size:85%;color:#ff6666;"><strong>(em exposição no Museu Berardo Lisboa)</strong></span></a> </div><div align="center"><span style="color:#ffffff;">*<br /></span></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHTUpFJCSeAzkFkdTyrKzWZRxQTBR53XXjZDQoTNy70diT4R1BWYlfEiA2OHCF91NJe-G20994aiP7a3MKBCVg228gcozHx0sJ2YGSMiMemMgk5zBQajZfBT_kyMjAAcxrBuOg2Di99sQ/s1600-h/Absent+Names,+2003,+aluminium,+standard+plywood+doors,+fluorescent+lights+(installation+view+Lisbon).jpg"><img id="BLOGGER_PHOTO_ID_5162049700889461698" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHTUpFJCSeAzkFkdTyrKzWZRxQTBR53XXjZDQoTNy70diT4R1BWYlfEiA2OHCF91NJe-G20994aiP7a3MKBCVg228gcozHx0sJ2YGSMiMemMgk5zBQajZfBT_kyMjAAcxrBuOg2Di99sQ/s400/Absent+Names,+2003,+aluminium,+standard+plywood+doors,+fluorescent+lights+(installation+view+Lisbon).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Absent Names» 2003, installation view,</span><br /><span style="font-size:85%;color:#660000;">painted aluminum, asphalt roofing felt, standard air conditioners,</span><br /><span style="font-size:85%;color:#660000;">fluorescent lights </span><br /><span style="font-size:85%;color:#660000;"><br /></span><span style="font-size:85%;color:#660000;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBXNX02VVe-Irvn0IPP5UrjE9QkQ1R8LLSRSZ9uyGcEbeOP-F5hFXb6ELYRcWQLBxASrhCsEag2_DK1NrWBFfhTome8qThKa4bcJWjUoONtxNYaQztPUT7AtMlVOiPvTwpqui8ABmuBcs/s1600-h/Absent+Names+(interior+view)+2003,+aluminium,+standard+plywood+doors,+fluorescent+lights+(installation+view+Lisbon).jpg"><img id="BLOGGER_PHOTO_ID_5162049584925344690" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBXNX02VVe-Irvn0IPP5UrjE9QkQ1R8LLSRSZ9uyGcEbeOP-F5hFXb6ELYRcWQLBxASrhCsEag2_DK1NrWBFfhTome8qThKa4bcJWjUoONtxNYaQztPUT7AtMlVOiPvTwpqui8ABmuBcs/s400/Absent+Names+(interior+view)+2003,+aluminium,+standard+plywood+doors,+fluorescent+lights+(installation+view+Lisbon).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Absent Names» 2003 (interior view)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZqCka5h7oNPXwEjxf2Y8yCkeE7ZdsjyDq6Ct8t9spnVqz9QF8885tNVHMf_QJOkfU0GwagU0FUTl-2IODMMTsPWhkvmHvbm0_fVPdkIdregUB450jLy51TWZWG02eF9yZml5zqcsoL5Y/s1600-h/The+Large+Self-Portrait+no.+12,+2005,+mixed+media+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5162049241327960994" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZqCka5h7oNPXwEjxf2Y8yCkeE7ZdsjyDq6Ct8t9spnVqz9QF8885tNVHMf_QJOkfU0GwagU0FUTl-2IODMMTsPWhkvmHvbm0_fVPdkIdregUB450jLy51TWZWG02eF9yZml5zqcsoL5Y/s400/The+Large+Self-Portrait+no.+12,+2005,+mixed+media+on+paper.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">The Large Self-Portraits series «No. 12» 2005 </span><br /><span style="font-size:85%;color:#660000;">mixed media on paper<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEL09M_ETg_zhJEH_oqpGmL5hy8n8i4pns7LpLcHGP8PQo-5vX2h0MvAY45D-vvnTK5_MatOV2qZWWmcgw924JHkLq89wsLm6JD26m3H37VIS4gPRpyPcfbcQYAc9Zep2ofoGpBFd2YbY/s1600-h/A+Espera,+1990,+plaster,+wood,+sculpture.jpg"><img id="BLOGGER_PHOTO_ID_5162048987924890514" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEL09M_ETg_zhJEH_oqpGmL5hy8n8i4pns7LpLcHGP8PQo-5vX2h0MvAY45D-vvnTK5_MatOV2qZWWmcgw924JHkLq89wsLm6JD26m3H37VIS4gPRpyPcfbcQYAc9Zep2ofoGpBFd2YbY/s400/A+Espera,+1990,+plaster,+wood,+sculpture.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«A Espera» (The Waiting) 1990, sculpture,</span><br /><span style="font-size:85%;color:#660000;">plaster, wood<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfyO-IKUMC1BR9N0wFy8GXZwtOJuq2tIXy8nr0UPxCCMZwUQk2tTQzuFh2zOL0XOA6fheaAo9VFXwT5lOE_eL5IxEmNcNjKYJAdat0w1V7fUvnsLYR7QimGul8y1Srf51AUpW0d5HmlRM/s1600-h/%C2%ABI+dreamt+your+house+was+a+line%C2%BB+2003,+acrylic+wall+painting,+aluminium,+painted+fluorescent+armatures+(Installation+view).jpg"><img id="BLOGGER_PHOTO_ID_5162048880550708098" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfyO-IKUMC1BR9N0wFy8GXZwtOJuq2tIXy8nr0UPxCCMZwUQk2tTQzuFh2zOL0XOA6fheaAo9VFXwT5lOE_eL5IxEmNcNjKYJAdat0w1V7fUvnsLYR7QimGul8y1Srf51AUpW0d5HmlRM/s400/%C2%ABI+dreamt+your+house+was+a+line%C2%BB+2003,+acrylic+wall+painting,+aluminium,+painted+fluorescent+armatures+(Installation+view).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«I dreamt your house was a line» 2003, installation view</span><br /><span style="font-size:85%;color:#660000;">acrylic wall painting, aluminium, painted fluorescent armatures</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOEofsJSADrBcJASq2IB-jZVCImnOj2ozCnox5JILedFfD0HarPTSL2YAL8RcFQo1CMpvF88chbTwlap-hVZn5HILvJ8ojAi6c8ZXwct323IDf2NqpEni9_tXJDtpBAG_CrURjKLI3FE0/s1600-h/Das+M%C3%A3os+dos+Construtores+II,+1993,+fibrociment+elements,+bricks,+found+wood+table,+stollen+bycicle,+geranium+in+flower+pots,+iron-mash+containers.jpg"><img id="BLOGGER_PHOTO_ID_5162048764586591090" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOEofsJSADrBcJASq2IB-jZVCImnOj2ozCnox5JILedFfD0HarPTSL2YAL8RcFQo1CMpvF88chbTwlap-hVZn5HILvJ8ojAi6c8ZXwct323IDf2NqpEni9_tXJDtpBAG_CrURjKLI3FE0/s400/Das+M%C3%A3os+dos+Construtores+II,+1993,+fibrociment+elements,+bricks,+found+wood+table,+stollen+bycicle,+geranium+in+flower+pots,+iron-mash+containers.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Das Mãos dos Construtores series «II» 1993</span><br /><span style="font-size:85%;color:#660000;">fibrociment elements, bricks, found wood table, stolen bycicle,</span><br /><span style="font-size:85%;color:#660000;">geranium in flower pots, iron-mash containers</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv9qAMG2PWccQngKhg5OQgkY_25NBuhlteTINMRquGXuJvp50vOtvwirMh2GsD3LCVpj8-4ge9HXng9kInxE9B_OszIkV-cszYpHM8q_DbI_brkoGGrhh9epUjHk_3WBqLtfu01IEXDxE/s1600-h/The+Large+Self-Portrait+no.+24,+2005,+mixed+media+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5162048579902997346" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv9qAMG2PWccQngKhg5OQgkY_25NBuhlteTINMRquGXuJvp50vOtvwirMh2GsD3LCVpj8-4ge9HXng9kInxE9B_OszIkV-cszYpHM8q_DbI_brkoGGrhh9epUjHk_3WBqLtfu01IEXDxE/s400/The+Large+Self-Portrait+no.+24,+2005,+mixed+media+on+paper.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> The Large Self-Portraits series «No. 24» 2005 </span><br /><span style="font-size:85%;color:#660000;">mixed media on paper</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLXXwqzukSFpiG0NNEA-0ORp-2K9FJWzJqoF9uGl5Qxxj744GF39XPmkhY1TyrjQse7dl-AY4KiDarzicP-SxEuDNkB0t3Oq-jDX_jZrVC6cQLojFo1XiE7ssPggcankjiZu0c16PY-j4/s1600-h/Longer+Journeys,+2003,+aluminium,+standard+plywood+doors,+fluorescent+lights+(installation+view,+Lisbon).jpg"><img id="BLOGGER_PHOTO_ID_5162048352269730642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLXXwqzukSFpiG0NNEA-0ORp-2K9FJWzJqoF9uGl5Qxxj744GF39XPmkhY1TyrjQse7dl-AY4KiDarzicP-SxEuDNkB0t3Oq-jDX_jZrVC6cQLojFo1XiE7ssPggcankjiZu0c16PY-j4/s400/Longer+Journeys,+2003,+aluminium,+standard+plywood+doors,+fluorescent+lights+(installation+view,+Lisbon).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Longer Journeys» 2003, installation view at </span><br /><span style="font-size:85%;color:#660000;">the 50th Venice Biennale (portuguese pavilion) </span><br /><span style="font-size:85%;color:#660000;">aluminium, plywood doors, fluorescent lights</span><br /><span style="color:#ffffff;">*</span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMgkiSwA0mxLra95zCGU1OaozWUr6tIx7sqIDlQcjEXyNUNY_earKDxzBY85lZTMLYkQCSGW1zNQw3RJMhNGAKyWQHvmzmSiw8SVQtcakGhcW5JCTknhmKhiI_BuE-Ap7T9HTu9AVW9DM/s1600-h/Longer+Journeys+(back+view),+2003,+aluminium,+plywood+doors,+fluorescent+lights+(Installation+view+at+Biennale+di+Venezia,+Portuguese+Pavilion).jpg"><img id="BLOGGER_PHOTO_ID_5162047759564243778" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMgkiSwA0mxLra95zCGU1OaozWUr6tIx7sqIDlQcjEXyNUNY_earKDxzBY85lZTMLYkQCSGW1zNQw3RJMhNGAKyWQHvmzmSiw8SVQtcakGhcW5JCTknhmKhiI_BuE-Ap7T9HTu9AVW9DM/s400/Longer+Journeys+(back+view),+2003,+aluminium,+plywood+doors,+fluorescent+lights+(Installation+view+at+Biennale+di+Venezia,+Portuguese+Pavilion).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Longer Journeys» 2003 (back view)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimZPF17-1P93S1GmgSWgHhO13m_FWt3ntTOEpgTpLTE1pHbbSNK6M0PGDxWlnc_-Lq4nR3bodTGJ1ZNcYgELL9zZWSGEzgp8AggSwHtxA8ki9q-CgP2RHQeC6m6k2z3_hgagmoBhyphenhyphenZo08/s1600-h/Longer+Journeys+(detail),+2003,+aluminium,+plywood+doors,+fluorescent+lights+(Installation+view+at+Biennale+di+Venezia,+Portuguese+Pavilion).jpg"><img id="BLOGGER_PHOTO_ID_5162047570585682738" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEimZPF17-1P93S1GmgSWgHhO13m_FWt3ntTOEpgTpLTE1pHbbSNK6M0PGDxWlnc_-Lq4nR3bodTGJ1ZNcYgELL9zZWSGEzgp8AggSwHtxA8ki9q-CgP2RHQeC6m6k2z3_hgagmoBhyphenhyphenZo08/s400/Longer+Journeys+(detail),+2003,+aluminium,+plywood+doors,+fluorescent+lights+(Installation+view+at+Biennale+di+Venezia,+Portuguese+Pavilion).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Longer Journeys» 2003 (detail)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK8Y53myCcREzGIP8oTFWUlCn8U7D7t9pkuGEnN-8iIzDMG2RMqmRiCZMUfxQSCJfanRdqsIt3620N4VcDkL25oW1C4lWGCmgykdMgZVTmHCagtOXNJQgac0mCz5L5eT67haC-QF7RtHQ/s1600-h/The+Large+Self-Portrait+no.+37,+2005,+mixed+media+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5162047304297710370" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK8Y53myCcREzGIP8oTFWUlCn8U7D7t9pkuGEnN-8iIzDMG2RMqmRiCZMUfxQSCJfanRdqsIt3620N4VcDkL25oW1C4lWGCmgykdMgZVTmHCagtOXNJQgac0mCz5L5eT67haC-QF7RtHQ/s400/The+Large+Self-Portrait+no.+37,+2005,+mixed+media+on+paper.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">The Large Self-Portraits series «No. 37» 2005<br />mixed media on paper</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_j9QZD-z3y0sfhCoMrI2Qi_Wm2iaeOpMx2XAPOht77VLx8vl0FdF7mbzjPELzcsmIY_PHeVWSWZ5PDNGm_fFcIC9JNC5sSQ0X60MoeRZ-uE64LVYJbT7nk4H4AHNe_8WdJhMayamIJa8/s1600-h/Blind+Cities+%23+1,+1998,+S%C3%A3o+Paulo,+aluminium+door+frames,+standard+masonite+doors,+enamel+on+plexiglass,+wood,+wrapping+tape.jpg"><img id="BLOGGER_PHOTO_ID_5162046913455686418" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_j9QZD-z3y0sfhCoMrI2Qi_Wm2iaeOpMx2XAPOht77VLx8vl0FdF7mbzjPELzcsmIY_PHeVWSWZ5PDNGm_fFcIC9JNC5sSQ0X60MoeRZ-uE64LVYJbT7nk4H4AHNe_8WdJhMayamIJa8/s400/Blind+Cities+%23+1,+1998,+S%C3%A3o+Paulo,+aluminium+door+frames,+standard+masonite+doors,+enamel+on+plexiglass,+wood,+wrapping+tape.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Blind Cities series «No. 1» 1998</span></div><div><span style="font-size:85%;color:#660000;">aluminium door frames, standard masonite doors, </span></div><div><span style="font-size:85%;color:#660000;">enamel on plexiglass, </span><span style="font-size:85%;color:#660000;">wood, wrapping paper</span></div><div><span style="color:#ffffff;"><span style="font-size:85%;">*</span><br /></span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5rvOXwl9klIKKLMxSCXNwgPoO3utRbq2qfsRazCfLgE8Ed7rZVDFiQCjdzLqEDgEgDiQF09KGZ7jK24cTK-OWLytwjWEejMXOurSJWMbZqEhLWozCoOUdeQWfnSCA3JU6TEfSBYOu0p4/s1600-h/%C2%ABA+divided+House%C2%BB+2000,(installation+view+at+Galerie+Markus+Richter,+Berlin).jpg"><img id="BLOGGER_PHOTO_ID_5162046703002288898" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5rvOXwl9klIKKLMxSCXNwgPoO3utRbq2qfsRazCfLgE8Ed7rZVDFiQCjdzLqEDgEgDiQF09KGZ7jK24cTK-OWLytwjWEejMXOurSJWMbZqEhLWozCoOUdeQWfnSCA3JU6TEfSBYOu0p4/s400/%C2%ABA+divided+House%C2%BB+2000,(installation+view+at+Galerie+Markus+Richter,+Berlin).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«A Divided House» 2000, installation view </span></div><div><span style="font-size:85%;color:#660000;">bricks, cement<br /></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9vUd81clDFCAeJjqTBlXh8Rw4CgPV6L2nVfF0PPu4EcWYZ3qQIx3KV6PdQBabGjNkyXdPDlidsjetgixkf8lYcZZ-wUwdrqxAHiqbn75WtkSxJLM_HTfSg1s5-BIfn3dhyphenhyphensHN2GbVLO8/s1600-h/Blind+Cities+no.+5+%C2%ABThe+Echo%C2%BB+1999,+installation+view+at+Museu+Serralves,+Porto.jpg"><img id="BLOGGER_PHOTO_ID_5162046462484120306" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9vUd81clDFCAeJjqTBlXh8Rw4CgPV6L2nVfF0PPu4EcWYZ3qQIx3KV6PdQBabGjNkyXdPDlidsjetgixkf8lYcZZ-wUwdrqxAHiqbn75WtkSxJLM_HTfSg1s5-BIfn3dhyphenhyphensHN2GbVLO8/s400/Blind+Cities+no.+5+%C2%ABThe+Echo%C2%BB+1999,+installation+view+at+Museu+Serralves,+Porto.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Blind Cities series «The Echo, No. 5» 1999, mixed media,<br />installation view at Museu Serralves, Porto<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUfPlOJ0QezJRTbtuWPQkkrORCl9EFRxYe-qV66nH9B60XRquxoy-ALHHyuB5L9DSOQrFYJrRlGSPJjLk1a7NoqxA0oIikj90P-ZKj8m_joL3EWTFFazNKMwM0l8bjwpPxLk3rfSyUgNo/s1600-h/Found+Cities+%23+5,+2006,+sculpture,+steel.jpg"><img id="BLOGGER_PHOTO_ID_5162046174721311458" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUfPlOJ0QezJRTbtuWPQkkrORCl9EFRxYe-qV66nH9B60XRquxoy-ALHHyuB5L9DSOQrFYJrRlGSPJjLk1a7NoqxA0oIikj90P-ZKj8m_joL3EWTFFazNKMwM0l8bjwpPxLk3rfSyUgNo/s400/Found+Cities+%23+5,+2006,+sculpture,+steel.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Found Cities series «No. 5» 2006, sculpture, steel<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7hwur2QQ-3ZMT-HS26oRGUSESTczcVVMF3EDYWmtcez9oMSCCVZAs52kUBclQFqG9lpAYDDsSSSsYkTHYFayVRI8HYqzOc3utYDOiAlm9B3yBrNUX1xW-OkcD_kTzC3HKzkLg1SEDKaY/s1600-h/The+Grid,+2006,+acrylic+on+wood.jpg"><img id="BLOGGER_PHOTO_ID_5162045886958502610" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7hwur2QQ-3ZMT-HS26oRGUSESTczcVVMF3EDYWmtcez9oMSCCVZAs52kUBclQFqG9lpAYDDsSSSsYkTHYFayVRI8HYqzOc3utYDOiAlm9B3yBrNUX1xW-OkcD_kTzC3HKzkLg1SEDKaY/s400/The+Grid,+2006,+acrylic+on+wood.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">The Grid Paintings series «Untitled» 2006, acrylic on wood</span></div><div><a href="http://www.berardocollection.com/?toplevelid=33&CID=100&a1=artist&v1=323&lang=en&tab=works"><span style="font-size:85%;color:#ff6666;"><strong>(em exposição no Museu Berardo Lisboa)</strong></span></a></div><div><span style="color:#ffffff;">*</span></div><div></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigH2zWJkpIibRRqLtve24CNR8cBy9qmwJnoW3FthC_KX75KYy12QDjlqIXa-8CTWMDXc9DhWlQCCd9cajJCDghCyc2pxP1PKod1-PpIUjZL9gocfUk0BubvumeCX0_Kg9y7KhqOlcJ_e8/s1600-h/True+Gardens+%23+1+(Crestet)+2000,+wood,+fluorescent+light+(Installation+view+Crestet+Centre+d%27Art,+France.jpg"><img id="BLOGGER_PHOTO_ID_5162045444576871106" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigH2zWJkpIibRRqLtve24CNR8cBy9qmwJnoW3FthC_KX75KYy12QDjlqIXa-8CTWMDXc9DhWlQCCd9cajJCDghCyc2pxP1PKod1-PpIUjZL9gocfUk0BubvumeCX0_Kg9y7KhqOlcJ_e8/s400/True+Gardens+%23+1+(Crestet)+2000,+wood,+fluorescent+light+(Installation+view+Crestet+Centre+d%27Art,+France.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">True Gardens series «No. 1» 2000, installation view at<br />Crestet Centre d'Art, France<br />wood structure and enamel on mirrors<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYW_8a0yJzQsaxSviM9dCsG-BoIHEHNwTRiaASi5TYeTs6BQT8VFsxWL1vhX2Q8LDYm59S5lLJmMdv1rrn57MwzNnm7nm6c31LoKSYj43efLSaI59MXR6q32qH7vEIzN11AKrTfAB_hzY/s1600-h/True+Gardens+%23+2+(Stockholm),+2001,+MDF,+fluorescent+lamps,+acrylic+on+laminayed+glass+(Installation+view+Magasin+3,+Stockholm,+Sweden.jpg"><img id="BLOGGER_PHOTO_ID_5162045255598310066" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYW_8a0yJzQsaxSviM9dCsG-BoIHEHNwTRiaASi5TYeTs6BQT8VFsxWL1vhX2Q8LDYm59S5lLJmMdv1rrn57MwzNnm7nm6c31LoKSYj43efLSaI59MXR6q32qH7vEIzN11AKrTfAB_hzY/s400/True+Gardens+%23+2+(Stockholm),+2001,+MDF,+fluorescent+lamps,+acrylic+on+laminayed+glass+(Installation+view+Magasin+3,+Stockholm,+Sweden.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">True Gardens series «No. 2» 2002, installation view at<br />Magasin 3, Stockholm<br />MDF, acrylic on laminated glass, fluorescent lamps<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcVfBsRv99uwTIiAF6PkUDNcnY1ZlKtHiISKWawr2j83lLOq1BsRK47MlVYObuStRv2XLzQDyZIp831AZSypessCs56HefqXupqLQrjVxqcE9dqFTHuBHXiGJQIIYR7wph9R31WNz22Z8/s1600-h/True+Gardens+%23+3,+2004,+collection+Frac+Bourgogne+(installation+view+at+Mus%C3%A9e+des+Beaux-Arts,+Dijon).jpg"><img id="BLOGGER_PHOTO_ID_5162045027965043362" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcVfBsRv99uwTIiAF6PkUDNcnY1ZlKtHiISKWawr2j83lLOq1BsRK47MlVYObuStRv2XLzQDyZIp831AZSypessCs56HefqXupqLQrjVxqcE9dqFTHuBHXiGJQIIYR7wph9R31WNz22Z8/s400/True+Gardens+%23+3,+2004,+collection+Frac+Bourgogne+(installation+view+at+Mus%C3%A9e+des+Beaux-Arts,+Dijon).jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">True Gardens series «No. 3» 2004, installation view at<br />Musée des Beaux-Arts, Dijon<br />bricks, cement, acrylic on fluorescent lights</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcIFDBEpFVQtue7xgwzNx9h8hMk60jwPzjdii9xuwMZ1pyEnbK260fzFzkhh-zxpuNbyaVAeGddI4X1LIOS-ToWBmVEnccsHHuF2X2f5Xq2fMFLadrovQbl0qfoQ6XSmb_qvi4kPcYYbE/s1600-h/True+Gardens+%234,+2005+(installation+view+at+Haunch+of+Venison,+London).jpg"><img id="BLOGGER_PHOTO_ID_5162044315000472210" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcIFDBEpFVQtue7xgwzNx9h8hMk60jwPzjdii9xuwMZ1pyEnbK260fzFzkhh-zxpuNbyaVAeGddI4X1LIOS-ToWBmVEnccsHHuF2X2f5Xq2fMFLadrovQbl0qfoQ6XSmb_qvi4kPcYYbE/s400/True+Gardens+%234,+2005+(installation+view+at+Haunch+of+Venison,+London).jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> True Gardens series «No. 4»</strong> 2005, installation view at</span></div><div><span style="font-size:85%;color:#660000;">Haunch of Venison, London</span></div><div><span style="font-size:85%;color:#660000;">aluminium, double laminated glass, wood, enamel paint,</span></div><div><span style="font-size:85%;color:#660000;">fluorescent lights </span></div><div><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span></div></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvuGJe_C5Wi5TbFzUWIzjFAWV3QiJk3d-7_PscItuSFH6F4APwl9R3p7ZSQF-bJMP9weHQ-bPCtHu23dWEYx3SQqoS-Zx6ZkB2RLau6Xfo-ZAfDk_OjWCMh-eTZjm9AkSGZK8EpmSySyU/s1600-h/Semina,+2000+(concrete+beams,+acrylic+on+neon+lights+(Installation+view+GAM,+Torino,+Italy.jpg"><img id="BLOGGER_PHOTO_ID_5162043954223219330" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgvuGJe_C5Wi5TbFzUWIzjFAWV3QiJk3d-7_PscItuSFH6F4APwl9R3p7ZSQF-bJMP9weHQ-bPCtHu23dWEYx3SQqoS-Zx6ZkB2RLau6Xfo-ZAfDk_OjWCMh-eTZjm9AkSGZK8EpmSySyU/s400/Semina,+2000+(concrete+beams,+acrylic+on+neon+lights+(Installation+view+GAM,+Torino,+Italy.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Semina» 2000, installation view at GAM Torino</span></div><div><span style="font-size:85%;color:#660000;">concrete beams, acrylic on neon lights<br /></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2AlzzVmXFNls-O-DSIGHRAxCS0jRbBWyg6WfPfS9wOit-aRUBuCdLQNeByBVzN8PRf0nbudQ6QxGYbCKKOhiCBkUb8Y3yf1vWCQklB6IoM7QkAiJwyXwzZMbakfBrmtkgYlEGZ3kuEGQ/s1600-h/%C3%80+propos+des+lieux+d%27origine+%23+1,+2005+(Paris),+bricks,+concrete,+fluorescent+lights,+aluminium.jpg"><img id="BLOGGER_PHOTO_ID_5162043675050345074" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj2AlzzVmXFNls-O-DSIGHRAxCS0jRbBWyg6WfPfS9wOit-aRUBuCdLQNeByBVzN8PRf0nbudQ6QxGYbCKKOhiCBkUb8Y3yf1vWCQklB6IoM7QkAiJwyXwzZMbakfBrmtkgYlEGZ3kuEGQ/s400/%C3%80+propos+des+lieux+d%27origine+%23+1,+2005+(Paris),+bricks,+concrete,+fluorescent+lights,+aluminium.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«À propos des Lieux d'Origine» 2005, installation view</span></div><div><span style="font-size:85%;color:#660000;">bricks, concrete, fluorescent lights, aluminum<br /></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgonHxb6jF9Z79SvNjWMHrue0R70tXsfmprlOJy-fD8LewIIjrxzZa84fhfI8rhwuichO5QlqFHGrE_6zIVMg9ufEoxntAjdPRee7waP7dweV7y7njXzNdH-NF6U_YZJ68_g9eOcq8cGGk/s1600-h/A+Balance+of+Light,+1999,+found+wood+object,+halogen+projector,+installation+view.jpg"><img id="BLOGGER_PHOTO_ID_5162043451712045666" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgonHxb6jF9Z79SvNjWMHrue0R70tXsfmprlOJy-fD8LewIIjrxzZa84fhfI8rhwuichO5QlqFHGrE_6zIVMg9ufEoxntAjdPRee7waP7dweV7y7njXzNdH-NF6U_YZJ68_g9eOcq8cGGk/s400/A+Balance+of+Light,+1999,+found+wood+object,+halogen+projector,+installation+view.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«A Balance of Light» 1999, installation view</span></div><div><span style="font-size:85%;color:#660000;">found wood object, halogen projector</span><br /><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDPW8wTVNN2zkun5_ZUKgwNvBJNv-D9IgX1-OTagLJY1uwYRwNBOQJtQYrn98XXcNUibUmBWXNJtpVDAk5uUaRvq38h3E4XWq4NWqsYMwMuRuLi0hhoEJiJRoV5Kq75WkuBnLsNhDjcV4/s1600-h/Compound+%23+10,+2006,+white+Carrara+marble.jpg"><img id="BLOGGER_PHOTO_ID_5162043288503288402" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDPW8wTVNN2zkun5_ZUKgwNvBJNv-D9IgX1-OTagLJY1uwYRwNBOQJtQYrn98XXcNUibUmBWXNJtpVDAk5uUaRvq38h3E4XWq4NWqsYMwMuRuLi0hhoEJiJRoV5Kq75WkuBnLsNhDjcV4/s400/Compound+%23+10,+2006,+white+Carrara+marble.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Compound series «No. 10» 2006, sculpture</span></div><div><span style="font-size:85%;color:#660000;">white Carrara marble<br /></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBlyUKZYnvA5IYyWTRgh85ccKhAjo4o_up6yn5PgW0jc3A9aMULb4KP_RWAf5IWviFEP-Ks2HjB8bwn8aN3SJ9qaaJSjUaRWLFJtar4MAgxv7v3OueiThkk5qbHK1x741S4IZoqrZtmDI/s1600-h/Favourite+Places+%23+8,+2005,+sculpture+(car+paint+on+aluminium,+MDF,+fluorescent+lamps,+electric+cable.jpg"><img id="BLOGGER_PHOTO_ID_5162043090934792770" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBlyUKZYnvA5IYyWTRgh85ccKhAjo4o_up6yn5PgW0jc3A9aMULb4KP_RWAf5IWviFEP-Ks2HjB8bwn8aN3SJ9qaaJSjUaRWLFJtar4MAgxv7v3OueiThkk5qbHK1x741S4IZoqrZtmDI/s400/Favourite+Places+%23+8,+2005,+sculpture+(car+paint+on+aluminium,+MDF,+fluorescent+lamps,+electric+cable.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Favorite Places series «No. 8» 2005, sculpture</span></div><div><span style="font-size:85%;color:#660000;">car paint on aluminium, MDF, fluorescent lamps</span><br /><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsUghvaeM9tStpLUvxj6i4NPN0E_7p-U8EB_sO6ta4fMZeNICjTQODbZYt07kg2idR1NhHaVudeO96-tF7fO6xnB6Hx0zs92ZiZ1H_72z7XzmU-KdBH7nsg7BNPLNQiU4LapeJewCPAq4/s1600-h/The+White+Room+(about+T.S.Eliot)+2006,+aluminium,+double+laminated+glass+and+cotton+fabric.jpg"><img id="BLOGGER_PHOTO_ID_5162042768812245554" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgsUghvaeM9tStpLUvxj6i4NPN0E_7p-U8EB_sO6ta4fMZeNICjTQODbZYt07kg2idR1NhHaVudeO96-tF7fO6xnB6Hx0zs92ZiZ1H_72z7XzmU-KdBH7nsg7BNPLNQiU4LapeJewCPAq4/s400/The+White+Room+(about+T.S.Eliot)+2006,+aluminium,+double+laminated+glass+and+cotton+fabric.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«The White Room (About T.S.Eliot)» 2006, installation view</span></div><div><span style="font-size:85%;color:#660000;">aluminium, double laminated glass, cotton fabric<br /></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFHL4vNeseTDF4Wl32cxL23fSXoXEkvN5kylQKt38Z-J471xilLlcfhetGiVDUR2RmdoBDVx8NI5WRvkwTdS05st9Zhr8LrC3IErCOX9KPLdHpv0r2eetVbkBsPWGSp8Ihj2ak9ex_O4k/s1600-h/Favourite+places+%23+1,+2004.jpg"><img id="BLOGGER_PHOTO_ID_5162042304955777570" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFHL4vNeseTDF4Wl32cxL23fSXoXEkvN5kylQKt38Z-J471xilLlcfhetGiVDUR2RmdoBDVx8NI5WRvkwTdS05st9Zhr8LrC3IErCOX9KPLdHpv0r2eetVbkBsPWGSp8Ihj2ak9ex_O4k/s400/Favourite+places+%23+1,+2004.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Favorite Places series «No. 1» 2004, sculpture</span></div><div><span style="font-size:85%;color:#660000;">aluminium, glass, wood, fluorescent lamp</span></div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjDB6-k5RdTG4BJ9ZmC7i2NSUeyMXvdVT4sknG8rIr9s0QfBuK4apWxigrJl6ByhbuaUNc-Sgiu0tN2Wg-8MV9JS1huPOZSskslkM1pGwTftklltTqGq2jgbd5lbTcZ1m0BC2Byt2Vv7A/s1600-h/Favorite+Places+%23+5,+2004,+sculpture+(aluminium,+MDF,+glass,+wood,+fluorescent+lamps+and+hardware.jpg"><img id="BLOGGER_PHOTO_ID_5162042150336954898" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjjDB6-k5RdTG4BJ9ZmC7i2NSUeyMXvdVT4sknG8rIr9s0QfBuK4apWxigrJl6ByhbuaUNc-Sgiu0tN2Wg-8MV9JS1huPOZSskslkM1pGwTftklltTqGq2jgbd5lbTcZ1m0BC2Byt2Vv7A/s400/Favorite+Places+%23+5,+2004,+sculpture+(aluminium,+MDF,+glass,+wood,+fluorescent+lamps+and+hardware.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Favorite Places series «No. 5» 2004, sculpture</span></div><div><span style="font-size:85%;color:#660000;">aluminium, MDF, glass, wood, fluorescent lamps, hardware<br /></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit78Rf3pYZPS_QbYRfCnOoyFPDppUz3bYk0fKcia8gm5_dL8xZSLhGB1TxcoSCYWqmLFCnWV0hHNltd6goJX0ItuYyY1D5WpkCPY9uWPYdDFE9hIRHAPN9hS4XlP2_2VYdGVT3MorH5Eg/s1600-h/Scent,+2004.jpg"><img id="BLOGGER_PHOTO_ID_5162042021487935986" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit78Rf3pYZPS_QbYRfCnOoyFPDppUz3bYk0fKcia8gm5_dL8xZSLhGB1TxcoSCYWqmLFCnWV0hHNltd6goJX0ItuYyY1D5WpkCPY9uWPYdDFE9hIRHAPN9hS4XlP2_2VYdGVT3MorH5Eg/s400/Scent,+2004.jpg" border="0" /></a><span style="font-size:85%;"> <span style="color:#660000;">«Scent» 2004, installation view</span></span></div><div><span style="font-size:85%;color:#660000;">car paint on aluminium, MDF, fluorescent lights<br /></span></div><div><span style="color:#ffffff;">*<br />*</span></div><div></div><div align="justify"><span style="font-size:85%;color:#330000;">A presença de Pedro Cabrita Reis no mundo da arte data de meados dos anos 80.<br />Ficou conhecido no meio artístico pelas suas numerosas instalações, próximas da arquitectura, construídas a partir de materiais recuperados e de néons. Representou Portugal na Bienal de Veneza de 2003, com a sua obra “Longer Journeys” e no ano de 2004 teve os seus trabalhos expostos em numerosas exposições internacionais, com destaque para: Le Grand Café, Saint-Nazaire; Kunsthalle Berne, Berna; Frac Bourgogne, Dijon e Camden Arts em Londres. Cabrita Reis continua a interrogar o espaço com materiais extraídos da arquitectura que tornam o real mais poético.</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">As construções de Pedro Cabrita Reis, abordam questões sobre o espaço, o tempo, a relação com as coisas e a viagem que a vida representa. O artista adopta uma filosofia de “desconstrução”, com vista a reconstruir com o que já existe. Isso leva-o a pensar a realidade de uma outra forma. Só os que são capazes de se libertar do que já conhecem, se poderão abrir a uma nova realidade, regida pelas suas próprias leis, ajustada a elementos do real que cada um de nós conhece. As suas criações são feitas, na maior parte das vezes, no local. Surge assim a ideia de que o local e os materiais utilizados são sinais visíveis de um trabalho muito mais aprofundado, alimentado pela filosofia e pela poesia.<br />A arquitectura é uma forma de habitar o mundo, uma construção frágil levada a cabo pelo homem, que, de um momento para o outro, poderá desintegrar-se ou ser reutilizada. O seu trabalho confronta uma consciência individual subjectiva com uma dimensão colectiva, introduzindo as noções de memória e de viagem. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">As suas instalações transformam-se numa metáfora ao colocar a questão do lugar que cada um ocupa na vida, daí a importância dos degraus em “Northern Stairs, 2002” e das portas, tais como as que encontramos na série “Favorite Places, 2004/05”. O néon que deixa transparecer uma luz fria, permite jogar com as diferenças de temperatura e também com o momento, transmitindo uma atmosfera particular a cada instante: por ex., reminiscência com a peça “Some Other Time, 2003”. O silêncio encontra-se também presente no seu trabalho como um momento de recolhimento permitindo um primeiro distanciamento em relação à obra. A obra “The Passage of the Hours, 2004”, instalação realizada no Museu Middleheim em Anvers, destaca simultâneamente a importância do momento e do silêncio: exibida no exterior, a peça apresenta-se como um vestígio no parque durante a tarde. De noite, ao contrário, ela alcança um novo sentido através da iluminação produzida pelos néons.<br /><span style="color:#ffffff;">*<br /></span>As instalações do artista, apresentando-se ora como o esqueleto de uma construção passada, ou, ao contrário, em via de o vir a ser, não cessam de nos surpreender. Em exposições subsequentes, Pedro Cabrita Reis continua a explorar a relação criada entre as suas instalações e o espaço, com a apresentação de uma série de novas peças em Paris, em 2005 (Galerie Nelson-Freeman) e em Bruxelas, também em 2005 (Galerie des Filles du Calvaire).</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>Tatiana Trouvé, France Culture, Abril 2005</strong><br /><strong>(traduzido por Fernanda Valente) </strong></span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong><br /></strong><span style="color:#ffffff;">*<br /></span><strong>Nota:</strong> A biografia do autor e as obras aqui referenciadas poderão ser consultadas no sítio oficial de Pedro Cabrita Reis. </span></div><div align="justify"><span style="font-size:85%;color:#330000;">Actualmente, o artista encontra-se representado na exposição "Portugal Agora" no Museu de Arte Moderna Grand-Duc Jean, no Luxemburgo e na Kunsthaus em Graz, na Áustria, com a instalação "True Gardens" # 6.<br /></span><span style="color:#330000;"><span style="font-size:85%;color:#ffffff;">*<br /></span></span><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><span style="color:#330000;"><strong><span style="font-size:85%;color:#cc0000;">Crítica:<br /></span></strong><span style="font-size:85%;"><span style="color:#ffffff;">*<br /></span>Gacier et laque, tuyaux et câbles, briques et néons, aluminium et verre. Énumérer les matériaux constituant l'oeuvre de l'artiste portugais Pedro Cabrita Reis revient à poser le terme d'oxymoron pour caractéristique de son travail. Soit le jeu d'une opposition qui ne se crée pas plus dans la séparation qu'elle ne l'induit, mais qui s'opère dans le rapprochement de notions contradictoires et se renforce par le choc de leur rencontre.</span></span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>À l'édification d'un monde insensible que les moyens suggèrent, répond ainsi la déconstruction mélancolique du monde qu'ils réalisent. De même qu'à la clôture sur l'objet spécifique répondrait l'ouverture du sujet antinomique. Convoquant le répertoire formel de l'art minimal, les matériaux élaborent ici une tout autre pensée de la relation percept/concept. Celle qui réinscrit comme dialectique la dimension de l'affect, unissant avec égard ce qui fut brutalement tranché dans le rejet de cette dernière au profit du premier et double terme.</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>Dans la délicatesse des ruines, c'est donc par la forme littéraire de l'oxymoron qu'apparaît cette ouvre composée d'installations proches de l'architecture. Car dans la délicatesse des ruines, elle invite bel et bien le spectateur, regard et corps pénétrant le champ de sa matérialité. Ou visiteur appelé vers elle au sens baudelairien du flâneur--le flâneur, c'est celui qui <<>>, écrivait Benjamin dans sa lecture du poète (1). Et dans le silence absolu que produit l'oeuvre matérielle s'il en est de Cabrita Reis, ainsi traversons-nous le vide qu'elle bâtit par la brique et l'acier, flâneurs du temps suspendu face à la verticalité d'architectures dont les seuils restent indéterminés. Regards et corps rendus flâneurs face au temps de la lumière qui se présente, de même, avec l'horizontalité de fondations pour toute architecture. Laissée sans titre à l'égal du monde en devenir qu'elle présente sous l'espèce du monde en chantier qu'elle transfigure, l'exposition est conçue selon un plan d'orthogonalité qui assemble en édifice invisible les diverses installations la composant. Tandis qu'au rezde-chaussée, l'ensemble réunit des pièces distinctes dont chacune, sculpturale ou picturale, reprend ou renvoie à la verticalité du corps, c'est à l'horizontalité du sol qu'amène ou plutôt ramène l'étage supérieur de la galerie, dont les quelques soixante-dix mètres carrés sont investis par l'unique installation qui l'occupe in situ.<br /><span style="color:#ffffff;">*<br /></span>Constituée de briques posées à même le sol et dont les bords font supports pour des néons allumés, ce qu'elle détermine, À propos des lieux d'origine--car tel est son titre--est à la fois l'espace du dédale, lieu de la perte et de la fin ou temps obscurs de l'égarement qu'elle dessine en filigrane. Et celui de la fondation, lieu de la force qui crée pour la durée comme de l'appui d'oø re-créer; et d'une sortie vers la lumière qu'elle consolide, pourrait-on dire, avec le fil d'Ariane courant sous les pieds du visiteur dont il suspend chacun des pas. Baudelairien flâneur qui franchit comme autant de seuils l'enchevêtrement de câbles électriques parcourant l'oeuvre au sol, à l'égal du réseau veineux irriguant le corps. </span><a href="http://www.encyclopedia.com/doc/1G1-140525051.html"><span style="font-size:85%;color:#ff6666;"><strong>(...)</strong></span></a><br /><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span><strong>L'Art Minimal de Pedro Cabrita Reis<br /></strong><span style="color:#990000;"><strong>Isabelle Hersant, Art Magazine Etc Montréal</strong></span></span></div><span style="font-size:85%;color:#330000;"><span style="color:#990000;"><strong><div align="center"><br /></strong></span><span style="color:#ffffff;">*<br /></span>* * *</div><div align="justify"><br /><span style="color:#ffffff;">*<br /></span>Pedro Cabrita Reis possesses a complex oeuvre, encompassing a variety of media: painting, drawing, and sculpture composed of both found and manufactured objects. Often employing the simplest materials from the lexicon and leftovers of building and construction - long, strip florescent light bulbs, rusting steel girders, salvaged work tables, double glazed vitrines, decaying wooden doors, clay brick, or aluminium tubing - his works explore laden relationships between space, architecture, and memory.<br /><span style="color:#ffffff;">*</span></div><div align="justify">Concerned with the evocative potential of the architectural fragment, the artist's three-dimensional works, including 'Meeting Point' (2004) and 'True Gardens #4' (2005), seek to both paint and construct: to use the formal and perceptual qualities of the painting to suggest the contingency of construction and the human urge to develop signification from the most abstract elements. In 'Meeting Point', the large linear work, composed of steel girders interrupted by both a window whose glass pane is three-fourths covered in yellow paint and a found work table, has a disturbing quality; the penetration of the table's structure and the obscured vision of the window imply a violent, if unseen, narrative and emotional space. In <strong>"True Gardens # 4",</strong></span><span style="font-size:85%;color:#330000;"> presented on the floor as a representation of an artificial pool - a pool of light - the affective and ambiguous quality of the artist's work manifests through the material: fluorescent lights. The artist states, <em><span style="color:#990000;">"The fluorescent tube already has, as an object, a quality of melancholy embedded in it... They belong to lost alleys, suburban places, factories where people are exploited, a history of exploitation and oblivion." </span></em>In both pieces, as the materials either found or fabricated import their own histories or connotations, abstraction dissolves into reference with a poetry that is all Cabrita Reis's own.<br /><span style="color:#ffffff;">*</span></span></div><div align="justify"><span style="font-size:85%;color:#330000;"><em><span style="color:#990000;">"Alberti saw painting as a window on the world, and I have turned that window into a mirror,"</span></em> comments Cabrita Reis. For his exhibition at Haunch of Venison, London (2005), the artist completed a climatic set of five large-scale, monochrome paintings, composed in sombre green, brown, black, blue and oxblood textiles. The highly reflective glass, which encases the works, and which might suggest transparency, presents an opacity to vision: though we want to see through it, to the work, instead we see only ourselves. In these seemingly abstract works, the resultant reflection speaks to the inevitability of representation, as the resultant field of vision, impenetrable, reflects back to the viewer his (or her) own image. These works are about the ways and powers of seeing, the contingency and construction of vision. They, as with the whole of Cabrita Reis' oeuvre, aim to underline what for the artist is the very power of art: through an understanding of "what we do and how we see things" to "tell us who we are". (...)<br /><strong>Haunch of Venison, London<br /></strong><span style="color:#ffffff;">*<br /></span></span><a href="http://www.pedrocabritareis.com/"><span style="font-size:85%;color:#ff6666;"><strong>Pedro Cabrita Reis website</strong></span></a></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#cc0000;"><strong>«The Large Self-Portraits»: imagens cedidas por cortesia do autor.</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div></div></div></div></div></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0tag:blogger.com,1999:blog-2054748435853847162.post-45754793967198041462008-01-31T16:16:00.000+00:002008-02-06T16:48:38.500+00:00Old School - A influência dos Grandes Mestres na pintura contemporânea<span style="font-size:85%;color:#330000;"><strong></strong></span><br /><span style="font-size:85%;color:#330000;"><strong>BERLINDE DE BRUYCKERE</strong> (1964-) nascida em Ghent na Bélgica</span><br /><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsGxwnLh9nVM_l6pGu_3xO8CbGclp1hvLk1DO4dsFmaeP1pi3CUm8CZsWKJGmE14vnuqHSUowEKdwAB_VKlvoXxkZVnLcfSYtu5sAIuPb73OSxqDmguxoWrmpBi4vJRJ-NOpFGeuiCXzY/s1600-h/Berlinde+de+Bruyckere,+Hanne,+2003,+wax,+epoxy+resin,+horse+hair.jpg"><img id="BLOGGER_PHOTO_ID_5163627092053428178" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsGxwnLh9nVM_l6pGu_3xO8CbGclp1hvLk1DO4dsFmaeP1pi3CUm8CZsWKJGmE14vnuqHSUowEKdwAB_VKlvoXxkZVnLcfSYtu5sAIuPb73OSxqDmguxoWrmpBi4vJRJ-NOpFGeuiCXzY/s400/Berlinde+de+Bruyckere,+Hanne,+2003,+wax,+epoxy+resin,+horse+hair.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Hanne » 2003, sculture</span></div><div align="center"><span style="font-size:85%;color:#660000;">wax, epoxy resin, horse hair</span> </div><br /><br /><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><strong>*</strong></span><br /><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>RICHARD WATHEN</strong> (1971-) nascido em Londres na Inglaterra</span><br /><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiLNZq8CdWGFeePYWZJizkre9ZNh-e-D9jvd_IvTVdBm3itThHzmSHxlyw3q9YUqFnZam8-opl-Kjh9iQdZRBYK9jqzMDYKbfoN4GEbr-9rzZg_PNrUbzP8FICmp5B_K8c9TEs-uJVKGI/s1600-h/RW,+Rose,+2006,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5163626692621469634" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiLNZq8CdWGFeePYWZJizkre9ZNh-e-D9jvd_IvTVdBm3itThHzmSHxlyw3q9YUqFnZam8-opl-Kjh9iQdZRBYK9jqzMDYKbfoN4GEbr-9rzZg_PNrUbzP8FICmp5B_K8c9TEs-uJVKGI/s400/RW,+Rose,+2006,+oil+on+linen.jpg" border="0" /></a> <span style="color:#660000;"><span style="font-size:85%;">Rose 2006, oil on linen</span><br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Zcz7GbrMFXGVTsc8lfu_c0h-tp9YlMuKtkIea6tSAKxAggQ3uBeAZ1jNAsDg82ry5pjwriKXYSMHdQy2xJrwrxh3-cVHXHu8XuZ9FEhPj2qaVthl_Iv4NyPqjSHGWVcexXzmZGF2Bqk/s1600-h/RW,+Aubrey,+2007,+oil+on+linen+on+aluminium.jpg"><img id="BLOGGER_PHOTO_ID_5163626529412712370" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3Zcz7GbrMFXGVTsc8lfu_c0h-tp9YlMuKtkIea6tSAKxAggQ3uBeAZ1jNAsDg82ry5pjwriKXYSMHdQy2xJrwrxh3-cVHXHu8XuZ9FEhPj2qaVthl_Iv4NyPqjSHGWVcexXzmZGF2Bqk/s400/RW,+Aubrey,+2007,+oil+on+linen+on+aluminium.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Aubrey» 2007, oil on linen on aluminium<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijzNLbw6d5XjzJvxOs_UTNzqN9znm2n8bO0Oq5I5CGzm0qQW28jt7Kz97YgVUD4ZrquU6CoO7g6s2Pm6mZ7bs5HkmP3sKx95MKDFY8Fro8iikCtv2Zz-EChjdJO4j8NfOakyFgdI-QOSE/s1600-h/Richard+Wathen,+Once+Removed,+2006,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5163626331844216738" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEijzNLbw6d5XjzJvxOs_UTNzqN9znm2n8bO0Oq5I5CGzm0qQW28jt7Kz97YgVUD4ZrquU6CoO7g6s2Pm6mZ7bs5HkmP3sKx95MKDFY8Fro8iikCtv2Zz-EChjdJO4j8NfOakyFgdI-QOSE/s400/Richard+Wathen,+Once+Removed,+2006,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Once Removed» 2006, oil on linen<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr-vHlj7KRh0yhY8HPQRVAzdIuMbTOkHynn8WtUIJPNa91P622WBniI8MPROVA8j8ZZG_uNCji991f94vRFm-WnHv7PYdeALef-AsMQeBO_MqQTkuXdPoAE-iiMnF4nCLt42Vgqt5nCQs/s1600-h/RW,+Gretchen,+2007,+oil+on+linen+on+aluminium.jpg"><img id="BLOGGER_PHOTO_ID_5163626014016636818" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjr-vHlj7KRh0yhY8HPQRVAzdIuMbTOkHynn8WtUIJPNa91P622WBniI8MPROVA8j8ZZG_uNCji991f94vRFm-WnHv7PYdeALef-AsMQeBO_MqQTkuXdPoAE-iiMnF4nCLt42Vgqt5nCQs/s400/RW,+Gretchen,+2007,+oil+on+linen+on+aluminium.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Gretchen» 2007, oil on linen on aluminium </span><br /><span style="font-size:85%;color:#ffffff;">* </span><span style="font-size:85%;color:#ffffff;"><br /></span><br /><div align="left"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="left"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>CHRISTOPHER ORR</strong> (1967-) nascido em Helensburgh na Escócia</span></div><div align="left"><span style="font-size:85%;color:#ffffff;">*</span><br /><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirsq-AhDZehhK4DZS26WXSQU3SlcmhwUCRp86f6Nl5JglrYKRUyXDYIiFGDYIbVxLNBKpSOd11KDs7FJUptDEI2Q9HSUl9d5g6llPasrIE8gCmoQUfHYLIsuu0i7SaKB-hMDW381k36wM/s1600-h/Christopher+Orr,+Some+Time+of+This+Day,+2007,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5163619803493926722" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirsq-AhDZehhK4DZS26WXSQU3SlcmhwUCRp86f6Nl5JglrYKRUyXDYIiFGDYIbVxLNBKpSOd11KDs7FJUptDEI2Q9HSUl9d5g6llPasrIE8gCmoQUfHYLIsuu0i7SaKB-hMDW381k36wM/s400/Christopher+Orr,+Some+Time+of+This+Day,+2007,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Some Time of this Day» 2007, oil on linen<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdv1KEaHBt8c2h2fBVTWrDCF8ZPklhe42EtUsrCZHLHsMmAkOz3GRTBHY8IxwAFb1Htk24TCjeKJpGqaTHKAhu5OR8pnrxRxTyu2Jc3l4JReaEPmhMKJwfng9FvoeZPv_1uKAoYepwA-o/s1600-h/CO,+Book,+2005,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5163619571565692722" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdv1KEaHBt8c2h2fBVTWrDCF8ZPklhe42EtUsrCZHLHsMmAkOz3GRTBHY8IxwAFb1Htk24TCjeKJpGqaTHKAhu5OR8pnrxRxTyu2Jc3l4JReaEPmhMKJwfng9FvoeZPv_1uKAoYepwA-o/s400/CO,+Book,+2005,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Book» 2005, oil on linen</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJTohxvMg_asVbUOINhzyJk2gRw_14BnFZoR7NRbScVL9xUKOCn0CmcMEriMsDDrDTONnNXUDeGNrzNw8pRzsr_6injHDqAeaBc1kEtqBdphNtalObTSLrJibX2smFJtzIsjSf2efDRKA/s1600-h/CO,Untitled+(Mist),+2003,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163619348227393314" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJTohxvMg_asVbUOINhzyJk2gRw_14BnFZoR7NRbScVL9xUKOCn0CmcMEriMsDDrDTONnNXUDeGNrzNw8pRzsr_6injHDqAeaBc1kEtqBdphNtalObTSLrJibX2smFJtzIsjSf2efDRKA/s400/CO,Untitled+(Mist),+2003,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Untitled» (Mist) 2003, oil on canvas<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1qvLMCU91mqGUb52Vhf_6OzLx7oEE4wZi9eP_MTPKKn56GDSDELXgxBj5350Gz8OvLXdaNilk_jqJX9uJlzSne3chAwJTNjpa0rT2chY6q7yFGUMZslwiwndtplQlXMK9ypBWfV2OMU/s1600-h/CO,+The+Deep+Range,+2005,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5163619034694780690" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjH1qvLMCU91mqGUb52Vhf_6OzLx7oEE4wZi9eP_MTPKKn56GDSDELXgxBj5350Gz8OvLXdaNilk_jqJX9uJlzSne3chAwJTNjpa0rT2chY6q7yFGUMZslwiwndtplQlXMK9ypBWfV2OMU/s400/CO,+The+Deep+Range,+2005,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«The Deep Range» 2005, oil on linen</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipuOPL9Y9qH1rG-l1CGsg5E0grUqBfRs2i0naIIM2L_Ah0tRngJEVY0OhR1jeTHMQrEipM-yIkxDg14at3fLEl-1IJiI7J21h1X3MK8S9CmDR95SDRE8Yp_eIXw6zuiASnM3399IPScPI/s1600-h/CO,+Sinking,+2005,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5163618845716219650" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipuOPL9Y9qH1rG-l1CGsg5E0grUqBfRs2i0naIIM2L_Ah0tRngJEVY0OhR1jeTHMQrEipM-yIkxDg14at3fLEl-1IJiI7J21h1X3MK8S9CmDR95SDRE8Yp_eIXw6zuiASnM3399IPScPI/s400/CO,+Sinking,+2005,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Sinking» 2005, oil on linen<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKegRkLLr50N2dbq1nz_eBgZUvdwuFvqvbZ0KrgRoqJTMK_VDBSCItTkmWuXnoQssJic-fM-bqcSSZfz6aIX2mSVAhWYzAFiQTWbQi5aKy6lpl2l0oLYzmT-ckb4DfiFv11tg5YfpzfQA/s1600-h/CO,+Elevation,+2005,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5163618673917527794" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKegRkLLr50N2dbq1nz_eBgZUvdwuFvqvbZ0KrgRoqJTMK_VDBSCItTkmWuXnoQssJic-fM-bqcSSZfz6aIX2mSVAhWYzAFiQTWbQi5aKy6lpl2l0oLYzmT-ckb4DfiFv11tg5YfpzfQA/s400/CO,+Elevation,+2005,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Elevation» 2005, oil on linen</span></div><div><span style="font-size:85%;color:#ffffff;">*</span></div><span style="font-size:85%;"></span></div><span style="font-size:85%;"></span><br /><span style="font-size:85%;"><span style="color:#ffffff;"></span></span></div><div align="center"><span style="font-size:85%;"><span style="color:#ffffff;"></span></span></div><div align="center"></div></span><div align="left"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="left"><span style="font-size:85%;color:#330000;"><strong>MICHAËL BORREMANS</strong> (1963-) nascido em Geraardsbergen, na Bélgica</span></div><div align="left"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="left"><span style="font-size:85%;color:#330000;"></span></div><div align="left"><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio-MDYVn9cnFTFwNvyBTVNfPq8ZG0tNnpOGIhaZ0YrjHgWKEF9KKtZBIbqG1cqlSlUrCSRE44X4MXJiX5QHHrmlPQcqEUqqIANaTP9v7sEQaKGhuM5MiV8xAykE6dO9Fu0B4SDSsoGOpw/s1600-h/Michael+Borremans,+Portrait+2,+2006,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163618472054064866" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio-MDYVn9cnFTFwNvyBTVNfPq8ZG0tNnpOGIhaZ0YrjHgWKEF9KKtZBIbqG1cqlSlUrCSRE44X4MXJiX5QHHrmlPQcqEUqqIANaTP9v7sEQaKGhuM5MiV8xAykE6dO9Fu0B4SDSsoGOpw/s400/Michael+Borremans,+Portrait+2,+2006,+oil+on+canvas.jpg" border="0" /> <p align="center"></a></p><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">****************</span>«Portrait 2» 2006, oil on canvas<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcgbGq4p7cjF9m5RyXRfUMpjkvPGQXzzDZc0OMTgBB6hypwaB12Lvm7B80TdzvKhgSAPGxHFHm7ywgvwczf2uosXu7JJkOvPk8LmFPemQEOcWnIyGwC4POuzeVjRx98Ab6iCnk4lwflqE/s1600-h/MB,+Crazy+Fingers,+2007,+oil+on+cardboard,+varnish.jpg"><img id="BLOGGER_PHOTO_ID_5163618313140274898" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcgbGq4p7cjF9m5RyXRfUMpjkvPGQXzzDZc0OMTgBB6hypwaB12Lvm7B80TdzvKhgSAPGxHFHm7ywgvwczf2uosXu7JJkOvPk8LmFPemQEOcWnIyGwC4POuzeVjRx98Ab6iCnk4lwflqE/s400/MB,+Crazy+Fingers,+2007,+oil+on+cardboard,+varnish.jpg" border="0" /> <p align="center"></a></p><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">**********</span>«Crazy Fingers» 2007, oil on cardboard, Varnish<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcX0c2PSjQNtkO28n-F_iIMcDDLJ0V65_JKiLGa8_WcYV7sLEeQGCt_g86AjpBvI5keoB5gnElFtnh8QlBAORkmsk6UC8jWmTerDz__rzrRgr9aupB6iNJ7TBOpWbByuuafLy14Be7mUc/s1600-h/MB,+The+Pupils,+2001,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163618124161713858" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcX0c2PSjQNtkO28n-F_iIMcDDLJ0V65_JKiLGa8_WcYV7sLEeQGCt_g86AjpBvI5keoB5gnElFtnh8QlBAORkmsk6UC8jWmTerDz__rzrRgr9aupB6iNJ7TBOpWbByuuafLy14Be7mUc/s400/MB,+The+Pupils,+2001,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «The Pupils» 2001, oil on canvas</span><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihj5UqFNSHwkb66_BoiuI1NmGoXZSW03UfeR8XZ-1U0tv_9-1M1y9mD_KpQHM8J4ZRYbtL_1yxXgrnwoiv-s72XTHOX5o7qxVbouXLuMQC7PiWp99lashc0ZEwQaOi7fhNzPNFabJEcWU/s1600-h/MB,+Where+is+Ned,+2002,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163617952363022002" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihj5UqFNSHwkb66_BoiuI1NmGoXZSW03UfeR8XZ-1U0tv_9-1M1y9mD_KpQHM8J4ZRYbtL_1yxXgrnwoiv-s72XTHOX5o7qxVbouXLuMQC7PiWp99lashc0ZEwQaOi7fhNzPNFabJEcWU/s400/MB,+Where+is+Ned,+2002,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Where is Ned?» 2002, oil on canvas<br /></span><br /></div><div align="left"><br /><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="left"><span style="font-size:85%;color:#330000;"><strong>DJORDJE OZBOLT</strong> (1967-) nascido em Belgrado na Sérbia</span></div><div align="left"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*</span></span></div><div align="left"><span style="font-size:85%;color:#ffffff;">*<br /></span></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaf_svD5J9qHqAbCbOvzsGLxMt_X9exiOt-nShSxQ9RPbDoIcwb9kW1DbKkja1F0z7tu8RTnl6kE8rzI31I3Fb0tPXotqYwrRqESGsnVerN53y-5SupACHJU5n9iuXFQUrEiWQ-dCNNx8/s1600-h/Djordje+Ozbolt,+Run+Run+as+fast+as+you+can,+2007,+acrylic+on+board.jpg"><img id="BLOGGER_PHOTO_ID_5163617698959951522" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaf_svD5J9qHqAbCbOvzsGLxMt_X9exiOt-nShSxQ9RPbDoIcwb9kW1DbKkja1F0z7tu8RTnl6kE8rzI31I3Fb0tPXotqYwrRqESGsnVerN53y-5SupACHJU5n9iuXFQUrEiWQ-dCNNx8/s400/Djordje+Ozbolt,+Run+Run+as+fast+as+you+can,+2007,+acrylic+on+board.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Run, Run as Fast as you Can» 2007, acrylic on board<br /></span><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDQ77gVt2Ayg58No2eAA-S0i4FJe88pyEMVms6v8BbUuhd2CHLLlOtgakq7hH1Q4slocuz40NDxS83nNWaqjWMDwgF9AD3eWNlxmaE8Wo706GjjsqoqIyldmiUcavkLskaq8_FijujxDM/s1600-h/Djordje+Ozbolt,+The+Penitent+Saint+Jerome,+2006,+acrylic+on+board.jpg"><img id="BLOGGER_PHOTO_ID_5163617535751194258" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDQ77gVt2Ayg58No2eAA-S0i4FJe88pyEMVms6v8BbUuhd2CHLLlOtgakq7hH1Q4slocuz40NDxS83nNWaqjWMDwgF9AD3eWNlxmaE8Wo706GjjsqoqIyldmiUcavkLskaq8_FijujxDM/s400/Djordje+Ozbolt,+The+Penitent+Saint+Jerome,+2006,+acrylic+on+board.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«The Penitent Saint Jerome» 2006, acrylic on board<br /><span style="color:#ffffff;">*</span></span></div><div align="center"><span style="color:#ffffff;">*<br /></span></div><div align="left"><span style="font-size:85%;color:#330000;"><strong></strong></span></div><div align="left"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="left"><strong><span style="font-size:85%;color:#ffffff;"></span></strong></div><div align="left"><span style="font-size:85%;color:#330000;"><strong>JULIE HEFFERNAN</strong> (1956-) nascida em Peoria, Illinois nos Estados-Unidos</span> </div><div align="left"><span style="color:#ffffff;">*</span></div><div align="left"><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi789aepT1_INMxwzBPO6VsuM30pikfMBQp6-NH9oKbJKUaPK5nEpgkzBQBzx-CS6dWIpN_v29LPaF70bADKnv3lK7A1hgCCkS59FoN48b0t6evFuTe6Bx9FMVQUr7gBWYptL0cHRJLp2c/s1600-h/Julie+Heffernan,+Self+Portrait+as+Quarry,+2000,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163617359657535106" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi789aepT1_INMxwzBPO6VsuM30pikfMBQp6-NH9oKbJKUaPK5nEpgkzBQBzx-CS6dWIpN_v29LPaF70bADKnv3lK7A1hgCCkS59FoN48b0t6evFuTe6Bx9FMVQUr7gBWYptL0cHRJLp2c/s400/Julie+Heffernan,+Self+Portrait+as+Quarry,+2000,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Self Portrait as Quarry» 2000, oil on canvas</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Gpgea8bYXBsimLRBwWiKK2-vkI7vAqWAeIUoAikWB-uL4qtUPMU_7n20IQv-RruQX_67BBZkfOgliaSAWLFfZtTsfihli2rQzTzgXejH0AEv0x8KU4vA1frxSwbnoiKPCBLI9KRnVz0/s1600-h/JH,+Self-Portrait+as+Agnostic+II,+2003,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163617157794072178" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9Gpgea8bYXBsimLRBwWiKK2-vkI7vAqWAeIUoAikWB-uL4qtUPMU_7n20IQv-RruQX_67BBZkfOgliaSAWLFfZtTsfihli2rQzTzgXejH0AEv0x8KU4vA1frxSwbnoiKPCBLI9KRnVz0/s400/JH,+Self-Portrait+as+Agnostic+II,+2003,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Self-Portrait as Agnostic II» 2003, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcTSgw9g4Yv6GuN3D9eE-RWii1MiEoSEwLs3Q9ldk_GXUIXrzgRdYCfHYnMvQC0-VmHSA67wmdyz4iGVuGk-y_6vaYvnvEWZ6wAaZn06PW1RuOwF7NIz1PoKie31pJlaY6h4fyZRb0eW8/s1600-h/JH,+Self+Portrait+at+Subject,+2007,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163616981700413026" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcTSgw9g4Yv6GuN3D9eE-RWii1MiEoSEwLs3Q9ldk_GXUIXrzgRdYCfHYnMvQC0-VmHSA67wmdyz4iGVuGk-y_6vaYvnvEWZ6wAaZn06PW1RuOwF7NIz1PoKie31pJlaY6h4fyZRb0eW8/s400/JH,+Self+Portrait+at+Subject,+2007,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Self-Portrait as Subject» 2007, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBr61RFJPQcfxVaZ6QahzKB-ovqaC_j-c9wWHtVZAZiuZxt0stmfmZQqt1vaEgmYD96afcqK4_hAo32rVxUlVFwwsQ8P7no9jU4-GorgzYTfjH4RHMbJN003YYhvddFG2sm4cFyyup1EU/s1600-h/JH,+Self+Portrait+as+Dead+Meat+II,+2006,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163616706822506066" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBr61RFJPQcfxVaZ6QahzKB-ovqaC_j-c9wWHtVZAZiuZxt0stmfmZQqt1vaEgmYD96afcqK4_hAo32rVxUlVFwwsQ8P7no9jU4-GorgzYTfjH4RHMbJN003YYhvddFG2sm4cFyyup1EU/s400/JH,+Self+Portrait+as+Dead+Meat+II,+2006,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Self-Portrait as Dead Meat II» 2006, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg55pGEkrp5kv9Ed2viqH4W7jL_hEbUM6s-4EgVKWsbntK3k1hTptFJhBbcb-czIyRBLDcoVqPkGofLaJWj_mvrnROzmllvgHom8IKKX0BA24h84Gu3yzehINN9DvHCdTumNV9rwkvoqw0/s1600-h/JH,+Self-Portrait+as+Wunder+Kabinet,+2003,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163616479189239362" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg55pGEkrp5kv9Ed2viqH4W7jL_hEbUM6s-4EgVKWsbntK3k1hTptFJhBbcb-czIyRBLDcoVqPkGofLaJWj_mvrnROzmllvgHom8IKKX0BA24h84Gu3yzehINN9DvHCdTumNV9rwkvoqw0/s400/JH,+Self-Portrait+as+Wunder+Kabinet,+2003,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Self-Portrait as Wunder Kabinet» 2003, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8BtnQf1rC2ZOomYydaoN7aoanxij3tJ0W8H_juWF_Ssx0MejNx8NGc8nIAQ-6GYUVgs2Nm8qWeTLEkCSs3qUonYI-UxE_s8Q31aPV1EwCoaiUqGjh6KC-cbkK3RPuqyALL5Mh1ybDDL8/s1600-h/JH,+Self-Portrait+as+Thing+in+the+Forrest+III,+2003,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163616251555972658" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8BtnQf1rC2ZOomYydaoN7aoanxij3tJ0W8H_juWF_Ssx0MejNx8NGc8nIAQ-6GYUVgs2Nm8qWeTLEkCSs3qUonYI-UxE_s8Q31aPV1EwCoaiUqGjh6KC-cbkK3RPuqyALL5Mh1ybDDL8/s400/JH,+Self-Portrait+as+Thing+in+the+Forrest+III,+2003,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Self-Portrait as Thing in the Forrest III» 2003, oil on canvas </span></div><div><span style="font-size:85%;color:#ffffff;">*<br />*</span></div><div></div><div align="left"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="left"><span style="font-size:85%;color:#330000;"><strong>JOHN CURRIN</strong> (1962-) nascido em Boulder, Colorado nos Estados-Unidos</span></div><div align="left"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="left"><span style="font-size:85%;color:#330000;"></span></div><div align="left"><span style="font-size:85%;color:#330000;"></span></div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSgEQ99no6qz8L58p4Slhw4PnYqfjDeW1LBprafLpBcF0O_jS0Pas6bEtRE_B90QRdoYAdxdYlHIN2qXo1_GdVAukCyDvIwN-Eu5g0gphruM15DE8Q1buapGgbTAOm-IoMump5kn2SdSw/s1600-h/JC,+Standing+Nude,+1993,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163615985268000290" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSgEQ99no6qz8L58p4Slhw4PnYqfjDeW1LBprafLpBcF0O_jS0Pas6bEtRE_B90QRdoYAdxdYlHIN2qXo1_GdVAukCyDvIwN-Eu5g0gphruM15DE8Q1buapGgbTAOm-IoMump5kn2SdSw/s400/JC,+Standing+Nude,+1993,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Standing Nude» 1993, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz26zUnymK__cDE8TfKIw53eVCQkDlNmL46JAit6YN7o-XlW5Xm0v8lMguz9WFiDVMyarM1shJEZSW3O2vKvuIAcFCJHMah-58LEKehHPTqDUBNV5jm2BQdVTX3EzTfPxfbWqnrjyGa38/s1600-h/JC,+Thanksgiving,+2003,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163615817764275730" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjz26zUnymK__cDE8TfKIw53eVCQkDlNmL46JAit6YN7o-XlW5Xm0v8lMguz9WFiDVMyarM1shJEZSW3O2vKvuIAcFCJHMah-58LEKehHPTqDUBNV5jm2BQdVTX3EzTfPxfbWqnrjyGa38/s400/JC,+Thanksgiving,+2003,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Thanksgiving» 2003, oil on canvas<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsazi54dLTcw4Ovwo8MsTkOb39T8Wnkd0gHyTGVVu0IsTlqa0mBTuas9ziU5mI0eF8tcYjlFxOUdb4xhZfur6_sXGfbFSwpNeBRtg3Pijd7H41QFyKUQ_HtrwHj5CvGJjtmBP9L4_sVoQ/s1600-h/JC+%C2%AB2070%C2%BB+2005,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5163615615900812802" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhsazi54dLTcw4Ovwo8MsTkOb39T8Wnkd0gHyTGVVu0IsTlqa0mBTuas9ziU5mI0eF8tcYjlFxOUdb4xhZfur6_sXGfbFSwpNeBRtg3Pijd7H41QFyKUQ_HtrwHj5CvGJjtmBP9L4_sVoQ/s400/JC+%C2%AB2070%C2%BB+2005,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «2070» 2005, oil on linen</span><br /><span style="color:#ffffff;">*</span></div><div align="center"><span style="color:#ffffff;">*<br /></span></div><div align="left"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="left"><span style="font-size:85%;color:#330000;"><strong>KAREN KILIMNIK</strong> (1962-) nascida em Philadelphia, Pennsylvania, nos Estados-Unidos</span></div><div align="left"><br /><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNDyGpU_U1YS4tV2kj0gMpLC1ZLHf86DJ5VFXBMYDCUB56E_09HX_tBsTCgIXe2uLnCd5n_vpr_mVKC29Z0AtrgmRcoA-E6UAb0BOc9AvjgjON1eBGWCqwVpcSWTut1xE3ygAX6G4nxFk/s1600-h/KK,+Prince+Charming,+1998,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163615392562513394" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNDyGpU_U1YS4tV2kj0gMpLC1ZLHf86DJ5VFXBMYDCUB56E_09HX_tBsTCgIXe2uLnCd5n_vpr_mVKC29Z0AtrgmRcoA-E6UAb0BOc9AvjgjON1eBGWCqwVpcSWTut1xE3ygAX6G4nxFk/s400/KK,+Prince+Charming,+1998,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Prince Charming» 1998, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9GyGD8XoGtjwYvBGOmJnbe-UX1OlLw2TGvjiRX7QNiMscjNLXUqoJ5UrDlEV4HGB8TDxAR11T5YwO6_4LN0TCQ4yr9CE4xnl2G-Md68817aq7DO1LvaO-UOX9C8gT80Rd9p91LHVrDI4/s1600-h/KK,+The+Shade+in+the+River+Styx,+2005,+water+soluble+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163615203583952354" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9GyGD8XoGtjwYvBGOmJnbe-UX1OlLw2TGvjiRX7QNiMscjNLXUqoJ5UrDlEV4HGB8TDxAR11T5YwO6_4LN0TCQ4yr9CE4xnl2G-Md68817aq7DO1LvaO-UOX9C8gT80Rd9p91LHVrDI4/s400/KK,+The+Shade+in+the+River+Styx,+2005,+water+soluble+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «The Shade in the River Styx» 2005, water soluble oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWYsqEuSKnrHY7wC3dX_vKH6D685b8eoVV1ollL68sqxONSqIitybSahr6vY1p9zb8-jtJkYNB1QXSrBKVJXw9g5ZKMo8FFKk744TO1CLmJlBJZnObie-Fk7y4HCq4YQunV8EIx-GpKHc/s1600-h/Karen+Kilimnik,+Tabitha+II,+1998,+water+soluble+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163615031785260498" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWYsqEuSKnrHY7wC3dX_vKH6D685b8eoVV1ollL68sqxONSqIitybSahr6vY1p9zb8-jtJkYNB1QXSrBKVJXw9g5ZKMo8FFKk744TO1CLmJlBJZnObie-Fk7y4HCq4YQunV8EIx-GpKHc/s400/Karen+Kilimnik,+Tabitha+II,+1998,+water+soluble+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Tabitha II» 1998, water soluble oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ5zRnTnkBb2WhSGxYyhyeNIVC-OmWmvCKFt9A6K4xK-SckPaB-XBLkMkPLI_iR-r4YuVuig5rQeVfmV__m8DZmOAeLhSyEMMacQqQ6jGxCLsHDL0uR4r-5mV1wLwjC1oZZss68puZkGo/s1600-h/KK,+The+Head+Witche%27s+House,+Reception+Room,+2005,+water+soluble+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163614722547615170" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQ5zRnTnkBb2WhSGxYyhyeNIVC-OmWmvCKFt9A6K4xK-SckPaB-XBLkMkPLI_iR-r4YuVuig5rQeVfmV__m8DZmOAeLhSyEMMacQqQ6jGxCLsHDL0uR4r-5mV1wLwjC1oZZss68puZkGo/s400/KK,+The+Head+Witche%27s+House,+Reception+Room,+2005,+water+soluble+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «The Head Witche's House, ReceptionRoom» 2005 </span></div><div><span style="font-size:85%;color:#660000;">water soluble oil on canvas </span></div><span style="font-size:85%;color:#660000;"></span></div><span style="font-size:85%;color:#660000;"></span></div><div><span style="font-size:85%;color:#660000;"><div><span style="color:#ffffff;">*</span></div><div><span style="color:#ffffff;">*</span></div><div><span style="color:#ffffff;">*</span></div><div align="left"><strong>WILHELM SASNAL</strong> (1972-) nascido em Tarnów, na Polónia</div><div align="left"><span style="color:#ffffff;">*<br /></span></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6DVVAX_r8wNKoWd9AMfedNBOk0nzlewQ91mIsuCNpv2jgftpA8NmU2FLpNelpIigQa9r3ykzar43gmOfW5ShBuFhd9oevtbkOhGLOVEIMiaJ_DYY5_-kiE-NTlWqJ0AsoEJzwaBCb4rs/s1600-h/WS,+Girl+Smoking+(Dominika)+2001,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163614520684152242" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6DVVAX_r8wNKoWd9AMfedNBOk0nzlewQ91mIsuCNpv2jgftpA8NmU2FLpNelpIigQa9r3ykzar43gmOfW5ShBuFhd9oevtbkOhGLOVEIMiaJ_DYY5_-kiE-NTlWqJ0AsoEJzwaBCb4rs/s400/WS,+Girl+Smoking+(Dominika)+2001,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Girl Smoking (Dominika) 2001, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPhxeOjjbIMlg8gH8_JeLLnAbsmJveUWr9KuoCeIzFk6LXftlEmmx0FZECCHk4n5TY1YQdGMSrHBiCsYpEF_s9d6aKGI_lp1IiEfM8EiSURQBxp2ZhbfjcmMdrxLTGZTAu0cJ9IuTTcLc/s1600-h/WS,+Untitled,+2004,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163614314525722018" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPhxeOjjbIMlg8gH8_JeLLnAbsmJveUWr9KuoCeIzFk6LXftlEmmx0FZECCHk4n5TY1YQdGMSrHBiCsYpEF_s9d6aKGI_lp1IiEfM8EiSURQBxp2ZhbfjcmMdrxLTGZTAu0cJ9IuTTcLc/s400/WS,+Untitled,+2004,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Untitled» 2004, oil on canvas</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSu7tJcyvXOGosVD08zgp1oU-rxXf4tzphzOU2x2jO0qDIdJ-xvWJlad_eFXzUvduBxklUtburc-kbLVzsW1Rj_W4yjn5K3lCCGNJN-wt2IKpjQmuDRUkc_CHREOdiE7Lf134xw2zvhAY/s1600-h/WS,+Portrait+of+Rodchenko,+Lady,+2002,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163614147021997458" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSu7tJcyvXOGosVD08zgp1oU-rxXf4tzphzOU2x2jO0qDIdJ-xvWJlad_eFXzUvduBxklUtburc-kbLVzsW1Rj_W4yjn5K3lCCGNJN-wt2IKpjQmuDRUkc_CHREOdiE7Lf134xw2zvhAY/s400/WS,+Portrait+of+Rodchenko,+Lady,+2002,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Portrait of Rodchenko, Lady» 2002, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7de2txe06cfbXmoi073EhuFeqghLLkknOu9u6mXUbwE9VXNL0sx2cUAY2v1bUXkkXZ3JR7-h853HdznGzlosayMa5-692cP5-UqpmY5yBCBlw1oe8y0rEPvz-LC7Nb3Dq0vG19LGRVA8/s1600-h/WS,+Broniewski,+2004,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163613893618926978" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7de2txe06cfbXmoi073EhuFeqghLLkknOu9u6mXUbwE9VXNL0sx2cUAY2v1bUXkkXZ3JR7-h853HdznGzlosayMa5-692cP5-UqpmY5yBCBlw1oe8y0rEPvz-LC7Nb3Dq0vG19LGRVA8/s400/WS,+Broniewski,+2004,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Broniewski» 2004, oil on canvas</span></div><div><span style="font-size:85%;color:#ffffff;">*<br />*</span></div><div></div><div align="left"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="left"><span style="font-size:85%;color:#330000;"><strong>JAKUB JULIAN ZIOLKOWSKI</strong> (1980-) nascido em Zamosc na Polónia</span></div><div align="left"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="left"><span style="font-size:85%;color:#330000;"></span></div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQj8QPDyqtOZgoBYrmqhpZSnq0mxSlVmI3W2p45mlGSbblp1f3gwevsjaE91wHYcmi1NXpmV_C9K3kKTy4WZmztF7Cgb3lqJDuq040kW46Q-mriOS9VHHPmiKEv2gAfoF0omLMTi1snUQ/s1600-h/Jakub+Julian+Ziolkowski,+The+Great+Battle+Under+the+Table,+2006,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163613653100758386" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQj8QPDyqtOZgoBYrmqhpZSnq0mxSlVmI3W2p45mlGSbblp1f3gwevsjaE91wHYcmi1NXpmV_C9K3kKTy4WZmztF7Cgb3lqJDuq040kW46Q-mriOS9VHHPmiKEv2gAfoF0omLMTi1snUQ/s400/Jakub+Julian+Ziolkowski,+The+Great+Battle+Under+the+Table,+2006,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «The Great Battle under the Table» 2006, oil on canvas </span></div><div><span style="font-size:85%;color:#ffffff;">*<br />*</span></div><div></div><div align="left"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="left"><span style="font-size:85%;"><span style="color:#330000;"><strong>ANJ SMITH</strong> (1979-) nascida em <span style="color:#330000;">Londres na In</span></span><span style="color:#330000;">glaterra</span></span></div><div align="left"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="left"><span style="font-size:85%;color:#330000;"></span></div><div align="left"></div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL9ZuL4JEUxYghmsa_aKHXw6VyGODMQmDdyqkuDpRYsPpZeTF2dfheitQUaKpZoCJvCrEbkXAFSrTDXG3SThfWsh5QsGMqtC4a3F_spjWxss76q2ZIgePtg4DZYJ71cUn7deM63ZAHgN8/s1600-h/Anj+Smith,+High+Place+Remainder,+2007,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5163613369632916834" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgL9ZuL4JEUxYghmsa_aKHXw6VyGODMQmDdyqkuDpRYsPpZeTF2dfheitQUaKpZoCJvCrEbkXAFSrTDXG3SThfWsh5QsGMqtC4a3F_spjWxss76q2ZIgePtg4DZYJ71cUn7deM63ZAHgN8/s400/Anj+Smith,+High+Place+Remainder,+2007,+oil+on+linen.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«High Place Reminder» 2007, oil on linen<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglCbj-DwDNanPskiIZ2R-sgtnDhpj-kTkTweKxgBgdZyRisY5T4zgHx5SFEbonI8rR_pKlkuMos-khcleeyyoCGl_TIajLN_zVl_fuLc0XpDCr_xm1ybBxJj1mt0JEGxJx6KeHrCbW3i4/s1600-h/Anj+Smith,+Totem+2,+2006,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5163613137704682834" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglCbj-DwDNanPskiIZ2R-sgtnDhpj-kTkTweKxgBgdZyRisY5T4zgHx5SFEbonI8rR_pKlkuMos-khcleeyyoCGl_TIajLN_zVl_fuLc0XpDCr_xm1ybBxJj1mt0JEGxJx6KeHrCbW3i4/s400/Anj+Smith,+Totem+2,+2006,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Totem 2» 2006, oil on linen </span></div><div><span style="font-size:85%;color:#ffffff;">*<br />*</span></div><div></div><div align="left"><span style="font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="left"><span style="font-size:85%;color:#330000;"><strong>GLENN BROWN</strong> (1966-) nascido em Hexham na Inglaterra</span></div><div align="left"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="left"><span style="font-size:85%;color:#330000;"></span></div><div><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUzyGcT4csuitsGK79DlDYkZH_-J5ahDjM8vqkiLLw8-VPvQlbThTtGb81oEvl4mqGo_G7dEyvDvlrWXpR3VGyLlNUwwOPLWib2mf0ATHPUP_M39wvKZtIlagwzW-NiRsvKbwM0oysaaw/s1600-h/GB,+The+Aesthetic+Poor+(for+Tim+Buckley)+after+John+Martin,+2002,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163612858531808578" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUzyGcT4csuitsGK79DlDYkZH_-J5ahDjM8vqkiLLw8-VPvQlbThTtGb81oEvl4mqGo_G7dEyvDvlrWXpR3VGyLlNUwwOPLWib2mf0ATHPUP_M39wvKZtIlagwzW-NiRsvKbwM0oysaaw/s400/GB,+The+Aesthetic+Poor+(for+Tim+Buckley)+after+John+Martin,+2002,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «The Aesthetic Poor (for Tim Buckley) after John Martin» 2002,</span></div><div><span style="font-size:85%;color:#660000;">oil on canvas<br /></span><br /></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZdLNX8tUiFU9Hlfnk_i0Je4RD3klW0d6NjG5QoTha2A5R4BlPFQoAA3UtSIca9AEs4UPQRd3OTFx0H4pq7j-M5Cf2dTcwhn_ItPSWryGOSsLAZiwbJDRoeyUVUWkZLiNXZnRm97W0mDE/s1600-h/Glenn+Brown,+Filth,+2004,+oil+on+panel.jpg"><img id="BLOGGER_PHOTO_ID_5163612712502920498" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZdLNX8tUiFU9Hlfnk_i0Je4RD3klW0d6NjG5QoTha2A5R4BlPFQoAA3UtSIca9AEs4UPQRd3OTFx0H4pq7j-M5Cf2dTcwhn_ItPSWryGOSsLAZiwbJDRoeyUVUWkZLiNXZnRm97W0mDE/s400/Glenn+Brown,+Filth,+2004,+oil+on+panel.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Filth» 2004, oil on panel<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYYG6emoFUyd7SIvNbuFMlwSAngThAHL_iw_51Uk-8YNV_faEH-wOVU5WY91DbLnxTrLfGAb-J9n7ehccgr-yvPBbT5K9neaUoqsaejdEBcHAdHUcnqhm9BCf-JRjlrM_Mn1sAIzSHfOo/s1600-h/GB,+Harpy,+2002,+oil+on+panel.jpg"><img id="BLOGGER_PHOTO_ID_5163612493459588386" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYYG6emoFUyd7SIvNbuFMlwSAngThAHL_iw_51Uk-8YNV_faEH-wOVU5WY91DbLnxTrLfGAb-J9n7ehccgr-yvPBbT5K9neaUoqsaejdEBcHAdHUcnqhm9BCf-JRjlrM_Mn1sAIzSHfOo/s400/GB,+Harpy,+2002,+oil+on+panel.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Harpy» 2002, oil on panel<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizKz37tXCL83SWatGD8fQQ53uDOg7h1A-Dtdt_0pmvfgU9byUZVrEcuVTKy-Ms4iSQeZnxmpyqiiGeSBmk2uHuXmJeYcoBnglX3vbgv29szEXzP4dinOVQVWXEJxqhasYjcynZH3ywKVY/s1600-h/GB,+Misogyny,+2006,+oil+on+wood.jpg"><img id="BLOGGER_PHOTO_ID_5163612334545798418" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizKz37tXCL83SWatGD8fQQ53uDOg7h1A-Dtdt_0pmvfgU9byUZVrEcuVTKy-Ms4iSQeZnxmpyqiiGeSBmk2uHuXmJeYcoBnglX3vbgv29szEXzP4dinOVQVWXEJxqhasYjcynZH3ywKVY/s400/GB,+Misogyny,+2006,+oil+on+wood.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Misogyny» 2006, oil on wood<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNd_yCPIbfu7VGSNtST3TefkyiQEfvt50ecnkfKBToxT8on0pEGs_M3Fd20n2xkAcLPfmhKTSQfuAW_KTU0rLDNEW343jG09gn7SRO2XB4bm_M6dT6g6dDaOo910QRHgCj4UnXrSepZGE/s1600-h/Glenn+Brown,+America,+2004,+oil+on+panel.jpg"><img id="BLOGGER_PHOTO_ID_5163612132682335490" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNd_yCPIbfu7VGSNtST3TefkyiQEfvt50ecnkfKBToxT8on0pEGs_M3Fd20n2xkAcLPfmhKTSQfuAW_KTU0rLDNEW343jG09gn7SRO2XB4bm_M6dT6g6dDaOo910QRHgCj4UnXrSepZGE/s400/Glenn+Brown,+America,+2004,+oil+on+panel.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«America» 2004, oil on panel</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbIUKt2GUWTDviFgNK4BHPvZJC8mFeusHAvygE8hWa0lJHQ_p_i-4vg7XaHn_AUmKyIoysbFZ4084DylyNHzAQ10QcXjVLBtrN-hvyZU0Fwb__cxAsPE5D_0BJvP63WraBemhXfXeaJ6c/s1600-h/Glenn+Brown,+The+Loves+of+Shepherd+(after+Tony+Roberts)+2000,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5163611909344036082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbIUKt2GUWTDviFgNK4BHPvZJC8mFeusHAvygE8hWa0lJHQ_p_i-4vg7XaHn_AUmKyIoysbFZ4084DylyNHzAQ10QcXjVLBtrN-hvyZU0Fwb__cxAsPE5D_0BJvP63WraBemhXfXeaJ6c/s400/Glenn+Brown,+The+Loves+of+Shepherd+(after+Tony+Roberts)+2000,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«The Loves of Shepherd» (after Tony Roberts) 2000,</span></div><div><span style="font-size:85%;color:#660000;">oil on canvas<br /></div></span><div align="justify"><br /><br /><br /><span style="color:#330000;"><span style="font-size:85%;"><a href="http://www.zwirnerandwirth.com/exhibitions/2007/0607OldSchool/index.html"><span style="color:#ff6666;"><strong>Old School</strong></span> </a>é um fenómeno recente na arte contemporânia, na medida em que celebra o assumir de um novo compromisso com as formas de representação dos Grandes Mestres da pintura. Uma nova geração de artistas toma como referência as obras de arte desses grandes clássicos, redefinindo e recontextualizando as técnicas, as temáticas e a expressão através da imagem, dos seus antecessores. A exposição Old School pretende assim estabelecer o diálogo entre o clássico e o actual, através de uma selecção de obras que vai desde o século XV até à actualidade.<br /><span style="color:#ffffff;">*<br /></span>Nesta exposição, cada um dos jovens artistas apresenta a sua própria conceptualização artística a partir dos referenciais históricos. Adoptando as iconografias, os ritmos gráficos e as técnicas de Lucas Cranach (1472-1553), as pinturas de John Currin de meados a finais dos anos 90, introduzem uma complexidade histórica e um estilo distinto e elegante aos corpos femininos, provocadoramente artificiais, que figuram nas suas obras. Artistas como: Currin, Anj Smith e Djordje Ozbolt, conscientemente fazem uso das composições clássicas da pintura de género, histórica e paisagística, de modo às suas imagens fazerem lembrar as obras de arte do passado, enquanto exploram o fosso entre as antigas e as actuais sensibilidades. Esta observância de diferentes tempos numa só imagem, é também explorada nas complexas pinturas de Hilary Harkness, que faz confluir episódios históricos com extravagância contemporânea, e também nas obras de Richard Wathen, cujos retratos expõem concentradas numa só as várias idades da vida do ser humano.<br /><span style="color:#ffffff;">*<br /></span>Enquanto que a destreza técnica é uma característica de muitos dos trabalhos da exposição, as atitudes expressas em relação à arte do passado variam enormemente. Enquanto algumas das homenagens de artistas contemporâneos ao trabalho dos grandes mestres são assinaladas com ambivalência, o trabalho de Berlinde de Bruychere, por oposição, responde com a utilização de materiais intemporais com vista à abordagem do tema do processo de envelhecimento de uma forma afectuosa e sincera. Por outro lado, as semelhanças superficiais de Glenn Brown e Anj Smith com as icónicas obras clássicas abrem caminho à inovação estilística.<br /><span style="color:#ffffff;">*<br /></span>Tal como nas obras dos Grandes Mestres e nas dos contemporâneos, teatricalidade e narrativa são amplamente toleradas. As alegorias podem ser lidas e as opiniões produzidas através de detalhes ocasionais e de formas exageradas e idealizadas. Sentimentalismo, humor e representação são evidentes em obras como: “Great Battle under the Table” de Jakub Julian Ziolkowski e “Self Portrait as a Tender Mercenary” de Julie Heffernan, enquanto que é o modo antiquado de vestir das pessoas que habitam as paisagens semelhantes às de Brueghel, de Christopher Orr que confere estranheza aos seus quadros. Tal como Orr, Borremans, Peyton, Kilimnik e Raedecker, todos eles constroem implacáveis e fabulosos contos de fadas da junção entre as realidades dos tempos modernos com elementos e estilos que apontam nostalgicamente para o passado.<br /></span></span><strong><span style="font-size:85%;color:#330000;">Zwirner & Wirth Gallery, New York<br />(traduzido por Fernanda Valente)</span></strong></div><div align="center"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><strong><span style="font-size:85%;color:#330000;"></span></strong></div><div align="center"><strong><span style="font-size:85%;color:#330000;">* * *</span></strong></div><div align="center"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><strong><span style="font-size:85%;color:#330000;"></span></strong></div><div align="justify"><strong><span style="font-size:85%;color:#330000;"></span></strong></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Old School celebrates a re-engagement with Old Master modes of representation, which might be said to be a recent phenomenon in contemporary art. A younger generation of artists looks to the past in works that re-define and re-contextualize the techniques, themes, and imagery of their art-historical predecessors, and Old School aims to present a dialogue between old and new with a selection of works spanning the 15th to the 21st centuries.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>Each of the younger artists in this exhibition presents a unique approach to history. By adopting the iconographies, graphic rhythms and techniques of Lucas Cranach, John Currin’s paintings from the mid to late nineties graft a historical complexity and painterly panache to the provocatively unnatural female bodies that feature in his paintings. Artists such as Currin, Anj Smith, and Djordje Ozbolt consciously make use of classic compositions of genre, history and landscape painting so that their images recall past artworks, while mining the gap between current sensibilities and those of previous times. This observance of different moments of time within a single image is also explored in Hilary Harkness’ complex paintings, which conflate episodes from history a contemporary extravagance, and in the works of Richard Wathen whose portraits are chilling distillations of all of a person’s ages into one.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>While technical dexterity is a characteristic of many of the works in the exhibition, the attitudes displayed towards the art of the past vary tremendously. While some of the contemporary artists’ homages to old master work is spiked with ambivalence, the work of Berlinde de Bruyckere, in contrast, returns to timeless materials to treat age-old subject matters with warmth and sincerity. Moreover, Glenn Brown’s and Anj Smith’s superficial resemblances to old and iconic works give way to stylistic innovation.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">In Old Master and contemporary works alike, theatricality and storytelling are fully-indulged. Allegories can be read and opinions pronounced through chance details and exaggerated and idealized forms. Sentimentality, humor and role-playing is evident in works such as Jakub Julian Ziolkowski’s Great Battle Under the Table and Julie Heffernan’s Self Portrait as a Tender Mercenary, while it is the dowdily-dressed people that inhabit Christopher Orr’s Brueghel-like landscapes that give his paintings their strangeness. Like Orr, Borremans, Peyton, Kilimnik, and Raedecker all weave grim and fabulous fairy-tales out of the conjoining of modern-day realities with elements and styles that point nostalgically to the past.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;"><span style="color:#330000;"><strong>Zwirner & Wirth Gallery, New York</strong></span><a href="http://old%20school%20celebrates%20a%20re-engagement%20with%20old%20master%20modes%20of%20representation,%20which%20might%20be%20said%20to%20be%20a%20recent%20phenomenon%20in%20contemporary%20art.%20%20a%20younger%20generation%20of%20artists%20looks%20to%20the%20past%20in%20works%20that%20re-define%20and%20re-contextualize%20the%20techniques,%20themes,%20and%20imagery%20of%20their%20art-historical%20predecessors,%20and%20old%20school%20aims%20to%20present%20a%20dialogue%20between%20old%20and%20new%20with%20a%20selection%20of%20works%20spanning%20the%2015th%20to%20the%2021st%20centuries./"></a></span></div><div align="justify"><span style="font-size:85%;color:#ff6666;"><strong></strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"></span></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com1tag:blogger.com,1999:blog-2054748435853847162.post-71272643505631785902008-01-24T23:36:00.000+00:002008-01-28T19:19:27.080+00:00Louise Bourgeois, Paris / França - Escultora Movimentos artísticos de vanguarda do séc. XX<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC3CWWx_Zu2WdE_yLJzzS3nFOfRJVYvd4KatHUFKOrgG35g6a6kAy6jo_tvjulcyDflN22I3nR_Yz2oVYaZcwoT3U3UickP-LZSnovM-EzRfjccIu9X1vREk3WGNQK1tOfkOuSTiw1tD6E/s1600-h/Spider,+1997,+steel,+tapestry,+wood,+glass,+fabric,+rubber,+silver,+gold+and+bone.jpg"><img id="BLOGGER_PHOTO_ID_5159214915099918082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjC3CWWx_Zu2WdE_yLJzzS3nFOfRJVYvd4KatHUFKOrgG35g6a6kAy6jo_tvjulcyDflN22I3nR_Yz2oVYaZcwoT3U3UickP-LZSnovM-EzRfjccIu9X1vREk3WGNQK1tOfkOuSTiw1tD6E/s400/Spider,+1997,+steel,+tapestry,+wood,+glass,+fabric,+rubber,+silver,+gold+and+bone.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;">Cell sculptures «Spyder» 1997, steel, tapestry, wood, glass, </span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">fabric, rubber, silver, gold and bone<br /><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEiiU0vKdJwCnE6XkecPCBW0ZSaKZGfp_VGBBdNTa-VzH74ZhvTMKbPu7vg4AFbIwL6-KfAx3heHA2oUzaEjMZpeygvegKwZ6Kv-MJAHPQcnGAAfzrZLn1_tr6Vrc2YX__NkgPHNeCOF-a/s1600-h/Cell+XXV+(The+view+of+the+world+of+the+jealous+wife),+2001,+steel,+wood,+marble,+glass+and+fabric.bmp"><img id="BLOGGER_PHOTO_ID_5159214640222011122" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEiiU0vKdJwCnE6XkecPCBW0ZSaKZGfp_VGBBdNTa-VzH74ZhvTMKbPu7vg4AFbIwL6-KfAx3heHA2oUzaEjMZpeygvegKwZ6Kv-MJAHPQcnGAAfzrZLn1_tr6Vrc2YX__NkgPHNeCOF-a/s400/Cell+XXV+(The+view+of+the+world+of+the+jealous+wife),+2001,+steel,+wood,+marble,+glass+and+fabric.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> Cell sculptures «Cell XXV - The View of the World of the Jealous Wife» </span><br /><span style="font-size:85%;color:#660000;">2001, </span><span style="font-size:85%;color:#660000;">steel, wood, marble, glass and fabric<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbETFUp_0WLvyFD0Gl0jFG3NR3UXWgf8YuDeHPKcG8Y-N6ZXSpbj4bJagUBVw1dbacSINoI5iUacAzYDJWAhLiicK4iazgDwv5jhLL_H2DK2gl7sP5j7OCcE4oj5OCBpDILYoiR3_0qhhN/s1600-h/Cell+XVIII+(Portrait)+2000.jpg"><img id="BLOGGER_PHOTO_ID_5159214412588744418" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbETFUp_0WLvyFD0Gl0jFG3NR3UXWgf8YuDeHPKcG8Y-N6ZXSpbj4bJagUBVw1dbacSINoI5iUacAzYDJWAhLiicK4iazgDwv5jhLL_H2DK2gl7sP5j7OCcE4oj5OCBpDILYoiR3_0qhhN/s400/Cell+XVIII+(Portrait)+2000.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Cell sculptures «Cell XXVIII - Portrait» 2000, metal, fabric, plaster</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOcRCMRPrH5gvY6uu3JQdLa_3fbVUUlhTT4Sk03if7s2jyp7GXtgFunl2rdfoEZjep-NX7k42iJV69uzkD5Rj-JWUbzfUu0z4zK57reUZTvHJiDZbu-7-1cJ7K3itkAuNQH6PcsQkYC3o7/s1600-h/In+and+Out,+1995,+metal,+glass,+plaster,+fabric+and+plastic.bmp"><img id="BLOGGER_PHOTO_ID_5159213918667505362" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgOcRCMRPrH5gvY6uu3JQdLa_3fbVUUlhTT4Sk03if7s2jyp7GXtgFunl2rdfoEZjep-NX7k42iJV69uzkD5Rj-JWUbzfUu0z4zK57reUZTvHJiDZbu-7-1cJ7K3itkAuNQH6PcsQkYC3o7/s400/In+and+Out,+1995,+metal,+glass,+plaster,+fabric+and+plastic.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> Cell sculptures «In and Out» 1995, metal, glass, plaster, </span><br /><span style="font-size:85%;color:#660000;">fabric and plastic<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRO9YWuc051K1OnBU0hJBpaxuRpXpiLsq-gtRdSMYmopItVjBymRTduTQeGSYuXJL8ItjmL-mqlk8SMSRwvZ8AYC-K4wk4DXp5e5_Cywj-we80jl4yWMF9uTQrpan1S9jzTikAWVg5t8zh/s1600-h/Cell+XIV+(Portrait),+2000,+steel,+glass,+wood,+metal+and+red+fabric.bmp"><img id="BLOGGER_PHOTO_ID_5159213652379532994" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRO9YWuc051K1OnBU0hJBpaxuRpXpiLsq-gtRdSMYmopItVjBymRTduTQeGSYuXJL8ItjmL-mqlk8SMSRwvZ8AYC-K4wk4DXp5e5_Cywj-we80jl4yWMF9uTQrpan1S9jzTikAWVg5t8zh/s400/Cell+XIV+(Portrait),+2000,+steel,+glass,+wood,+metal+and+red+fabric.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> Cell sculptures «Cell XIV - Portrait» 2000, steel, glass, </span><br /><span style="font-size:85%;color:#660000;">wood, metal and red fabric<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRGhDfW9JOAgHDti7PIvZxD2NJUssgdu6LF6IAF9INjLCjv_47Iis7A2S-0yy_-JDMUDmLirMivlCAPCcZZpwG6JHgEIdL3DOoUz-Vw_HZYh88NfQJXAzj7UCyJESVaKZxFljXTYCBEGIE/s1600-h/UNTITLED,+2002,+pink+marble.bmp"><img id="BLOGGER_PHOTO_ID_5159213429041233586" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRGhDfW9JOAgHDti7PIvZxD2NJUssgdu6LF6IAF9INjLCjv_47Iis7A2S-0yy_-JDMUDmLirMivlCAPCcZZpwG6JHgEIdL3DOoUz-Vw_HZYh88NfQJXAzj7UCyJESVaKZxFljXTYCBEGIE/s400/UNTITLED,+2002,+pink+marble.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Marble sculptures «Untitled» 2002, pink marble<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjguQj4oMd88W_cbK6bnmfpgbLEUzYHg4-pRMi3aZmnWr-gZ_0Cy5_UPdftdcNw8C2AeasmvwoKayDmzKd86pl1Qg7ppaUXAh_bZuBTU-2_I6yzhRjRHCrEH_M0H3CDh4JFMeYq4Mua98rl/s1600-h/UNTITLED+(NO.+2),+1996,+pink+marble+on+steel+base.bmp"><img id="BLOGGER_PHOTO_ID_5159213098328751778" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjguQj4oMd88W_cbK6bnmfpgbLEUzYHg4-pRMi3aZmnWr-gZ_0Cy5_UPdftdcNw8C2AeasmvwoKayDmzKd86pl1Qg7ppaUXAh_bZuBTU-2_I6yzhRjRHCrEH_M0H3CDh4JFMeYq4Mua98rl/s400/UNTITLED+(NO.+2),+1996,+pink+marble+on+steel+base.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> Marble sculptures «Untitled No. 2» 1996, pink marble on steel base<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ClahGQWxeA8xrGBSwTJsow8OmSSzgpPHFnnAZ8E2631QuNM0wr_QTjzPRFJ27eqISOlFMFAQGhWqa_NKpWrak-DiPXbXNc27Aa6XN1whsllF_sCT5GL7Gqebv9I0sBAMeQra8AXHj4JO/s1600-h/J'Y+SUIS,+J%27Y+RESTE,+1990,+pink+marble,+glass+and+metal.bmp"><img id="BLOGGER_PHOTO_ID_5159212698896793234" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6ClahGQWxeA8xrGBSwTJsow8OmSSzgpPHFnnAZ8E2631QuNM0wr_QTjzPRFJ27eqISOlFMFAQGhWqa_NKpWrak-DiPXbXNc27Aa6XN1whsllF_sCT5GL7Gqebv9I0sBAMeQra8AXHj4JO/s400/J'Y+SUIS,+J%27Y+RESTE,+1990,+pink+marble,+glass+and+metal.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Marble sculptures «J'y Suis, J'y Reste» 1990 </span><br /><span style="font-size:85%;color:#660000;">pink marble, glass and metal </span><br /><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /><br /></span></span><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;"></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjObKRPWmCsaRtHryinGimAcOh5y-J7dbmvktyVJ6CXNBu-k3LI6PsQNzCjSjvsTgwII7qrR46WgmF1ANl2cVwUOZi3IDNKJ39nuKaDmWv_KkvKMN059d67kPU9sehXg68wkzhQK3d2gtFV/s1600-h/EARS,+1998,+pink+marble.bmp"><img id="BLOGGER_PHOTO_ID_5159212445493722754" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjObKRPWmCsaRtHryinGimAcOh5y-J7dbmvktyVJ6CXNBu-k3LI6PsQNzCjSjvsTgwII7qrR46WgmF1ANl2cVwUOZi3IDNKJ39nuKaDmWv_KkvKMN059d67kPU9sehXg68wkzhQK3d2gtFV/s400/EARS,+1998,+pink+marble.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> Marble sculptures «<strong>Nature Study</strong> "Ears"» 1998, pink marble </span><br /><span style="font-size:85%;color:#ffffff;">*<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM3E9NwnTelBRSnvqpgHq4n8VvJiQi99WkXXIRBMPGNwAo_Exb1aaU6k68PSlRQ7Nn68QW6IEY92YoyeIx77g9hPehEGXALZc7XcImewOALmqz6SH_soZalXNQ68bxEicmlCDDnZNaUbpC/s1600-h/Nature+Study+(Eyes),+1984,+pink+and+white+marble+on+steel+and+wood+base.jpg"><img id="BLOGGER_PHOTO_ID_5159212200680586866" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM3E9NwnTelBRSnvqpgHq4n8VvJiQi99WkXXIRBMPGNwAo_Exb1aaU6k68PSlRQ7Nn68QW6IEY92YoyeIx77g9hPehEGXALZc7XcImewOALmqz6SH_soZalXNQ68bxEicmlCDDnZNaUbpC/s400/Nature+Study+(Eyes),+1984,+pink+and+white+marble+on+steel+and+wood+base.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Marble sculptures «<strong>Nature Study</strong> "Eyes"» 1984 </span><br /><span style="font-size:85%;color:#660000;">pink and white marble on steel </span><span style="font-size:85%;color:#660000;">and wood base </span><br /><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY3M0CK9-dIMpU0TOKyYFCTx3HwyvtYnxkPDOhZDFhjnGoFrJsk6NYHgjkCevsoGF1rsGfboNJdqs6iyLHsq97WK4j0Jm6GE7tw3UUR6D35x40B5hbuMMzWlHXEDmNpCAL1ZACXgD_JDyx/s1600-h/MAMELLES,+2000,+pink+marble.bmp"><img id="BLOGGER_PHOTO_ID_5159211968752352866" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY3M0CK9-dIMpU0TOKyYFCTx3HwyvtYnxkPDOhZDFhjnGoFrJsk6NYHgjkCevsoGF1rsGfboNJdqs6iyLHsq97WK4j0Jm6GE7tw3UUR6D35x40B5hbuMMzWlHXEDmNpCAL1ZACXgD_JDyx/s400/MAMELLES,+2000,+pink+marble.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> Marble sculptures «<strong>Nature Study</strong> "<strong>Mamelles</strong>"» 2000 </span><br /><div><span style="font-size:85%;color:#660000;">pink marble on steel and wood base<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4p1x3xpZvQHAy7VRwBj148wZEdl_tpuZl3tyW2kWT5b2gO6a5yOFNq8rXmGD2KyyAYExPqJMIeFe3m6q5A78Q7YWWR1utUs9wslYmxHV5nZEEfEvSZdAaNdY-E63OyLgAR3d4rNuTlm4i/s1600-h/Arch+of+Hysteria,+1993,+bronze+with+silver+nitrate+patina.gif"><img id="BLOGGER_PHOTO_ID_5159211672399609426" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4p1x3xpZvQHAy7VRwBj148wZEdl_tpuZl3tyW2kWT5b2gO6a5yOFNq8rXmGD2KyyAYExPqJMIeFe3m6q5A78Q7YWWR1utUs9wslYmxHV5nZEEfEvSZdAaNdY-E63OyLgAR3d4rNuTlm4i/s400/Arch+of+Hysteria,+1993,+bronze+with+silver+nitrate+patina.gif" border="0" /></a> <span style="font-size:85%;color:#660000;">Bronze sculptures «<strong>Arch of Hysteria</strong>» 1993 </span></div><div><span style="font-size:85%;color:#660000;">bronze with silver nitrate patina<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOJZPQWrdmjT8xX9ATVImOi0YrBIP8ZzxLeN20ML_WthHmc3AxoE9mniOSXj2fIhjDe6hCmJzOB05JIuzM_wUyh7lLlxXpIMlZ_mIZMknawj8Bzm7WqOkz7uxPwvouoQFrbD0Bb05T1dql/s1600-h/Torso+(Self-Portrait)+1963-64,+plaster.jpg"><img id="BLOGGER_PHOTO_ID_5159211504895884866" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOJZPQWrdmjT8xX9ATVImOi0YrBIP8ZzxLeN20ML_WthHmc3AxoE9mniOSXj2fIhjDe6hCmJzOB05JIuzM_wUyh7lLlxXpIMlZ_mIZMknawj8Bzm7WqOkz7uxPwvouoQFrbD0Bb05T1dql/s400/Torso+(Self-Portrait)+1963-64,+plaster.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Bronze sculptures «Torso "Self-Portrait"» 1963-64, bronze, plaster<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP_x1FDgm9Zz2VqIyyq3Nyp_uhdpEJ1KpiGoFd0B2Cu4D_vQfVBktmwpp8Y7-8WT-kBpYv8u7xM41TIiMF81ALVbkaYVMlwJIzLONA2J5IrGw3mBmeTwAUNWLtjmPTn-ceC7AFKL_WyZTb/s1600-h/Fallen+Woman,+1996,+porcelain,+biscuit+and+gold.jpg"><img id="BLOGGER_PHOTO_ID_5159211272967650866" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP_x1FDgm9Zz2VqIyyq3Nyp_uhdpEJ1KpiGoFd0B2Cu4D_vQfVBktmwpp8Y7-8WT-kBpYv8u7xM41TIiMF81ALVbkaYVMlwJIzLONA2J5IrGw3mBmeTwAUNWLtjmPTn-ceC7AFKL_WyZTb/s400/Fallen+Woman,+1996,+porcelain,+biscuit+and+gold.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Bronze sculptures «<strong>Fallen Woman</strong>» 1996, porcelain, biscuit, gold<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2eoTpb75TH_IU11KtwAAO5LL5ZIGNAo3tpPBL4LP9LnxN2z5xZfxJ6h6RSrJB3s6l0b87OUduRccuPOJoT0tYRfTrGkf1fLn04Ts3rIYfswRoZ49YZSp9hOOuqE1m6L6V80iC5ws6urn5/s1600-h/Spiral+Woman,+1951-52.jpg"><img id="BLOGGER_PHOTO_ID_5159211002384711202" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2eoTpb75TH_IU11KtwAAO5LL5ZIGNAo3tpPBL4LP9LnxN2z5xZfxJ6h6RSrJB3s6l0b87OUduRccuPOJoT0tYRfTrGkf1fLn04Ts3rIYfswRoZ49YZSp9hOOuqE1m6L6V80iC5ws6urn5/s400/Spiral+Woman,+1951-52.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Bronze sculptures «Spiral Woman» 1951-52, bronze<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjyDemZDkL_SRmXU6L8vke51mF9mSi-Qp0-nwOah4lJyOo3gVeiph4bb9omXtBO6bR5v8bD8PYcK7PgIl0Yo7Z7DE5j6BYWTx-4F8gMVpZxHtCSniwQDhLA2XKooafV_GsGCITNQRCVSYZ/s1600-h/The+Welcoming+Hands,+1996,+bronze+with+polished+silver+nitrate+patina.jpg"><img id="BLOGGER_PHOTO_ID_5159210753276608018" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjyDemZDkL_SRmXU6L8vke51mF9mSi-Qp0-nwOah4lJyOo3gVeiph4bb9omXtBO6bR5v8bD8PYcK7PgIl0Yo7Z7DE5j6BYWTx-4F8gMVpZxHtCSniwQDhLA2XKooafV_GsGCITNQRCVSYZ/s400/The+Welcoming+Hands,+1996,+bronze+with+polished+silver+nitrate+patina.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Bronze sculptures «The Welcoming Hands» 1996 </span></div><div><span style="font-size:85%;color:#660000;">bronze with polished silver </span><span style="font-size:85%;color:#660000;">nitrate patina </span></div><div><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></div></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhczmWFiFs59wAdBS1bAQuBXvOZSd9rckuaAlY4Uou2T8wBauZ_wlFUiMpHOAPisZ3WjCjUIX7MMcsEIdq9pP4_mmHzU1fD9PWaWMpw9dbQnOyc3yA6Bfx7QL0T8wuLsaH7_SaZUAmtkepw/s1600-h/PADDLE+WOMAN,+1947,+bronze.bmp"><img id="BLOGGER_PHOTO_ID_5159210504168504834" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhczmWFiFs59wAdBS1bAQuBXvOZSd9rckuaAlY4Uou2T8wBauZ_wlFUiMpHOAPisZ3WjCjUIX7MMcsEIdq9pP4_mmHzU1fD9PWaWMpw9dbQnOyc3yA6Bfx7QL0T8wuLsaH7_SaZUAmtkepw/s400/PADDLE+WOMAN,+1947,+bronze.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Bronze sculptures «Paddle Woman» 1947, bronze</span></div><div><span style="font-size:85%;color:#ffffff;">*<br /></span><div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlol0R_1ysjSPBKN8WjSdWAVSwXj-OvVArf0x4QLhzaG3_qyUKD9V5UbJghXIqlhXhqvVhxLt1zmkvYzDJRXWryJlUnNJLK56BqUk4NVMmBD0YEjji9cf2MLQ4u86Br5aH_brgo_4RlbZ4/s1600-h/QUARANTANIA,+1947-53,+bronze,+painted+white+and+blue.bmp"><img id="BLOGGER_PHOTO_ID_5159209993067396594" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlol0R_1ysjSPBKN8WjSdWAVSwXj-OvVArf0x4QLhzaG3_qyUKD9V5UbJghXIqlhXhqvVhxLt1zmkvYzDJRXWryJlUnNJLK56BqUk4NVMmBD0YEjji9cf2MLQ4u86Br5aH_brgo_4RlbZ4/s400/QUARANTANIA,+1947-53,+bronze,+painted+white+and+blue.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> Bronze Sculptures «Quarantania» 1947-53 </span></div><div><span style="font-size:85%;color:#660000;">bronze, painted white and blue<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp4SZegdHYjBIO65h7wQlY-lZUiTe_Fo9A1lOZXYBUEZbs5IMie1KdakwzANfIj3foTdrd_LNCIvBemwfzix-mZ9CzzLoFO3EBIv886Y4L2lL_EnvrFz39RG2jhKUoQL3K7bct4RdJUIaF/s1600-h/Femme,+2005,+bronze+with+silver+nitrate+patina.jpg"><img id="BLOGGER_PHOTO_ID_5159209756844195298" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhp4SZegdHYjBIO65h7wQlY-lZUiTe_Fo9A1lOZXYBUEZbs5IMie1KdakwzANfIj3foTdrd_LNCIvBemwfzix-mZ9CzzLoFO3EBIv886Y4L2lL_EnvrFz39RG2jhKUoQL3K7bct4RdJUIaF/s400/Femme,+2005,+bronze+with+silver+nitrate+patina.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Bronze sculptures «Femme» 2005, bronze with silver nitrate patina<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjodI6L38jQ0C_n-i_1gARmDf07h6CuSMDfpkUzwxiqCB5P1TN-NdVKNGojdJngIFYk8ObTDCzROqeBt-nG4deqacsMGtO2zapdo4cVo-KWFnZBs5zqDvwGW6ZakhPayEFgDpqnoK81FjUD/s1600-h/NATURE+STUDY,+1984,+bronze.bmp"><img id="BLOGGER_PHOTO_ID_5159209602225372626" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjodI6L38jQ0C_n-i_1gARmDf07h6CuSMDfpkUzwxiqCB5P1TN-NdVKNGojdJngIFYk8ObTDCzROqeBt-nG4deqacsMGtO2zapdo4cVo-KWFnZBs5zqDvwGW6ZakhPayEFgDpqnoK81FjUD/s400/NATURE+STUDY,+1984,+bronze.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Bronze sculptures «<strong>Nature Study</strong> "Untitled"» 1984, bronze<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgosND1pvBhI0hlx4nksol-GvYt388TYZXxKsFYPB2B8P3BqWG2RWykUQgPFJXTm7Ed6WM3-CIorFy1jxVTmniXhcZJO4FB5wLdN70KaeSoQd2mJTm_gL-lE7tVrquRaamChyphenhyphenmZ_KNknIm6/s1600-h/CLUTCHING,+1962,+bronze,+silver+nitrate,+patina.bmp"><img id="BLOGGER_PHOTO_ID_5159209331642432962" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgosND1pvBhI0hlx4nksol-GvYt388TYZXxKsFYPB2B8P3BqWG2RWykUQgPFJXTm7Ed6WM3-CIorFy1jxVTmniXhcZJO4FB5wLdN70KaeSoQd2mJTm_gL-lE7tVrquRaamChyphenhyphenmZ_KNknIm6/s400/CLUTCHING,+1962,+bronze,+silver+nitrate,+patina.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Bronze sculptures «Clutching» 1962, bronze, silver nitrate patina<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoaa2LkrS_sIVpj6WQA2YrVwfTIytGhT1bblrL0fkmnEAD8Mn_MG3xUOuKv-l4jhpc02hNqnRFpF39_l3dNkriqeECGDSvH_J50AP8ouQL73LqriAl7B0a_eCTG8n2f6A45CXobjXo_L9i/s1600-h/UNCONSCIOUS+LANDSCAPE,+1967-68,+bronze.bmp"><img id="BLOGGER_PHOTO_ID_5159202081737637298" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoaa2LkrS_sIVpj6WQA2YrVwfTIytGhT1bblrL0fkmnEAD8Mn_MG3xUOuKv-l4jhpc02hNqnRFpF39_l3dNkriqeECGDSvH_J50AP8ouQL73LqriAl7B0a_eCTG8n2f6A45CXobjXo_L9i/s400/UNCONSCIOUS+LANDSCAPE,+1967-68,+bronze.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Bronze sculptures «Unconscious Landscape» 1967-68, bronze<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6lbdgqmu807GLkrhoWGSzrh0wmWhmXQ9ggabo9D9oBHqXM0ygIZi3p8Md4SZA4nmdRTRm89TKK38YRSn056QxeWQKLywTZZccQFHMeBQPGCwP-FX5-uToFGKELiK45zZDswZhB_qUazH-/s1600-h/JANUS+IN+LEATHER+JACKET,+1968,+bronze.bmp"><img id="BLOGGER_PHOTO_ID_5159201592111365538" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6lbdgqmu807GLkrhoWGSzrh0wmWhmXQ9ggabo9D9oBHqXM0ygIZi3p8Md4SZA4nmdRTRm89TKK38YRSn056QxeWQKLywTZZccQFHMeBQPGCwP-FX5-uToFGKELiK45zZDswZhB_qUazH-/s400/JANUS+IN+LEATHER+JACKET,+1968,+bronze.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Bronze sculptures «Janus in Leather Jacket» 1968, bronze<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA_RyS3G02UFN6tTPdmeoMDNmlcgxyhSnLv-6BcjJptgsTUyjwP6K2qY5pi5Mt9ERTHsAwOZpwhDIE9L8EuQ5rMeGdqfVdF2Wx92Pg6Ua6Z-ElXeQRMrlShQWTMnC6A4_NTbiLHXfFQUA8/s1600-h/UNTITLED+(FINGERS),+1986,+bronze.bmp"><img id="BLOGGER_PHOTO_ID_5159201312938491282" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgA_RyS3G02UFN6tTPdmeoMDNmlcgxyhSnLv-6BcjJptgsTUyjwP6K2qY5pi5Mt9ERTHsAwOZpwhDIE9L8EuQ5rMeGdqfVdF2Wx92Pg6Ua6Z-ElXeQRMrlShQWTMnC6A4_NTbiLHXfFQUA8/s400/UNTITLED+(FINGERS),+1986,+bronze.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Bronze sculptures «Untitled "Fingers"» 1986, bronze<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV4GNmMmrwIxkXtvvkHeFoPt_iRDFvc_auWQLJCeZ9v01m8sVZhmmIkdYV7TMdNWZGZKlW-A7r2OnnxYBgx1uFNF_98yvOKZaT_BH1uU3UIdbvJAlLN2yd37PzBE0WuNhYEWAXzEii6hIp/s1600-h/The+Blind+Leading+the+Blind,+1947-49,+bronze,+dark+patina.bmp"><img id="BLOGGER_PHOTO_ID_5159200973636074882" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgV4GNmMmrwIxkXtvvkHeFoPt_iRDFvc_auWQLJCeZ9v01m8sVZhmmIkdYV7TMdNWZGZKlW-A7r2OnnxYBgx1uFNF_98yvOKZaT_BH1uU3UIdbvJAlLN2yd37PzBE0WuNhYEWAXzEii6hIp/s400/The+Blind+Leading+the+Blind,+1947-49,+bronze,+dark+patina.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Bronze sculptures «<strong>The Blind Leading the Blind</strong>» 1947-49 </span></div><div><span style="font-size:85%;color:#660000;">bronze, dark patina<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX9YyV_T6zARqvw2qQw5p9kOTMQ1pkdb5uTG3TvRjd_CbhGH7-9u5YhoEC11CyVUm6xBoh6e9UZOBUxBOxNOL1t8HFuUOZ6OBfFtlbmbc_Du71OHnnBr9tyRIPuXNCS7LYsVhNn-KTl3FG/s1600-h/Untitled,+1999.jpg"><img id="BLOGGER_PHOTO_ID_5159200681578298738" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhX9YyV_T6zARqvw2qQw5p9kOTMQ1pkdb5uTG3TvRjd_CbhGH7-9u5YhoEC11CyVUm6xBoh6e9UZOBUxBOxNOL1t8HFuUOZ6OBfFtlbmbc_Du71OHnnBr9tyRIPuXNCS7LYsVhNn-KTl3FG/s400/Untitled,+1999.jpg" border="0" /></a></div><div></div><div><span style="font-size:85%;color:#660000;">Fabric sculptures «Untitled» 1999, fabric, steel, wood<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKxGeL4ecKAmFWbTCrIhD8q2znn_UrdC2Ulj92S06Y4TlMpUyxYEEH3bJQ-FczrVQotPq1vE7aR7I4Z8IQ4-JHXQbO-mbHaYEEipy_zmaLuk1U0C8ya13uY8gU8D5c9Ww5vOMQV3kXh0hB/s1600-h/Rejection,+2001,+fabric,+lead+and+steel.bmp"><img id="BLOGGER_PHOTO_ID_5159200410995359074" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKxGeL4ecKAmFWbTCrIhD8q2znn_UrdC2Ulj92S06Y4TlMpUyxYEEH3bJQ-FczrVQotPq1vE7aR7I4Z8IQ4-JHXQbO-mbHaYEEipy_zmaLuk1U0C8ya13uY8gU8D5c9Ww5vOMQV3kXh0hB/s400/Rejection,+2001,+fabric,+lead+and+steel.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> Fabric sculptures «Rejection» 2001, fabric, lead and steel<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nRDsmhu1rCDWlQzZfWlC6WZaaq-GPJB2dnbQ2BeBx95QaPjAFD1pyp36Y0hH71NlcS2-KX7PY6Q-U56REEIQLiQcbSc8JJAS_RdjZUsuclJayjZoe5vwNv3IuugI0L_n3ojn_jKtqKXH/s1600-h/Seven+in+a+Bed,+2001,+fabric,+stainless+steel,+glass+and+wood.bmp"><img id="BLOGGER_PHOTO_ID_5159200093167779154" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7nRDsmhu1rCDWlQzZfWlC6WZaaq-GPJB2dnbQ2BeBx95QaPjAFD1pyp36Y0hH71NlcS2-KX7PY6Q-U56REEIQLiQcbSc8JJAS_RdjZUsuclJayjZoe5vwNv3IuugI0L_n3ojn_jKtqKXH/s400/Seven+in+a+Bed,+2001,+fabric,+stainless+steel,+glass+and+wood.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Fabric sculptures «Seven in a Bed» 2001 </span></div><div><span style="font-size:85%;color:#660000;">fabric, stainless steel, glass and wood<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZrVKLsYUyvAB8ZSsuFmiyYen3rCdSMhney34rm5TqZVQ56BJBPl5iMnITQuJ3hNe1fqR7Bo9xOQ4jSMDxobROD01SokE_pvG37VzTPi9ohZrXzSDlPngcW0yyYjbO-8OxNaaEZGg2n-4H/s1600-h/Temper+Tantrum,+2000,+pink+fabric.bmp"><img id="BLOGGER_PHOTO_ID_5159199745275428162" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZrVKLsYUyvAB8ZSsuFmiyYen3rCdSMhney34rm5TqZVQ56BJBPl5iMnITQuJ3hNe1fqR7Bo9xOQ4jSMDxobROD01SokE_pvG37VzTPi9ohZrXzSDlPngcW0yyYjbO-8OxNaaEZGg2n-4H/s400/Temper+Tantrum,+2000,+pink+fabric.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> Fabric sculptures «Temper Tantrum» 2000, pink fabric<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwGliry2kM1wFWvr1PlUE8R3zXPgDFNGdYHE_HdRhKLgws367ByEPqW9ZB5GSIy96CkZXtY_tgO_o3NJcsCs2hi5sgBnszc9yAy-Lc7OhiwGt5w8SRs4V_k-ipzopO3w7VavK8kzIyH8i0/s1600-h/Untitled,+2002,+fabric,+steel+and+wood.bmp"><img id="BLOGGER_PHOTO_ID_5159199397383077170" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhwGliry2kM1wFWvr1PlUE8R3zXPgDFNGdYHE_HdRhKLgws367ByEPqW9ZB5GSIy96CkZXtY_tgO_o3NJcsCs2hi5sgBnszc9yAy-Lc7OhiwGt5w8SRs4V_k-ipzopO3w7VavK8kzIyH8i0/s400/Untitled,+2002,+fabric,+steel+and+wood.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">Fabric sculptures «Untitled» 2002, fabric, steel and wood<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_DD0uNPtP4kKrp8QEgE_S7cJNFVrImocFZViTg1-RX3iTZkALUIe9Y3WGKIXmkjAvwc2LVEyIJbX0aNOCZ3WKI6pQbn0qXgTcknShMeL460nEfplN0Pqpd9qtvYLW_77zrwRfw2alZixG/s1600-h/Untitled,+2001,+fabric+and+steel.bmp"><img id="BLOGGER_PHOTO_ID_5159199032310856994" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_DD0uNPtP4kKrp8QEgE_S7cJNFVrImocFZViTg1-RX3iTZkALUIe9Y3WGKIXmkjAvwc2LVEyIJbX0aNOCZ3WKI6pQbn0qXgTcknShMeL460nEfplN0Pqpd9qtvYLW_77zrwRfw2alZixG/s400/Untitled,+2001,+fabric+and+steel.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> Fabric sculptures «Untitled» 2001, fabric and steel<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4YxkRO-N33Qb1v1nSrcMxYBZhnu1dvBElPvVN-k7BoDGCJXi3tYGJpCwmMhKAqXpXhpWiMXbglTGR5x7gJYL_8CeJsQYtIDoe0ER4yENRY_hfKCbdAwXS7Gg3aPj2kRo3I0qurPBvH3TV/s1600-h/Untitled,+2002,+tapestry+fabric+and+stainless+steel.bmp"><img id="BLOGGER_PHOTO_ID_5159198495439944978" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4YxkRO-N33Qb1v1nSrcMxYBZhnu1dvBElPvVN-k7BoDGCJXi3tYGJpCwmMhKAqXpXhpWiMXbglTGR5x7gJYL_8CeJsQYtIDoe0ER4yENRY_hfKCbdAwXS7Gg3aPj2kRo3I0qurPBvH3TV/s400/Untitled,+2002,+tapestry+fabric+and+stainless+steel.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> Fabric sculptures «Untitled» 2002, tapestry fabric, stainless steel<br /></span><div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgniDqEn_pDwJfyHv3ExCPf3Wjx6nE99QcjP_wRwY3wfap6kssQYmmfht8un1UW6upmGqkTicoTj_8yyYjyiZULsS7xGrJIkDrvQyFheZ5Ud1-64R9x8zFf3ngeP5K1MqUPHMjyai-pbnzL/s1600-h/No+Exit,+1989.jpg"><img id="BLOGGER_PHOTO_ID_5159197748115635442" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgniDqEn_pDwJfyHv3ExCPf3Wjx6nE99QcjP_wRwY3wfap6kssQYmmfht8un1UW6upmGqkTicoTj_8yyYjyiZULsS7xGrJIkDrvQyFheZ5Ud1-64R9x8zFf3ngeP5K1MqUPHMjyai-pbnzL/s400/No+Exit,+1989.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Sculpture «No Exit» 1989, steel, wood, rubber<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5pOF5PTp_yjsSkqVxNX_AppASbAv2XitRKmAfv9GaKPdPNaWf0LuRi4DxdrJYLIsUWRch5dLBMJWmCknX1rZ9cKO2GuD0Qo6TkPmIYRg9c3dbuHc3_sVIIvZYqp7S4Z67FeYFB6v9d_dC/s1600-h/The+Institute,+2002,+silver,+showcase++(glass,+steel,+wood).jpg"><img id="BLOGGER_PHOTO_ID_5159197189769886946" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5pOF5PTp_yjsSkqVxNX_AppASbAv2XitRKmAfv9GaKPdPNaWf0LuRi4DxdrJYLIsUWRch5dLBMJWmCknX1rZ9cKO2GuD0Qo6TkPmIYRg9c3dbuHc3_sVIIvZYqp7S4Z67FeYFB6v9d_dC/s400/The+Institute,+2002,+silver,+showcase++(glass,+steel,+wood).jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Sculpture «The Institute» 2002, silver, showcase: glass, steel, wood<br /></span><div><div><div><div align="justify"><span style="color:#ffffff;">*<br />*<br /></span><span style="font-family:lucida grande;font-size:85%;color:#330000;">Louise Bourgeois, hoje com noventa e seis anos, é considerada um dos artistas mais importantes, ainda em actividade. Conseguiu sempre exprimir as suas ideias através da utilização dos mais variados materiais. Durante as últimas sete décadas, o trabalho de Louise Bourgeois é representativo das tendências artísticas dos movimentos de vanguarda do século XX, da abstracção ao realismo, partindo cada obra do objecto mais obsessivamente pequeno até à grande instalação, como é o caso das «Cells» dos anos 80 e 90.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">No entanto, Louise Bourgeois é talvez mais conhecida pelas suas <a href="http://www.artrabbit.com/features/features/january_2008/maman?PHPSESSID=2611486466a9780ece515555725b172e"><span style="color:#ff6666;"><strong>«Spiders»</strong></span></a> que, como todo o seu trabalho, traduzem referências autobiográficas profundas.<br />Segundo a artista: <em><span style="color:#990000;">“A Spyder é uma ode á minha mãe. Ela era a minha melhor amiga. Como uma aranha, a minha mãe era uma artesã. O negócio da minha família era o do restauro de tapeçaria, e a minha mãe dirigia a oficina. Tal como as aranhas, a minha mãe era muito inteligente. As aranhas são seres simpáticos que comem mosquitos. Nós sabemos que os mosquitos transportam doenças e, por isso, são indesejáveis. Nesse sentido, as aranhas são prestativas e protectoras, tal como a minha mãe.”</span></em></span></div><div align="center"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="center"><span style="font-size:85%;color:#330000;">* * *</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Pintora, escultora, gravadora e desenhadora americana de origem francesa, Louise Bourgeois iniciou a sua actividade no ateliê de restauro de tapeçarias dos seus pais. Estudou matemática na Sorbonne antes de se dedicar à arte. Formada em Paris junto dos melhores mestres, Wlérick e Léger antes da guerra e Zadkine durante a Libertação, é por este último que ela é influenciada para as primeiras grandes obras. Em 1938 mudou-se para Nova Iorque, onde estudou pintura durante dois anos, associando-se à "Art Students League". O seu trabalho foi exposto na Brooklyn Museum Print Exhibition em 1939 e, durante a II Guerra Mundial, trabalhou com vários expatriados europeus, como Miró e Masson. Em 1949 realizou a sua primeira exposição de escultura. A escultura de Louise Bourgeois, abstracta a partir dos anos 1950, não sem que a figuração nela reapareça de forma recorrente no tema do nu feminino, foi durante muito tempo inspirada pela verticalidade. Nos anos 60 e 70, os seus conteúdos tornaram-se mais sexualmente explícitos. O seu trabalho começou a ser apreciado e reconhecido nos anos 70 como resultado da mudança de atitudes em relação ao feminismo e ao pós-modernismo. Em 1992 desenhou o pavilhão americano na Bienal de Veneza e participou na documenta 9 em Kassel. A obra de Louise Bourgeois está presente em inúmeros museus americanos e europeus, na Austrália e em Séoul.</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><em><strong><span style="font-size:85%;"><span style="color:#330000;">The Berardo Collection,</span><span style="color:#ff6666;"> </span></span></strong><a href="http://www.berardocollection.com/?toplevelid=1&lang=en"><span style="font-size:85%;color:#ff6666;"><strong>Museu Berardo Lisboa</strong></span></a></em></div><div align="justify"><em><span style="color:#ffffff;">*</span></em></div><div><span style="font-size:85%;color:#ffffff;"></span> </div><div><span style="font-size:85%;color:#330000;"></span></div><div align="center"><span style="font-size:85%;color:#330000;">* * *</span></div><div><span style="font-size:85%;color:#ffffff;">*</span></div><div></div><div align="justify"><span style="font-size:85%;color:#990000;">"<em>My childhood <span style="color:#990000;">never</span> lost its magic, never lost its mystery, and never lost its drama</em>." </span></div><div align="justify"><span style="font-size:85%;color:#330000;">Her father would draw Louise Bourgeois' outline on the skin of a tangerine and cut it in the shape of a naked girl. When he finished, he would mock: "Look, Louise does not have anything there...." However, her father, in competition with her mother, bought her clothes, such as the ermine collar and hat which were not appreciated by the four-year-old child. Today, this behavior is interpreted by the artist as the loss of innocence. On October 25,1923, Louise Bourgeois wrote in her diary: <span style="color:#990000;">"<em>I wake up late and go to Paris with Father who is going to buy me a coat, another coat and a hat of leather</em> ".</span> </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Louise Bourgeois was the middle child, between her sister and her brother. This position gave her a sense of instability. Unresolved conflicts and ambiguous memories from childhood were retained as memories of a family in which the mother was the protective figure. The father, the authoritarian figure, became the lover of Sadie, the family's tutor. Science debates how the death of a father impacts a person's psychological structure or maybe this is mere fiction created by ethnologists. Bourgeois leads us to ambiguous and conflicting images of her father as in The Destruction of the Father (1974). The family home, the network of relationships among the members of the family, and the child's anguish make up the "childhood motivations" which are the basis of her art. <span style="color:#990000;">"<em>The corpus of my work</em>," <span style="color:#330000;">stated Louise Bourgeois,</span> "<em>is adjusted to my recurrent identification with Eugénie Grandet, a Balzac character, who was never given a chance to grow up and the daughter in Père Goriot, who never grew up. </em>"</span></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;"><span style="color:#990000;"><em>"Father would go with Pierre and me to the school full of boys, watched me .... I got dressed in the afternoon and went to play under the cherry trees. Sadie and I were wearing father's pants</em>."</span></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Her father had a tapestry restoration business, a craft which acquires a symbolic meaning in her work. The sewing room was the ideal place to discover secrets, such as sex, which were denied her. While she mended Mr. Bourgeois' pants, the seamstress answered the questions raised by young Louise about the parts of the body. The garment codes were the rules of desire. Therefore, in this house, the seamstress and the mistress managed sensuality.<br /><span style="color:#ffffff;">*</span></span></div><div align="justify"><span style="font-size:85%;color:#330000;">Analogous with the blades used to mend tapestries, the guillotine is a symbol of the physical time of instantaneousness. The fabric of the childhood relationships, symbolized by the family home in the work Choisy, is cut like a memory, in the abrupt falling of the guillotine's blade. <span style="color:#990000;">"<em>The present guillotines the past,</em>"</span> she concludes. In a new Choisy, Bourgeois created another kind of execution, an old electric chair which "had became a useless object, since it is no longer used." Bourgeois reasons, <span style="color:#990000;">"<em>This radical form of punishment emerged in the fight between two men over a woman. Thus, the brothers became rivals in the crime of passion. It goes beyond reason. It is insanity, itself.</em>"</span> Art guarantees sanity, she once wrote. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#990000;">"<em>I am a scientific person. I believe in psychoanalysis, in philosophy. For me the only thing that matters is the tangible</em>."</span> Louise Bourgeois developed a logic of instincts and it is important to link her art to the greater themes of knowledge or literature, rather than to the systems of art. It is better to speak about materials extracted from repression, the life struggles as abandonment and anger, desire and aggression, communication and the inaccessibility of the Other. In the constant confrontation between the instincts of death, anguish, fear and the instincts of life, the work of Louise Bourgeois is a painful and triumphant affirmation of existence illuminated by the libido. In this biographical and erotic work, to transform materials into art is a physical conversion, not in the religious sense, but like the conversion of electricity into power, she affirmed. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">In the XXIII Bienal Internacional de São Paulo, Louise Bourgeois showed a series of works in which she debates femininity. Unlike her father's business of mending tapestries, a spider weaves its web. The huge Spider signifies labor, giving, protection and foresight. The potency of the web is in either welcoming or entangling us as if we were prey. <span style="color:#990000;">"<em>Domesticity is very important. I think it is overwhelming. It has to be practical, patient and skilled</em>." </span>The affectionate memory of motherhood is present in several sculptures. The fertile, generous and working woman was already present in such works as Woman with Packages and Breasted Woman, or more recently in <strong>Nature Study</strong>, Pink Fountain. In a 1986 drawing, of a mother and a daughter, a large pair of scissors protects a smaller pair. Here are both protection and menace, as well as the cutting of the umbilical cord. <span style="color:#990000;">"<em>My knives are like a tongue-I love, I do not love, I hate. If you don't love me, I am ready to attack. I am a double-edged knife</em>."</span> <strong>Fallen Woman</strong> shows an unstable body facing gravity, like the unpredictability of desire. Femme Couteaumay be the piece which opened the way for Giacometti's Femme Égorgée. It is the blade which mutilates and beheads, activating fantasies of castration. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">In Louise Bourgeois' work, we are often faced with the presence of subjects who desire, and who desire sexually . They are not immediate figures of desire but they position themselves clearly as operations of desire. Bourgeois' vengeance on the constraints of the "wish to know" is to create the disorder of the forbidden. The right to know is my birth right. We also find an abundance of phallic Venuses and Venusian phalluses, like Fillette, Harmless Woman , or Fragile Goddess. They are ancestral images in the story of mankind and of the provisions of sexuality. Louise Bourgeois unveils men as Picasso unveiled women. However, the actuality of desire makes dispenses with myths. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Some of Bourgeois' sculptures seem to exhale the sweat of erotic work. Others have extremely tactile forms, like the sensuality found in Degas' sculptures. <strong>Mamelles,</strong> a colony of rubber breasts, speaks of a calculated symbolic reference. The eroticism of matter acts as the freeing of libidinous energy. If we speak of the plasticity of the libido, Bourgeois' work seems to be a phantasmagoric conversion of physical energy into libidinal energy. The work imposes itself with such physical presence that it requires a hepatic view, the possibility and desire for an erotic touch. The world of Bourgeois' sculptures is that of tangibility. In opposition to Mamelles stand End of Softness and Trani Episode, with their sensual shapes of breasts in bronze or stone. All oral erotic appeal of the shapes is abruptly broken by the end of malleability, by the loss of organicism in the cold temperature and in solid matter. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">In the artist's studio, we found practical manuals (The New Dressmaker, La Revolte des Passements, Manuel Méthodique et Pratique de Couture et de Coupe), organized according to their size, as if they were the articulation of concepts, methods, and an order of sculpture. They are books on the science of tailoring, and sculpturing is to cut in three dimensions, states the artist. As diagrams of the body and living memories, the clothing emerges in her prhase: <span style="color:#990000;">"<em>To me, a sculpture is the body. My body is my sculpture.</em>"</span> The fabric is a skein of threads and a producer of eroticism. Structure and unreason articulate the weave, the fashion design, the architecture which uses reinforced concrete, the manufacture and work of garments, and seduction. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#990000;">"<em>This is not mere 'parole antique.' I work with the present. Eternal, universal and ever-present emotions. Especially the emotions of violence, jealousy and fear</em>." "<em>The most eternal present is a perfume by Gerlain</em>",</span> says Louise Bourgeois, as she opens an empty flask. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>A Louise Bourgeois Interview by Paulo Herkenhoff </strong></span></div><div align="justify"><span style="font-size:85%;color:#990000;"><strong>Art Minimal & Conceptual Only</strong></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#cc0000;"><strong>Crítica:</strong></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#660000;">Louise Bourgeois has created a variety of works in a series that she calls "<strong>Nature Studies</strong>". These works range from strange hermaphroditic animals to disembodied body parts. She is drawn to body parts that are especially vulnerable, such as eyes. <a href="http://www.albrightknox.org/ArtStart/Bourgeois_t.html"><span style="color:#ff6666;"><strong>(...)</strong></span></a></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">One of Bourgeois' earliest major sculptures, C.O.Y:O.T.E., and two related pieces, both titled "<strong>The Blind</strong> <strong>Leading the Blind</strong>" </span><span style="font-size:85%;color:#330000;">were begun in 1941, when increased studio space gave the artist the opportunity to work on a large scale for the first time. <a href="http://www.nga.gov.au/International/Catalogue/Detail.cfm?IRN=115029&SiteID=2"><span style="color:#ff6666;"><strong>(...)</strong></span></a></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Stemming from her interest in the physical, emotional, and psychological aspects of pain and fear, Bourgeois was drawn to "<strong>the arch of hysteria</strong>" </span><span style="font-size:85%;color:#330000;">as theorized and represented by the nineteenth-century neurologist Jean Martin Charcot (1825-1893). <a href="http://cybermuse.gallery.ca/cybermuse/search/artwork_e.jsp?mkey=100798"><span style="color:#ff6666;"><strong>(...)</strong></span></a></span></div><div align="justify"><span style="font-size:85%;color:#330000;"></span></div><div align="justify"><span style="font-size:85%;color:#330000;"></span></div><div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0tag:blogger.com,1999:blog-2054748435853847162.post-2266091664728627462008-01-17T00:59:00.000+00:002008-01-17T23:30:04.714+00:00Gerhard Richter, Dresden / Alemanha - pintura pós-moderna contemporânea<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWAEX9zIrD4T9ZrtbtJ6bbJPdenOmfE-vq8UiCM-e0Pv_QJGrCh9o2oUO8WUmcK2GbUPJQQgZW8FtKORAdOOAq38EdWGHctW8qrCEdnKf1HMTuKKtqhGn45CIEt79iJlSoO6OnAbW3Eo1U/s1600-h/Gerhard+Richter,+Meditation,+1986,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156254798468442754" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWAEX9zIrD4T9ZrtbtJ6bbJPdenOmfE-vq8UiCM-e0Pv_QJGrCh9o2oUO8WUmcK2GbUPJQQgZW8FtKORAdOOAq38EdWGHctW8qrCEdnKf1HMTuKKtqhGn45CIEt79iJlSoO6OnAbW3Eo1U/s400/Gerhard+Richter,+Meditation,+1986,+oil+on+canvas.jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">Abstract Painting series «Meditation» 1986, oil on canvas<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWLOO2O1o-BNxYV1Dfphs5IDAS4UWr5RRWpZWIiZlDrXy_M-jG6Ej7L8l-krW1E4jgYMFQPi6geqxMTjnBug97XZR87PxvHH0BHj6Eri-xck_bgjaMjoqkScm9Xc4v2hcI4TBmGiZjqwo-/s1600-h/Abstract+Painting,+1994,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156253664597076562" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWLOO2O1o-BNxYV1Dfphs5IDAS4UWr5RRWpZWIiZlDrXy_M-jG6Ej7L8l-krW1E4jgYMFQPi6geqxMTjnBug97XZR87PxvHH0BHj6Eri-xck_bgjaMjoqkScm9Xc4v2hcI4TBmGiZjqwo-/s400/Abstract+Painting,+1994,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Abstract Painting series «Untitled» 1994, oil on canvas<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVBv6iVC6lUu1cpOSnph9Z9Y0PqYPyRmmj9cmjMkr66PPVdANVOSjfryUBbiqt4PS9A1ZXPzDRIaTIz5Z0O-VEOk-wGwLCK6b3AsbS6LJGK8jY5kOb5DXjPWBIMfJ74j_DsGm2fjDZrIDh/s1600-h/Bach,+1992,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156253505683286594" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVBv6iVC6lUu1cpOSnph9Z9Y0PqYPyRmmj9cmjMkr66PPVdANVOSjfryUBbiqt4PS9A1ZXPzDRIaTIz5Z0O-VEOk-wGwLCK6b3AsbS6LJGK8jY5kOb5DXjPWBIMfJ74j_DsGm2fjDZrIDh/s400/Bach,+1992,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Abstract Painting series «Bach» 1992, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLVIInwRvtT3UVRSr-AI4nOSa6YL9cCPkgCLVNY5YJRtvl85B-MabiWS8ayef65UBiaOVsvXiLIrJBzmPBwW5MqANWYKERFwPWcRmD4SGdlaAoLDASZskvLS9ZTD52Zda6T13RZU5akgnq/s1600-h/Abstract+Painting,+1990,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156253144906033714" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjLVIInwRvtT3UVRSr-AI4nOSa6YL9cCPkgCLVNY5YJRtvl85B-MabiWS8ayef65UBiaOVsvXiLIrJBzmPBwW5MqANWYKERFwPWcRmD4SGdlaAoLDASZskvLS9ZTD52Zda6T13RZU5akgnq/s400/Abstract+Painting,+1990,+oil+on+canvas.jpg" border="0" /></a></div><div><span style="font-size:85%;color:#660000;">Abstract Painting series «Untitled» 1990, oil on canvas </span></div><div><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></div></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDNjVtq0ahV0-m0l-n3gpr1JF3uhpPNMQXCGAH9qN7npzqkIP6ZRn-X8l5jFiDLHc5snaKoQYRfNEQDAGNStZ1_-O0XZskQMYEoLtC9Cl7dBvGFB5KyeFmIo0bFy4zkqr5YbdgBkisWhmH/s1600-h/Abstract+Painting,+1995,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156252925862701602" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDNjVtq0ahV0-m0l-n3gpr1JF3uhpPNMQXCGAH9qN7npzqkIP6ZRn-X8l5jFiDLHc5snaKoQYRfNEQDAGNStZ1_-O0XZskQMYEoLtC9Cl7dBvGFB5KyeFmIo0bFy4zkqr5YbdgBkisWhmH/s400/Abstract+Painting,+1995,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Abstract Painting series «Untitled» 1995, oil on canvas<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDpXfYH6vaN9qIkgijYv7cDqJbzAbQvvJR7QrsO6pXPmqfVDqZ8iyAV7o-hiS1FUfEZspfTCkQ_pdNvcmAWyUz7ACDwmLCofQdXODsYenUkCUUUBBtUJX4dDJ7pOpODDK-H47mFDBLsD0B/s1600-h/Himalaya,+1968,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156252749769042450" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjDpXfYH6vaN9qIkgijYv7cDqJbzAbQvvJR7QrsO6pXPmqfVDqZ8iyAV7o-hiS1FUfEZspfTCkQ_pdNvcmAWyUz7ACDwmLCofQdXODsYenUkCUUUBBtUJX4dDJ7pOpODDK-H47mFDBLsD0B/s400/Himalaya,+1968,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Alpine series «Himalaya» 1968, oil on canvas </span><br /><span style="font-size:85%;color:#ffffff;">*<br /></span><div><div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAv0NfklZMEj1VXI1B-MMbizpYRuYBbbEBX5mPooc7qQvXFVrUJpAG8RtRr4ojGIiWmZLDivhOV1F0iaD6NMFSjS97oZs1A_JFiD__xGl5bx6VtMJbqFRlY1Jq4gFjqQcJEGj3A1wx8l2v/s1600-h/Dorf,+1988,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156252539315644930" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhAv0NfklZMEj1VXI1B-MMbizpYRuYBbbEBX5mPooc7qQvXFVrUJpAG8RtRr4ojGIiWmZLDivhOV1F0iaD6NMFSjS97oZs1A_JFiD__xGl5bx6VtMJbqFRlY1Jq4gFjqQcJEGj3A1wx8l2v/s400/Dorf,+1988,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Abstract Painting series «Dorf» 1988, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggC62pSKzFrROnWJRm8dwsC51D8V9dTFTvKXlRu6XWSEJOmfjR7irlh_5Vo-gvW-TnJRwJ82KSshKBBIAyXlIrjxH1wKi1-gPlV7mhjjKpfHPHjUqp0_ejfKxzRfhieV2Wp-lS-UZGcJX_/s1600-h/Abstract+Painting,+1988,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156252208603163122" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggC62pSKzFrROnWJRm8dwsC51D8V9dTFTvKXlRu6XWSEJOmfjR7irlh_5Vo-gvW-TnJRwJ82KSshKBBIAyXlIrjxH1wKi1-gPlV7mhjjKpfHPHjUqp0_ejfKxzRfhieV2Wp-lS-UZGcJX_/s400/Abstract+Painting,+1988,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Abstract Painting series «Untitled» 1988, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK-0GHEelUDWpMjFAv9Xuin64gia8xWbO8lEhLDlPPDah_tXMrrtppgnJj9C3AC6BlfvG34h2qVaS9z1RmUAef1n9wiDTLbU59-4EkpwqnpscotX2GAuwpdBYQjNQWI6IkKHNjBG1XoQpG/s1600-h/Abstract+Painting,+1979,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156251998149765602" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK-0GHEelUDWpMjFAv9Xuin64gia8xWbO8lEhLDlPPDah_tXMrrtppgnJj9C3AC6BlfvG34h2qVaS9z1RmUAef1n9wiDTLbU59-4EkpwqnpscotX2GAuwpdBYQjNQWI6IkKHNjBG1XoQpG/s400/Abstract+Painting,+1979,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Abstract Painting series «Untitled» 1979, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivJ_Kks7sTklau19jk63DQsJO-JvHLAXOL0UrY-jFpQnQbibo_ApkWxb2dRM_9UVHM16QQkHBwPdr8pAZYbS18HtI9-LHY1a09rkg2HN8eMrRJTUeDi0VLBC_Mz_nGqfojkKFcSTaNr7jf/s1600-h/Arizona,+1984,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156251787696368082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivJ_Kks7sTklau19jk63DQsJO-JvHLAXOL0UrY-jFpQnQbibo_ApkWxb2dRM_9UVHM16QQkHBwPdr8pAZYbS18HtI9-LHY1a09rkg2HN8eMrRJTUeDi0VLBC_Mz_nGqfojkKFcSTaNr7jf/s400/Arizona,+1984,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Abstract Painting series «Untitled» 1984, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY6T4XdN2aDvf9d7q7Mcb155IgzItemViKlicbzh3FHb9VHyDLe3G6lDKe934nqmG0Ajf9bxopdJwUYEaWOb5nKnx4cw3ebUOJyTc4psEsxNGRmLkp62ruCSgT3RQNKk4J-9w6f5fO-QCM/s1600-h/Abstract+Painting,+1991,oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156251542883232194" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiY6T4XdN2aDvf9d7q7Mcb155IgzItemViKlicbzh3FHb9VHyDLe3G6lDKe934nqmG0Ajf9bxopdJwUYEaWOb5nKnx4cw3ebUOJyTc4psEsxNGRmLkp62ruCSgT3RQNKk4J-9w6f5fO-QCM/s400/Abstract+Painting,+1991,oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Abstract Painting series «Untitled» 1991, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnuH4eTcGAauxz3sjtatDmpYuTg5EhMazDnYExQfuhzDS84hO4Ev3XpBii-kj0W5sHT1lnw2YL8DFdpCyYXtcmJBJ3rz9Bt65eUI0VJIQBv6uZahizD_mThDpiMLRYjCV7EMoSxpfieee3/s1600-h/Atem,+1989,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156251345314736562" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnuH4eTcGAauxz3sjtatDmpYuTg5EhMazDnYExQfuhzDS84hO4Ev3XpBii-kj0W5sHT1lnw2YL8DFdpCyYXtcmJBJ3rz9Bt65eUI0VJIQBv6uZahizD_mThDpiMLRYjCV7EMoSxpfieee3/s400/Atem,+1989,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Abstract Painting series «Atem» 1989, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTpqxxnAZ-JTrKGFRSMf_BUkKFg47JGGGWzyHPvR59qRmvO_7lb_8BWoZxYN5T0oThn3bUSILRYJibo37Rgk3K0s3yJW3G6ZxZc3oXzX-Q0Ct-UecfzhDtbO4Xycebxmyj4GmheBXm4-my/s1600-h/Abstract+Painting,+1986,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156251053256960418" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTpqxxnAZ-JTrKGFRSMf_BUkKFg47JGGGWzyHPvR59qRmvO_7lb_8BWoZxYN5T0oThn3bUSILRYJibo37Rgk3K0s3yJW3G6ZxZc3oXzX-Q0Ct-UecfzhDtbO4Xycebxmyj4GmheBXm4-my/s400/Abstract+Painting,+1986,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Abstract Painting series «Untitled» 1986, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivjAOLNCJj9eSBZHPrYXa-LvrfnJ9jfhuBBGvYhU5RTphCc_PZikLDFKmk6k7qqeQn2O0YfE6H7Oxv6o-qGiDzYzvqvfjteuUfwXep9iaK_iWhqTdpCkrvY1pdIkbsg3kLf0BEamUERYSb/s1600-h/Trumpet,+1984,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156250872868333970" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivjAOLNCJj9eSBZHPrYXa-LvrfnJ9jfhuBBGvYhU5RTphCc_PZikLDFKmk6k7qqeQn2O0YfE6H7Oxv6o-qGiDzYzvqvfjteuUfwXep9iaK_iWhqTdpCkrvY1pdIkbsg3kLf0BEamUERYSb/s400/Trumpet,+1984,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Abstract Painting series «Trumpet» 1984, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhctlQOTPyrKr9PX9_tuzGGvneoVDXQiB1Tj6JJBw4AgUJO_hpzWCuq-uNXatG6HL5sNLSIX_Ei4gm9CXW0Az8sXJE2WaPkw_aw4Cis7_jHSgccxp1E6c5dm15lfj8rw_jYzQ54CwC5FSYB/s1600-h/Kind,+1989,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156250391831996802" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhctlQOTPyrKr9PX9_tuzGGvneoVDXQiB1Tj6JJBw4AgUJO_hpzWCuq-uNXatG6HL5sNLSIX_Ei4gm9CXW0Az8sXJE2WaPkw_aw4Cis7_jHSgccxp1E6c5dm15lfj8rw_jYzQ54CwC5FSYB/s400/Kind,+1989,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Abstract Painting series «Kind» 1989, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTUCBXtCQ4XsV8Y8PBR4DjdoZCdSAflbKDsTFJVQfBCERJNi6zB_-qzHZUeCjc-Nf-K2EG2G4OqehVtPhez6kREfPETqF7VrfrQp8jPOsmta4aLI3prpGElAezVTZ-FcZJNrZDm18Z0MUe/s1600-h/Abstract+Painting,+1988,+oil+on+canvas+3.jpg"><img id="BLOGGER_PHOTO_ID_5156250121249057138" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTUCBXtCQ4XsV8Y8PBR4DjdoZCdSAflbKDsTFJVQfBCERJNi6zB_-qzHZUeCjc-Nf-K2EG2G4OqehVtPhez6kREfPETqF7VrfrQp8jPOsmta4aLI3prpGElAezVTZ-FcZJNrZDm18Z0MUe/s400/Abstract+Painting,+1988,+oil+on+canvas+3.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Abstract Painting series «Untitled» 1988, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjriktywLbyH-zCTtbiwhgdd_HbAxUJTHkWApo83kVVx0QDrABOje8pr73ZZncjV8pyVsVIvCRniKuqHuDjaI26joZrgDHAn30z99BrJLNJOa2EoPGOzxl-yOuYvK2GnF64HKvboBqmWsjX/s1600-h/Inpainting+(Grey),+1972,oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156249674572458338" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjriktywLbyH-zCTtbiwhgdd_HbAxUJTHkWApo83kVVx0QDrABOje8pr73ZZncjV8pyVsVIvCRniKuqHuDjaI26joZrgDHAn30z99BrJLNJOa2EoPGOzxl-yOuYvK2GnF64HKvboBqmWsjX/s400/Inpainting+(Grey),+1972,oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Abstract Painting series «Inpainting (Grey)» 1972, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ_GyiKVJNCfuTk2nvx2LFc-8nsX1QnJLcKcX6wxPUpp3DwwyIJoUPa8QsZRYybrwDN9Mp3oU7aamc1mdfaFWS34CX4jw__zGk0a4aC6wSX-9vLQ-sKdP2gNluBRaFnIrUeIo_kuRyhZw4/s1600-h/Abstract+Painting,+1987,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156249373924747602" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZ_GyiKVJNCfuTk2nvx2LFc-8nsX1QnJLcKcX6wxPUpp3DwwyIJoUPa8QsZRYybrwDN9Mp3oU7aamc1mdfaFWS34CX4jw__zGk0a4aC6wSX-9vLQ-sKdP2gNluBRaFnIrUeIo_kuRyhZw4/s400/Abstract+Painting,+1987,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Abstract Painting series «Untitled» 1987, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs29zI86Q1JP5v_va7uNoLjir9PutDkeRrJniMpnuMeozF_E8FrQahiucz41CMxHDm0g0Qb0Dw43acrFvuGTo00jPgOTEPOYtRjT05Ue6RX9EA7-zT5mdUF1mNtYBRamJp8PA1WECFkW0o/s1600-h/Ema,+1932.jpg"><img id="BLOGGER_PHOTO_ID_5156248648075274562" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhs29zI86Q1JP5v_va7uNoLjir9PutDkeRrJniMpnuMeozF_E8FrQahiucz41CMxHDm0g0Qb0Dw43acrFvuGTo00jPgOTEPOYtRjT05Ue6RX9EA7-zT5mdUF1mNtYBRamJp8PA1WECFkW0o/s400/Ema,+1932.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Nudes series «Ema» 1966, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglN5Pn54qFVsRb-skaMFXQe4cMgE0rgtXeslZq_i4QqQvsIxIxa1qox3CqOsBwBQQvx9r8fHU26dwfsVYAZe1N3sCbGaRpCG-kRBSAnewM8gfFjiUffOxDMIAfQiDg6hmNYrQ1b1Amqy2H/s1600-h/Vesuvius,+1976,+oil+on+wood.jpg"><img id="BLOGGER_PHOTO_ID_5156248441916844338" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEglN5Pn54qFVsRb-skaMFXQe4cMgE0rgtXeslZq_i4QqQvsIxIxa1qox3CqOsBwBQQvx9r8fHU26dwfsVYAZe1N3sCbGaRpCG-kRBSAnewM8gfFjiUffOxDMIAfQiDg6hmNYrQ1b1Amqy2H/s400/Vesuvius,+1976,+oil+on+wood.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Abstract Painting series «Vesuvius» 1976, oil on wood<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia5zwQTuZw4X0R8OS1WcDINTMXeI19Jf9NpP3yyefmvOu0KCIs2dvuOceaDOHXbQZS6BiWibWdzjnVYucnAh3SnP_80iSqEjb7pe1M0x5Aoz2yOdqYJQhH_KEb3L0MPBR1uLW4bGaCkfVI/s1600-h/Abstract+Painting,+1989,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156248094024493346" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEia5zwQTuZw4X0R8OS1WcDINTMXeI19Jf9NpP3yyefmvOu0KCIs2dvuOceaDOHXbQZS6BiWibWdzjnVYucnAh3SnP_80iSqEjb7pe1M0x5Aoz2yOdqYJQhH_KEb3L0MPBR1uLW4bGaCkfVI/s400/Abstract+Painting,+1989,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Candles series «Untitled» 1989, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-a5PjHHU82cd0N8iLZyXfAzNDewv10SyIvXQrFyN5LXIgHQVKiIPxyYSZqBnhZyYXGZjRE7rgHr_-M4f2cKtmIQYXPH0iRQEd1izdI6Hgd5Q-8oe7s10Oo9ZP7TY-67nR2BBVMTQr6be3/s1600-h/Venice+(island),+1986,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156247896455997714" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-a5PjHHU82cd0N8iLZyXfAzNDewv10SyIvXQrFyN5LXIgHQVKiIPxyYSZqBnhZyYXGZjRE7rgHr_-M4f2cKtmIQYXPH0iRQEd1izdI6Hgd5Q-8oe7s10Oo9ZP7TY-67nR2BBVMTQr6be3/s400/Venice+(island),+1986,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Landscapes series «Venice» (Island) 1986, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRgn3DLL4Hy5xTbeeLZgWKhx2GMN1anD4EByG490pkkAitoE2q6SHE2_PSaiM-TiDYgTJS3FaPoLSYRhJQ9ZNY5o9h1BthKgWKVnqlwzGTUddlJSgWFrMxygALg_OZIAML5aqn7LLYldwF/s1600-h/S,+with+child,+1995,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156247432599529730" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRgn3DLL4Hy5xTbeeLZgWKhx2GMN1anD4EByG490pkkAitoE2q6SHE2_PSaiM-TiDYgTJS3FaPoLSYRhJQ9ZNY5o9h1BthKgWKVnqlwzGTUddlJSgWFrMxygALg_OZIAML5aqn7LLYldwF/s400/S,+with+child,+1995,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Mother and Child series «S. with Child» 1995, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF-hhr3FwKaNwhMu_b8xYWAhslRPccqnp6qPAXvWPT9skDZhikNRAzKtt2Xc1aso98B2H9zF1TC5smRPSQL7EkVVlXnYJKdnJHOul1PD4ez3i_sKADCoTZQQaAGR9fjpl7SQkkhC0_1QBy/s1600-h/Abstract+Painting,+1977,+oil+on+canvas+2.jpg"><img id="BLOGGER_PHOTO_ID_5156247213556197618" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF-hhr3FwKaNwhMu_b8xYWAhslRPccqnp6qPAXvWPT9skDZhikNRAzKtt2Xc1aso98B2H9zF1TC5smRPSQL7EkVVlXnYJKdnJHOul1PD4ez3i_sKADCoTZQQaAGR9fjpl7SQkkhC0_1QBy/s400/Abstract+Painting,+1977,+oil+on+canvas+2.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Abstract Painting series «Untitled» 1977, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNH3x6lOfWgGEhIPCd8S-NnPiQXLu_YMppkZGE76g__nyFXwhJBBAeECkSAW1tEiwpbjSjQUHj-52BJXACUukOJkb2w8swL9Eai11SKp_VAlEY0lqLy2yorP0sSjmOzM-wpYBR2y1LgYk3/s1600-h/Betty,+1988,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156247101887047906" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNH3x6lOfWgGEhIPCd8S-NnPiQXLu_YMppkZGE76g__nyFXwhJBBAeECkSAW1tEiwpbjSjQUHj-52BJXACUukOJkb2w8swL9Eai11SKp_VAlEY0lqLy2yorP0sSjmOzM-wpYBR2y1LgYk3/s400/Betty,+1988,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Children series « Betty» 1988, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0kAMo0tPRiFHu8leyO8i7uOVANSqiirbZuFC2WfcbPLFDEXelhyFGwgHO31jPvDbIacF-Tgu8yDRUxM5bgu6f4r0jkTbYad_E1ENOVH3_JIOW6Ck64yM-Z-U8kNEvqgobntAY8l0p8BrB/s1600-h/Small+Canary+Island+Landscape,+1970+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156246638030579922" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0kAMo0tPRiFHu8leyO8i7uOVANSqiirbZuFC2WfcbPLFDEXelhyFGwgHO31jPvDbIacF-Tgu8yDRUxM5bgu6f4r0jkTbYad_E1ENOVH3_JIOW6Ck64yM-Z-U8kNEvqgobntAY8l0p8BrB/s400/Small+Canary+Island+Landscape,+1970+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Landscapes series «Small Canary Island» 1970, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZaTXif9KwSn6TNkbnb3c7vFR_b4PT5cgIthpOPjlwwPV3MVa2ju33s72q2RKNGuvS9vOyvRV4krPYO5U6yxCEOc42DGRa8enkul9tP_yGZ3AmtRAPQtOH8qgH5-DLWipN0hR5lRHsbDOS/s1600-h/Scheune+Barn,+1984,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156246371742607554" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZaTXif9KwSn6TNkbnb3c7vFR_b4PT5cgIthpOPjlwwPV3MVa2ju33s72q2RKNGuvS9vOyvRV4krPYO5U6yxCEOc42DGRa8enkul9tP_yGZ3AmtRAPQtOH8qgH5-DLWipN0hR5lRHsbDOS/s400/Scheune+Barn,+1984,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Landscapes series «Scheune Barn» 1984, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx0n1P1WNnN-xJWqirwFaz6uH8hdx80MeVTCgAjUvm6dDBZtMVcZrpeGkUneuVQ-DGrls5s-eqOvmvJHupVGfEuAwktwSNHOHPXTWLTJr01Cz0CEwkYY-9zCa4j4dDo7qdkyv6wblc0f7K/s1600-h/Deer+II,+1966,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156246169879144626" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx0n1P1WNnN-xJWqirwFaz6uH8hdx80MeVTCgAjUvm6dDBZtMVcZrpeGkUneuVQ-DGrls5s-eqOvmvJHupVGfEuAwktwSNHOHPXTWLTJr01Cz0CEwkYY-9zCa4j4dDo7qdkyv6wblc0f7K/s400/Deer+II,+1966,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Animals series «Deer II» 1966, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXbGb0KM32CUXjc4Vie7RC4g259zgovhxUnl7NMifawv5duuH029rpZFHGeTiDlc0LkNGOYn7Amivsvy2xPkIraBqi6ezrOHV1nnXoBD_NvH6r0_Oz64EQgWEL6428tcKyryO3qBg7LfkF/s1600-h/Seascape+(Cloudy),+1969,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156244847029217442" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXbGb0KM32CUXjc4Vie7RC4g259zgovhxUnl7NMifawv5duuH029rpZFHGeTiDlc0LkNGOYn7Amivsvy2xPkIraBqi6ezrOHV1nnXoBD_NvH6r0_Oz64EQgWEL6428tcKyryO3qBg7LfkF/s400/Seascape+(Cloudy),+1969,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Seascape series «Cloudy» 1969, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjJag_0w-g6CXGpgq0ME_36Gr9DZE8MosyiDPsi1m-xRiyWba3OTX2gM8ixfT-1yVqRQt8oYnf-Nxhrt78OspO1cwCwZ-JYXq4mCypdI0eiLoGpXq0yZIHPlXlYP1K7MjOXM94a52OEEas/s1600-h/Bottle+with+Apple,+1988,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156244567856343186" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjJag_0w-g6CXGpgq0ME_36Gr9DZE8MosyiDPsi1m-xRiyWba3OTX2gM8ixfT-1yVqRQt8oYnf-Nxhrt78OspO1cwCwZ-JYXq4mCypdI0eiLoGpXq0yZIHPlXlYP1K7MjOXM94a52OEEas/s400/Bottle+with+Apple,+1988,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Apples series «Bottle with Apple» 1988, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv8hP2GTjCF_UNL8FOQGR8YZBbW9yy0d43WK-iWn0PrBsi-Mc9RDHjjg6PBaCAPGDxZP8U5vmi_Ex_nzmGbrJ3J1CT5fdM22-ctGzlQYNyivNNDtFKUQe2dyHomca9wO4JUbCG0Ff-F9tS/s1600-h/Court+Chapel,+Dresden,+2000,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156244378877782146" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv8hP2GTjCF_UNL8FOQGR8YZBbW9yy0d43WK-iWn0PrBsi-Mc9RDHjjg6PBaCAPGDxZP8U5vmi_Ex_nzmGbrJ3J1CT5fdM22-ctGzlQYNyivNNDtFKUQe2dyHomca9wO4JUbCG0Ff-F9tS/s400/Court+Chapel,+Dresden,+2000,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Portraits and People series «Court Chapel, Dresden» 2000, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcoHZyGh9WPewb9FSlfeSHNVPWF6Fbd3VDIQmuTB2PAddtO4tC_h-C01YDs8OfafYoWlebhyphenhyphenukjFjhA6o6iTekXudckVAW8JduNLUZ0NHTHNLdC5AsNMDD5moL4O1Qu4lO7mnTLkoByS2P/s1600-h/Seascape,+1998,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5156244125474711666" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcoHZyGh9WPewb9FSlfeSHNVPWF6Fbd3VDIQmuTB2PAddtO4tC_h-C01YDs8OfafYoWlebhyphenhyphenukjFjhA6o6iTekXudckVAW8JduNLUZ0NHTHNLdC5AsNMDD5moL4O1Qu4lO7mnTLkoByS2P/s400/Seascape,+1998,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Seascape series «Untitled» 1998, oil on canvas </span></div><div><span style="font-size:85%;color:#ffffff;">*<br />*</span></div><div></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Pintor nascido em Dresden, Alemanha de Leste. Estudou na Kunstakademie Dresden entre 1951-56, onde se fazia a apologia de um realismo socialista, dominante nos países de ideologia comunista, como era o caso da então RDA. Em 1961, mudou-se para Düsseldorf, cidade que descobria as novas atitudes anti-arte do movimento Fluxus e estudou na Kunstakademie Düsseldorf entre 1961-63. 1964 marca o início de um percurso que se caracteriza por um constante desafio à classificação da sua pintura, demonstrativa de uma prolixidade estilística perfeitamente invulgar. As primeiras obras baseavam-se em fotografias (de origem jornalística ou privada), transpostas para a tela com um realismo pictórico minucioso. Posteriormente irá divagar criativamente por diferentes tipos de abstracção, de carácter geométrico ou gestual, ao mesmo tempo que continua a realizar pinturas inequivocamente figurativas. A dicotomia figuração/abstracção, fundamental para grande parte do discurso teórico da modernidade, é, assim, negada na sua essência, uma vez que este artista parece querer demonstrar a equivalência da validade estética destas duas formas de encarar a pintura. A sua busca parece, nas suas palavras, visar apenas a satisfação de uma necessidade inexplicável:"... abstenho-me de nomear aquilo que a pintura nos dá. Só sei que ela é útil e importante, como a música e a arte em geral. A pintura é, consequentemente, qualquer coisa de absolutamente necessário para sobreviver". Entre as suas retrospectivas contam-se, Tate Gallery, Londres, 1991-92, e Kunst und Austellungshalle des Bundersrepublik Deutschland, Bona, em 1993-94.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><em><span style="font-family:lucida grande;color:#330000;"><span style="font-size:85%;"><strong>The Berardo Collection,</strong> </span></span><a href="http://www.berardocollection.com/?toplevelid=33&CID=100&a1=artist&v1=326&lang=en&tab=works#"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong>Museu Berardo Lisboa<br /></strong></span></a><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*<br /></span></em><span style="font-family:lucida grande;font-size:85%;color:#cc0000;"><strong>Crítica:</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Richter's early paintings gave Pop Art a political edge. His subject matter was often based on news print photographs mimicking the blurring of surveillance images taken from a moving car. Richter's origins in Eastern Germany gave this quality a more personal resonance. His painting's relationship to photography has remained constant even though his subject matter has varied from landscape, to historical paintings, to apparently minimalist abstraction. It is not the accuracy of the image that interests him but on the contrary the potential for blurring, loss of focus and definition that it produces.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">In his installation 'Atlas' at DIA in New York and later at Documenta 1997 Richter displayed a vast array of small photos taken as if for a sketchbook. These included hundreds of images of textures, clouds, seas, tiles, brickwork, trees, and so on. These were sometimes painted over, sometimes re-photographed so that the layering of photograph and paint became inextricably conflated. The textures and colours of the worked photos bore a striking resemblance to the repertoire of marks and colours of Richter's abstract paintings.</span></div><div align="justify"><span style="font-family:lucida grande;"><span style="font-size:85%;"><span style="color:#330000;">This repertoire is translated into a painterly tradition that is connected to Titian and Velasquez and so through Monet to Rothko. This tradition is partially expressed in the Baroque tendency to break the surface of the paint and blur the image to stimulate imaginative interpretation by the viewer. In spite of his relation to tradition, Richter has one strong affiliation with Minimalism. He emphasises process and paint as stuff rather than as a medium for pictorial composition. This is particularly evident in the abstractions where the paint is dragged onto the canvas with a squeegee. In 'Abstract painting (812)' he has used only one colour in the over painting, it has been dragged across the stretched canvas on which an earlier darker composition had been laid down. In the process he emphasises the underlying materiality of painting by revealing the horizontal stretcher bars. The rich yellow of this top coat produces a summery, buttery, glow. This glow is accentuated by glimpses of the underpainting that hint at deep space beyond the surface and as electric flashes against the yellow.<br /></span><span style="color:#990000;"><strong>Art Gallery of New South Wales</strong></span></span></span></div><div align="justify"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><strong><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"></span></strong></div><div align="center"><strong><span style="font-size:85%;color:#330000;">* * *</span></strong></div><div align="left"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Gerhard Richter is one of the foremost painters in postwar European art. Alternating between figurative and abstract approaches, his work intentionally defies stylistic categorization. He was first recognized in the early 1960s as co-founder, with Sigmar Polke and others, of Capitalist Realism, a group dedicated to the objective depiction of society in an increasingly commodity-oriented Germany. Photography was central to Richter's pictorial documentation and his rejection of the Expressionist painting popular at the time. In 1962 he began making paintings directly after photographs, family snapshots, or newspaper illustrations, aligning himself with a European manifestation of Pop art. But by constantly questioning modes of perception and artistic representation, he has given his work an element of Conceptual art as well. </span></div><div align="justify"><span style="font-family:lucida grande;color:#330000;"><span style="font-size:85%;"><span style="color:#ffffff;">*<br /></span>Richter began making prints in 1965 and has completed more than one hundred to date; he was most active before 1974, completing projects only sporadically since that time. He has explored a variety of photographic printmaking processes—screenprint, photolithography, and collotype—in search of inexpensive mediums that would lend a "non-art" appearance to his work. Although interested in the wide dissemination of imagery that printmaking offers, he has avoided the collaborative workshop prerequisites of the more traditional techniques. </span></span></div><div align="justify"><span style="font-family:lucida grande;color:#330000;"><span style="font-size:85%;"><span style="color:#ffffff;">*<br /></span>Portraiture has been an important genre for Richter, with Mao and Elisabeth II among the most haunting examples from this period. The ghostlike heads bleed off the sheets, fusing an aura of power and inaccessibility with a posterlike immediacy.</span></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;"><span style="color:#330000;"><span style="font-size:85%;"><strong>Wendy Weitman,</strong> </span></span></span></div><div align="justify"><a href="http://www.moma.org/collection/browse_results.php?object_id=60106"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong>MoMA, The Museum of Modern Art, NY</strong></span></a></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><a href="http://www.gerhard-richter.com/biography/"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong>Gerhard Richter's website</strong></span></a><br /><br /></div><div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com1tag:blogger.com,1999:blog-2054748435853847162.post-2407085780611966142008-01-08T23:47:00.000+00:002008-01-09T19:36:24.271+00:00Helena Almeida, Lisboa / Portugal - arte performativa contemporânea<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLuw2MiNs9_cAJcQCLXhUiHyG1N1dgh_p6RScxkswrBRK4tu6-j60etWtjXUL0oqqIVIJklnoUtC_P0SThZ_4QjlA3swq8BL5g32hIFXF32mKKGfq-nw6Ykf5DYcQIQ_Ly46aV5L04DdKh/s1600-h/HA,+da+s%C3%A9rie+pintura+habitada,+1975,+fotografia+com+tinta+acr%C3%ADlica+azul.jpg"><img id="BLOGGER_PHOTO_ID_5153264736726247218" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLuw2MiNs9_cAJcQCLXhUiHyG1N1dgh_p6RScxkswrBRK4tu6-j60etWtjXUL0oqqIVIJklnoUtC_P0SThZ_4QjlA3swq8BL5g32hIFXF32mKKGfq-nw6Ykf5DYcQIQ_Ly46aV5L04DdKh/s400/HA,+da+s%C3%A9rie+pintura+habitada,+1975,+fotografia+com+tinta+acr%C3%ADlica+azul.jpg" border="0" /></a><span style="color:#660000;"> <span style="font-family:lucida grande;font-size:85%;">Da série Pintura Habitada (Inhabited Painting) «Sem Título» 1975 </span></span></div><div align="center"><span style="font-family:lucida grande;"><span style="font-size:85%;color:#330000;"><span style="color:#660000;">tinta acrílica sobre fotografia<br /></span><br /></span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcvBGJQnnkeUEhztEsAnxVL5XYy23uWvfQYqIEf6VcouX1WT8Apq-ZMmkh8zMDzybTKgsTAetTtj7YcMtHUcohrZ00Yi2g-96NddBxtLpCvopYGvaSDHWUsks0__AG8XrG3G8LN7OlLz6_/s1600-h/HA,+da+s%C3%A9rie+pintura+habitada,+Perd%C3%A3o,+1993,+fotografia+com+tinta+acr%C3%ADlica+branca.jpg"><img id="BLOGGER_PHOTO_ID_5153264556337620770" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcvBGJQnnkeUEhztEsAnxVL5XYy23uWvfQYqIEf6VcouX1WT8Apq-ZMmkh8zMDzybTKgsTAetTtj7YcMtHUcohrZ00Yi2g-96NddBxtLpCvopYGvaSDHWUsks0__AG8XrG3G8LN7OlLz6_/s400/HA,+da+s%C3%A9rie+pintura+habitada,+Perd%C3%A3o,+1993,+fotografia+com+tinta+acr%C3%ADlica+branca.jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">Da série Pintura Habitada (Inhabited Painting) «Perdão» 1993 </span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">tinta acrílica sobre fotografia<br /><br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP5QsVv-C82lwqMcRaVsM3Uw9N0DOoWMAiNQSo3Q2wkyOZt0WQUpw4E6TlH5ca3HfOhij5m4bbzdWwhP8IvQynYBaDA-god8a0y9FHWOqNrOHz5RD5FE28L2wq4PQnlGcxXwMop0eEpFNv/s1600-h/HA,+da+s%C3%A9rie+Pintura+Habitada.jpg"><img id="BLOGGER_PHOTO_ID_5153264367359059730" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP5QsVv-C82lwqMcRaVsM3Uw9N0DOoWMAiNQSo3Q2wkyOZt0WQUpw4E6TlH5ca3HfOhij5m4bbzdWwhP8IvQynYBaDA-god8a0y9FHWOqNrOHz5RD5FE28L2wq4PQnlGcxXwMop0eEpFNv/s400/HA,+da+s%C3%A9rie+Pintura+Habitada.jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">Da série Pintura Habitada (Inhabited Painting) «Sem Título» 1975 </span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">tinta acrílica sobre fotografia<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh90l-BosT2RfpjdiT8iAzk2RAMf3aE5HloW_mqgRZTrX5XrwGqlNiLUlHNHBMRoLb7rpreraLhCx_8J2LbL9kvQcdtHbI8G6Iffr_I1VbqD5EgSyszc70ayx3KZMZPIPzhvKFKu-g1gJv4/s1600-h/Negro+Exterior,+1981,+fotografia.jpg"><img id="BLOGGER_PHOTO_ID_5153264126840891138" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh90l-BosT2RfpjdiT8iAzk2RAMf3aE5HloW_mqgRZTrX5XrwGqlNiLUlHNHBMRoLb7rpreraLhCx_8J2LbL9kvQcdtHbI8G6Iffr_I1VbqD5EgSyszc70ayx3KZMZPIPzhvKFKu-g1gJv4/s400/Negro+Exterior,+1981,+fotografia.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;"> «Negro Exterior» 1981, fotografia<br /><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSSMzc7K0UNfLuULl_CBfcYSRTZCn2Xhu_9Qd_0ElMzIuHWRIqsHaqbarC1KvRNahMxYMOgAemQckhV-ypnGgSr_p39dR4OJsPQyxzSzIfkI2ThVjXDkAG92CqyqjW5MNG9u6ebsyVKBL7/s1600-h/A+Casa,+1982,+fotografia.jpg"><img id="BLOGGER_PHOTO_ID_5153263426761221874" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgSSMzc7K0UNfLuULl_CBfcYSRTZCn2Xhu_9Qd_0ElMzIuHWRIqsHaqbarC1KvRNahMxYMOgAemQckhV-ypnGgSr_p39dR4OJsPQyxzSzIfkI2ThVjXDkAG92CqyqjW5MNG9u6ebsyVKBL7/s400/A+Casa,+1982,+fotografia.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «A Casa» 1982, fotografia</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib5JPPab4PAohvzlLgOaKTJuRvLzuV2U1OdAOnmnzAxqQFrNc2bw0ddi2a8cIsndF4lJlb9378JTkHus9e73ZNZDtPp3m8DGrjBHlnOzoHHxcIsbcCXiXKqBdqpk19gppYfU7sJRk19nni/s1600-h/Sem+T%C3%ADtulo,+1996-97,+fotografia.jpg"><img id="BLOGGER_PHOTO_ID_5153263237782660834" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEib5JPPab4PAohvzlLgOaKTJuRvLzuV2U1OdAOnmnzAxqQFrNc2bw0ddi2a8cIsndF4lJlb9378JTkHus9e73ZNZDtPp3m8DGrjBHlnOzoHHxcIsbcCXiXKqBdqpk19gppYfU7sJRk19nni/s400/Sem+T%C3%ADtulo,+1996-97,+fotografia.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Sem Título» 1996-97, fotografia</span><br /><a href="http://www.berardocollection.com/?toplevelid=1&lang=en"><span style="font-size:85%;color:#660000;"><span style="color:#ff6666;"><strong>(em exposição no Museu Berardo Lisboa)<br /></strong></span><br /></span></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCtY0Z0Ud3-famyNk35sHRWMQKZkq9IXe7xUB8c0xeW3GbYu0g8QqJVi0uoPCrqMUinN25uzBVi5VK8yheqQzmWEXHG8I0xf2JunKPF02jwqF9kmoRaY7If2EJbHtslE6YG9iGDmArNNMr/s1600-h/Entrada+Azul,+1980,+tinta+acr%C3%ADlica+sobre+fotografia.jpg"><img id="BLOGGER_PHOTO_ID_5153263057394034386" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCtY0Z0Ud3-famyNk35sHRWMQKZkq9IXe7xUB8c0xeW3GbYu0g8QqJVi0uoPCrqMUinN25uzBVi5VK8yheqQzmWEXHG8I0xf2JunKPF02jwqF9kmoRaY7If2EJbHtslE6YG9iGDmArNNMr/s400/Entrada+Azul,+1980,+tinta+acr%C3%ADlica+sobre+fotografia.jpg" border="0" /></a><br /><span style="font-size:85%;color:#660000;">«Entrada Azul» 1980, tinta acrílica sobre fotografia<br /></span><a href="http://www.berardocollection.com/?toplevelid=1&lang=en"><span style="font-size:85%;color:#ff6666;"><strong>(em exposição do Museu Berardo Lisboa) </strong></span></a><br /><span style="font-size:85%;color:#ff6666;"><span style="color:#ffffff;"><span style="font-size:100%;">*</span><br /></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwzGm_9n2UkwAuB16ST31KiuSv6csQKY8RUyEXvjryWokmzLlrvdd5oUZMXUs5BYNP_yJ0z0OBgdYhHYQChFSd6_nx6Uk-1N-Qy7y6-A7EKUByGIYGrDRxn-dtZ84TOve4k4O_p0REMOaa/s1600-h/Estudo+para+Dois+Espa%C3%A7os,+1977,+fotografia.jpg"><img id="BLOGGER_PHOTO_ID_5153262868415473346" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgwzGm_9n2UkwAuB16ST31KiuSv6csQKY8RUyEXvjryWokmzLlrvdd5oUZMXUs5BYNP_yJ0z0OBgdYhHYQChFSd6_nx6Uk-1N-Qy7y6-A7EKUByGIYGrDRxn-dtZ84TOve4k4O_p0REMOaa/s400/Estudo+para+Dois+Espa%C3%A7os,+1977,+fotografia.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Estudo para Dois Espaços» 1977, fotografia<br /></span><a href="http://www.berardocollection.com/?toplevelid=1&lang=en"><span style="font-size:85%;color:#ff6666;"><strong>(em exposição no Museu Berardo Lisboa)<br /></strong></span></a><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGTdreCw_q3ETFPlglpI96vnZxNddGdKffNumuZ9nw-ZsS2tb3mTAJiwnwuDWsLNgLSAG5W6P-Pp59I-zgUoHVlBgQF18S8QFlyPkUuM37kmBIRu3UM33d4SLig0VcjomvPuWxwaLOG-yI/s1600-h/Estudo+para+Dois+Espa%C3%A7os,+1977,+fotografia+4.jpg"><img id="BLOGGER_PHOTO_ID_5153262679436912306" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGTdreCw_q3ETFPlglpI96vnZxNddGdKffNumuZ9nw-ZsS2tb3mTAJiwnwuDWsLNgLSAG5W6P-Pp59I-zgUoHVlBgQF18S8QFlyPkUuM37kmBIRu3UM33d4SLig0VcjomvPuWxwaLOG-yI/s400/Estudo+para+Dois+Espa%C3%A7os,+1977,+fotografia+4.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Estudo para Dois Espaços» 1977, fotografia</span></div><div><a href="http://www.berardocollection.com/?toplevelid=1&lang=en"><span style="font-size:85%;color:#ff6666;"><strong>(em exposição no Museu Berardo Lisboa)<br /></strong></span><br /></a><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9pnn8h2D50d4HTBlV_qvP_xiIbvtAT0qnKkhY8SY0ejQ9mA1AYqA7m-2WhuRZd6Q2eojZuxj8hUulnuS2FyiY-fc2LaB7mzliZH_qfHApTTO6HCuCovC8QfZKCFeQxqPXzsJlNV66XJjt/s1600-h/Estudo+para+Dois+Espa%C3%A7os,+1977,+fotografia+6.jpg"><img id="BLOGGER_PHOTO_ID_5153262473278482082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9pnn8h2D50d4HTBlV_qvP_xiIbvtAT0qnKkhY8SY0ejQ9mA1AYqA7m-2WhuRZd6Q2eojZuxj8hUulnuS2FyiY-fc2LaB7mzliZH_qfHApTTO6HCuCovC8QfZKCFeQxqPXzsJlNV66XJjt/s400/Estudo+para+Dois+Espa%C3%A7os,+1977,+fotografia+6.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Estudo para Dois Espaços» 1977, fotografia<br /></span><a href="http://www.berardocollection.com/?toplevelid=1&lang=en"><span style="font-size:85%;color:#ff6666;"><strong>(em exposição no Museu Berardo Lisboa)</strong></span></a></div><div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ2eo5QZC7eiK3xrOpcHpFYfwNHAV2w43tg74SEPgk8G45TJrdkbksCAKbif09xPmAx_xl_HyhyphenhyphenNPIqThVBDrsegRwM0ujIj8uCaTYWkgwBynMdLk1upLKyZPHqhsXhmSCz6ZtTrx8sbEx/s1600-h/Estudo+para+Dois+Espa%C3%A7os,+1977,+fotografia+2.jpg"><img id="BLOGGER_PHOTO_ID_5153262258530117266" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZ2eo5QZC7eiK3xrOpcHpFYfwNHAV2w43tg74SEPgk8G45TJrdkbksCAKbif09xPmAx_xl_HyhyphenhyphenNPIqThVBDrsegRwM0ujIj8uCaTYWkgwBynMdLk1upLKyZPHqhsXhmSCz6ZtTrx8sbEx/s400/Estudo+para+Dois+Espa%C3%A7os,+1977,+fotografia+2.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Estudo para Dois Espaços» 1977, fotografia<br /></span><a href="http://www.berardocollection.com/?toplevelid=1&lang=en"><span style="color:#ff6666;"><strong><span style="font-size:85%;">(em exposição no Museu Berardo Lisboa)<br /></span><br /></strong></span></a><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCCv11BlE7iAyte2yxSVWruqfXO9UuZvBnutc1ef8RbDGGIKJbfnt_MApdql5tg4__YIXWtVfCTY9Xs_X22zjEytFDsoYnNIdgwQmfzs3VDwF7JXQfp3IVkNnYj78KIWdxvkAaMnzvq3_8/s1600-h/Estudo+para+Dois+Espa%C3%A7os,+1977,+fotografia+5.jpg"><img id="BLOGGER_PHOTO_ID_5153262069551556226" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCCv11BlE7iAyte2yxSVWruqfXO9UuZvBnutc1ef8RbDGGIKJbfnt_MApdql5tg4__YIXWtVfCTY9Xs_X22zjEytFDsoYnNIdgwQmfzs3VDwF7JXQfp3IVkNnYj78KIWdxvkAaMnzvq3_8/s400/Estudo+para+Dois+Espa%C3%A7os,+1977,+fotografia+5.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Estudo para Dois Espaços» 1977, fotografia<br /></span><a href="http://www.berardocollection.com/?toplevelid=1&lang=en"><span style="font-size:85%;color:#ff6666;"><strong>(em exposição no Museu Berardo Lisboa)<br /></strong></span><br /></a><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3gs9uKoMz4g7fmPwxkqIJYMMvIuRfacHBvyfI3ztIfGSkl8zGi_eQV-k_ztAe1EomqeUy12aqaQzhZ_50NLPnqm5mNSb72D7Bs8C_TCJ3GZzhT-0DdmL9L6bHOh6NX25H8MSATBQKQjJ8/s1600-h/Estudo+para+Dois+Espa%C3%A7os,+1977,+fotografia+3.jpg"><img id="BLOGGER_PHOTO_ID_5153261846213256818" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3gs9uKoMz4g7fmPwxkqIJYMMvIuRfacHBvyfI3ztIfGSkl8zGi_eQV-k_ztAe1EomqeUy12aqaQzhZ_50NLPnqm5mNSb72D7Bs8C_TCJ3GZzhT-0DdmL9L6bHOh6NX25H8MSATBQKQjJ8/s400/Estudo+para+Dois+Espa%C3%A7os,+1977,+fotografia+3.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Estudo para Dois Espaços) 1977, fotografia<br /></span><a href="http://www.berardocollection.com/?toplevelid=1&lang=en"><span style="font-size:85%;color:#ff6666;"><strong>(em exposição no Museu Berardo Lisboa)<br /></strong></span><br /></a><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9mFE9z3-sfVsLrcMLd2PawRWxFo9KwOjAL8X-uwWjjurGilFayEvQ1i2HKgu0Ig2K8Zx8XfCSXITkgj0ErWSfZBW4yE5UVOJGYIa5EkBS2Yq93ubG2D7O6YCMXhzw8z004SPK2yYY8mcX/s1600-h/Seduzir,+2002,+pintura+sobre+fotografia.jpg"><img id="BLOGGER_PHOTO_ID_5153261622874957410" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9mFE9z3-sfVsLrcMLd2PawRWxFo9KwOjAL8X-uwWjjurGilFayEvQ1i2HKgu0Ig2K8Zx8XfCSXITkgj0ErWSfZBW4yE5UVOJGYIa5EkBS2Yq93ubG2D7O6YCMXhzw8z004SPK2yYY8mcX/s400/Seduzir,+2002,+pintura+sobre+fotografia.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Da série Seduzir (Seduce) «Sem Título» 2002 </span></div><div><span style="font-size:85%;color:#660000;">tinta acrílica sobre fotografia<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7fJGcpWFAAD_-1y_OM7IW0fZi63A10lmdRfUuTITuEgy6Ii_xuJSIf4gTdJmqRP8wXWgiEa0DR4GqtOx6Tq6IKg8nJ_RDyAT04vnO_3m2NYs8EpryteKgom_Cm_zz2gwcvKaqPPmWtfFP/s1600-h/Seduzir,+2002,+2.jpg"><img id="BLOGGER_PHOTO_ID_5153260841190909522" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7fJGcpWFAAD_-1y_OM7IW0fZi63A10lmdRfUuTITuEgy6Ii_xuJSIf4gTdJmqRP8wXWgiEa0DR4GqtOx6Tq6IKg8nJ_RDyAT04vnO_3m2NYs8EpryteKgom_Cm_zz2gwcvKaqPPmWtfFP/s400/Seduzir,+2002,+2.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Da série Seduzir (Seduce) «Sem Título» 2002, fotografia<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjbyJnFPXDT2hIOcvrDy3HYug3pkGWAhFTIppi5yc7Mb8hjOd5_xQ6dsPOV3iR0NshGXNY3nRxXVuILrHhAXLDtAQLVIv6IzquDegV61GAVge-K9QxrOGAN9wCrL3oA0y_UbTjAFJala9B/s1600-h/Seduzir,+2002,+3.jpg"><img id="BLOGGER_PHOTO_ID_5153260665097250370" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjbyJnFPXDT2hIOcvrDy3HYug3pkGWAhFTIppi5yc7Mb8hjOd5_xQ6dsPOV3iR0NshGXNY3nRxXVuILrHhAXLDtAQLVIv6IzquDegV61GAVge-K9QxrOGAN9wCrL3oA0y_UbTjAFJala9B/s400/Seduzir,+2002,+3.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Da série Seduzir (Seduce) «Sem Título» 2002, fotografia<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTELKT6U3QrenI0epnmlAe9YhGflhWsZEUNfdoHWY7yo47onxIi4mZApMPuQspQsKb9RMTfsgSBtLHC6tirxjM55ajmtjAn9BFmRKr2gx9GkZKmK-uE7TniuBOORBRsdFXlNvRPYvi3wQr/s1600-h/Seduzir,+2001,+fotografia.jpg"><img id="BLOGGER_PHOTO_ID_5153260454643852850" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTELKT6U3QrenI0epnmlAe9YhGflhWsZEUNfdoHWY7yo47onxIi4mZApMPuQspQsKb9RMTfsgSBtLHC6tirxjM55ajmtjAn9BFmRKr2gx9GkZKmK-uE7TniuBOORBRsdFXlNvRPYvi3wQr/s400/Seduzir,+2001,+fotografia.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Da série Seduzir (Seduce) «Sem Título» 2001, fotografia<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqSNfHeh8UM9knWaeyyzZs0V-gyGv1dFKMCwmue4TpRRiCavJht-Ndc_ffwLqos3PRuGSIV5-zg0SiWvTqUmbk0l_wAPiYfn9OYD-FcpLi8eLCTuzHv3mY3xE0gLmIh14Mfgc1wQ26ZMa6/s1600-h/Tela+Habitada,+fotografia+(Ouve-me),+1976.jpg"><img id="BLOGGER_PHOTO_ID_5153260282845160994" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqSNfHeh8UM9knWaeyyzZs0V-gyGv1dFKMCwmue4TpRRiCavJht-Ndc_ffwLqos3PRuGSIV5-zg0SiWvTqUmbk0l_wAPiYfn9OYD-FcpLi8eLCTuzHv3mY3xE0gLmIh14Mfgc1wQ26ZMa6/s400/Tela+Habitada,+fotografia+(Ouve-me),+1976.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Da série Tela Habitada (Inhabited Canvas) «Ouve-me» 1976 </span></div><div><span style="font-size:85%;color:#660000;">fotografia</span></div><div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6TLpgac-nGRDNG0un-6dpMlLVD2iE-IlUtU0Y0O4GouVKupR9C8Po4zLD6SOBSG14sMGnBRExxwH5NlWm5dg2m5EcEaQsHe3PTtMIkbMEwG7lu9_QUT1-ruHzMTGQNsPKURXwiPOCJNEq/s1600-h/Helena+Almeida,+Sente-me,+1979.jpg"><img id="BLOGGER_PHOTO_ID_5153260055211894290" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6TLpgac-nGRDNG0un-6dpMlLVD2iE-IlUtU0Y0O4GouVKupR9C8Po4zLD6SOBSG14sMGnBRExxwH5NlWm5dg2m5EcEaQsHe3PTtMIkbMEwG7lu9_QUT1-ruHzMTGQNsPKURXwiPOCJNEq/s400/Helena+Almeida,+Sente-me,+1979.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Sente-me» 1979, fotografia<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDAr5DZfer-P-FXV2Lvl6HpYYcTUwy53KWRfzCnVDLVZa2kR1hw0vbbA82tOK4kX_F8sMkhRNaISytB99Wzu5p_jF4X0SkkKQNBdxB0IucLWTOYcrk5Ed9gCGKCgUMkBd06FBXwZZpvpS6/s1600-h/Desenho,+1999.jpg"><img id="BLOGGER_PHOTO_ID_5153259844758496770" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDAr5DZfer-P-FXV2Lvl6HpYYcTUwy53KWRfzCnVDLVZa2kR1hw0vbbA82tOK4kX_F8sMkhRNaISytB99Wzu5p_jF4X0SkkKQNBdxB0IucLWTOYcrk5Ed9gCGKCgUMkBd06FBXwZZpvpS6/s400/Desenho,+1999.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Da série Desenhos Habitados (Inhabited Drawings) «Sem Título» 1999 </span></div><div><span style="font-size:85%;color:#660000;">fotografia<br /></span><br /></div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1biuAKWayv6mZC2vnJzx2nk_ru8ybcAMq7WtmR-voPgobUFSgLUktA25iHfwi7_QPsmzhbTLwwUlIzBGZ_who6DwFvLyL0nQVfXrjTrtJ2Lzk5Zo6LLjMh6-0Z5M-lwOu7qBUy6rauYoY/s1600-h/Inhabited+drawings,+2004.gif"><img id="BLOGGER_PHOTO_ID_5153259698729608690" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj1biuAKWayv6mZC2vnJzx2nk_ru8ybcAMq7WtmR-voPgobUFSgLUktA25iHfwi7_QPsmzhbTLwwUlIzBGZ_who6DwFvLyL0nQVfXrjTrtJ2Lzk5Zo6LLjMh6-0Z5M-lwOu7qBUy6rauYoY/s400/Inhabited+drawings,+2004.gif" border="0" /></a> <span style="font-size:85%;color:#660000;">Da série Desenhos Habitados (Inhabited Drawings) «Sem Título» 2004 </span></div><div><span style="font-size:85%;color:#660000;">fotografia</span><br /></div><div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyYCi4-Yyr8M_yv2ivwwhnt_gQlixGzsiOwHC8lBamoRj5I0dfIW41cdur_6ETJYpdVX_EZBYbXoguveAZX4l1pY3WKrC6ySeBHmeZSp1TToCW0ZUohcE0PInJ6oR0_ewCrb1L85R8n0wk/s1600-h/Inhabited+Drawings,+2004.jpg"><img id="BLOGGER_PHOTO_ID_5153259453916472802" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiyYCi4-Yyr8M_yv2ivwwhnt_gQlixGzsiOwHC8lBamoRj5I0dfIW41cdur_6ETJYpdVX_EZBYbXoguveAZX4l1pY3WKrC6ySeBHmeZSp1TToCW0ZUohcE0PInJ6oR0_ewCrb1L85R8n0wk/s400/Inhabited+Drawings,+2004.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Da série Desenhos Habitados (Inhabited Drawings «Sem Título» 2004 </span></div><div><span style="font-size:85%;color:#660000;">fotografia<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP7fyyVv48Wl9c_O_JC-zF7vf9siPkJ-YMnZQ8SpConUqNlLh1O10P6ausNfXIYeKWM9AENwSq-VvL5IVqAWBD-a1PdyCDIzvr_uUBhBJhJWAaKPWCGYpCwH0slz2WixJS8G8AAfQwEbaW/s1600-h/HA,+do+trabalho+em+s%C3%A9rie,+Onda,+1997.jpg"><img id="BLOGGER_PHOTO_ID_5153259277822813650" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiP7fyyVv48Wl9c_O_JC-zF7vf9siPkJ-YMnZQ8SpConUqNlLh1O10P6ausNfXIYeKWM9AENwSq-VvL5IVqAWBD-a1PdyCDIzvr_uUBhBJhJWAaKPWCGYpCwH0slz2WixJS8G8AAfQwEbaW/s400/HA,+do+trabalho+em+s%C3%A9rie,+Onda,+1997.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Da série Onda (Wave) «Sem Título» 1997, fotografia<br /><br /></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRRcb551NzTIHFJA_RH0Nlki1qqSJ2OR1BNWigUTeWhDLrTemIamHsd4qdSwtYwcqEqjkgIJgAoRGqORYrw1kj5hVw83yCT7fgFkpWITOeaz3spKES1bo0FCUGfzwVDLJCBUuXTV7SJRr6/s1600-h/Estudo+para+um+enriquecimento+interior,+1977-78,+tinta+acr%C3%ADlica+sobre+fotografia.jpg"><img id="BLOGGER_PHOTO_ID_5153259050189546946" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRRcb551NzTIHFJA_RH0Nlki1qqSJ2OR1BNWigUTeWhDLrTemIamHsd4qdSwtYwcqEqjkgIJgAoRGqORYrw1kj5hVw83yCT7fgFkpWITOeaz3spKES1bo0FCUGfzwVDLJCBUuXTV7SJRr6/s400/Estudo+para+um+enriquecimento+interior,+1977-78,+tinta+acr%C3%ADlica+sobre+fotografia.jpg" border="0" /></a></div><div></div><div><span style="font-size:85%;color:#660000;">«Estudo para um enriquecimento interior» 1977-78 </span></div><div><span style="font-size:85%;color:#660000;">tinta acrílica sobre fotografia </span></div><div><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></div></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4wXK5ntenIx6OicMiK7Q6qduLiJk0Q0qnjGMnA_5fh11cslbG4KP4kuMo1y5BZkDV7WuU63Y9MzHZLIGzsLHlLLq3c1id_hXgrk0BjEjPCS0wsnHAR_BnepTXJ9bzqhqeOX3K64pXNDru/s1600-h/I+am+here,+2005.jpg"><img id="BLOGGER_PHOTO_ID_5153258736656934322" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4wXK5ntenIx6OicMiK7Q6qduLiJk0Q0qnjGMnA_5fh11cslbG4KP4kuMo1y5BZkDV7WuU63Y9MzHZLIGzsLHlLLq3c1id_hXgrk0BjEjPCS0wsnHAR_BnepTXJ9bzqhqeOX3K64pXNDru/s400/I+am+here,+2005.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Da série Intus «Eu estou aqui» 2005, fotografia</span> </div><div><span style="color:#ffffff;">*<br /></span><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilvQ5fuqSr60QajaL6LFX3eI9ry9Y_q_m2NI6iTSn0sNHes0rTNSn9eNSw2GdES-aeW1Mh-IycpH-26KwSlPL7AXCGS_GHdtP2mCpnm_B2me8buZMpN8wDo4gc2dIyLIztsUqRkr6Q1x0C/s1600-h/Da+s%C3%A9rie+Dois+Espa%C3%A7os,+2006,+fotografia.jpg"><img id="BLOGGER_PHOTO_ID_5153258487548831138" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilvQ5fuqSr60QajaL6LFX3eI9ry9Y_q_m2NI6iTSn0sNHes0rTNSn9eNSw2GdES-aeW1Mh-IycpH-26KwSlPL7AXCGS_GHdtP2mCpnm_B2me8buZMpN8wDo4gc2dIyLIztsUqRkr6Q1x0C/s400/Da+s%C3%A9rie+Dois+Espa%C3%A7os,+2006,+fotografia.jpg" border="0" /></a></div><div><span style="font-size:85%;color:#660000;">Da série Dois Espaços (Two Spaces) «Sem Título» 2006, fotografia</span> </div><div><span style="color:#ffffff;">*<br /></div></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn7j4SNr5in308RVHrt-ZZuugTuzqI0xVKVDhXhDTEjBNoMdn2G8JqI6DrBiWPWOLjPa05g7ck_DqKXDm1zV1qepm1Bg8HikTPxRoe6Kei49eMudl3O3Z0J2cyWtpyOOTWsLwiSSzP0FiA/s1600-h/Intus,2005,+fotografia.jpg"><img id="BLOGGER_PHOTO_ID_5153258277095433618" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn7j4SNr5in308RVHrt-ZZuugTuzqI0xVKVDhXhDTEjBNoMdn2G8JqI6DrBiWPWOLjPa05g7ck_DqKXDm1zV1qepm1Bg8HikTPxRoe6Kei49eMudl3O3Z0J2cyWtpyOOTWsLwiSSzP0FiA/s400/Intus,2005,+fotografia.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Da série Intus « Eu estou aqui» 2005, fotografia </span></div><div><span style="font-size:85%;color:#ffffff;">*<br /></span><div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEjVI0lCu8cHcIJjYde16gl4J7YU449NiU9cm5QLaXYCq0C1DaUYqhnGVCrGSizVfMPXETddM2TvVYRmDpdaEzyIu4hyZwBUW7WI4E7n8_d4yWYyqy_mV3pj3Plh6Lo2EeTkREyjskoI-/s1600-h/Untitled,+2003,+fotografia.jpg"><img id="BLOGGER_PHOTO_ID_5153257946382951810" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiIEjVI0lCu8cHcIJjYde16gl4J7YU449NiU9cm5QLaXYCq0C1DaUYqhnGVCrGSizVfMPXETddM2TvVYRmDpdaEzyIu4hyZwBUW7WI4E7n8_d4yWYyqy_mV3pj3Plh6Lo2EeTkREyjskoI-/s400/Untitled,+2003,+fotografia.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Sem Título» 2003, fotografia<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrBa82u0TaW_CKroXea9YzWInA5GiPQyk75n8I_t8xEWZ3_lXgHFTFB36PVKms_cFWXcg3AxMJXTxJmN6YgCpxN-Mo33oldfBhcx7OXsv6CkvClrQEExfg_TrhyOp9Cumwyxc5B5xoWIER/s1600-h/Dentro+de+mim.jpg"><img id="BLOGGER_PHOTO_ID_5153257740224521586" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrBa82u0TaW_CKroXea9YzWInA5GiPQyk75n8I_t8xEWZ3_lXgHFTFB36PVKms_cFWXcg3AxMJXTxJmN6YgCpxN-Mo33oldfBhcx7OXsv6CkvClrQEExfg_TrhyOp9Cumwyxc5B5xoWIER/s400/Dentro+de+mim.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Da série Dentro de Mim (Inside Me) «Sem Título» 2000 </span></div><div><span style="font-size:85%;color:#660000;">fotografia</span> </div><div><span style="color:#ffffff;">*<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuKle9P4cGBCVsrVc4DSmBzOEkpjb8AhSAr4HLc-iL4Yogz6qJJat6TE2uq7VJxiEykVv9uYoe4Za3ycfmhuMQLoESKCsSlGpf0Zo44ViiOFpNDmBo5vCKl6P6L9Z3DEzPZaLssbY-Kn3o/s1600-h/HA,+da+s%C3%A9rie+Voar,+2001+2.jpg"><img id="BLOGGER_PHOTO_ID_5153257516886222178" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuKle9P4cGBCVsrVc4DSmBzOEkpjb8AhSAr4HLc-iL4Yogz6qJJat6TE2uq7VJxiEykVv9uYoe4Za3ycfmhuMQLoESKCsSlGpf0Zo44ViiOFpNDmBo5vCKl6P6L9Z3DEzPZaLssbY-Kn3o/s400/HA,+da+s%C3%A9rie+Voar,+2001+2.jpg" border="0" /></a><span style="color:#660000;"> </span><span style="font-size:85%;color:#333333;"><span style="color:#660000;">Da série Voar (Fly) «Sem Título» 2001, fotografia</span><br /></span><br /></div><div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_leYJkqVRACAzoGvyfJAos4NUmuBBV3Gv-SLoWfBkD6XiGwlej6zcgPgytava-zXB0dH8WFUIgDnZu5RNdb08maoXQH2IE3GVARaCtssd5xKZjfvTRdDLlrtWjQ19i9bluZP24f4JBOQQ/s1600-h/HA,+da+s%C3%A9rie+Rodap%C3%A9,+1999.jpg"><img id="BLOGGER_PHOTO_ID_5153257070209623378" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_leYJkqVRACAzoGvyfJAos4NUmuBBV3Gv-SLoWfBkD6XiGwlej6zcgPgytava-zXB0dH8WFUIgDnZu5RNdb08maoXQH2IE3GVARaCtssd5xKZjfvTRdDLlrtWjQ19i9bluZP24f4JBOQQ/s400/HA,+da+s%C3%A9rie+Rodap%C3%A9,+1999.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Da série Rodapé (Feet on the Ground) «Sem Título» 1999, fotografia</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq4iZdFAv_NJqyWhoVxvbrgEIxADWvuumHrohpLk-s4xDOBWcUBf8eCuTDvf26GaKd3z9pn2JevfPXYBl5yIVLnDBQV4iL-Lf8JOwolGjlA6qwT4meyVNKCFWrNXUXivZip2qTqb_VM_ef/s1600-h/A+experi%C3%AAncia+do+lugar.jpg"><img id="BLOGGER_PHOTO_ID_5153256855461258562" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgq4iZdFAv_NJqyWhoVxvbrgEIxADWvuumHrohpLk-s4xDOBWcUBf8eCuTDvf26GaKd3z9pn2JevfPXYBl5yIVLnDBQV4iL-Lf8JOwolGjlA6qwT4meyVNKCFWrNXUXivZip2qTqb_VM_ef/s400/A+experi%C3%AAncia+do+lugar.jpg" border="0" /></a></div><div></div><div><span style="font-size:85%;color:#660000;">«A Experiência do Lugar I» 2001, fotografia</span><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT5TteBkyPcLGanLYcpXzi5isOsoqFw-gC9TzuNpsBnZ_NohUV9GBdnQ7I6ObQ2bLip9o8e3NZNMQZzDPK0hllTkndT2rZAzKUhkZIAZJj8yQcq6vIuPOHuGzEIvaJLoThqw50l6nqfLnm/s1600-h/HA,+Sa%C3%ADda+com+Raiva,+1982,+fotografia.jpg"><img id="BLOGGER_PHOTO_ID_5153256675072632114" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjT5TteBkyPcLGanLYcpXzi5isOsoqFw-gC9TzuNpsBnZ_NohUV9GBdnQ7I6ObQ2bLip9o8e3NZNMQZzDPK0hllTkndT2rZAzKUhkZIAZJj8yQcq6vIuPOHuGzEIvaJLoThqw50l6nqfLnm/s400/HA,+Sa%C3%ADda+com+Raiva,+1982,+fotografia.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Saída com Raiva» 1982, vídeo-instalação</span></div><span style="font-size:85%;color:#660000;"><div align="left"></span><span style="color:#ffffff;">*<br />*<br /></span><span style="font-size:85%;color:#330000;"><strong>Helena Almeida</strong> nasceu em Lisboa em 1934. Tirou o curso de Pintura da Escola Superior de Belas-Artes de Lisboa. A sua obra, muito diversificada (pintura, desenho, instalação, escultura e gravura), tem um denominador comum: a fotografia. </span></div><div align="justify"><span style="font-size:85%;color:#330000;">Pela primeira vez, em 1967, expõe individualmente na Galeria Buchholz, onde apresenta uma pintura abstracta geométrica, usando o azul e o laranja e interrogando a natureza e a função dos suportes e da moldura (colecção CAMJAP). Já nesta fase se encontram os primeiros indícios de uma saída física da tela, protagonizada, neste caso, pelo deslize da moldura para fora do lugar da pintura. </span></div><div align="justify"><span style="font-size:85%;color:#330000;">Nos anos seguintes, surgem as instalações feitas com utensílios de uso doméstico (flores de plástico, tule...) e os desenhos com colagem de fio de crina. Estes últimos fazem coexistir o plano e o volume numa delicada mas poderosa submissão à fisicalidade da linha. </span></div><div align="justify"><span style="font-size:85%;color:#330000;">Numa <em>performance</em> documentada em vídeo (colecção CAMJAP), a palavra “ouve-me” é desenhada sobre um papel no espaço da boca, que o sorve por trás, e remete para a série de fotografias (1979) em que, como um fio, o desenho da palavra lhe “cose” os lábios. Em 1969, e pela primeira vez, faz-se fotografar pelo seu marido (o escultor e arquitecto Artur Rosa), de corpo inteiro, agarrando uma tela rosa sobre o peito.</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Na década de 70, com as séries Pinturas e Desenhos Habitados, a artista revela uma profunda meditação sobre os efeitos decorrentes de “tentar abrir um espaço custe o que custar”, como na obra Tela Habitada (1976): representa e utiliza o seu próprio corpo numa sequência de imagens em que simula romper a tela e, ainda que aparentemente o consiga, na penúltima fotografia, percebe-se que o seu objectivo não é alcançado, sugerindo depois o recomeço de modo cíclico, infindável. É ainda a figura do rasgão que organiza a sua “entrada” no espaço da tela ou do papel, na obra Corte Secreto (1981), também integrada na colecção do CAMJAP. O questionamento e a desconstrução do espaço da obra e daquele que o envolve, do lugar do artista dentro e fora deles ou em limiares de transição entre eles, constituem os principais enquadramentos conceptuais da obra.Em 1980, Helena Almeida descobre o negro. Da cumplicidade desta cor com a fotografia surgem grandes telas fotossensibilizadas. </span></div><div align="justify"><span style="font-size:85%;color:#330000;">Em 1987, destacaram-se os Frisos, conjunto de 262 fotografias sobre papel que a artista expôs no CAMJAP. Prossegue entretanto com os trabalhos de instalação e fotografia, mantendo a utilização da sua própria imagem como uma constante da obra.</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Numa das fotografias da série Seduzir, a cor do sangue é a cor da pintura na planta de um dos pés deixada a descoberto por um sapato caído. Se a mão levanta um dos lados da saia num gesto coquette e se o salto alto dos sapatos o reforça, dois aspectos interrompem ou cerceiam esse propósito coreográfico: o corpo é um vulto negro, mais ou menos informe e sem cabeça, de forma a concentrar o nosso olhar na pele das pernas e dos pés, e nessa mancha inesperada que tinge de vermelho uma zona escondida do corpo, dando a pensar o que nela pode ser violência dissimulada, como em alguns jogos de sedução. Por outro lado, se é a mão que tradicionalmente realiza a pintura, é o pé que a assume, neste trabalho, como agente passivo (suporte da pincelada), mas também activo do movimento, da surpresa, da cor e da tinta na fotografia a preto e branco e da perturbação metafórica. Engolir, secretar, integrar, esconder, escorrer, agir, habitar, localizar a pintura, a partir do corpo, nele e com ele – eis o programa de trabalho de uma vida.</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Das inúmeras exposições feitas em Portugal e no estrangeiro, destacam-se a exposição na Fundação de Serralves (Porto, 1995), no Centro Galego de Arte Contemporânea (Santiago de Compostela, 2000) e, recentemente, na Galerie im Taxispalais (Innsbrück, na Áustria, 2003). Pés no Chão, Cabeça no Céu é o nome da importante antológica realizada no Centro Cultural de Belém em Março de 2004.</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>Maria Almeida Lima<br /></strong></span><a href="http://www.camjap.gulbenkian.pt/l1/ar%7BD2B27546-03B0-4185-A5F8-0B5ACC3E203C%7D/m1/t3.aspx"><span style="font-size:85%;color:#ff6666;"><strong>CAMJAP -Centro de Arte Moderna José de Azeredo Perdigão</strong></span></a><br /><span style="font-size:85%;color:#ffffff;">*</span></div><div align="center"><span style="font-size:85%;color:#330000;">* * *</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">"Pes no Chao, Cabeca no Ceu" (Feet on the Ground, Head in the Clouds) encom-passes thirty-five years of work in which, between the studio floor and the blue sky, everything passed through the body of Helena Almeida. In the '60s the artist began questioning the material and conceptual elements that constitute the definition of painting. In the '70s she abandoned traditional modes of depiction to undertake an array of practices whose point of departure is her own body. It all begins "inside me"--"Dentro de Mim," as the title of a series of photographs from 2000-2001 says--not in the psychological sense of a subjectivity that expresses itself, but in the performative sense of material (the body) presenting itself.</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>Almeida creates successive series of black-and-white photographs of herself. The photos register moments of the action of moving about, painting, or drawing in the studio--not painting or drawing by traditional means, perhaps, but through actions that transform movements into a work of art. In the series "Pintura Habitada" (Inhabited Painting), 1975-77, and "Desenho Habitado" (Inhabited Drawing), 1975, we see the artist in the act of painting or drawing, holding in her hand the brush or pencil from which flow streams of blue paint or black thread that, above or emerging from the surface of the photograph, possesses a real physical presence. The video Sente-me, Ouve-me, Vi-me (Feel Me, Hear Me, See Me), 1978-80, reveals the performance dimension of the work that precedes the photos.</span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Almeida's transdisciplinary dynamic leads not only to an abandonment of the traditional artistic practices but to the progressive awareness of the necessity of making the passage from oneself to others. In the "Inside Me" series, made by attaching mirrors to different parts of herself, the body opens itself to reflect space, light, and everything that surrounds it. In these images the movement of the body remakes the surrounding space, and remakes itself, as body, through the absorption of that same space. The way that the author "installs" her body in the studio modifies what would otherwise be our normal perception of space by generating an installation effect.</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>Almeida's work explores questions such as: How is it that the body and the movement of a body--that of the author--makes art? How is it that during this process the body itself is what becomes art? And after various forms of interaction (absorption, penetration, occultation, habitation) between the body and the works of art that arise from it, what remains for art besides the mark of a body's passage? The answer to this last question lies perhaps in the title of a recent series: "Seduzir" (Seduce), 2002. In these photographs, we witness the peculiar staging of certain poses that we can interpret as commentary on the stereotypes of feminine seduction. But the most unsettling effect results from the artist's confronting us with the presence of her body in a manner that forces us, as observers, to take cognizance of the place and limits of the action and power of our own bodies.<br /><strong>Alexandre Melo, ArtForum, Sept, 2004</strong></span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>(translated by Clifford E. Landers)<br /></strong><span style="color:#ffffff;">*</span></span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ff6666;"><strong>Ví</strong></span><a href="http://www.youtube.com/watch?v=VBgGtVmKcpg"><span style="color:#ff6666;"><strong>deo-instalação "Sacrifício" (Sacrifice)</strong></span></a></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">* </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><a href="http://www.youtube.com/watch?v=VBgGtVmKcpg"><span style="color:#ff6666;"><strong></div></strong></span></a></span></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com2tag:blogger.com,1999:blog-2054748435853847162.post-34917936654538064432007-12-23T01:37:00.000+00:002007-12-31T00:27:51.435+00:00Cecily Brown, Londres / Reino Unido - pintura contemporânea<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfBjNupRQT8i4XoRz1Lcs-WX-2vxkECKBKRmxVZ_KeNbsomqAqyledCC22DWD5WIrcunsQh1qT3eGBgaIM0I4KAi2Bbi2lCnBlmCIbLXh_sbIRQvr8LTY7hLk-RXsBjXh91G08JHRvlcQ3/s1600-h/The+Adoration+of+the+Lamb,+2006,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5149860545647436914" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfBjNupRQT8i4XoRz1Lcs-WX-2vxkECKBKRmxVZ_KeNbsomqAqyledCC22DWD5WIrcunsQh1qT3eGBgaIM0I4KAi2Bbi2lCnBlmCIbLXh_sbIRQvr8LTY7hLk-RXsBjXh91G08JHRvlcQ3/s400/The+Adoration+of+the+Lamb,+2006,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«The Adoration of the Lamb», 2006, oil on linen </span></div><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcVK6LKAKUc51l6_4UsKmKcTkrWBcaHQSlpAop1QPKs5qCLwHoW3OPZ0l96GNTYQ4Vbu9r2f-eSdshXeFnxeItD5mqTZSFTl5e4CyZuXeOsCbYh8fF9PZ9JpBJMatMvDVj18LvBMckMFMQ/s1600-h/Father+of+the+Bride,+1999,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5149860365258810466" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcVK6LKAKUc51l6_4UsKmKcTkrWBcaHQSlpAop1QPKs5qCLwHoW3OPZ0l96GNTYQ4Vbu9r2f-eSdshXeFnxeItD5mqTZSFTl5e4CyZuXeOsCbYh8fF9PZ9JpBJMatMvDVj18LvBMckMFMQ/s400/Father+of+the+Bride,+1999,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> «The Father of the Bride»</strong> 1999, oil on canvas<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_Wj6TFOeqbsnmkCDbuYMHn-zfucSmdHL5Ok-H7yzDEHkOm3N1OgGozuEm2CRLVJcnvSUD1LO2koF94rKUlsUQaR-Lbz6vN1OF2mHHKCq2etu_VQwAHFTaIYRGNveq_cRTkFUzXAkxAYDb/s1600-h/CB,+The+Picnic,+2006,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5149860086085936210" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_Wj6TFOeqbsnmkCDbuYMHn-zfucSmdHL5Ok-H7yzDEHkOm3N1OgGozuEm2CRLVJcnvSUD1LO2koF94rKUlsUQaR-Lbz6vN1OF2mHHKCq2etu_VQwAHFTaIYRGNveq_cRTkFUzXAkxAYDb/s400/CB,+The+Picnic,+2006,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «The Picnic» 2006, oil on linen<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdUROGUgCpXQaTn3ILwq5uYnbX81mslln4_ZH0FyNs4S8UlnhDpxFF1wqgsPPIPUWdMJpZ3Wbvwdn8nO8WGTkH7BGFrv0_E_udMRWu_Vvt4gQpQaLS_NVLzuI0-f1VtUjtdhRvqeKkvXaK/s1600-h/Lagoon,+2004,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5149859871337571394" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdUROGUgCpXQaTn3ILwq5uYnbX81mslln4_ZH0FyNs4S8UlnhDpxFF1wqgsPPIPUWdMJpZ3Wbvwdn8nO8WGTkH7BGFrv0_E_udMRWu_Vvt4gQpQaLS_NVLzuI0-f1VtUjtdhRvqeKkvXaK/s400/Lagoon,+2004,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> «Lagoon»</strong> 2004, oil on canvas<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnSzed1lsgB82ftNnZYOfIvo6fiih8T3mlIo5jJj6WZH_ixGwKpAs5fsDS2E_yfuA44wVghiDc1hUp0c2ikTCbbPSVFi0mimvTw73YWUzy9by4TZcN5hi5rzv8oGdiNyQPKT8Pz3LeXw3T/s1600-h/Ambush+Makeover,+2003,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5149859639409337394" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnSzed1lsgB82ftNnZYOfIvo6fiih8T3mlIo5jJj6WZH_ixGwKpAs5fsDS2E_yfuA44wVghiDc1hUp0c2ikTCbbPSVFi0mimvTw73YWUzy9by4TZcN5hi5rzv8oGdiNyQPKT8Pz3LeXw3T/s400/Ambush+Makeover,+2003,+oil+on+linen.jpg" border="0" /></a><strong> </strong><span style="font-size:85%;color:#660000;"><strong>«Ambush Makeover»</strong> 2003, oil on linen<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaOGVpHXaMdQMm2WGpDosFF3mpiv6jgVAgJLVWJc8mdQaqgQau82H8xEPtSDRMVKB-amJiMWR4qAkFnnKKazVOW1W_U9nnDKHku-bu-tSEMbzKk3763iLaESl5x9WgSXAhKugBMsbG6yPU/s1600-h/The+Adoration+of+the+Lamb,+2006,+oil+on+linen.jpg"></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6cKsRiQww0uOFOh_LklFIktP0mtHJ1MKsDM2bNbLMToI6BajOBHxarSazkon_6K9lfFSMYMUjI_CzzPZBLKk6tbnMcmRf4Q7iBTKQkGmnlPuDtBabTKJzpQANUecir2ClT4hD-VbeJnzq/s1600-h/Cecily+Brown,+Red+Rum,+2001,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5149846127442224114" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6cKsRiQww0uOFOh_LklFIktP0mtHJ1MKsDM2bNbLMToI6BajOBHxarSazkon_6K9lfFSMYMUjI_CzzPZBLKk6tbnMcmRf4Q7iBTKQkGmnlPuDtBabTKJzpQANUecir2ClT4hD-VbeJnzq/s400/Cecily+Brown,+Red+Rum,+2001,+oil+on+linen.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Red Rum» 2001, oil on linen </span></div><div align="center"><span style="font-size:85%;color:#ffffff;">*<br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDua3jnCG7Nc_5t7phpGGtwmXZhuWmX6uqt-fje0Au-CmkXuWZZeS0lUDMvZ5_XbviZEgH8GZc2CorEkVrqLqxK5DJ_s4cGwIWqwpm2Qe-Dga_CXffsd6oJQlkRjBc1TPix2v51BUrtxuG/s1600-h/CB,+Maids+Day+Off,+2005.jpg"><img id="BLOGGER_PHOTO_ID_5149845916988826594" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDua3jnCG7Nc_5t7phpGGtwmXZhuWmX6uqt-fje0Au-CmkXuWZZeS0lUDMvZ5_XbviZEgH8GZc2CorEkVrqLqxK5DJ_s4cGwIWqwpm2Qe-Dga_CXffsd6oJQlkRjBc1TPix2v51BUrtxuG/s400/CB,+Maids+Day+Off,+2005.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Maids Day Off» 2005, oil on linen</span><br /><br /></div><div align="center"><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzIWjxW8fkK7VFTDth9gQsU5RVcfBfc87lJDHcod82h87i5dJv2VECcXGa9mi2vp6DLO5Lpu1Pq7Tv_TyB9_s76MaeZodOBjzpgSsxZCjoIhF_WODHe-OnqCNfUqYy6FTew2QRUj26oPK_/s1600-h/CB,+Serenade,+1998,+acrylic+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5149845663585756114" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzIWjxW8fkK7VFTDth9gQsU5RVcfBfc87lJDHcod82h87i5dJv2VECcXGa9mi2vp6DLO5Lpu1Pq7Tv_TyB9_s76MaeZodOBjzpgSsxZCjoIhF_WODHe-OnqCNfUqYy6FTew2QRUj26oPK_/s400/CB,+Serenade,+1998,+acrylic+on+linen.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Serenade» 1998, acrylic on linen</span></div><div align="center"><span style="font-size:85%;color:#ff6666;"><strong>(em exposição no Museu Berardo Lisboa)<br /></strong></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGeQ_6dwXbzi8ig_5waeG7XtIFEb1NIuFvAtkGza8uSIDD45xQPFkib3g3GE70j8XUhWXz7YALN4yo9O-h4-80wHmaei9cz-I-A3-h5lhWeu11DvoPXwh8JVUPp1Wqq8EK1uzjx3WNg-ES/s1600-h/CB,+Trouble+in+Paradise,+1999,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5149845504671966146" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGeQ_6dwXbzi8ig_5waeG7XtIFEb1NIuFvAtkGza8uSIDD45xQPFkib3g3GE70j8XUhWXz7YALN4yo9O-h4-80wHmaei9cz-I-A3-h5lhWeu11DvoPXwh8JVUPp1Wqq8EK1uzjx3WNg-ES/s400/CB,+Trouble+in+Paradise,+1999,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>«Trouble in Paradise»</strong> 1999, oil on canvas</span><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrfcmvWN3hbwv1Zu9qeHAiY0Pn-vVjmk2vzDV6TzJ_uv8IWNOSMYj0gB59HhFW-Inrjodxln9S5Js28Y6lDn4a0LKj89I9FCWV-RULI3Nx7uCZvzBNQaEDXLJceCVD5S8q-Qjj7YAZ4bja/s1600-h/CB,+Black+Painting+1,+2002,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5149845259858830258" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrfcmvWN3hbwv1Zu9qeHAiY0Pn-vVjmk2vzDV6TzJ_uv8IWNOSMYj0gB59HhFW-Inrjodxln9S5Js28Y6lDn4a0LKj89I9FCWV-RULI3Nx7uCZvzBNQaEDXLJceCVD5S8q-Qjj7YAZ4bja/s400/CB,+Black+Painting+1,+2002,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Black Painting» 2002, oil on canvas</span><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTgoii8FGGKfoV6TQwz5ASrP5vl3a5TeSm_ibK6FhhQ3AdYroXkIn1NqVt1sNWjJbWNRKEusFnzvhGllfofnNLd4xJrceYzFeDehRY5PVUjxeBoby-F8pFP_zAriklnVOGZ4Y7GG-k2dZP/s1600-h/CB,+New+Louboutin+Pumps,+2005,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5149845122419876770" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTgoii8FGGKfoV6TQwz5ASrP5vl3a5TeSm_ibK6FhhQ3AdYroXkIn1NqVt1sNWjJbWNRKEusFnzvhGllfofnNLd4xJrceYzFeDehRY5PVUjxeBoby-F8pFP_zAriklnVOGZ4Y7GG-k2dZP/s400/CB,+New+Louboutin+Pumps,+2005,+oil+on+linen.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«New Louboutin Pumps» 2005, oil on linen<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYOSCAIjTlt2FJJ_K2ZJuOHT0e42THmqwGxd_uoAYnK3BJzTd8srOeu_LOBdt1pHoblv0VwcLGW-ds9fgOmdUEa-okyo09WQVfkUrdpYk03awBhsG8vjTL5yIvRQHaD0xJi8GNC4iLU0Z3/s1600-h/CB,+Landscape,+2003,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5149844946326217618" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYOSCAIjTlt2FJJ_K2ZJuOHT0e42THmqwGxd_uoAYnK3BJzTd8srOeu_LOBdt1pHoblv0VwcLGW-ds9fgOmdUEa-okyo09WQVfkUrdpYk03awBhsG8vjTL5yIvRQHaD0xJi8GNC4iLU0Z3/s400/CB,+Landscape,+2003,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Landscape» 2003, oil on linen<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivHmS6vqwkxWY11wfvLKIcs6BeArMolLi1kvoOzJKOmlNpr4dqzbCwr5XPXSR6cDmGdBTiCArNIjmyuSdKlTrnoXkuxE2U_X8UMx4J31QxeXT88FqllxtfBiaGR2aviK10TFhnGsny0Iuv/s1600-h/CB,+Dodgy,+2004,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5149844310671057794" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivHmS6vqwkxWY11wfvLKIcs6BeArMolLi1kvoOzJKOmlNpr4dqzbCwr5XPXSR6cDmGdBTiCArNIjmyuSdKlTrnoXkuxE2U_X8UMx4J31QxeXT88FqllxtfBiaGR2aviK10TFhnGsny0Iuv/s400/CB,+Dodgy,+2004,+oil+on+linen.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Dodgy» 2004, oil on linen<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivsoN35xYNRTGeh3Lwk3QXtAKUabm0gnKj-x2tfKzHhkqaK9Ebzb0UwX-OX1eDHx3TwtOLN7nJnCvrTs67pEbhzSalXp7OmoJC54jrZ_SzFDk8hu4yfurNduXTbBSvxkZ96M9KjrbEp9WK/s1600-h/CB,+Tales+from+the+vault,+2005,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5149844117397529458" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEivsoN35xYNRTGeh3Lwk3QXtAKUabm0gnKj-x2tfKzHhkqaK9Ebzb0UwX-OX1eDHx3TwtOLN7nJnCvrTs67pEbhzSalXp7OmoJC54jrZ_SzFDk8hu4yfurNduXTbBSvxkZ96M9KjrbEp9WK/s400/CB,+Tales+from+the+vault,+2005,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Tales from the Vault» 2005, oil on linen<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp8dKX83Nfy9mxpMRe1q3XHh2yhiPn1SmmvhP0BOEa21B4zcHK8bxTaP4Uxzxv96UhnMWqzGSt7lPWZRWEPHf_ZFFdfmciMnu0ntLJh9Q5b333UK44R7ogs4KLJwl7j_jRXYmi0NsSA9sl/s1600-h/CB,+Bacchanal,+2002,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5149843902649164642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgp8dKX83Nfy9mxpMRe1q3XHh2yhiPn1SmmvhP0BOEa21B4zcHK8bxTaP4Uxzxv96UhnMWqzGSt7lPWZRWEPHf_ZFFdfmciMnu0ntLJh9Q5b333UK44R7ogs4KLJwl7j_jRXYmi0NsSA9sl/s400/CB,+Bacchanal,+2002,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Bacchanal» 2002, oil on canvas</span><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJDKi3HSNjCosT1wP5iSYry7PuHi492j75hayCuXcxfZht_YDpkbGM-YlYboY3c0Jwek-RTVMo7xQ0h06iJ9ixOEQlSWZ1DRnKRQ3vYzHNbwHCmVMQ2mqU00epL1FBliqiwMem7QEZz0OV/s1600-h/CB,+Red+Painting+1,+2002,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5149843507512173378" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgJDKi3HSNjCosT1wP5iSYry7PuHi492j75hayCuXcxfZht_YDpkbGM-YlYboY3c0Jwek-RTVMo7xQ0h06iJ9ixOEQlSWZ1DRnKRQ3vYzHNbwHCmVMQ2mqU00epL1FBliqiwMem7QEZz0OV/s400/CB,+Red+Painting+1,+2002,+oil+on+linen.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Red Painting» 2002, oil on linen<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8CjTUBewF-hYBT7bxH5Q1qZ36KKc4kmtlNZK7XiwzoSKf76nqRwIJUk-BbQNF-wv8yzYH3DYIkYmjhS6kPb5o0KUhmRR_m59I-5EaFxap4pBsfAqB7fm7LnWAH_x-pMXAt1qXUB6VE1yE/s1600-h/CB,+Canopy,+2003,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5149843279878906674" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8CjTUBewF-hYBT7bxH5Q1qZ36KKc4kmtlNZK7XiwzoSKf76nqRwIJUk-BbQNF-wv8yzYH3DYIkYmjhS6kPb5o0KUhmRR_m59I-5EaFxap4pBsfAqB7fm7LnWAH_x-pMXAt1qXUB6VE1yE/s400/CB,+Canopy,+2003,+oil+on+linen.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Canopy» 2003, oil on linen</span><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5gRDtEkanw5ds0J9hmoUSIH1Pf6nvkDzMwv3wlmObeuG5-Oz3aAfF761UpuwrcFUDzu5yLOm7syALYI_oojC0ODtv19vEZTu37P9YRsNEX32jgQMn2i4NzNeiGr_lOAAXFNvoQZ4cXQDs/s1600-h/CB,+Pyjama+Game,+1998,+oil+on+linen.jpg"><img id="BLOGGER_PHOTO_ID_5149843078015443746" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5gRDtEkanw5ds0J9hmoUSIH1Pf6nvkDzMwv3wlmObeuG5-Oz3aAfF761UpuwrcFUDzu5yLOm7syALYI_oojC0ODtv19vEZTu37P9YRsNEX32jgQMn2i4NzNeiGr_lOAAXFNvoQZ4cXQDs/s400/CB,+Pyjama+Game,+1998,+oil+on+linen.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Pyjama Game» 1998, oil on linen<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbdrrpYYyMFReWVIqVoqteIewXNDJNHJp-VPZ3M5VjQ7usV_h1uBIokJ3lX3Eqfk27hluA094At2AlBBkdZl1jouk0WA_c26PWWTUGiWWP9nLjsyiE1KaH_kq7XvkJpNOu2aAZ52PL-uPn/s1600-h/CB,+High+Society,+1997-98,+oil+on+linen.bmp"><img id="BLOGGER_PHOTO_ID_5149842837497275154" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbdrrpYYyMFReWVIqVoqteIewXNDJNHJp-VPZ3M5VjQ7usV_h1uBIokJ3lX3Eqfk27hluA094At2AlBBkdZl1jouk0WA_c26PWWTUGiWWP9nLjsyiE1KaH_kq7XvkJpNOu2aAZ52PL-uPn/s400/CB,+High+Society,+1997-98,+oil+on+linen.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> «High Society» (detail) 1997-98, oil on linen<br /></span><span style="color:#ffffff;"></span></div><div align="justify"><span style="color:#ffffff;">*<br />*<br /></span><span style="font-family:lucida grande;font-size:85%;color:#330000;">Artista britânica, estudou Arte e Design na Epsom School of Art (1985-87) e teve aulas de desenho e gravura no Morley College em Londres. Entre 1989 e 1993 estudou Belas-Artes na Slade School of Art, em Londres e, em 1992, frequentou ocasionalmente o New York Studio. Em 1995, teve a sua primeira exposição individual na Galeria Eagle, em Londres. Em 1997 e 1998, expôs na Deitch Projects, em Nova Iorque. No ano seguinte foram organizadas duas exposições do seu trabalho, uma na Galeria Gagosian, em Nova Iorque, e outra na Galeria Victoria Miro, em Londres. Brown participou igualmente em várias exposições colectivas, festivais e concursos de arte entre 1990 e 1998.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><em><strong><span style="color:#330000;">The Berardo Collection,</span></strong> </em></span><a href="http://www.berardocollection.com/?toplevelid=1&lang=pt"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><em><strong>Museu Berardo Lisboa</strong></em></span></a></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#cc0000;"><strong>Crítica:</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Cecily Brown is one of a group of young English artists currently making a splash on the international art scene. Born in London in 1970, she dropped out of high school at the age of 16 to study art, eventually graduating from the Slade School of Art in London in 1993. The following year she moved to Manhattan where she lives and works today.<br />Brown's paintings first came to the attention of the New York art world when she exhibited what she called her “bunny gang rape” paintings in a Manhattan gallery in 1997. Notable collectors including, Charles Saatchi and Agnes Gund, were quick to acquire these works and Brown's career was launched.<br />This painting is from a later series in which fragmented body parts have been totally consumed by the painterly surface. These paintings have been described by art critic Roberta Smith as “… an attempt to juice up and feminize the shop worn vocabulary of abstract expressionism.” The titles that Brown chooses are often taken from Hollywood movies. In this case, the title is taken from the 1950 classic, <strong>Father of the Bride</strong>. References to brides, the sexually-charged notion of a new marriage, and the suggestions of body parts combine to evoke layers of meaning in this exuberantly painted gestural abstraction. As the artist describes it: “I'm trying to be in a space between abstraction and figuration.”</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Jennifer Bayles,</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#990000;"><strong>Albright-Knox Art Gallery, Buffalo, New York</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#330000;">* * *</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">La apariencia de la pintura de esta artista es expresionista y a decir del comisario, sus trabajos retoman algunos grandes momentos de la tradición pictórica: Francisco de Goya, Chaim Soutine, Willem de Kooning, Philip Guston, el mismo Bacon. . . y lo hace para "explorar ideas sobre el erotismo paradisíaco del lenguaje pictórico, convertido en jardín o tálamo conceptual (...) Se trata de una ficción convertida en algo absolutamente real - con sus propias leyes - ofrecida al espectador".<br />Uno de los temas fundamentales en la pintura de Cecily Brown es el erotismo: masturbaciones, orgías... en otras ocasiones, sin embargo, pinta animalitos o figuras que parecen provenir de cómics, en las que el humor se convierte en el tono dominante. Esta mezcla de lo pop con lo expresionista sitúa el trabajo de Brown en el terreno de lo fantástico.<br />Ocho óleos de gran formato componen la muestra del Espacio Uno. Sus pinturas más recientes, que podrán ser contempladas en ella, ofrecen paisajes sincopados que parecen estar construidos a partir de fragmentos en movimiento. En <strong>Lagoon (2004),</strong> adivinamos un lago entre ramas, flores y fragmentos de cielo y de montañas. De nuevo, en <strong>Ambush Makeover (2003)</strong> parecen adivinarse cuerpos emboscados tras hojas y flores. Brown - y se aprecia bien en estos cuadros- comparte con Masson el interés por la ferocidad del instinto sexual y los dramas inherentes a la naturaleza, así como por la representación de órganos genitales como ornamentos naturales.<br /><strong><span style="color:#990000;">Museo Nacional Centro de Arte Reina Dona Sofia<br /></span></strong><span style="color:#ffffff;">*</span></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#330000;">* * *</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="color:#330000;"><span style="font-family:lucida grande;"><span style="font-size:85%;"><strong>Trouble in Paradise</strong> hovers between </span></span></span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Representational'" onclick="return getDefinition(246);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=246"><span style="font-family:lucida grande;font-size:85%;color:#330000;">representation</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;"> and </span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Abstract art'" onclick="return getDefinition(8);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=8"><span style="font-family:lucida grande;font-size:85%;color:#330000;">abstraction</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;">, between the depiction of figures engaged in an indistinct sexual act and a bravura display of brushwork. Broad areas of flesh colour on the left of the picture suggest a woman’s parted legs. In the top left corner of the </span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Painting'" onclick="return getDefinition(435);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=435"><span style="font-family:lucida grande;font-size:85%;color:#330000;">painting</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;"> is a face, its mouth gaping in pleasure or horror. A grey </span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Form'" onclick="return getDefinition(108);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=108"><span style="font-family:lucida grande;font-size:85%;color:#330000;">form</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;"> in the centre of the </span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Composition'" onclick="return getDefinition(72);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=72"><span style="font-family:lucida grande;font-size:85%;color:#330000;">composition</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;"> resembles a man’s naked back. Set against a black background which heightens the drama of the painting, ribbons and swirls of warm colour cover almost the entire surface of the painting. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Brown’s work is a visceral representation of sexuality in paint, with bodies depicted in bold painterly gestures and fleshy colours. Brown’s evident mastery of her </span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Medium'" onclick="return getDefinition(161);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=161"><span style="font-family:lucida grande;font-size:85%;color:#330000;">medium</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;"> is evidenced in the fluency with which she moves from anatomical description to sheer exuberant </span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Gestural'" onclick="return getDefinition(119);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=119"><span style="font-family:lucida grande;font-size:85%;color:#330000;">gesturalism</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;">. Vibrant red, yellow and pink paint has been worked into the </span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Canvas'" onclick="return getDefinition(4);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=4"><span style="font-family:lucida grande;font-size:85%;color:#330000;">canvas</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;"> in </span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Impasto'" onclick="return getDefinition(139);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=139"><span style="font-family:lucida grande;font-size:85%;color:#330000;">impasto</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;"> layers. The painting is covered with a glossy varnish, giving the surface a reflective, tactile finish. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Trouble in Paradise was painted in New York, where the British-born artist has lived and worked since the mid-1990s. It marks a shift in Brown’s work from earlier, more explicit depictions of orgiastic abandon to looser, more allusive imagery. Passages in the painting refer to bits of the anatomy, most obviously in the left half of the image, where fragmented parts of a female body are visible beneath a carnivalesque riot of colour. It is possible to see the head and shoulder of a leering man dominating the top right corner and </span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Caricature'" onclick="return getDefinition(62);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=62"><span style="font-family:lucida grande;font-size:85%;color:#330000;">caricatured</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;"> mask-like faces appearing out of the swirls in the top left and middle right of the image. Almost as soon as these figures appear they melt away. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">The writer A.M. Homes has likened the experience of looking at Brown’s work to undertaking a psychodiagnostic test. She describes the paintings as ‘your personal projection, your retinal Rorschach’ (Homes, ‘Motion Pictures’, Cecily Brown, p.67). The implication is that what is visible in the paintings may be as much to do with the viewer’s projected desires as the artist’s intention. This is confirmed by the artist’s own description of her work. Brown has claimed, ‘the place I am interested in is where the mind goes when it’s trying to make up for what isn’t there’ (quoted in Robert Evrén, ‘A Dispatch from the Tropic of Flesh’, Cecily Brown, p.8). Brown’s style is indebted to the gestural </span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Expressionism'" onclick="return getDefinition(48);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=48"><span style="font-family:lucida grande;font-size:85%;color:#330000;">expressionism</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;"> of Willem de Kooning (1904-97). Her bold use of colour, dramatic variation of brushwork and sexualised subject matter all recall the monumental series of paintings of women de Kooning began in the early 1950s (see The Visit, 1966-7, Tate T01108). The dreamlike eroticism of Trouble in Paradise evokes </span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Drawing'" onclick="return getDefinition(427);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=427"><span style="font-family:lucida grande;font-size:85%;color:#330000;">drawings</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;"> by André Masson (1896-1987), while Brown’s hybrid </span><a class="glossarylinktopopup" onmousemove="setLayer(this,'glossaryPopupLayer');" title="Glossary definition for 'Biomorphic'" onclick="return getDefinition(42);" href="http://www.tate.org.uk/collections/glossary/definition.jsp?entryId=42"><span style="font-family:lucida grande;font-size:85%;color:#330000;">biomorphic</span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;"> forms show the influence of Arshile Gorky (1904-48).<br /><span style="color:#ffffff;">*</span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Rachel Taylor, </strong></span></div><div align="justify"><a href="http://www.tate.org.uk/home/portuguese.htm"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><em><span style="color:#ff6666;"><strong>The Tate Modern, London</strong></span></em><br /><br /></span></div></a></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0tag:blogger.com,1999:blog-2054748435853847162.post-12188968295786901522007-12-21T17:17:00.000+00:002007-12-25T19:36:32.733+00:00João Pedro Vale, Lisboa / Portugal - arte contemporânea, neo-conceptualismo<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-rcG8CgabrB6yFMVIkCWIHMYLcoF83vg-CCVoQIbvmvd4Zxk03_2Kknec6akWt7jXE3d-myLLOUGdsqRwCQZLNzOpKG8IXILBFLiVj1zRTazT3FCbG927vFpNuYuRmMCd9ANW1qkInF44/s1600-h/%C2%ABA+culpa+n%C3%A3o+%C3%A9+minha%C2%BB+2003,+%C3%A1rvore+seguindo+a+morfologia+da+(Moraceae+Ficus+Aurea),+feita+de+uma+estrutura+de+ferro+coberta+com+diferentes+cordas.jpg"><img id="BLOGGER_PHOTO_ID_5147260683352819522" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-rcG8CgabrB6yFMVIkCWIHMYLcoF83vg-CCVoQIbvmvd4Zxk03_2Kknec6akWt7jXE3d-myLLOUGdsqRwCQZLNzOpKG8IXILBFLiVj1zRTazT3FCbG927vFpNuYuRmMCd9ANW1qkInF44/s400/%C2%ABA+culpa+n%C3%A3o+%C3%A9+minha%C2%BB+2003,+%C3%A1rvore+seguindo+a+morfologia+da+(Moraceae+Ficus+Aurea),+feita+de+uma+estrutura+de+ferro+coberta+com+diferentes+cordas.jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">«A culpa não é minha» 2003, escultura</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">Árvore da morfologia da "Moraceae Ficus Aurea"</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">(estrutura de ferro coberta com diferentes cordas) </span></div><div align="center"><span style="color:#ffffff;"><span style="font-size:85%;">*</span><br /></span></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz54K70ljzWbfBcKnRqqEWoLXscPsKfVfh3m96uNAfRL_ZucgiIRt8R57DEUjYZuoW6WczXc81OmtYstV4J5ytTL1D3KXjnnpdd1Umv2ikh5tjP7hAghoeYxbzN7Yjgs3O3aWdPFwY4s3u/s1600-h/Bonfim+(Good+End),+2004,+barco+de+madeira,+ferro,+fitas+de+tafet%C3%A1+bordadas+com+a+frase+%3D+N%C3%A3o+h%C3%A1+fim+para+o+caminho+(There%27s+no+end+to+the+way).jpg"><img id="BLOGGER_PHOTO_ID_5147260520144062258" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhz54K70ljzWbfBcKnRqqEWoLXscPsKfVfh3m96uNAfRL_ZucgiIRt8R57DEUjYZuoW6WczXc81OmtYstV4J5ytTL1D3KXjnnpdd1Umv2ikh5tjP7hAghoeYxbzN7Yjgs3O3aWdPFwY4s3u/s400/Bonfim+(Good+End),+2004,+barco+de+madeira,+ferro,+fitas+de+tafet%C3%A1+bordadas+com+a+frase+%3D+N%C3%A3o+h%C3%A1+fim+para+o+caminho+(There%27s+no+end+to+the+way).jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;">«Não há fim para o caminho» Bonfim, 2004, instalação</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;">(barco de madeira, ferro, fitas de tafetá)</span></div><div align="center"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="center"></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0vtYWb0BgdkcQd-g-oXCK4lScZCR-WJ9hwKMgBVJBKZDPJC-auNzp3DzqrCGz3x_tER6wnBUNvXPDACcKorQNsnFJ4r5i0Rh76stGwfqxSLiMY3dIIMPI5IzgAGw20VoHaB9Wmyr8URyE/s1600-h/%C2%ABBonfim%C2%BB+2004+(detalhe).bmp"><img id="BLOGGER_PHOTO_ID_5147260283920860962" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0vtYWb0BgdkcQd-g-oXCK4lScZCR-WJ9hwKMgBVJBKZDPJC-auNzp3DzqrCGz3x_tER6wnBUNvXPDACcKorQNsnFJ4r5i0Rh76stGwfqxSLiMY3dIIMPI5IzgAGw20VoHaB9Wmyr8URyE/s400/%C2%ABBonfim%C2%BB+2004+(detalhe).bmp" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">Bonfim, 2004 (detalhe)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZMsF0TwCZZ8N-WZyKHBim2mXXrNJErRlh3MIG-H6DDt3uc3R496cfHpCIsFq_zttK7xfzF3oHr_HxYVnKWwuWQfLe-sn-VaMRuZxKPX5DfgUaXaFDKchcCgWp3wjBkVVchtyS8X3_z8B2/s1600-h/%C2%ABQuanta+rariora+tanta+meliora%C2%BB+Narval,+2006,+fio+de+algod%C3%A3o,+peruca,+p%C3%A9rolas+v%C3%A1rias.jpg"><img id="BLOGGER_PHOTO_ID_5147259957503346450" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZMsF0TwCZZ8N-WZyKHBim2mXXrNJErRlh3MIG-H6DDt3uc3R496cfHpCIsFq_zttK7xfzF3oHr_HxYVnKWwuWQfLe-sn-VaMRuZxKPX5DfgUaXaFDKchcCgWp3wjBkVVchtyS8X3_z8B2/s400/%C2%ABQuanta+rariora+tanta+meliora%C2%BB+Narval,+2006,+fio+de+algod%C3%A3o,+peruca,+p%C3%A9rolas+v%C3%A1rias.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Quanta rariora tanta meliora» Narval, 2006, escultura</span><br /><span style="font-size:85%;color:#660000;">(fio de algodão, peruca, pérolas várias)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRtyO8I4fTxArYjPrNZv_DLxKJSA1x3w0s6wHbwHuUfyxDIF7C2UxhCw8oN_n2F7gmu6hbxbbbRxtz-Ii9IsCcB_nTSuwCDDY6yLFPZ4RSTAc__GP7luQYg_wBkWPktpn73wt8qDu4yanl/s1600-h/I+have+a+dream,+2002,+ferro,+tecido,+bal%C3%B5es,+cordas,+botijas+de+g%C3%A1s+e+cobertor.bmp"><img id="BLOGGER_PHOTO_ID_5147259802884523778" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRtyO8I4fTxArYjPrNZv_DLxKJSA1x3w0s6wHbwHuUfyxDIF7C2UxhCw8oN_n2F7gmu6hbxbbbRxtz-Ii9IsCcB_nTSuwCDDY6yLFPZ4RSTAc__GP7luQYg_wBkWPktpn73wt8qDu4yanl/s400/I+have+a+dream,+2002,+ferro,+tecido,+bal%C3%B5es,+cordas,+botijas+de+g%C3%A1s+e+cobertor.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> «I have a dream» 2002, instalação</span><br /><span style="font-size:85%;color:#660000;">(ferro, tecido, balões, cordas, botijas de gás, cobertor)</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI8QS59lq8XXc8m5DYCh5ftWOoHa6m1V5vvAL3Xlb7aaB5RTLtqdLP8-KPhfSE3SzZC7RMjE4FdKqyhRtase6sMOj4PRVwexfIMhHxaPmkap-kIcMFKV-GA8qCyv6U7O7maWxGfX1bJL19/s1600-h/%C2%ABCavalos%C2%BB+2006,+tecido,+feltro,+espuma,+fio+de+algod%C3%A3o,+l%C3%A3.jpg"><img id="BLOGGER_PHOTO_ID_5147259467877074674" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjI8QS59lq8XXc8m5DYCh5ftWOoHa6m1V5vvAL3Xlb7aaB5RTLtqdLP8-KPhfSE3SzZC7RMjE4FdKqyhRtase6sMOj4PRVwexfIMhHxaPmkap-kIcMFKV-GA8qCyv6U7O7maWxGfX1bJL19/s400/%C2%ABCavalos%C2%BB+2006,+tecido,+feltro,+espuma,+fio+de+algod%C3%A3o,+l%C3%A3.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Cavalos» 2006, escultura</span><br /><span style="font-size:85%;color:#660000;">(tecido, feltro, espuma, fio de algodão, lã)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9dB-Ck0PZIcYNTUyh7N2JRAfyGdI38IctK07R9mk81rPaZq0N2iLPYvTQ2AhmH3mmxCZ1MI4uV_s4mtj6_-Yu3N4Zoku4PNxdUnULjT2FGAWWxju2xpvEsOXXwxt9Ixe3I1eajLw6qkja/s1600-h/%C2%ABPlease+don%27t+go%C2%BB,+1999,+3500+gomas+de+morango+e+carpete.bmp"><img id="BLOGGER_PHOTO_ID_5147259330438121186" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9dB-Ck0PZIcYNTUyh7N2JRAfyGdI38IctK07R9mk81rPaZq0N2iLPYvTQ2AhmH3mmxCZ1MI4uV_s4mtj6_-Yu3N4Zoku4PNxdUnULjT2FGAWWxju2xpvEsOXXwxt9Ixe3I1eajLw6qkja/s400/%C2%ABPlease+don%27t+go%C2%BB,+1999,+3500+gomas+de+morango+e+carpete.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> «Please don't go» 1999, instalação</span><br /><span style="font-size:85%;color:#660000;">(carpete, 3500 gomas de morando)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRJcPewiDgypZqW032m6BZ02Agg_1s5u1_icY7hjUG3rJClkRAl_lVXXBe5FXA-fcK5t-8JV1NO1S07gINPOtWkkfltW5WJH3Tm-KKb_RIGs6kxI7voXW6LvB8RMV2vIgEWqRu64ysUb3z/s1600-h/%C2%ABCan+I+wash+you%C2%BB,+1999,+90+barras+de+sab%C3%A3o.bmp"><img id="BLOGGER_PHOTO_ID_5147259124279690962" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRJcPewiDgypZqW032m6BZ02Agg_1s5u1_icY7hjUG3rJClkRAl_lVXXBe5FXA-fcK5t-8JV1NO1S07gINPOtWkkfltW5WJH3Tm-KKb_RIGs6kxI7voXW6LvB8RMV2vIgEWqRu64ysUb3z/s400/%C2%ABCan+I+wash+you%C2%BB,+1999,+90+barras+de+sab%C3%A3o.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">«Can I wash you?» 1999, escultura</span><br /><span style="font-size:85%;color:#660000;">(90 barras de sabão)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNQyefim5Z32jNLfRpJjcm0HD3ZVUR5O85JBpqfSZDYxkO1tRTIcUQryTAD9zJpmuL5NQW_EOApG2UjOsM2DpVfD6dwzj4FCPZ8ffg22AVQVEccHpNbD0ihezaghcjwoUUGsrc0U_kH8ho/s1600-h/%C2%ABNo+entanto+ela+move-se%C2%BB+Mazag%C3%A3o,+2007,+sal,+ferro+e+esferovite.jpg"><img id="BLOGGER_PHOTO_ID_5147258969660868290" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNQyefim5Z32jNLfRpJjcm0HD3ZVUR5O85JBpqfSZDYxkO1tRTIcUQryTAD9zJpmuL5NQW_EOApG2UjOsM2DpVfD6dwzj4FCPZ8ffg22AVQVEccHpNbD0ihezaghcjwoUUGsrc0U_kH8ho/s400/%C2%ABNo+entanto+ela+move-se%C2%BB+Mazag%C3%A3o,+2007,+sal,+ferro+e+esferovite.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «No entanto ela move-se» Mazagão, 2007, escultura</span><br /><span style="font-size:85%;color:#660000;">(sal, ferro, esferovite)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh8oBUXa2QukYnvejDd4oM_ZhGYKIlmVr2x1rS7ozWPqyAjBnRRVVmetX9vTCIgWbF0EyFmpzMOXro3qEtiBABaamxjcLXQ9qMD0L9I8zcCTnHTCFhRNyFB7Dj3XFekpMhNEJBJ9E8CcdI/s1600-h/%C2%ABBarco+Negro%C2%BB,+2004,+barco+de+madeira,+ferro,+objectos+pl%C3%A1sticos,+cera,+fitas+de+cetim,+cordas,+borrachas,+moedas,+rede,+pneu,+roupa,+sapatos.jpg"><img id="BLOGGER_PHOTO_ID_5147258780682307250" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh8oBUXa2QukYnvejDd4oM_ZhGYKIlmVr2x1rS7ozWPqyAjBnRRVVmetX9vTCIgWbF0EyFmpzMOXro3qEtiBABaamxjcLXQ9qMD0L9I8zcCTnHTCFhRNyFB7Dj3XFekpMhNEJBJ9E8CcdI/s400/%C2%ABBarco+Negro%C2%BB,+2004,+barco+de+madeira,+ferro,+objectos+pl%C3%A1sticos,+cera,+fitas+de+cetim,+cordas,+borrachas,+moedas,+rede,+pneu,+roupa,+sapatos.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Barco Negro, 2004, instalação</span><br /><span style="font-size:85%;color:#660000;">(barco de madeira, ferro, objectos plásticos, cera, fitas de cetim, </span><br /><span style="font-size:85%;color:#660000;">cordas, borrachas, moedas, rede, pneu, roupa, sapatos) </span><br /><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span><br /></span><span style="font-size:85%;color:#660000;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdkx22-mfBDb0jq2UQJxEZJsBxtGzb8Ct1iYW_P3Gb1nRzBv-rBTlAhCRcYijN67HQxIUr3a4kbTWyh3QfrrO7RGP9paAht7SaviiXz0Ns3Vu7UZr45-TUosHHQfpkEXbu1L_cwRsSgzRO/s1600-h/Medusa,+2004,+fibras+de+vidro,+c%C3%A2maras+de+ar,+cobras+de+borracha,+cordas+e+roupas.jpg"><img id="BLOGGER_PHOTO_ID_5147258535869171362" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjdkx22-mfBDb0jq2UQJxEZJsBxtGzb8Ct1iYW_P3Gb1nRzBv-rBTlAhCRcYijN67HQxIUr3a4kbTWyh3QfrrO7RGP9paAht7SaviiXz0Ns3Vu7UZr45-TUosHHQfpkEXbu1L_cwRsSgzRO/s400/Medusa,+2004,+fibras+de+vidro,+c%C3%A2maras+de+ar,+cobras+de+borracha,+cordas+e+roupas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Medusa» 2004, instalação</span><br /><span style="font-size:85%;color:#660000;">(fibras de vidro, câmaras de ar, cobras de borracha, cordas, roupas) </span><br /><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span><br /></span><span style="font-size:85%;color:#660000;"></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW-nNIxSyauxvxy_DS_C9P2K7mE18CbhQYzr1s1h8mUjRPDBok37qPwzeo7M16Eq7irzs5eC5VoS4svpgd1yxde3iENB7SXkEAvYMz7oDK7lT1BWVx7_LYpa89Z9zrNW3-AhDqGBrk6WAK/s1600-h/Her%C3%B3is+do+Mar,+2004,+ferro+e+areia.jpg"><img id="BLOGGER_PHOTO_ID_5147258334005708434" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhW-nNIxSyauxvxy_DS_C9P2K7mE18CbhQYzr1s1h8mUjRPDBok37qPwzeo7M16Eq7irzs5eC5VoS4svpgd1yxde3iENB7SXkEAvYMz7oDK7lT1BWVx7_LYpa89Z9zrNW3-AhDqGBrk6WAK/s400/Her%C3%B3is+do+Mar,+2004,+ferro+e+areia.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Heróis do Mar» 2004, escultura</span><br /><span style="font-size:85%;color:#660000;">(ferro, areia)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicJXs_0sK0kueaVVqOsDbPzdrwi2OBfgzVwqH_TrjWUGy4lIRAoNIUoF6X95qteNwdPzb_ms4nqfnoXId3naMm_EWR5VsQeWtf-4Nq6CvYn_IRxdk6JVIAU43vctVw3gVzRjZ19tFoEiVL/s1600-h/Fortune,+2006,+sculpture,+mixed+media.jpg"><img id="BLOGGER_PHOTO_ID_5147258166501983874" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicJXs_0sK0kueaVVqOsDbPzdrwi2OBfgzVwqH_TrjWUGy4lIRAoNIUoF6X95qteNwdPzb_ms4nqfnoXId3naMm_EWR5VsQeWtf-4Nq6CvYn_IRxdk6JVIAU43vctVw3gVzRjZ19tFoEiVL/s400/Fortune,+2006,+sculpture,+mixed+media.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Fortune» 2006, escultura, mixed media</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5MD5wkmznGsUHWHDUKOACQ-RJx2rj6j6FyHdOFDMzTeds2xDW321k-MCp6Do1Lgy_LrvAUbMzqTIkRPnPHplosz-UNr6Y83D-LmLkHAsbBJ-lmvmfFAyaaOyIk6LTMCI3e8QNw094ypYx/s1600-h/Placa+e+Ins%C3%ADgnia,+2005,+arame,+cartolina,+pap%C3%A9is+de+rebu%C3%A7ado.bmp"><img id="BLOGGER_PHOTO_ID_5147257990408324722" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5MD5wkmznGsUHWHDUKOACQ-RJx2rj6j6FyHdOFDMzTeds2xDW321k-MCp6Do1Lgy_LrvAUbMzqTIkRPnPHplosz-UNr6Y83D-LmLkHAsbBJ-lmvmfFAyaaOyIk6LTMCI3e8QNw094ypYx/s400/Placa+e+Ins%C3%ADgnia,+2005,+arame,+cartolina,+pap%C3%A9is+de+rebu%C3%A7ado.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">«Placa e Insígnia» 2005, escultura</span><br /><span style="font-size:85%;color:#660000;">(arame, cartolina, papéis coloridos invólucros de confeitos)<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF7Ckyt5XImZ7-FmkNfPR46M_pzUiOAEvbZGe1FNmg6xQkFq80hUTHfHUH6mldI7nsjVuJpt_DnfCT0sxkxVuCjqK2Lhiz1ZFVlfxgYyZHPPgaR0JyiLh3h-KkN1tZZUSu9zelG7Q8cnXh/s1600-h/%C2%ABQuanta+rariora+tanta+meliora%C2%BB+Bezoar,+2006,+ferro,+tampinhas+de+garrafa+de+cerveja+Sagres,+peruca.jpg"><img id="BLOGGER_PHOTO_ID_5147257681170679394" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiF7Ckyt5XImZ7-FmkNfPR46M_pzUiOAEvbZGe1FNmg6xQkFq80hUTHfHUH6mldI7nsjVuJpt_DnfCT0sxkxVuCjqK2Lhiz1ZFVlfxgYyZHPPgaR0JyiLh3h-KkN1tZZUSu9zelG7Q8cnXh/s400/%C2%ABQuanta+rariora+tanta+meliora%C2%BB+Bezoar,+2006,+ferro,+tampinhas+de+garrafa+de+cerveja+Sagres,+peruca.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Quanta rariora tanta meliora» Bezoar, 2006, escultura</span><br /><span style="font-size:85%;color:#660000;">(ferro, peruca, tampinhas de garrafas de cerveja "Sagres")<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8RK9LlkiVn5KP3DGTEJQqrR5C8EIrrHCz5xu3BtfL0EW50_jVcMnQmfLCmEfvoG9zIEf4RNG7ATcrv5drYvH5Cn1YvyLQoWjuA3KyLta6nNxqRyo3juq_pishQ-FglJY3e7nr6GEyAkCN/s1600-h/%C2%ABEcce+Homo%C2%BB+2006,+espuma+de+poliuretano,+cola,+pl%C3%A1stico,+couro,+peruca,+espanador,+pingentes,+alfinetes+e+ponta+de+guarda-chuva.bmp"><img id="BLOGGER_PHOTO_ID_5147257539436758610" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8RK9LlkiVn5KP3DGTEJQqrR5C8EIrrHCz5xu3BtfL0EW50_jVcMnQmfLCmEfvoG9zIEf4RNG7ATcrv5drYvH5Cn1YvyLQoWjuA3KyLta6nNxqRyo3juq_pishQ-FglJY3e7nr6GEyAkCN/s400/%C2%ABEcce+Homo%C2%BB+2006,+espuma+de+poliuretano,+cola,+pl%C3%A1stico,+couro,+peruca,+espanador,+pingentes,+alfinetes+e+ponta+de+guarda-chuva.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">«Ecce Homo» 2006, escultura</span></div><div><span style="font-size:85%;color:#660000;">(espuma de poliuretano, cola, plástico, couro, peruca, </span></div><div><span style="font-size:85%;color:#660000;">espanador, pingentes, alfinetes, ponta de guarda-chuva) </span></div><div><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span></div></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9CLDoUfFWROyEN9nHqBRPpr9zDQWlpRCbrZPCV_SrPm4nAAjFNRCnLxotnSTi3iTSU3Db8Q7HLgSxpSo4AImRbZkc6Uk-VSulkdAagI1iA9QJLpOzx39Osy-o3GCMHY8xO15MBV_0el2V/s1600-h/%C2%ABPrimus+inter+pares%C2%BB+2006,+meia-cal%C3%A7a,+tecido,+p%C3%A9rolas.jpg"><img id="BLOGGER_PHOTO_ID_5147257307508524610" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9CLDoUfFWROyEN9nHqBRPpr9zDQWlpRCbrZPCV_SrPm4nAAjFNRCnLxotnSTi3iTSU3Db8Q7HLgSxpSo4AImRbZkc6Uk-VSulkdAagI1iA9QJLpOzx39Osy-o3GCMHY8xO15MBV_0el2V/s400/%C2%ABPrimus+inter+pares%C2%BB+2006,+meia-cal%C3%A7a,+tecido,+p%C3%A9rolas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Primus inter pares» 2006, escultura</span></div><div><span style="font-size:85%;color:#660000;">(ferro, espuma, meia-calça feminina, tecido, pérolas) </span></div><div><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span></div></span><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeZtv35Sq1iVdchyoF9mgfSi2OSIIrRAfu5KiS-2vUryNHCNbjCULEDyveZd5gD2pdHcS9LWOwz-Jik8YM8vHniKZEuuJrYhefeeXAKhcrN101xkDoJJQ9I21WcPsNJMfLc9OhTJYo1qyb/s1600-h/Barometz+(Suelly+Cadillac),+2006,+esferovite,+ferro,+tecidos,+franjas+de+xaile,+cola+e+cascas+de+carac%C3%B3is.jpg"><img id="BLOGGER_PHOTO_ID_5147256985385977394" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeZtv35Sq1iVdchyoF9mgfSi2OSIIrRAfu5KiS-2vUryNHCNbjCULEDyveZd5gD2pdHcS9LWOwz-Jik8YM8vHniKZEuuJrYhefeeXAKhcrN101xkDoJJQ9I21WcPsNJMfLc9OhTJYo1qyb/s400/Barometz+(Suelly+Cadillac),+2006,+esferovite,+ferro,+tecidos,+franjas+de+xaile,+cola+e+cascas+de+carac%C3%B3is.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Barometz» Suelly Cadillac, 2006, escultura</span></div><div><span style="font-size:85%;color:#660000;">(esferovite, ferro, tecidos, franjas de xaile, cola, cascas de caracóis)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCMDHImMTvCL6StHbOVNSKIGRINzMaU2aulW6R-28NmnD6l1SeYpCwv4_pqTmZosj3lSe9sj0-ksJ3Bc30oFi_vzPeTRhpqq4Y46VNg7Qll749itTSDwly8F7TMmkKZGKuzyr95N3FPz-t/s1600-h/Feijoeiro,+2004,+sculpture,+meia-cal%C3%A7a+feminina,+tecido,+ferro,+arame,+esferovite.jpg"><img id="BLOGGER_PHOTO_ID_5147256525824476706" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCMDHImMTvCL6StHbOVNSKIGRINzMaU2aulW6R-28NmnD6l1SeYpCwv4_pqTmZosj3lSe9sj0-ksJ3Bc30oFi_vzPeTRhpqq4Y46VNg7Qll749itTSDwly8F7TMmkKZGKuzyr95N3FPz-t/s400/Feijoeiro,+2004,+sculpture,+meia-cal%C3%A7a+feminina,+tecido,+ferro,+arame,+esferovite.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Feijoeiro» 2004, escultura</span></div><div><span style="font-size:85%;color:#660000;">(meia-calça feminina, tecido, ferro, arame, esferovite)<br /></span><div><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiREY2ObGCYVdW88GHDky3OABke5mEAPpfqHJ5h46Gf4VFHN9xOy1RyvqWFy_q1wjxxEqIrMOIPYxlPRz6DVjj0aWq_fgApDcdpswWsY0qkTcXZBiREfLpXpgkbG-TLtcR6wXVZ_fV2VFNJ/s1600-h/%C2%ABAlbarrada%C2%BB+2006,+prato+de+madeira+e+ma%C3%A7os+de+cigarro+Portugu%C3%AAs+Suave.bmp"><img id="BLOGGER_PHOTO_ID_5147256156457289218" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiREY2ObGCYVdW88GHDky3OABke5mEAPpfqHJ5h46Gf4VFHN9xOy1RyvqWFy_q1wjxxEqIrMOIPYxlPRz6DVjj0aWq_fgApDcdpswWsY0qkTcXZBiREfLpXpgkbG-TLtcR6wXVZ_fV2VFNJ/s400/%C2%ABAlbarrada%C2%BB+2006,+prato+de+madeira+e+ma%C3%A7os+de+cigarro+Portugu%C3%AAs+Suave.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> «Albarrada» 2006, escultura</span></div><div><span style="font-size:85%;color:#660000;">(prato de madeira, maços de cigarro "Português Suave"<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf0HQMDbpj2c8U-KissYKXQMQpDum_cUeGPbb3cETug1af4BD0LjaVumfEGfvEaEzG4JNKKbqNVN0ZNs9YQawNujKlVmXgumkT3j1xRQ6SZrU0Sl6kfU9AwSEQ4gC2C37GlNk81UvO4xhk/s1600-h/%C2%ABFoi+bonita+a+festa,+p%C3%A1%C2%BB+2006,+jangada+de+madeira,+cravos+de+pl%C3%A1stico,+tampinhas+e+garrasfas+de+cerveja+Sagres.bmp"><img id="BLOGGER_PHOTO_ID_5147255593816573426" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf0HQMDbpj2c8U-KissYKXQMQpDum_cUeGPbb3cETug1af4BD0LjaVumfEGfvEaEzG4JNKKbqNVN0ZNs9YQawNujKlVmXgumkT3j1xRQ6SZrU0Sl6kfU9AwSEQ4gC2C37GlNk81UvO4xhk/s400/%C2%ABFoi+bonita+a+festa,+p%C3%A1%C2%BB+2006,+jangada+de+madeira,+cravos+de+pl%C3%A1stico,+tampinhas+e+garrasfas+de+cerveja+Sagres.bmp" border="0" /></a><span style="font-size:85%;color:#660000;"> <strong>«Foi bonita a festa, pá»</strong> 2006, instalação</span></div><div><span style="font-size:85%;color:#660000;">(jangada de madeira, cravos de plástico, tampinhas </span></div><div><span style="font-size:85%;color:#660000;">e garrafas de cerveja "Sagres") </span></div><div><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /></span></div></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil7uf-kbmv27RkYpHuium7idvwBK2B7FtZ4wxuHdywzonQOyr-xO7ZXxk8r9G7pGMHZd4kkkpBlHLV4QxBg8KkHBuBArnlfnmiLDsU6r5HgorY4rF2cFxBRRKQgKkfwkmcuHvPIh6kp2ni/s1600-h/%C2%ABFoi+bonita+a+festa,+p%C3%A1%C2%BB+2006+(detalhe).bmp"><img id="BLOGGER_PHOTO_ID_5147255422017881570" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEil7uf-kbmv27RkYpHuium7idvwBK2B7FtZ4wxuHdywzonQOyr-xO7ZXxk8r9G7pGMHZd4kkkpBlHLV4QxBg8KkHBuBArnlfnmiLDsU6r5HgorY4rF2cFxBRRKQgKkfwkmcuHvPIh6kp2ni/s400/%C2%ABFoi+bonita+a+festa,+p%C3%A1%C2%BB+2006+(detalhe).bmp" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> «Foi bonita a festa, pá»</strong> 2006 (detalhe)<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghh_UGJb6Gt6szj-RBN6SL3GILqZwxgbb_sU1h8W4e_c5jh729ybA1wpOKATtAgqaJKUCX4rDNa8mR6KsFK4POMyUF82WCySsafFxkTqoxuPA2JnUkiKJgRZMWMqPqIwjTW_YhoyYiQPGg/s1600-h/%C2%ABO+Nazareno%C2%BB+2007,+c-print.bmp"><img id="BLOGGER_PHOTO_ID_5147255220154418642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghh_UGJb6Gt6szj-RBN6SL3GILqZwxgbb_sU1h8W4e_c5jh729ybA1wpOKATtAgqaJKUCX4rDNa8mR6KsFK4POMyUF82WCySsafFxkTqoxuPA2JnUkiKJgRZMWMqPqIwjTW_YhoyYiQPGg/s400/%C2%ABO+Nazareno%C2%BB+2007,+c-print.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">«O Nazareno» 2007, c-print<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcvhx_s-hO4IHGc5sDy_hIw12D7e7xuBpbKjKiILxgsrtO0rl51kDU8PO0fIljploKGU-XiwO7gmRKRyFiZ_kE01pTSTK9X-dZPmY3YCIXhNfkdUX3t_5T7wXbrCc0E04Yq_Oh6XC82ne/s1600-h/%C2%ABM%C3%A3o%C2%BB+2007,+esferogr%C3%A1fica,+c-print.jpg"><img id="BLOGGER_PHOTO_ID_5147254988226184642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZcvhx_s-hO4IHGc5sDy_hIw12D7e7xuBpbKjKiILxgsrtO0rl51kDU8PO0fIljploKGU-XiwO7gmRKRyFiZ_kE01pTSTK9X-dZPmY3YCIXhNfkdUX3t_5T7wXbrCc0E04Yq_Oh6XC82ne/s400/%C2%ABM%C3%A3o%C2%BB+2007,+esferogr%C3%A1fica,+c-print.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Mão» 2007, c-print<br /></span></div><span style="color:#ffffff;">*<br /></span><div align="justify"><span style="color:#ffffff;">*<br /></span><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>João Pedro Vale</strong> nasceu no ano de 1976 em Lisboa, e é um dos artistas plásticos mais conceituados, no âmbito das novas tendências artísticas da arte contemporânea portuguesa. </span><span style="font-family:lucida grande;font-size:85%;color:#330000;">É licenciado em escultura pela Faculdade de Belas Artes da Universidade de Lisboa. Tem apresentado diversas exposições individuais e participado em exposições colectivas, tanto em Portugal como no estrangeiro. As suas peças fazem parte do espólio das mais prestigiadas colecções nacionais de arte contemporânea. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Neste momento, as suas obras estão representadas na </span><a href="http://artforum.com/diary/id=19109"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong>exposição</strong></span></a><span style="font-family:lucida grande;font-size:85%;color:#330000;"> <strong><span style="color:#990000;">«Portugal Agora» no museu de arte moderna MUDAM no Luxemburgo.<br /></span></strong>A obra de João Pedro Vale é um constante “questionar da forma, do significado e das referências de um universo conhecido historicamente, mas subvertido pelo hábil e transgressivo uso da imaginação e dos materiais aplicados.” Insere-se igualmente no movimento artístico designado de «neo-barroco» que vai buscar as suas raízes ao movimento barroco iniciado em Roma durante o século 17, expondo o contraste social através da unificação de corpo e alma, como o erudito e o popular.<br />Numa das suas últimas exposições, em S.Paulo no Brasil, João Pedro Vale apresentou uma instalação intitulada “Foi bonita a festa, pá”, expressão retirada da primeira estrofe da letra da canção de Chico Buarque, “Tanto Mar”. Esta canção exprime os sentimentos gerados pela “Revolução dos Cravos” em Portugal, que deu lugar à transição pacífica do regime ditatorial para a democracia. Esta obra de João Pedro Vale mostra uma jangada (um barco usado pelos pescadores do nordeste brasileiro) construída naquela região expressamente para a exposição, coberta de tampas e de garrafas de cerveja da marca “Sagres”, nome associado à ideia da existência de um centro de arte náutica em Sagres, a Escola de Sagres, pressupostamente fundada pelo infante D. Henrique, que teria formado os grandes descobridores portugueses. “É como se o barco e as suas memórias tivessem sido esquecidas no fundo do oceano, cobertos das tampas das garrafas”, explica o artista.<br /><span style="color:#ffffff;">*<br /></span><span style="color:#cc0000;"><strong>Crítica:</strong></span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>No percurso de João Pedro Vale, algumas obras são exemplares da sua capacidade de articular e conjugar referências a práticas humanas e iconográficas, dispondo com inventiva de materiais e problemáticas de aparência diversa. I Have a Dream é uma obra composta, numa das apresentações, em duas partes . O balão (com o cesto, as cordas, os apetrechos) e um mapa. Esta obra com uma proposta política determinada e objectiva, apresenta simultaneamente algumas questões relacionadas com a escultura. A escala da obra é aparentemente monumental, o volume é imenso mas a aproximação é reveladora de uma proporção à escala humana. De certa forma o balão imenso (ideal, real ou sonhado) que agregámos à nossa memória histórica e livresca transportava-nos para um sonho, imediatamente decapitado ante a visão tridimensional deste artefacto aeronáutico mutilado, caído pelo chão. Caído do céu? Caído à nossa frente no espaço em que nos encontramos. Como se fosse possível demonstrar que os sonhos perdidos (ou traídos) podem ter uma forma terrena e que inesperadamente não é apenas um sonho perdido que lamentamos mas que essa possibilidade se encontra frustrada perante nós. Na metáfora desta obra o desencanto não se restringe somente à falácia do sonho e da liberdade, existe uma outra alteração visível na forma como a obra é construída e fabricada pelo artista. É um teste à capacidade de entendimento do espectador. É um pouco mais do que um jogo. É uma proposta dissimulada que só a aproximação à obra pode desvelar a diferença entre as proporções da escala monumental e da escala quase doméstica e dominável. A forma está lá, mas a proximidade que permite descobrir o detalhe revela opções que enunciam a diferença na sua manufactura. Parece apenas uma brincadeira. Mas muito séria. Por outro lado a obra está ancorada pelo mapa que nos dirige para um percurso, em que somos expostos a um confronto com a nossa posição ética frente a uma declaração de violência contra a homossexualidade, colorido na mesma cor do balão. Cor de rosa. O balão embora aparentemente inerte e quase vazio, repousa como um ser enorme passível de desejo em estertor de morte, e traz consigo toda a inércia ficcional que o precipita no nosso lago íntimo da fantasia e do mistério. Detêm-nos referências ao mundo mágico e fantasioso de Walt Disney e do castelo da bela adormecida mas em morte latente. Ou a tentativa de ser puxado pelos ares por um balão de ar quente que Reinaldo Arenas perseguiu na sua rota imaginária que o levaria de Cuba para a liberdade. Em diversas situações João Pedro Vale tem vindo a construir obras que nos permitem colher, como folhas de um feijoeiro, diversas chaves de um universo fantástico e profundamente humano. Tal como o balão, na obra Bonfim, a nave (não me atrevo a chamar-lhe barco ou navio) flutua na suspensão da esperança dual de um caminho de infinita liberdade que não traz consigo o porto de chegada, o fim que é atirado para o infinito quando se lê nas fitas Não há fim para o caminho . Há uma oposição aparente e por vezes equívoca no tratamento e apropriação dos materiais, mas consciente e manipuladora das suas significações que se abre como o delta de um rio onde não se vislumbra a saída, mas onde dificilmente reconhecemos margens seguras. <a href="http://www.galerialeme.com.br/artistas_textos.php?lang=por&id=42&text_id=138"><span style="color:#ff6666;"><strong>(...)<br /></strong></span></a></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong><span style="color:#330000;">João Silvério,</span> </strong></span></div><div align="justify"><strong><span style="font-size:85%;color:#990000;">Galeria Leme, S. Paulo, Brasil</span></strong></div><div align="justify"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><strong><span style="font-size:85%;color:#cc0000;"><a href="http://www.galerialeme.com.br/artistas_bio.php?lang=por&id=42"></a></span></strong></div><div align="center"><span style="font-size:85%;color:#330000;">* * *</span></div><div align="justify"><span style="color:#ffffff;">*<br /></span><span style="font-family:lucida grande;font-size:85%;color:#330000;">Exhibited as part of the group show "Neobarroco" in Sao Paulo along with works by Camila Sposati and Friederike Feldmann, the most recent large-scale sculpture by the Portuguese artist Joao Pedro Vale, Foi bonita a festa, pa (The Party Was Beautiful, Yes), 2006, was constructed from a jangada, a balsa raft from the northeast of Brazil. This craft seems particularly appropriate to its situation in this gallery, the work of Paulo Mendes da Rocha (winner of this year's Pritzker Prize), who has created a long, narrow, very high nave, much like an overturned boat.<br />Let us examine the metamorphoses and dislocations that Vale has performed on this raft (instead of the caravel of his colonialist ancestors) with which, as a Portuguese, he arrives today in Brazil. Vale painted the boat red, generating maximum contrast with the browns and golden yellows of its decorations: empty beer bottles and their caps. The red and gold recall, above all else, the Catholic Baroque theatricality that marks the Portuguese heritage in Brazil, and recall as well the red flags that played a major role in Portugal's democratic revolution of 1974. The so-called Carnation Revolution is further evoked here by an arch of red plastic carnations that extends along the boat like the arches that typically decorate popular celebrations. The evocation of popular conviviality finds its most striking expression in the use of bottle caps from Sagres beer as if they were ornamental jewels. Sagres is the name of a town in southern Portugal, the site of the school where many fifteenth-century navigators were trained. The play between the "rich" effects of color and light and "poor" materials, between luxury and kitsch, is part of the dialectical play of contradictions that characterize this sculpture and the whole of Vale's work.<br />A similar formal and symbolic dislocation using objects related to colonial expansion is evident in a set of thirteen smaller sculptures Vale presented in Vienna. Here the references were to objects in cabinets of curiosities such as that of Emperor Maximilian II, housed today in the Kunsthistorisches Museum in Vienna. A product of the anthropological curiosity and the fantasies associated with colonial exploitation, these objects were intended to illustrate the exoticism of distant lands, supposedly inhabited by strange beings like the unicorn (whose horn turns out to be a narwhal's) or the "wild man" (an African slave covered in goatskins)--this cruel invention being the reference in one of the most successful pieces in the Vienna exhibition, Ecce Homo, 2006. The shape of a trophy cup transforms itself into an exotic body, made with glue from a glue gun, a wig balanced on the inverted horns of a Viking carnival helmet lined with leather and gilded tacks, and the tip of an umbrella. A necklace of mock-tortoise pendants and a duster made of Chinese rooster feathers complete the assemblage.<br />Vale appropriates and metamorphoses preexisting objects, using both ordinary and uncommon materials to sabotage the distinction between beauty and horror, naivete and sophistication. Popular forms of creativity are placed in the service of an analysis of colonialist fantasies; demystification of the fictions of domination opens the path to a hybrid multiplicity of egalitarian possibilities for plastic and symbolic interplay.<br /></span><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong>Alexandre Melo, ArtForum, Oct, 2006<br />(translated by Clifford E. Landers)<br /><br /></div></strong></span></div></div></div></div></div></div></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com1tag:blogger.com,1999:blog-2054748435853847162.post-86025008100858314362007-12-16T00:17:00.000+00:002007-12-16T12:49:37.606+00:00Kader Attia, Paris / França - arte conceptual contemporânea<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMJsJ-AdnPoOZiIlxJ1dewGWMq_IDfMIniAT9FNzC-BRMOm1z6BZSYFRWDVVWhyqKaHeIZjDdo6Y8BCQBYNwkwfAhz_WoqpJDsakiN_XTKN7RkZNtxblTGA7sEVQOz2Vf71wyGAq15QIpM/s1600-h/Moucharabieh,+2006,+installation.jpg"><img id="BLOGGER_PHOTO_ID_5144362658464809970" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjMJsJ-AdnPoOZiIlxJ1dewGWMq_IDfMIniAT9FNzC-BRMOm1z6BZSYFRWDVVWhyqKaHeIZjDdo6Y8BCQBYNwkwfAhz_WoqpJDsakiN_XTKN7RkZNtxblTGA7sEVQOz2Vf71wyGAq15QIpM/s400/Moucharabieh,+2006,+installation.jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong>«Moucharabieh»</strong> 2006, installation view</span> <div align="center"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="center"><span style="font-size:85%;color:#660000;"></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB3YqVgxoqRJ2A-5Y05f2vZw2_Clqw3nkdnrbTKP4pOSSAR4NhLCLLfA7BH9DikolOM88kixO69yR-C-XurVJ_HW3mJ9cfEWQn4GD_w88yL0z4_lalyJO7AazZpvoZH0tLgGStiJBkXCD6/s1600-h/porte+coulissante.jpg"><img id="BLOGGER_PHOTO_ID_5144362486666118114" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhB3YqVgxoqRJ2A-5Y05f2vZw2_Clqw3nkdnrbTKP4pOSSAR4NhLCLLfA7BH9DikolOM88kixO69yR-C-XurVJ_HW3mJ9cfEWQn4GD_w88yL0z4_lalyJO7AazZpvoZH0tLgGStiJBkXCD6/s400/porte+coulissante.jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;"><span style="color:#660000;"><strong>«Untitled»</strong> 2006, installation view<br /></span><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOEuUw8tqSqv3hID4zK7boH55tI-mqzrZLHUx-ulXsKuH5Ebntey3QeityES1bm-sPoTR1aaujDrbLlunOf0Ew5onfJppA18RS0cm06jof1R9zHqTj4NgsVuHWupSWfu5mfRuOO1mtt965/s1600-h/Kader+Attia,+%C2%ABWho+cares%C2%BB,+2007,+Installation.jpg"><img id="BLOGGER_PHOTO_ID_5144362057169388498" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhOEuUw8tqSqv3hID4zK7boH55tI-mqzrZLHUx-ulXsKuH5Ebntey3QeityES1bm-sPoTR1aaujDrbLlunOf0Ew5onfJppA18RS0cm06jof1R9zHqTj4NgsVuHWupSWfu5mfRuOO1mtt965/s400/Kader+Attia,+%C2%ABWho+cares%C2%BB,+2007,+Installation.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;">«Who cares?» 2007, installation view</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcr1X1rXH16jc0HIBlmIUQ_UkSXO0RfYE5BHRSeT4Ftug5fcJ4L1VNh_TPmJiuBji-7A8x7EgxHL_AEBPI88fUwjPEfX3QOLa0kwE_vT3dUUwoUZvr6-naMIpPBNNAtfgNrnH7wGqrqt5U/s1600-h/Ghost,+2006.jpg"><img id="BLOGGER_PHOTO_ID_5144361885370696642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcr1X1rXH16jc0HIBlmIUQ_UkSXO0RfYE5BHRSeT4Ftug5fcJ4L1VNh_TPmJiuBji-7A8x7EgxHL_AEBPI88fUwjPEfX3QOLa0kwE_vT3dUUwoUZvr6-naMIpPBNNAtfgNrnH7wGqrqt5U/s400/Ghost,+2006.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Ghost (detail)» 2007, 102 sculptures, installation view<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg55hx9J5j07-8KFLFZ-fuXMY0W3A9r8d4-PSGQBcC1RWZRbEeEQ_PLncQ9XlTnfqc9aP9XP41LYazCQG4lw_qbX7-FoEpSlf7sJ-BhHml0lfNP5THaJ0FK7l6AV-aja3iKGu-KCvET9h-L/s1600-h/Kader+Attia,+%C2%ABHolly+Land%C2%BB+2006,+installation.jpg"><img id="BLOGGER_PHOTO_ID_5144361717866972082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg55hx9J5j07-8KFLFZ-fuXMY0W3A9r8d4-PSGQBcC1RWZRbEeEQ_PLncQ9XlTnfqc9aP9XP41LYazCQG4lw_qbX7-FoEpSlf7sJ-BhHml0lfNP5THaJ0FK7l6AV-aja3iKGu-KCvET9h-L/s400/Kader+Attia,+%C2%ABHolly+Land%C2%BB+2006,+installation.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Holly Land» 2006, mixed media, installation view<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Oi0dykfl668m2GVcaCLZYq4GMjWCuoVjjsKtf_SEposhrMrKdBoyehj5jb8ZZBaQry5SiGQlcfzvXjz4CDi9_KlVCvJPKaJPm6UdWETs4_pxvcCTw7YS1b0jffc57pGnhv59pyIj7cxF/s1600-h/Kader+Attia+%C2%ABHolly+Land%C2%BB,+2006,+installation.jpg"><img id="BLOGGER_PHOTO_ID_5144361473053836194" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5Oi0dykfl668m2GVcaCLZYq4GMjWCuoVjjsKtf_SEposhrMrKdBoyehj5jb8ZZBaQry5SiGQlcfzvXjz4CDi9_KlVCvJPKaJPm6UdWETs4_pxvcCTw7YS1b0jffc57pGnhv59pyIj7cxF/s400/Kader+Attia+%C2%ABHolly+Land%C2%BB,+2006,+installation.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">«Holly Land» 2006, mixed media, installation view</span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbFMtJ4o518aG7Nh1mDd_wRjD-MziAMb6SIsQ8UrU5-8nQZ3FXlbUXDxMY7sLl33uZhv0LrVVi8x35j4MV4p55w5cFy04Po2G2MxhYeyr6TVSV5c3Jevw_m6ZBX6pwfO10Z9f7OxjImYrT/s1600-h/Fridges,+2006,+installation,+2.jpg"><img id="BLOGGER_PHOTO_ID_5144361262600438674" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbFMtJ4o518aG7Nh1mDd_wRjD-MziAMb6SIsQ8UrU5-8nQZ3FXlbUXDxMY7sLl33uZhv0LrVVi8x35j4MV4p55w5cFy04Po2G2MxhYeyr6TVSV5c3Jevw_m6ZBX6pwfO10Z9f7OxjImYrT/s400/Fridges,+2006,+installation,+2.jpg" border="0" /></a><br /><span style="font-size:85%;color:#660000;">«Square Dreams <strong>(Fridges)</strong>» 2006, installation view </span><br /><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">*<br /><br /></span></span><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;"></span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4gaoOSxzcSDLP6wF5F514reBMq8kqFjPTNxxEmMMjwOPsN62Y6hIgqhyphenhyphenDlh3HlSjmCs1b7acY3sO_C6TvSDX4X0FCjfcgFMtvavfIGYc1qeU4iTyAdR0CH8X719tt3hiI4V1FubSGVJFf/s1600-h/Kader+Attia+%C2%ABChildhood%C2%BB,+2005,+installation+view.jpg"><img id="BLOGGER_PHOTO_ID_5144361073621877634" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4gaoOSxzcSDLP6wF5F514reBMq8kqFjPTNxxEmMMjwOPsN62Y6hIgqhyphenhyphenDlh3HlSjmCs1b7acY3sO_C6TvSDX4X0FCjfcgFMtvavfIGYc1qeU4iTyAdR0CH8X719tt3hiI4V1FubSGVJFf/s400/Kader+Attia+%C2%ABChildhood%C2%BB,+2005,+installation+view.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Childhood» 2005, installation view </span><br /><span style="font-size:85%;color:#ffffff;">*<br /></span><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv9Tl1hC68bMmvoumMKy3Agle-GbwOyGqvewbuymCz9VMDw1XygLWp2N6dNb_htHum2cyDJQEaK9kxqGoXXp-i_siBcryh7JZxxiHjEjS4s9CkxiL1xH5myEWk2_jk8X8-XsiJkf6Kd4qX/s1600-h/Flying+Rats.jpg"><img id="BLOGGER_PHOTO_ID_5144360871758414706" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjv9Tl1hC68bMmvoumMKy3Agle-GbwOyGqvewbuymCz9VMDw1XygLWp2N6dNb_htHum2cyDJQEaK9kxqGoXXp-i_siBcryh7JZxxiHjEjS4s9CkxiL1xH5myEWk2_jk8X8-XsiJkf6Kd4qX/s400/Flying+Rats.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>«Flying Rats»</strong> 2005, installation view</span><br /><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHOaKKetTXP4FbUAPlCDaPjyqdGnNHY7VT_WFoG_uln8u2woWY3CCsHWwBeGOw3kQ7BwagISil1YRnf8xNGyopw_-E-7vzeMgaDSSfy7m8MYlNk0SFOkbk_0XSminGsi4OY6XpqlFBZaav/s1600-h/Flying+Rats+2.jpg"><img id="BLOGGER_PHOTO_ID_5144360682779853666" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHOaKKetTXP4FbUAPlCDaPjyqdGnNHY7VT_WFoG_uln8u2woWY3CCsHWwBeGOw3kQ7BwagISil1YRnf8xNGyopw_-E-7vzeMgaDSSfy7m8MYlNk0SFOkbk_0XSminGsi4OY6XpqlFBZaav/s400/Flying+Rats+2.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>«Flying Rats»</strong> 2005, installation view</span></div><div><span style="color:#ffffff;"><span style="font-size:85%;">*</span><br /></span></div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5IWoEGaY62DRIcYdXPozJYyzJnng0_bW_nvpgfEAXLqJvTFFtDvtqwiinBUHZc71O3JKueTM-85t3EPMjnPIKvlfjoMhWuGFZSYHZTb-PPHt9bWoQcmQpykTj94OwSPL868zGRaqybs_C/s1600-h/Sweet+Sweat.jpg"><img id="BLOGGER_PHOTO_ID_5144360446556652370" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5IWoEGaY62DRIcYdXPozJYyzJnng0_bW_nvpgfEAXLqJvTFFtDvtqwiinBUHZc71O3JKueTM-85t3EPMjnPIKvlfjoMhWuGFZSYHZTb-PPHt9bWoQcmQpykTj94OwSPL868zGRaqybs_C/s400/Sweet+Sweat.jpg" border="0" /></a><span style="color:#660000;"> «</span><span style="font-size:85%;color:#660000;"><span style="color:#660000;">Sweet</span> Sweat (Untitled)» 2006, installation view<br /><br /></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi08ZB8HYAdSyaOOvWte0e495fMtd0ka8-p0BD9bliiOpSM8mL32b5yqrhzBwpKfHtMkl_0N1uRintH7slM5Js4ptscxrx6OgJ8d7iA_nAv51vFZdRTEedmExAE_EfnaTxpAz-uqnIHq1nY/s1600-h/Dream+Machine,+2003,+installation.jpg"><img id="BLOGGER_PHOTO_ID_5144360171678745410" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi08ZB8HYAdSyaOOvWte0e495fMtd0ka8-p0BD9bliiOpSM8mL32b5yqrhzBwpKfHtMkl_0N1uRintH7slM5Js4ptscxrx6OgJ8d7iA_nAv51vFZdRTEedmExAE_EfnaTxpAz-uqnIHq1nY/s400/Dream+Machine,+2003,+installation.jpg" border="0" /></a></div><div><span style="font-size:85%;color:#660000;">«Dream Machine» 2003, installation view</span> </div><div><span style="color:#ffffff;">*<br /></span></div><div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXJm-0nHDIXBFs7NWqts9rtmoxvsqWUe2OL9ScGQvH_wqCy2Mw6ODQp9im-qHg-bJa1dHgbdlvYuW_zc4PlHzBH5YfSpkxDu4MR22EwsSFtL0Ol_VQwswIdgcYiTfJ-QnTrYaYi_qsedT0/s1600-h/Shadow.jpg"><img id="BLOGGER_PHOTO_ID_5144360064304562994" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXJm-0nHDIXBFs7NWqts9rtmoxvsqWUe2OL9ScGQvH_wqCy2Mw6ODQp9im-qHg-bJa1dHgbdlvYuW_zc4PlHzBH5YfSpkxDu4MR22EwsSFtL0Ol_VQwswIdgcYiTfJ-QnTrYaYi_qsedT0/s400/Shadow.jpg" border="0" /></a></div><div></div><div><strong></strong><span style="font-size:85%;color:#660000;"><strong>«Shadow»</strong> 2005, video installation<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWyA1dARtMNeOZLgS03en99pxBf7D2p_dwfQxEYxWeCIs2KQChByz9BLRR0Egq2K3gtMqnoa8t-UO4k3YPVVkqUUqhHWf4X2R7qsbKlUor7RijiR21RrkxuNu3alpAEN10C4kSLlR1q1Lu/s1600-h/The+Bagdad+Lute,+2007,+video+installation.jpg"><img id="BLOGGER_PHOTO_ID_5144359871031034658" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWyA1dARtMNeOZLgS03en99pxBf7D2p_dwfQxEYxWeCIs2KQChByz9BLRR0Egq2K3gtMqnoa8t-UO4k3YPVVkqUUqhHWf4X2R7qsbKlUor7RijiR21RrkxuNu3alpAEN10C4kSLlR1q1Lu/s400/The+Bagdad+Lute,+2007,+video+installation.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«The Bagdad Lute» 2007, video installation<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlfdoihbYLfqqoT0qXMv19rs56mVGpH8KCCNK3UA9tLckYvuD57WhtN-3OTkFU9uPmszNSwctms31vofU3ilgKmqG68iBWEPjWDE_dk45i_mKJQSexJitm_k7FDXD2ZNDt3PAwo1rpjtGz/s1600-h/Le+Loup.jpg"><img id="BLOGGER_PHOTO_ID_5144359686347440914" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlfdoihbYLfqqoT0qXMv19rs56mVGpH8KCCNK3UA9tLckYvuD57WhtN-3OTkFU9uPmszNSwctms31vofU3ilgKmqG68iBWEPjWDE_dk45i_mKJQSexJitm_k7FDXD2ZNDt3PAwo1rpjtGz/s400/Le+Loup.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> <strong>«The Loop»</strong> 2005, installation view<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisv7KlGmUBJMJnt0VotGPHXAPIeY3tKYKRjOmkjEzRhupOhiIv32YktbxnzCXL_yNzbJtrciJUvs2eJmvSkd9LXvBXMmwrWvFvEUqIn57cNZp2tO0AOlC88fibs91QweZgChEZ4IMZONoW/s1600-h/aux+araign%C3%A9es+en+baleines+de+parapluie.jpg"><img id="BLOGGER_PHOTO_ID_5144359458714174210" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisv7KlGmUBJMJnt0VotGPHXAPIeY3tKYKRjOmkjEzRhupOhiIv32YktbxnzCXL_yNzbJtrciJUvs2eJmvSkd9LXvBXMmwrWvFvEUqIn57cNZp2tO0AOlC88fibs91QweZgChEZ4IMZONoW/s400/aux+araign%C3%A9es+en+baleines+de+parapluie.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sweet Sweat (Untitled - Spider web)» 2006, installation view<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnk52oukqpz4cJtz1TvbNMHUnev23ZMd3t_wN3pBz_iFGbwpbAw8uboAPosJe4Bbmu_ZIjRuvg7oy4iuSXoWxqfdF0fZMZnEtCZMVXGN-tsI11SVdagPVjQygczq7t7X9DFJU2yIpIAffs/s1600-h/Kader+Attia,+Untitled+(Skyline)+2007,+installation.jpg"><img id="BLOGGER_PHOTO_ID_5144359269735613170" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnk52oukqpz4cJtz1TvbNMHUnev23ZMd3t_wN3pBz_iFGbwpbAw8uboAPosJe4Bbmu_ZIjRuvg7oy4iuSXoWxqfdF0fZMZnEtCZMVXGN-tsI11SVdagPVjQygczq7t7X9DFJU2yIpIAffs/s400/Kader+Attia,+Untitled+(Skyline)+2007,+installation.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Untitled (Skyline)» 2007, installation view<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVbI3nglyUwQ7ODrKIqnrHxrL8rnSi3T-ZpRwBkgQr5OLCBaHpvSC5CBuBeIQEIJoE7t-ln2SRd6nFpAKNyuEvg3_QfszayGUSPis4SEIrMwZQtTEG8DfZ3N5UvHVnd4wVQKpbsraAesJm/s1600-h/Square+Dreams+series+4.bmp"><img id="BLOGGER_PHOTO_ID_5144359067872150242" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVbI3nglyUwQ7ODrKIqnrHxrL8rnSi3T-ZpRwBkgQr5OLCBaHpvSC5CBuBeIQEIJoE7t-ln2SRd6nFpAKNyuEvg3_QfszayGUSPis4SEIrMwZQtTEG8DfZ3N5UvHVnd4wVQKpbsraAesJm/s400/Square+Dreams+series+4.bmp" border="0" /></a> <span style="font-size:85%;color:#660000;">«Square Dreams <strong>(Fridges)</strong>» 2006, installation view<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtpwx_6F-J7yFh1Leivv4eJ12xPspi_XjAU4UcZeOPToELL87-MkRO9ZRsS71JVQKDIqRMWqE8ps6k2iYdJhRdqZnFQfv_eouo5ro98IlszkcWPmZplmy25NpFHny0NV8bviRhtf0KHSrM/s1600-h/Kader+Attia+%C2%ABSweet+sweat%C2%BB,+2006,+installation.jpg"><img id="BLOGGER_PHOTO_ID_5144358767224439506" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtpwx_6F-J7yFh1Leivv4eJ12xPspi_XjAU4UcZeOPToELL87-MkRO9ZRsS71JVQKDIqRMWqE8ps6k2iYdJhRdqZnFQfv_eouo5ro98IlszkcWPmZplmy25NpFHny0NV8bviRhtf0KHSrM/s400/Kader+Attia+%C2%ABSweet+sweat%C2%BB,+2006,+installation.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Sweet Sweat (Untitled)» 2006, installation view<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAoR3LfkGpiIXY1HXvo0TL_OhyphenhyphenX2Cr_jnVqxCmKR2GxJRzaL55WsjiBuBDSQvS5VoTtEmFcT_9ZI7stekkxuHl5MqZ3GTmoIcReFTJQjibeqI0Y1-i6SC9Zcvfa-aLxq4bHELm4niJnZhG/s1600-h/Kader+Attia,+Untitled,+2006,+mixed+media+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5144358569655943874" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAoR3LfkGpiIXY1HXvo0TL_OhyphenhyphenX2Cr_jnVqxCmKR2GxJRzaL55WsjiBuBDSQvS5VoTtEmFcT_9ZI7stekkxuHl5MqZ3GTmoIcReFTJQjibeqI0Y1-i6SC9Zcvfa-aLxq4bHELm4niJnZhG/s400/Kader+Attia,+Untitled,+2006,+mixed+media+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Untitled» 2006, mixed media on canvas<br /><span style="color:#ffffff;"></span></span></div><div><span style="font-size:85%;color:#660000;"><span style="color:#ffffff;">**</span></span><span style="font-size:85%;color:#ffffff;">*</span></div><div></div><div align="justify"><span style="font-size:85%;color:#330000;">Kader Attia nasceu em Dugny (Seine Saint-Denis) França, em 1970. Descende de uma família de emigrantes muçulmanos argelinos. O seu trabalho baseia-se principalmente em fotografia, vídeo e instalações e reflecte a falta de esperança sentida pelos milhões de muçulmanos residentes em França, oriundos da zona do Magrebe ocidental, em virem a assimilar a sociedade e a cultura francesas, em parte pela falta de vontade sócio-política das autoridades institucionais francesas responsáveis pela integração das minorias étnicas na sociedade francesa. Como membro da comunidade Norte-Africana, Attia explora as lutas de identidade da sua cultura desenraizada por comparação com o poder de sedução da sociedade consumista do ocidente e florescente cultura.</span></div><div align="justify"><span style="font-size:85%;color:#330000;"></span></div><div align="center"><span style="font-size:85%;color:#330000;">* * *</span></div><div align="center"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;"></span></div><div align="justify"><span style="font-size:85%;color:#330000;">Born in Paris in 1970 into Algerian family, Kader Attia's work is heavily influenced by his cultural heritage. It is rooted in the complex relations between the East and West and deals with many different subjects from the place of women in religion; the taboo relations between power, religion and art; to the phobias, frustrations and fantasies of the human being. Attia is unafraid of tackling questions of globalisation and religion and his work presents a sometimes darkly humorous and even cynical view of modern life. It exists at the meeting point between Western consumerism and an uprooted North African culture and addresses issues of community, diversity, belonging and exile. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">'Square Dreams' focuses on the effect of state and religion on both cultures. The</span><a href="http://www.balticmill.com/whatsOn/present/index.php"><span style="font-size:85%;"><span style="color:#330000;"><strong> <span style="color:#ff6666;">exhibition</span></strong></span><span style="color:#ff6666;"> </span></span></a><span style="font-size:85%;color:#330000;">consists of 140 discarded domestic fridges painted black and covered in hundreds of tiny geometric mirror 'windows'. This landscape of customised household appliances represents cities, housing estates or even prisons and comments on the utopian spirit of modernism; Parallels of which can be drawn to the physical control of the crowded urban suburbs of Attia's Parisian childhood and with the Christian mythology of the Tower of Babel. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Through his work Attia suggests that we are affected by both the physical and unconscious elements that surround us with which we have to live. Shape and meaning are always linked in his work, in a complex reflection that is rooted in art histories and the symbolic dimension of everyday objects. By journeying through the labyrinth of the installation we enter into a dialogue with the artist. Attia produces work that is very simple in form but leads us into a fundamental dialogue - Square Dreams literally holds up a mirror up to challenge everyone who looks. </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span>Kader Attia was born in 1970 into an Algerian family in a suburb of Paris. His first solo exhibition was in 1996 in the Democratic Republic of Congo. Since this exhibition, Attia has exhibited regularly in France, particularly in institutions like the Palais de Tokyo and the Lyon Contemporary Art Museum. Attia has gained international recognition by participating the Venice Biennale (2003), Art Basel Miami (2004) and the Lyon Biennale (2005). It was at the Lyon Biennale that Attia created one of his most famous 'Flying Rats'. Attia's previous work includes La Piste d'atterrissage, or The Landing Strip. The Landing Strip was the culmination of </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Attia's work with Algerian transsexuals as they worked to try and find a place within wider French society. Attia's most recent solo exhibitions have been at Musée d'Art Contemporain de Lyon, Lyon, le Magasin, Grenoble, France, Andréhn-Schiptjenko, Stockholm, Sweden, Haifa Museum of Art, Haifa, Israel, Christian Nagel, Berlin, Germany. In November, he will have his first solo exhibition in the US at the Boston ICA, Boston, USA. Kader Attia was nominated for the Price Marcel Duchamp in 2005.</span></div><div align="justify"><strong><span style="font-size:85%;color:#330000;">Baltic Center for Contemporary Art, UK</span></strong></div><div align="justify"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><strong><span style="font-size:85%;color:#cc0000;">Crítica:</span></strong></div><div align="justify"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><span style="font-size:85%;"><span style="color:#330000;"><strong>Moucharabieh, 2006<br /></strong>En superposant plusieurs poignets de menottes de police, tout en faisant s’enchevêtrer certaines d’entres elles, Kader Attia obtient un motif d’acier qui rappelle les fenêtres caractéristiques de l’architecture maure : les « moucharabiehs ». A l’origine, dans l'architecture maure, le moucharabieh est une fenêtre avec une sorte de grillage en bois qui permet de voir sans être vu. C’est d’ailleurs directement de là que vient le mot « mouchard ». Dans une forme rappelant celle de ces fenêtres orientales, Kader Attia ecouvre trois fenêtres du Musée d’Art Contemporain pour ne laisser comme accès à la lumière<br />venant de l’extérieur que la zone où ces moucharabiehs en menottes de police sont placés.<br /></span><span style="color:#ffffff;"><strong>*</strong></span></span></div><div align="justify"><span style="font-size:85%;"><span style="color:#330000;"><strong>Sans titre, 2006<br /></strong>Une porte vitrée automatique, comme on en trouve dans les lieux publics (aéroport, gare, centres commerciaux,...). Sur le bord de chaque vitre, à l’horizontale, sont fixées les lames de grands couteaux de cuisine et de larges éclats de verre et de miroir ; grossièrement, avec du ruban adhésif. Lorsqu’un spectateur s’approche, les vitres s’écartent, laissant apparaître les pointes et les bords tranchants des différents éléments qui y sont attachés ; le tout semblable à une terrifiante mâchoire.</span></span></div><div align="justify"><strong><span style="font-size:85%;color:#ffffff;">*</span></strong></div><div align="justify"><span style="font-size:85%;"><span style="color:#330000;"><strong>Fridges, 2006<br /></strong>A l’aide de 150 vieux réfrigérateurs hors d’usage, Kader Attia reconstitue la cité de son enfance, aux alentours de Sarcelles. En peignant sur chacun d’eux des rangées de petits motifs, il évoque les façades des immeubles de banlieue aux pieds desquels il a grandi.<br /></span><span style="color:#ffffff;"><strong>*</strong></span></span></div><div align="justify"><strong><span style="font-size:85%;color:#330000;">Flying Rats, 2005</span></strong></div><div align="justify"><span style="font-size:85%;color:#330000;">Elle consiste en une volière géante où jouent - ou jouaient - 45 enfants, à la marelle, au toboggan, au poirier, aux billes, leurs petits cartables posés sur le sol, leurs tabliers à carreaux encore boutonnés. Enfants-mannequins faits de chiffons et de céréales, inanimés, mais comme vivants. Pas tous pourtant, car de certains, il ne reste qu'un short, des baskets. Parce que l'enclos est également une volière peuplée de 150 pigeons, de vrais pigeons qui peu à peu picorent et dévorent les enfants-céréales. </span></div><div align="justify"><span style="color:#330000;"><span style="font-family:lucida grande;font-size:85%;"><a href="http://cousin.pascal1.free.fr/coups_g1.html"><span style="color:#ff6666;"><strong>Lettre de protestation</strong></span> </a>envoyée aux organisateurs de l'exposition</span>.</span></div><div align="justify"><span style="color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;"><span style="color:#330000;"><strong>The Loop, 2005<br /></strong>Cette installation met en scène 5 automates ultra réalistes tournant littéralement en boucle sur eux-mêmes. Dans cette étrange scène, un disc-jockey, étranglé par le fil de son casque audio, est pendu à la boule à facettes qui tourne avec lui. Sur la platine, un disque rayé répète inlassablement “God”, “God”, tandis que trois danseurs de “break dance” tournent sur le dos au même rythme qu’un derviche tourneur tournant sur lui-même.<br />The Loop est une réflexion sur le détachement par rapport aux questions d’appartenance, qu’elles soient liées au repli identitaire ou aux marques, ainsi que sur l’inanité d’une séparation entretradition et modernité. La condition terrestre, qui impose la discrimination comme rapport à l’autre, sociale, ethnique<br />ou religieuse, est ici gommée par le rituel méditatif, circulaire et répétitif. Les break dancers et le derviche deviennent Un, dans un même sample spirituel. Ils tournent d’ailleurs dans le même sens, en boucle sur le nom de GOD. Ils en oublient le DJ, définitivement resté dans l’autre monde, tandis que la boule à facettes illumine la scène.</span></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><strong><span style="font-size:85%;color:#330000;">Shadow, 2005</span></strong></div><div align="justify"><span style="font-size:85%;"><span style="color:#330000;">Reflects a social and sexual ambiguity. It depicts a wild, erotic belly-dancing show performed by a male dancer before the camera. The film's protagonist is Sammy Gamal, a not very young man of Algerian origin, who works in a prestigious delicatessen during the day, and at night assumes the figure of the mythological Egyptian belly-dancer from the 1960s, Samia Gamal. As in other works, here too Attia reinforces the gap between stereotypes and fantasies concerning male Muslim identity on the one hand, and tradition and religion on the other, thus ironically ridiculing the horror of Islam as experienced in the Western world since 9/11.<br /><strong></strong></span></span></div><div align="justify"><span style="color:#330000;"></span></div></div></div></div></div></div></div></div></div></div></div></div></div><br /></div></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0tag:blogger.com,1999:blog-2054748435853847162.post-9278963620591147512007-12-09T20:45:00.000+00:002013-03-24T15:26:31.256+00:00Anselm Kiefer, Donaueschingen / Alemanha - arte conceptual contemporânea<div align="center">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhthRBw2W6Ofys5ptdKoQ-3Z9ezMGETo010sBbGa8qJuOdCmo57rOMP8aKhfj_J3nXJTMmmUmBCTst3s5EPhYX520_T_15tru4-8fKxGom35V-ZV49kt_CMzdtMnID48jG7UAXh-IP1c_ax/s1600-h/Anselm+Kiefer,+Bernice,+2007.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhthRBw2W6Ofys5ptdKoQ-3Z9ezMGETo010sBbGa8qJuOdCmo57rOMP8aKhfj_J3nXJTMmmUmBCTst3s5EPhYX520_T_15tru4-8fKxGom35V-ZV49kt_CMzdtMnID48jG7UAXh-IP1c_ax/s400/Anselm+Kiefer,+Bernice,+2007.jpg" id="BLOGGER_PHOTO_ID_5142085800608292370" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-family: lucida grande; font-size: 85%;">Berenice, 2007, mixed media on canvas </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6wTi-EWa1pwNpHtfFdwvgHj6PM94t60YbsDDJ45FcQzZc_3jzmkbQ6x__pLxUAExV7Ux34JLiT9UTtXQU0I2_69HLNi1zIMFGQZfMVJY6Qa6ZUkqYwZ_AVIqWFqPEXSR1c-wXug-eE1ca/s1600-h/Faith,+Hope,+Love+series,+1984-86,+The+Women+of+Antiquity+(Hypatia,+Candidia,+Myrtis),+2002.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6wTi-EWa1pwNpHtfFdwvgHj6PM94t60YbsDDJ45FcQzZc_3jzmkbQ6x__pLxUAExV7Ux34JLiT9UTtXQU0I2_69HLNi1zIMFGQZfMVJY6Qa6ZUkqYwZ_AVIqWFqPEXSR1c-wXug-eE1ca/s400/Faith,+Hope,+Love+series,+1984-86,+The+Women+of+Antiquity+(Hypatia,+Candidia,+Myrtis),+2002.jpg" id="BLOGGER_PHOTO_ID_5142085650284436994" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a> <span style="color: #660000; font-family: lucida grande; font-size: 85%;"><strong>«Faith, Hope, Love series»</strong> The Women of Antiquity: </span></div>
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<span style="color: #660000; font-family: lucida grande; font-size: 85%;">Hypatia, Candidia, Myrtis, 2002, sculpture</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-K77iS-xQ-PqR59IU-a6_p2Ts0icRDPvg5A-Kq7sonvqj4F4P3D54B5akrjWfu551psUqemEA9jqSgyldEcYycrXyX4C01grO0itOyEoKtsN85IaKFe67G93ZeH_DrQhHNQGC4iyrZ7-s/s1600-h/Elisabeth+von+%C3%96sterreich,+1991,+mixed+media+and+lead+mounted+on+wood.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-K77iS-xQ-PqR59IU-a6_p2Ts0icRDPvg5A-Kq7sonvqj4F4P3D54B5akrjWfu551psUqemEA9jqSgyldEcYycrXyX4C01grO0itOyEoKtsN85IaKFe67G93ZeH_DrQhHNQGC4iyrZ7-s/s400/Elisabeth+von+%C3%96sterreich,+1991,+mixed+media+and+lead+mounted+on+wood.jpg" id="BLOGGER_PHOTO_ID_5142085525730385394" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-family: lucida grande; font-size: 85%;"><strong> «Faith, Hope, Love series»</strong> Elisabeth von Österreich, 1991, </span></div>
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<span style="color: #660000; font-family: lucida grande; font-size: 85%;">mixed media and lead mounted on wood<br /><span style="color: #cc0000;">(em exposição no Museu Berardo Lisboa)</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja-lDCNrgwY9NwT2gdwvvrZ5TNHfs9HZVPi5C-H8nqaUrwZU6f8N8dm-SPjEHyOX25dKCExr0AzOc4sX5RA2I5m7vl4sME8W3zLOtEoRe7GCYCCFa3WT3GonsqFzj5BiMlUA29cZp3LHob/s1600-h/Faith,+Hope,+Love+series,+1984-86,+The+Women+of+the+Antiquity+(Hipatia,+Candidia+and+Myrtis),+2002.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja-lDCNrgwY9NwT2gdwvvrZ5TNHfs9HZVPi5C-H8nqaUrwZU6f8N8dm-SPjEHyOX25dKCExr0AzOc4sX5RA2I5m7vl4sME8W3zLOtEoRe7GCYCCFa3WT3GonsqFzj5BiMlUA29cZp3LHob/s400/Faith,+Hope,+Love+series,+1984-86,+The+Women+of+the+Antiquity+(Hipatia,+Candidia+and+Myrtis),+2002.jpg" id="BLOGGER_PHOTO_ID_5142085328161889762" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-family: lucida grande; font-size: 85%;"> <strong>«Faith, Hope, Love series»</strong> The Women of Antiquity: </span></div>
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<span style="color: #660000; font-family: lucida grande; font-size: 85%;">Hipatia, Candidia, Myrtis, 2002, sculpture</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgujunn3lOU-l2ZaO5b36iGrCFTEVPwiOtfLtXJVrAnoHdtQkTaU2VTjNw6JyuXchxuj4J730NCCAF7hJaoh7-QndtixPg0sBjJn199MSKleRoHYw-SXe6DQf6bFM5cnCbGQAQh9UyfjMUi/s1600-h/Elizabeth+von+Osterreich,+1991.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgujunn3lOU-l2ZaO5b36iGrCFTEVPwiOtfLtXJVrAnoHdtQkTaU2VTjNw6JyuXchxuj4J730NCCAF7hJaoh7-QndtixPg0sBjJn199MSKleRoHYw-SXe6DQf6bFM5cnCbGQAQh9UyfjMUi/s400/Elizabeth+von+Osterreich,+1991.jpg" id="BLOGGER_PHOTO_ID_5142085160658165202" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a> <span style="color: #660000; font-family: lucida grande; font-size: 85%;"><strong>«Faith, Hope, Love series»</strong> Elisabeth von Österreich, 1991 </span></div>
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<span style="color: #660000; font-family: lucida grande; font-size: 85%;">mixed media on photograph</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTb6mc8fyvFB7jaLKaiyE8DqGPJoHrCt5ubk-rRMQlka0YI4EItwy7dB87Ldl6vHrxNW-Fd1P00zK9LFtweNaf1lL8p0esqWH7P4nwBd2h6Izm78IGz5aUlGxY729vvOTpKt-560YUiuAD/s1600-h/Faith,+Hope,+Love+series,Three+Blades,+1984-86,+emulsion,+synthetic+polymer+paint,+shellac+on+photodocument+paper+on+linen+with+lead.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjTb6mc8fyvFB7jaLKaiyE8DqGPJoHrCt5ubk-rRMQlka0YI4EItwy7dB87Ldl6vHrxNW-Fd1P00zK9LFtweNaf1lL8p0esqWH7P4nwBd2h6Izm78IGz5aUlGxY729vvOTpKt-560YUiuAD/s400/Faith,+Hope,+Love+series,Three+Blades,+1984-86,+emulsion,+synthetic+polymer+paint,+shellac+on+photodocument+paper+on+linen+with+lead.jpg" id="BLOGGER_PHOTO_ID_5142084662441958850" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a> <span style="color: #660000; font-family: lucida grande; font-size: 85%;"><strong>«Faith, Hope, Love series»</strong> Propeller 1984-86, </span></div>
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<span style="color: #660000; font-family: lucida grande; font-size: 85%;">mixed media on photodocument on paper on linen with lead</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-2w8B_6oJbJwHz-dmsvq5QPJVmhJcVZdmZnII7xggrCMvx32CQ-u2Xxvn1MHl44qYieXViClvcSYQZawvauzq3h_Ya5fiFgK6C_USd7iPEL9Hg4g7xHdzNy76ISbPGdnJPBkxy6e4AiTI/s1600-h/Wild+Emperor,+1975,+watercolor+and+acrylic+on+paper.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-2w8B_6oJbJwHz-dmsvq5QPJVmhJcVZdmZnII7xggrCMvx32CQ-u2Xxvn1MHl44qYieXViClvcSYQZawvauzq3h_Ya5fiFgK6C_USd7iPEL9Hg4g7xHdzNy76ISbPGdnJPBkxy6e4AiTI/s400/Wild+Emperor,+1975,+watercolor+and+acrylic+on+paper.jpg" id="BLOGGER_PHOTO_ID_5142084469168430514" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a> <span style="color: #660000; font-family: lucida grande; font-size: 85%;">Wild Emperor, 1975, watercolor and acrylic on paper</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGnRCersO8wLqiY0Idljl-lvT5uZJSlaipjozrGFmF4z98UKDpEFBNuVMyLwYIsabYiEBnODhOOL4Gs5Zw2LCb1CNLOOODQXs8MbSOSUVNNyzdliz3Zkq7BVNJcUHPW3GXRebVToj5-7mG/s1600-h/Les+Reines+de+France,+1995,+emulsion,+acrylic,+sunflower,+seeds,+photographs,+woodcut,+gold+leaf+and+cardboard+on+canvas.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGnRCersO8wLqiY0Idljl-lvT5uZJSlaipjozrGFmF4z98UKDpEFBNuVMyLwYIsabYiEBnODhOOL4Gs5Zw2LCb1CNLOOODQXs8MbSOSUVNNyzdliz3Zkq7BVNJcUHPW3GXRebVToj5-7mG/s400/Les+Reines+de+France,+1995,+emulsion,+acrylic,+sunflower,+seeds,+photographs,+woodcut,+gold+leaf+and+cardboard+on+canvas.jpg" id="BLOGGER_PHOTO_ID_5142084237240196514" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"> Les Reines de France, 1995, mixed media on canvas</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZk7m5bbOctV7I1Yhkbp9WN37O4HwMadDYVlPtTThc73s0mq_rSd_OwdTDe4cFLecP9qXgIJ7bVWZBhkTCZ76vNaU_eBf6fwhlE1g1nRfLqaT0Jp-h8iM0myhFVZh8I5nniC_EwOn1iTJW/s1600-h/Let+a+Thousand+Flowers+Bloom,+2000,+gouache,+sand,+ash+and+charcoal+on+two+torn-and-pasted+photographs.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZk7m5bbOctV7I1Yhkbp9WN37O4HwMadDYVlPtTThc73s0mq_rSd_OwdTDe4cFLecP9qXgIJ7bVWZBhkTCZ76vNaU_eBf6fwhlE1g1nRfLqaT0Jp-h8iM0myhFVZh8I5nniC_EwOn1iTJW/s400/Let+a+Thousand+Flowers+Bloom,+2000,+gouache,+sand,+ash+and+charcoal+on+two+torn-and-pasted+photographs.jpg" id="BLOGGER_PHOTO_ID_5142083975247191442" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a> <span style="color: #660000; font-size: 85%;"><strong>«Let a Thousand Flowers Bloom series»</strong> Mao Zedong, 2000 </span><br />
<span style="color: #660000; font-size: 85%;">mixed media on photographs</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJR-7adefvj87akjd0l5R9URaNEJ7PwHP70F_hERd_b6jIexrhnYbkkl_qw2yRE3nblHX9eE4wSdGn1NJjZ6s5FWQ2OQnZwHAJzelJ3xDJ_DTXV3OP4PHV-zOtGiBN5hbDmYNsOvY3ipG2/s1600-h/Heaven+and+Earth+series,+Melancholia,+2004.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJR-7adefvj87akjd0l5R9URaNEJ7PwHP70F_hERd_b6jIexrhnYbkkl_qw2yRE3nblHX9eE4wSdGn1NJjZ6s5FWQ2OQnZwHAJzelJ3xDJ_DTXV3OP4PHV-zOtGiBN5hbDmYNsOvY3ipG2/s400/Heaven+and+Earth+series,+Melancholia,+2004.jpg" id="BLOGGER_PHOTO_ID_5142083790563597698" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"> «Heaven and Earth series» Melancholia, 2004 </span><br />
<span style="color: #660000; font-size: 85%;">mixed media on canvas</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizx_7tocUytVAeQBBS_ncdHqkeJ6xvZDVn1MquEtME0B1_5q47Kof2nVonSGg1cCdrE7eSkPdPL2kzHE48Ov7lVoCbY4Pr_86AskBiFLSX9GhR_sPQrff4VxdSBhUk2Q_AkV71mJ3Uid4A/s1600-h/Ladder+to+the+Sky,+1991.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizx_7tocUytVAeQBBS_ncdHqkeJ6xvZDVn1MquEtME0B1_5q47Kof2nVonSGg1cCdrE7eSkPdPL2kzHE48Ov7lVoCbY4Pr_86AskBiFLSX9GhR_sPQrff4VxdSBhUk2Q_AkV71mJ3Uid4A/s400/Ladder+to+the+Sky,+1991.jpg" id="BLOGGER_PHOTO_ID_5142083571520265586" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"> Ladder to the Sky, 1991, mixed media on canvas</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK2yKKaww6qmMlNBXCjDsQKSK0MhfYtZURBV_Kvrt31HEXkxyB-muiK8_o5vBkHvpZjVDrvd8xpNbilXh_LdF2dxK_iYTmYKgdjTWAmr1Enbqb_3LHXGbDB8BxDfHObAiXriNQ_1Yd8PAP/s1600-h/Twilight+of+the+West,+1989,+lead+sheet,+synthetic+polymer+paint,+ash,+plaster,+cement,+earth,+varnish+on+canvas+and+wood.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjK2yKKaww6qmMlNBXCjDsQKSK0MhfYtZURBV_Kvrt31HEXkxyB-muiK8_o5vBkHvpZjVDrvd8xpNbilXh_LdF2dxK_iYTmYKgdjTWAmr1Enbqb_3LHXGbDB8BxDfHObAiXriNQ_1Yd8PAP/s400/Twilight+of+the+West,+1989,+lead+sheet,+synthetic+polymer+paint,+ash,+plaster,+cement,+earth,+varnish+on+canvas+and+wood.jpg" id="BLOGGER_PHOTO_ID_5142083159203405138" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"> Twilight of the West, 1989, mixed media on canvas and wood</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihrQRVi_LkzJSjakG8lGZPdyNY6GvEceUDwEKcaBhb6EwxQQmP34wSZW1UVpCI6fn7DgZzxEeeU0Qtz7M5_HRpXU-Ezih0c3vqXhEDLJU6tguzvT-RhDzkeTAPw5A4kMZO0weHjXvRUscb/s1600-h/Heaven+and+Earth+series,+Winter+Landscape,+1970,+watercolor,+gouache+and+graphite+pencil+on+paper.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihrQRVi_LkzJSjakG8lGZPdyNY6GvEceUDwEKcaBhb6EwxQQmP34wSZW1UVpCI6fn7DgZzxEeeU0Qtz7M5_HRpXU-Ezih0c3vqXhEDLJU6tguzvT-RhDzkeTAPw5A4kMZO0weHjXvRUscb/s400/Heaven+and+Earth+series,+Winter+Landscape,+1970,+watercolor,+gouache+and+graphite+pencil+on+paper.jpg" id="BLOGGER_PHOTO_ID_5142082910095301954" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a> <span style="color: #660000; font-size: 85%;">«Heaven and Earth series» <strong>Winter Landscape</strong>, 1970 </span></div>
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<span style="color: #660000; font-size: 85%;">watercolor, gouache and graphite pencil on paper</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFEzlbULm3fhm3I6Enn8QEhK2-9ygkWkClw9I2N1SbGxpgr4YQXZVWjj06WUnfc21ScbEaIiDWNOEComALkjlQ77YbYhps4iAhLOkoZftOb64RehyphenhyphenWBaDfXeLIlErNXLy9JPLUd6w6zkB4/s1600-h/Br%C3%BCnnhilde+Sleeps,+1980,+acrylic+and+gouache+on+photograph.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFEzlbULm3fhm3I6Enn8QEhK2-9ygkWkClw9I2N1SbGxpgr4YQXZVWjj06WUnfc21ScbEaIiDWNOEComALkjlQ77YbYhps4iAhLOkoZftOb64RehyphenhyphenWBaDfXeLIlErNXLy9JPLUd6w6zkB4/s400/Br%C3%BCnnhilde+Sleeps,+1980,+acrylic+and+gouache+on+photograph.jpg" id="BLOGGER_PHOTO_ID_5142082682462035250" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><strong> </strong><span style="color: #660000; font-size: 85%;"><strong>Brünnhilde Sleeps</strong>, 1980, acrylic and gouache on photograph</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqmJd25js_C6GQ68raaCY8GOPwOV36uBR1EYnfNTAAdNqGpVvG9y5diZ4vZW9knS-bpJ_MpSzFGNlNwmPjk_KKUvyRzwpyfmniQ77qeOEP1Agu-UagUi4u_7bzCcusIOowxySiJzMyUqfc/s1600-h/Wege+I,+1977,+oil+and+acrylic+on+paper+on+linen.bmp"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqmJd25js_C6GQ68raaCY8GOPwOV36uBR1EYnfNTAAdNqGpVvG9y5diZ4vZW9knS-bpJ_MpSzFGNlNwmPjk_KKUvyRzwpyfmniQ77qeOEP1Agu-UagUi4u_7bzCcusIOowxySiJzMyUqfc/s400/Wege+I,+1977,+oil+and+acrylic+on+paper+on+linen.bmp" id="BLOGGER_PHOTO_ID_5142082519253277986" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"> «Weg series» Way I, 1977, oil and acrylic on paper on linen</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOR5ZFszLdyXcUDTI7AiaZYKB-09IZbWRLPs7gyNyD6rZEEfcFum8tSI-D56z5RvE-9aKe3oVmupUyldDaL2q7lEu7Te_yRTzyfgrxSDrPZzwL8J41A5O_DghvuM5MRla4zBj_xUGMcqjc/s1600-h/Osiris+and+Isis,+1985-87,+paint,+copper+wire,+porcelain,+bits+of+circuit+board+materials.bmp"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOR5ZFszLdyXcUDTI7AiaZYKB-09IZbWRLPs7gyNyD6rZEEfcFum8tSI-D56z5RvE-9aKe3oVmupUyldDaL2q7lEu7Te_yRTzyfgrxSDrPZzwL8J41A5O_DghvuM5MRla4zBj_xUGMcqjc/s400/Osiris+and+Isis,+1985-87,+paint,+copper+wire,+porcelain,+bits+of+circuit+board+materials.bmp" id="BLOGGER_PHOTO_ID_5142082171360926994" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"> Osiris and Isis, 1985-87, mixed media</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigKjehE9hHgzauPQEGY7jsGGkyVHxtW2KcJtXd4_qQIHOpJXJi71KK28Ang5JC_x3yF7QGpPikUlTf4rC1jxF1KeTtKWNmIkMsaj3eBr5IpRggeED1oTGL8jO2wZvETxd1nIrczfsXhNp2/s1600-h/Kain+und+Abel,+2006.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigKjehE9hHgzauPQEGY7jsGGkyVHxtW2KcJtXd4_qQIHOpJXJi71KK28Ang5JC_x3yF7QGpPikUlTf4rC1jxF1KeTtKWNmIkMsaj3eBr5IpRggeED1oTGL8jO2wZvETxd1nIrczfsXhNp2/s400/Kain+und+Abel,+2006.jpg" id="BLOGGER_PHOTO_ID_5142081737569230082" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"> Kain und Abel, 2006, mixed media</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX5lQlsDgPlhq31udT_B3zZBFo_F7A5qc8E1kDGQsYtd9xMCsYvQu05h6hyphenhyphenWIbSIHgXMnH5E4N0wSl8SboO5pq5F0qRldRCX9pk225PE9dGSi7xLarbzYIf4fdD8IlPLiJ8V6zK6O1RadD/s1600-h/My+Father+Pledged+Me+a+Sword,+1975,+watercolor,+gouache+and+ballpoint+pen+on+paper.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX5lQlsDgPlhq31udT_B3zZBFo_F7A5qc8E1kDGQsYtd9xMCsYvQu05h6hyphenhyphenWIbSIHgXMnH5E4N0wSl8SboO5pq5F0qRldRCX9pk225PE9dGSi7xLarbzYIf4fdD8IlPLiJ8V6zK6O1RadD/s400/My+Father+Pledged+Me+a+Sword,+1975,+watercolor,+gouache+and+ballpoint+pen+on+paper.jpg" id="BLOGGER_PHOTO_ID_5142081368202042610" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"><strong> My Father Pledged me a Sword</strong>, 1975, </span></div>
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<span style="color: #660000; font-size: 85%;">watercolor, gouache and ballpoint pen on paper</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf6q0Qwi6FYmb0YabPs_NZxf5vB9Lmzrsp41HqQ45uVMOeWkAxr0Wf4D_PC5CkLHBvdJmsrZlEihu13UHpFWNHNY5K80Q_Re7n1LUiFhy51ncntINjpSaG7H-uKToD8Tzf14uN925hPILo/s1600-h/Parsifal+I,+1973,+oil+on+paper+laid+on+canvas.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhf6q0Qwi6FYmb0YabPs_NZxf5vB9Lmzrsp41HqQ45uVMOeWkAxr0Wf4D_PC5CkLHBvdJmsrZlEihu13UHpFWNHNY5K80Q_Re7n1LUiFhy51ncntINjpSaG7H-uKToD8Tzf14uN925hPILo/s400/Parsifal+I,+1973,+oil+on+paper+laid+on+canvas.jpg" id="BLOGGER_PHOTO_ID_5142081011719757026" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"><strong> Parsifal I</strong>, 1973, oil on paper laid on canvas</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaUZFgrugw7J-ERM1wJYhZU0znKnHLp3YS03gwju3RF55qD7gy6K_OgDQL0P4NbVYd6AO7kcr4gykCO-vkMdCsCPCsmUqJwHUopQm7mJKlMFr-_fIG26UCErbjJybFIYuXWxh75YdNcj8F/s1600-h/Parsifal+II,+1973,+oil+and+blood+on+paper+laid+on+canvas.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjaUZFgrugw7J-ERM1wJYhZU0znKnHLp3YS03gwju3RF55qD7gy6K_OgDQL0P4NbVYd6AO7kcr4gykCO-vkMdCsCPCsmUqJwHUopQm7mJKlMFr-_fIG26UCErbjJybFIYuXWxh75YdNcj8F/s400/Parsifal+II,+1973,+oil+and+blood+on+paper+laid+on+canvas.jpg" id="BLOGGER_PHOTO_ID_5142080844216032466" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"><strong> Parsifal II</strong>, 1973, oil and blood on paper laid on canvas</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpgv0ufe6X5imwy2jB-wDFVRAlV3OIVYr57EmwvsG8_9A8-BeNLz_d1RnApV2k2KPwh2HW-BY9UlkL-nL8ipJKsiHqixeuB2i-oCjCce-Pxx0LdIO3PBM8KfJaSVKGdVIoSzcvuiM3t7-e/s1600-h/Parsifal+III,+1973,+oil+and+blood+on+paper+on+canvas.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpgv0ufe6X5imwy2jB-wDFVRAlV3OIVYr57EmwvsG8_9A8-BeNLz_d1RnApV2k2KPwh2HW-BY9UlkL-nL8ipJKsiHqixeuB2i-oCjCce-Pxx0LdIO3PBM8KfJaSVKGdVIoSzcvuiM3t7-e/s400/Parsifal+III,+1973,+oil+and+blood+on+paper+on+canvas.jpg" id="BLOGGER_PHOTO_ID_5142080655237471426" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><strong> </strong><span style="color: #660000; font-size: 85%;"><strong>Parsifal III</strong>, 1973, oil and blood on paper laid on canvas</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6TDOg3CkclFHBlBCkqqwMnXnx53EEqnQaq6lb4dYp8Dz-Z1URNVzq1YOZ9w7aVxvLht6j5IpcQ-kSUgjFX64Nebp4mgt7SrYvYN5Nyo-SOy7MA4asnMp3ApMD_nFcVlIRmGL6fwuI17Nq/s1600-h/Oebisfelde,+Germany+--+the+Iron+Curtain,+1987.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6TDOg3CkclFHBlBCkqqwMnXnx53EEqnQaq6lb4dYp8Dz-Z1URNVzq1YOZ9w7aVxvLht6j5IpcQ-kSUgjFX64Nebp4mgt7SrYvYN5Nyo-SOy7MA4asnMp3ApMD_nFcVlIRmGL6fwuI17Nq/s400/Oebisfelde,+Germany+--+the+Iron+Curtain,+1987.jpg" id="BLOGGER_PHOTO_ID_5142079972337671314" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"> Öbisfelde, Germany, The Iron Curtain, 1987, mixed media on photograph</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKma9jDE1zsRnrQmZ2njtzTr11uQ8VjQdarbslZ0fuMKNiL6eo_H8Pho4CJTFw2ARIzW68GtSwvVF8QXpcasSAABl5Hlp7KXbBWqz2Ciz8J_xxkxMD7EPozvb1lhH8D9ldq_BDOecIUM-E/s1600-h/Lilith,+1987-9,+oil,+lash+and+copper+wire+on+canvas.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKma9jDE1zsRnrQmZ2njtzTr11uQ8VjQdarbslZ0fuMKNiL6eo_H8Pho4CJTFw2ARIzW68GtSwvVF8QXpcasSAABl5Hlp7KXbBWqz2Ciz8J_xxkxMD7EPozvb1lhH8D9ldq_BDOecIUM-E/s400/Lilith,+1987-9,+oil,+lash+and+copper+wire+on+canvas.jpg" id="BLOGGER_PHOTO_ID_5142079495596301442" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><strong> </strong><span style="color: #660000; font-size: 85%;"><strong>Lilith</strong>, 1987-89, oil, lash and copper wire on canvas</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguMNwO24ov2eXqO0j_rjUCO1VAvS0wBabfRJqIPRnNIekfuXhLL3fgzvGcDFuOrgVyCt6b-kqxl7MDaYrwaUuRGkr4VsuiOD-hZsEmSVWC0jQFq4UdjNe0QOB2gRK1d8ejG8_YWV9SwPVa/s1600-h/Athanor,+1991.bmp"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguMNwO24ov2eXqO0j_rjUCO1VAvS0wBabfRJqIPRnNIekfuXhLL3fgzvGcDFuOrgVyCt6b-kqxl7MDaYrwaUuRGkr4VsuiOD-hZsEmSVWC0jQFq4UdjNe0QOB2gRK1d8ejG8_YWV9SwPVa/s400/Athanor,+1991.bmp" id="BLOGGER_PHOTO_ID_5142079190653623410" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"> <strong>«Stone Halls series» Athanor</strong>, 1991, mixed media on canvas</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaRuUh_I8lU1EieWL80DQsuQiFclYgVtdY7tJMWoi2ZGio1tzh94_z2B7C0XywePwL6mFMF6UXk0mMh9-SoKMZ_61E05zi3M0X5q4-7buU92n9w22hdK_OTf7BXFk_w4QU591w3V2jym6h/s1600-h/Stone+Halls+series,+Sulamith,+1983.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaRuUh_I8lU1EieWL80DQsuQiFclYgVtdY7tJMWoi2ZGio1tzh94_z2B7C0XywePwL6mFMF6UXk0mMh9-SoKMZ_61E05zi3M0X5q4-7buU92n9w22hdK_OTf7BXFk_w4QU591w3V2jym6h/s400/Stone+Halls+series,+Sulamith,+1983.jpg" id="BLOGGER_PHOTO_ID_5142078993085127778" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"><strong> «Stone Halls series» Sulamith</strong>, 1983, mixed media on canvas</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRPMmNZMj_QVPXGzlLIpEgep-kbZE6kXnvPbtscS4o-arqUs_CSrPui9zt94nDvHybckxJQGBRaz5kqdOU3GzAcmVjKdnbz1Wd0fEZgeu1NgehZsE1hMXmqNewmijawJHLNPYET1TLYv4i/s1600-h/Heavy+Cloud,+1985,+lead+and+shellac+on+photograph,+mounted+on+cardboard.gif"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRPMmNZMj_QVPXGzlLIpEgep-kbZE6kXnvPbtscS4o-arqUs_CSrPui9zt94nDvHybckxJQGBRaz5kqdOU3GzAcmVjKdnbz1Wd0fEZgeu1NgehZsE1hMXmqNewmijawJHLNPYET1TLYv4i/s400/Heavy+Cloud,+1985,+lead+and+shellac+on+photograph,+mounted+on+cardboard.gif" id="BLOGGER_PHOTO_ID_5142078692437417042" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"> Heavy Cloud, 1985, lead and shellac on photograph,</span></div>
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<span style="color: #660000; font-size: 85%;">mounted on cardboard</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqYWz5oYv5RzmTb6dnRsUillzzhYHptZWtjEISpcKQPVS31gujwf8RjFYrYCSifD1nHJJ0OFm9vFDas-lOu9JuhTanHa8ojzsSLiDNFm1KYvnFUA4ob9_Hw-kYJQkJmFi3PjgGCqciolmq/s1600-h/Broken+Flowers+and+Grass,+1979,+watercolor,+gouache,+acrylic+and+graphite+pencil+on+paper.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqYWz5oYv5RzmTb6dnRsUillzzhYHptZWtjEISpcKQPVS31gujwf8RjFYrYCSifD1nHJJ0OFm9vFDas-lOu9JuhTanHa8ojzsSLiDNFm1KYvnFUA4ob9_Hw-kYJQkJmFi3PjgGCqciolmq/s400/Broken+Flowers+and+Grass,+1979,+watercolor,+gouache,+acrylic+and+graphite+pencil+on+paper.jpg" id="BLOGGER_PHOTO_ID_5142078447624281154" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"><strong> Broken Flowers and Grass</strong>, 1979, </span></div>
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<span style="color: #660000; font-size: 85%;">watercolor, gouache, acrylic and graphite pencil on paper </span></div>
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<span style="color: #660000; font-size: 85%;"><span style="color: white;">*</span></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiOIZT5k1c49cNPs9A7C51sUIvUs2hZ9srx2mtDVS_asFpWINi0_a6gQ8cDfgFzyvkuTBPymu7F9PmygbmNpo4wR5s6kJBha1-jg0YD3_m8tRqk1td4VQQhM05vY0cSf2b_WWRIQpssaYj/s1600-h/Varus,+1976,+oil+and+acrylic+on+canvas.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiOIZT5k1c49cNPs9A7C51sUIvUs2hZ9srx2mtDVS_asFpWINi0_a6gQ8cDfgFzyvkuTBPymu7F9PmygbmNpo4wR5s6kJBha1-jg0YD3_m8tRqk1td4VQQhM05vY0cSf2b_WWRIQpssaYj/s400/Varus,+1976,+oil+and+acrylic+on+canvas.jpg" id="BLOGGER_PHOTO_ID_5142078228580949042" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><strong> </strong><span style="color: #660000; font-size: 85%;"><strong>Varus</strong>, 1976, oil and acrylic on paper</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Fv2f_gvarIe86gEw7HRzqPcH-oi3V171N-3TtIoQZlqgHrRBeDfKGj0anG_bF0OUllq3Nli5h-lNA6e6L0c_b09bleulRaXnL1tM1Tz7TujRwstCKeGCtET_X7CfZFS4b7ncowhfDUa0/s1600-h/Paths,+March+Sand,+1980,+oil,+emulsion,+shellac,+sand+and+photograph.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh3Fv2f_gvarIe86gEw7HRzqPcH-oi3V171N-3TtIoQZlqgHrRBeDfKGj0anG_bF0OUllq3Nli5h-lNA6e6L0c_b09bleulRaXnL1tM1Tz7TujRwstCKeGCtET_X7CfZFS4b7ncowhfDUa0/s400/Paths,+March+Sand,+1980,+oil,+emulsion,+shellac,+sand+and+photograph.jpg" id="BLOGGER_PHOTO_ID_5142077932228205602" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"> «Weg series» Paths: March Sand, 1980, mixed media on photograph</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnm6VilAPtdmQYxUJbNHT6AYm5eQyMCCobsFQswsWGoCa1g0O34fl2Ka-iGEn6IzV0SF66nsfspo4RMaseVK1sCB2N0L6ZjTwRDhNeTNYWpP-RwPT1PA7zemdiYCCAt4Acbkinshn0HMR9/s1600-h/Nuremberg,+1982,+acrylic,+emulsion+and+straw+on+canvas.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnm6VilAPtdmQYxUJbNHT6AYm5eQyMCCobsFQswsWGoCa1g0O34fl2Ka-iGEn6IzV0SF66nsfspo4RMaseVK1sCB2N0L6ZjTwRDhNeTNYWpP-RwPT1PA7zemdiYCCAt4Acbkinshn0HMR9/s400/Nuremberg,+1982,+acrylic,+emulsion+and+straw+on+canvas.jpg" id="BLOGGER_PHOTO_ID_5142077631580494866" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a> <span style="color: #660000; font-size: 85%;">Nuremberg, 1982, acrylic, emulsion and straw on canvas</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtEfT-wNOqJsw_pDm72ZQ67yjK8HOFU4DM7ZznEhXU5hmoU4BOt2yj_Zhb8nfKmuRLKwcHbe9O3oam1GVqN8DDM55OhkSv696SSfWouOyPXh0LQvYWtmOqSxjdvtE_c4TlrOgKMTDRAxHO/s1600-h/Nigredo,+1984,+layers+of+straw,+shellac,+and+paint+over+a+photograph.jpg"><img alt="" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtEfT-wNOqJsw_pDm72ZQ67yjK8HOFU4DM7ZznEhXU5hmoU4BOt2yj_Zhb8nfKmuRLKwcHbe9O3oam1GVqN8DDM55OhkSv696SSfWouOyPXh0LQvYWtmOqSxjdvtE_c4TlrOgKMTDRAxHO/s400/Nigredo,+1984,+layers+of+straw,+shellac,+and+paint+over+a+photograph.jpg" id="BLOGGER_PHOTO_ID_5142077399652260866" style="cursor: hand; display: block; margin: 0px auto 10px; text-align: center;" /></a><span style="color: #660000; font-size: 85%;"> Nigredo, 1984, layers of straw </span></div>
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<span style="color: #660000; font-size: 85%;">schellac and paint over a photograph</span></div>
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<span style="color: #330000; font-family: lucida grande; font-size: 85%;">Pintor alemão que efectuou os seus estudos de Direito na Albert-Ludwigs-Universität em Freiburg (1965-66), na Staatliche Akademie der Bildenden Künste em Karlsruhe (1969) e na Staatliche Kunstakademie em Düsseldorf. A partir desta época, história e mito passaram a ser os temas centrais do seu trabalho. Em 1971 pintou as suas primeiras paisagens de grande escala e a partir de 1973 interiores em madeira que produziam um efeito monumental. O entusiasmo que a sua obra gerou, sobretudo nos Estados Unidos, foi simultaneamente acompanhado por uma crítica feroz. Em 1977 e 1987 participou nas documenta 6 e 8, em Kassel. Em 1981-83 executou pinturas sobre fotografias e livros. Em 1987 teve uma importante retrospectiva no Art Institute de Chicago e em 1991 na Galeria Nacional em Berlim. Nos anos 90 realizou numerosos livros-objecto, esculturas e instalações. Kiefer é o precursor da chamada Nova Pintura Alemã.<br /><span style="color: white;">*</span></span></div>
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<span style="color: #330000; font-family: lucida grande; font-size: 85%;"><strong>The Berardo Collection,</strong> <a href="http://www.berardocollection.com/?toplevelid=1&lang=pt"><span style="color: #ff6666;"><em><strong>Museu Berardo Lisboa</strong></em></span></a></span></div>
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<span style="color: white; font-family: lucida grande; font-size: 85%;">*</span></div>
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<span style="color: #330000; font-family: lucida grande; font-size: 85%;">Born under the bombshells in Germany in 1945, raised during after-war reconstruction and Nuremberg trial, Kiefer keeps exploring the great forces of traumatic European history, mainly the Second World War. By doing this, he explores all the wars, real and mythological. He confronts us to the fundamental experiences of human existence: the human being opposed to Nature, to Cosmos, to History, to Philosophy and Religions. Also confronted to space and time and to his infinite possibilities as well as his undeniable power of destruction. The human being and the Tower of Babel's syndrome are evoked through three towers built under the glass cathedral, among which are some pure ruins. </span></div>
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<span style="color: #330000; font-family: lucida grande; font-size: 85%;">The emotional power of Kiefer's universe is very strong due to a successful fusion of imagery, medium and monumentality. This monumentality of his powerful works challenges our bodies. His installation of overwhelming and numerous works are built as to give us a strong feeling of commitment to his universe and to our world. We lose and find ourselves at will. His evocations of literature through allusive texts of beloved poets and writers move our minds and enlarge our own vision and references. It helps us to understand our own world and memories, and to explore the complexity of our origins. The materiality of his media, his infinite esthetic of Arte Povera and neo-expressionist art speak intensively to our senses. Intricate accretions and strata, accumulations of media and inclusions of diverse elements define a spatial and visual landscape of its own. </span></div>
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<span style="color: #660000; font-family: lucida grande; font-size: 85%;"><strong>Dokumenta 2007, Grand Palais Paris</strong></span></div>
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<span style="color: #330000; font-family: lucida grande; font-size: 85%;"><strong><span style="color: #990000;">Crítica:</span></strong><span style="color: white;">*</span><strong>«Faith, Hope, Love» series</strong><br />The propeller is a symbol of flight and therefore of transcendence yet it is made of lead and cannot take off. If it were to fly it would describe a helix, this is the shape of DNA but it is also a Dionysian sign of transcendence. This spiral appears in the form the snake on the staff of Hermes the messenger of the gods and the bringer of healing from the other side. These and many other clues reveal Kiefer's constant theme, which raises basic questions of being, of mind and matter, spirit and body, and dreaming of transcending these boundaries.</span></div>
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<span style="color: #330000; font-family: lucida grande; font-size: 85%;">The three blades of the propeller are inscribed with the three virtues; faith, hope, and love. Three is repeated again and again in the composition. He has attached three lead rocks, it includes reference to the three elements of earth, fire and water, as well as the land, the sea and the sky. Three is a number with mystical connotations and multiplied by itself it gives the order of the celestial hierarchies.<br /><span style="color: white;">*</span></span></div>
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<span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>«Let a thousand flowers bloom» series</strong><br />Kiefer based this painting, part of a series, on extensive photographic records he made during his travels through China in 1993. He became fascinated by the deteriorating statues of Mao Zedong that had been erected across the country. Kiefer makes the saluting figure of Mao a central motif throughout the series. In this painting, Mao is shown in a field of narcotic poppies, suggesting the willful forgetfulness of political ideology.</span></span></span><span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>Winter Landscape </strong>A stream of blood connects the head suspended in the sky with a bleak scene of snow-covered earth with spots of blood. This barren landscape, evoking suffering caused by war, could be a battlefield, a symbolic evocation of World War II.</span></span></span><span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>Brünnhilde Sleeps </strong>Kiefer took this photograph of the French actress Catherine Deneuve in 1969 while he was watching François Truffaut's film "La Sirène du Mississippi" (Mississippi Mermaid). The movie is about a deceitful mail-order bride who comes to America to marry a plantation owner. Kiefer was amused by the idea of portraying Brünnhilde, the typically corpulent, armored heroine of Wagner's opera, as the thin, sexy French movie star.<br /><span style="color: white;">*</span></span></span></span></div>
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<span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>My Father Pledged Me a Sword </strong>In the mid-1970s and early 1980s Kiefer made a number of paintings, watercolors, composite woodcuts, and books on themes from ancient German mythology as interpreted by the German composer Richard Wagner (1813-1883). Kiefer was particularly inspired by ancient Germanic legends as retold in Wagner's four-opera cycle "The Ring of the Nibelung."<br />In "The Valkyrie," the second opera of Wagner's "Ring" cycle, the hero Siegmund, in need of a weapon to fight the unwanted husband of his sister--and lover--Sieglinde, cries out: "Ein Schwert verhiess mir der Vater" ("My father pledged me a sword"), the words that appear just under the horizon here.<br />Nothung (literally, "needful") is the powerful sword thrust into an ash tree by Wotan, chief of the gods, in the second opera of Richard Wagner's four-opera cycle "The Ring of the Nibelung." Instead of the ash tree, Kiefer has placed the sword on a cliff in a Norwegian fjord lit by the midnight sun.<br /><span style="color: white;">*</span></span></span></span></div>
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<span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>Parsifal I </strong>The Parsifal cycle comprises four large paintings, of which three are owned by Tate Gallery. The titles refer to Richard Wagner’s last opera Parsifal and its source in a 13th century romance by Wolfram von Eschenbach, which was based on the legend of the Holy Grail. The setting for this painting is Kiefer’s attic studio. The presence of a baby’s cot points to the birth and early life of the hero Parsifal. It also suggests that the artist’s studio is a place of genesis.</span></span></span><span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>Parsifal II </strong>This painting refers to Parsifal’s defeat of the evil knight Ither, whose name appears beside his broken, blood-spattered sword. Parsifal’s mother, Herzelayde, had tried to raise her son in ignorance of the violent chivalry of his ancestors. Her efforts failed, however, and Parsifal, whose sword is depicted here as gleaming and intact, went on to become a knight. Kiefer may have seen a parallel between Parsifal’s peaceful upbringing and the attitude of the post-war generation in Germany, scarred by the brutality of their country’s recent history.</span></span></span><span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>Parsifal III </strong>Of the three Parsifal paintings displayed here, this one most resembles a stage set, with a spear occupying centre stage. It also includes a roll call of the chief players in the Parsifal saga: Guramet, the hero's father; Titurel, the ruler of the Grail; Amfortas, Titurel's son; Klingsor, a magician; and Kundry, a seductress. Parsifal's name appears on the window in reverse as 'Fal-parsi'. It was Parsifal's task to recover the spear from Klingsor so that peace could be restored to the kingdom of the Grail. But Kiefer is not entirely focused on the mythological past. The inscribed names (upper left) of the Baader Meinhof terrorist faction who disrupted the peace of post-war Germany jolt the viewer into contemporary history.</span></span></span><span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>Lilith </strong>This horrific vision of urban sprawl was inspired by Kiefer’s visit to Sao Paulo in Brazil. Tangled copper wiring signals the breakdown of communication. The city is engulfed in an apocalyptic haze, which Kiefer created by spreading dust and earth across the painting, then burning parts of its surface. According to Hebrew mythology, Lilith was Adam’s first wife, a seductive and demonic airborne spirit. In Kiefer’s painting, Lilith seems to bring destruction from the air upon Oscar Niemeyer’s modernist buildings.<br /><span style="color: white;">*</span></span></span></span></div>
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<span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>«Stone Halls» series: Athanor</strong>This painting belongs to a series inspired by Nazi architecture. Its compelling image is based upon the outdoor courtyard of Adolf Hitler’s Chancellery in Berlin, designed by Albert Speer. The dark grid of the flagstones recalls the railroad tracks that took millions of Jews and other “undesirables” to concentration camps.<br />“Athanor” means a self-feeding furnace, said to have been used by medieval alchemists to transform common substances into nobler material, such as base metals into gold. Although the goal of the alchemist was physical, the alchemical process was sometimes used in the Middle Ages to describe the spiritual quest by which the soul seeks perfection and becomes one with God. Likewise, with his provocative painting, Kiefer becomes the alchemist, literally using fire (a blowtorch) to symbolically purify and transform the symbols of Nazi Germany into hope for the future of humanity. </span></span></span></div>
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<span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>«Stone Halls» series: Shulamite</strong><br />Then come the Stone Halls from 1983, which generally allude to specific examples of Nazi architecture, such as a funeral vault for German soldiers in Shulamite. In a memorial with many layers of interpretation, Kiefer inverts the meaning, painting the Jewish heroine Shulamith from the famous poem "Death Fugue" written by Paul Celan in 1945.<br /><span style="color: white;">*</span></span></span></span></div>
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<span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>Broken Flowers and Grass </strong>The title of this work is taken from an eloquent love poem by the German lyric poet Walther von der Vogelweide (1170-1230), whose subjects range from sensuous love to the political issues of his time. In the poem, the female narrator describes how the bed of flowers on which she and her lord made love was marked (or broken) by the impression of their bodies.<br /><span style="color: white;">*</span></span></span></span></div>
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<span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>Varus </strong>In the 1st century AD, Roman military might was seemingly invincible. Julius Caesar and Augustus Caesar had conquered Gaul and extended Roman influence eastwards across the Rhine. Arminius (Hermann), the Germanic tribal chief of the Cherusci, was one of many Germanic auxiliaries in the pay of the Roman army. Returning to his home country circa 7 BC, he exploited the trust of the Roman governor Varus to plan a rebellion. The revolt finally took place in 9 AD, led by a vast alliance of Cherusci and other northern tribes. Three Roman legions (18,000 men) were decimated in the Teutoburg forest around the city of Detmold in northwest Germany, between the rivers Ems and Weser. The victory forced the Romans to re-establish their frontier on the Rhine, and halted the Latinisation of Germany for several centuries. Arminius was hailed by Tacitus as the 'liberator of Germania'. The Hermannschlacht became part of Germany's national legend. Anselm Kiefer is particularly interested in the Cherusci revolt – a central pillar of the construct of German unity – and has often depicted the story in woodcuts, following a well-established German artistic tradition.<br /><span style="color: white;">*</span></span></span></span></div>
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<span style="font-family: lucida grande;"><span style="color: #330000;"><span style="font-size: 85%;"><strong>Nigredo </strong>The dramatically dense surface of Nigredo (1984) contains both lyricism and irony. Comprised of layers of straw, shellac, and paint over a photograph, it represents a charred landscape upon which a glimmer of sun intimates the possibility of cultural rebirth.</span></span></span></div>
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<br />Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0tag:blogger.com,1999:blog-2054748435853847162.post-36922216354108116232007-12-03T18:55:00.000+00:002007-12-04T00:40:10.826+00:00Pedro Figueiredo, Guarda / Portugal - Escultor<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi6_rt5ytufI4VgVKaa2FLyeP39P4aARxfdakDWA6mamVC5yjl6HlcEly1s32URVMbEB-VR17_idNKt_GdRE1AaSSV-EmCpgRXVP-7wSUT8cB-q0A7j5V2bJpZjx8F_0_TLTVRH5vEUM3l6/s1600-r/Eterno+Feminino+III.jpg"><img id="BLOGGER_PHOTO_ID_5139830096669334162" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg61ZIXKFH4wC8_J9CgvRlN7KkjEOFGKfYIaD4aD45LsPvznC8N3n_rEYjAtIeBuPkpIVBEVU9rlVtVQ0PGDa-qoFBRvg8TJgNiYCB-iOuHGVeDvQWDHA79BR_aUS2ZDqRX64MTpseG8FCJ/s400/Eterno+Feminino+III.jpg" border="0" /></a><br /><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Eterno Feminino III, 2007, resina de poliéster</strong></em></span></div><strong></strong><br /><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Com ou sem explicações ou razões de ser no inumano, desumano ou humano, certo é que a escultura contemporânea não representa os filhos de Adão e Eva, nem masculinos nem femininos, se não em academismos, amadorismo, ou excepção. Já não se figura o homem para viver eternamente... nem para dominar infinitamente o mundo terreno. Já lá vai o tempo em que a idealidade helénica procurava esculpir o mais perfeito corpo para ser Deus ou herói, mas sempre modelo. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnrjI9myx0eYHXYzmEoSwsyBrS0WKOnLP1XL131vlYskXHqyB8FCSWjr3DpG0BJrWGOG3aXWJB_wBBGcD_2BEJu7jIDMVAWx4cV7JQz1yoVRZV7iCyx-T6LSe4_X3j1uXrZD9dhF3sApFt/s1600-r/Fragmento+Ausente+II.jpg"><img id="BLOGGER_PHOTO_ID_5139829881920969346" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQuOjf9xSYu2zPYEsYSVTCaQLvyQ2_vyWjvhJcYVszDYKrXiKyaOcu7l0msf_jsA2dkzfVeuzSKAznUlsMSvJVEl2ItaMSdqfdJPD8Es8dXUo1jgBmYLn5AV09jEg2Yq6dUNW6a_1KTVg1/s400/Fragmento+Ausente+II.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><em><strong>*</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Fragmento Ausente II, 2005, resina de poliéster </strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><br /><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Enterrado sob os escombros do Império Romano ficou a magia, ficou o poder da estátua conferiu o domínio imperial ou a nobreza ao retratado. Soterrados nas ruínas jazeram os retratos onde o naturalismo ( agora realista) conseguia deveras identificar a individualidade... (Que emocionante eloquência a de um patrício com bustos de antepassados, um em cada não!). Renascimento é ressurreição do corpo – a alma não morre. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span><br /></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCcKY57dP-Ytqrg63go4kVK4ttWABuKXUEH0oXT25JwY6zaiYUp9lApG6xd1n6_2fhFZA5fS34L2dp0VSAZRBOOSA1vaRvT9p7ye53ihBpK74t7VnQXP1jx5ZWdqBfvjUKb-g3SkHzwMUM/s1600-r/As+Av%C3%B3s.jpg"><img id="BLOGGER_PHOTO_ID_5139829572683324018" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7wZ6ClJP8JmjHJklX5t72m2cJ2ThVXUW8KnZ8v0hP_D-kZdxNV-GR4Vs-3DyngM-JQgZPkSuRmLAfyxdKlbMwroWIoWlpBxvH0E4_vDD-B8wyTjygiLrJ9vWIEcQdoJ7rKmQi3llHPJji/s400/As+Av%C3%B3s.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong><em></em></strong></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><strong><em>*</em></strong></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong><em>Às Avós, 2005, resina de poliester </em></strong></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong><em></em></strong></span></div><div align="justify"><br /><span style="font-family:lucida grande;"><span style="font-size:85%;color:#330000;">Da quietude, serenidade, harmonia, equilíbrio do corpo partiu-se em busca da visualização da inquietude, do movimento, do desequilíbrio, da dinâmica da alma. Partindo-se da naturalista representação do corpo (visível), vai-se procurar tornar visível a (invisível) alma, fazer presente a abstracção, tornar apreensível, experienciável empírico, sensorial o espaço-tempo, já não insatisfatoriamente apenas inteligível, não apenas ideia a priori. </span></span></div><div align="justify"><span style="font-family:lucida grande;"><span style="font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span><br /></div></span></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj7UR4VyGl72WC_j_KgeaNgmmQbj8IPGUZo2fFA_BRA5jqwTp6pWAzil101kLnvEO-4-SxzbMwKdcmf13Ytrk-HX5XBfXU5_RiomzsF5Sy1osycQs2xv917dhCyGSh1H9kx8yo6J_S-LANY/s1600-r/A+Linha.jpg"><img id="BLOGGER_PHOTO_ID_5139829405179599458" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1_3ujqbnmRdc3TIhkXAdM4AMzt_fZoF-4xcvyWEdaTcIYfc8cP8AJvYGckVYYGzO-MnqR6hUfOCPR5r0NO1C_yk8FPT1hs4zOzeltPJCBrMFAQCXXHRXQKbvGeM15WRXlN4EWAbg2NFP7/s400/A+Linha.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><em><strong>*</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>A Linha, 2006, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><br /><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Lembro o pertinente pensamento de Paul Klee: “A arte não representa o visível, torna visível”. Se belo é o prazer estético, prazer provocado por um sentido superior (vista ou ouvido) sem desejo, então a arte passará a ser deveras ( intransitivamente, claro) fruída (e não transitivamente usufruída) depois de Kant...<br /><br /></span><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn4aonLKQA9SWny_oPxqO6ufGdIU0Eg1JHq4hmsQ_vG5GPq0loQtJRiOUbk-1MtDQPICkPYgKMvsMncm1sWqrpBzo_zC-f4slr600lZGX7EEsGRT640FGTcDDPY8Y0s1Ule4gIS8u1gKEo/s1600-r/Retrato+II.jpg"><img id="BLOGGER_PHOTO_ID_5139829126006725202" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYVWarAjWgviwtAZuNtDzY8GsFjX1Ai7rN0dSca2AzkK7wLqw0K9vrKr0VzWvbJK37ZjxQ7p1geu2Vmv7WnXmcE3-2X7YktE0UZHEP9MH_1sAUutx-edLjaIJ2TiQwTEReUUj7bodQ7YkY/s400/Retrato+II.jpg" border="0" /></a><br /><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong><em>Retrato II, 2005, resina de poliéster</em></strong></span></div><div align="center"><span style="font-family:lucida grande;"></span></div><div align="justify"><br /><span style="font-family:lucida grande;font-size:85%;color:#330000;">Fará, assim, sentido uma escultura sem utilidade, sem servilismo, sem importância, sem erotismo (do corpo, da animalidade)... Os sentidos nobres, se efectivamente superiores, e se de facto libertos de desejo, não funcionam condicionados, orientados, dirigidos, comandados, pelas necessidades naturais, do mundo fisiológico, pela fome e sede da animalidade... Não, são janelas da racionalidade, portas de um mundo – outro, pressentido, imaginado, intuído, não excluído pela inteligibilidade.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjsx1DYqfKjJlUxb3k664XoAVfjJVKgj2d1UfaNLTE6d2wNnDcacROLP_88FC3fhw1pEypYN3I4Uc8vgjJO4zr7bec7vyU4G2qNoKE8dellH-4u5HGTVE4ovxo6Dh5-guAxPQFKEHnUHPqP/s1600-r/Eterno+Feminino+III,+2007,+resina+de+poli%C3%A9ster.jpg"><img id="BLOGGER_PHOTO_ID_5139828563366009410" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFFJF-hezQch52AIqs8rGwyhBemQJiqmsiUbqb4SbmDYIeAKEjQtEDfw1vQvKYTMnYC9oUItONTVGSvqAIAaPr7Kok5qUE5p3xkgXY2JYfu5euhUQK3wVORuAyTqXyK2KNC6nhhyphenhyphenDG929T/s400/Eterno+Feminino+III,+2007,+resina+de+poli%C3%A9ster.jpg" border="0" /></a><span style="color:#ffffff;">* </span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Eterno Feminino III, 2007, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="justify"><br /><span style="font-family:lucida grande;font-size:85%;color:#330000;">Libertos das correntes da sobrevivência, tudo é intransitivo, tudo é autotélico, tudo é vivido em clímax: entra-se num casamento místico, anunciado nas Bodas de Canã, vive-se um erotismo puramente da alma, da vontade, da liberdade, goza-se o Paraíso num Tabor desmaterializado, feito luz, feito Forma, comungam-se êxtases nem sequer sonhados, vê-se a sacralizada Fonte de Duchamp no que os prisioneiros da sobrevivência vêem um banalíssimo urinol.<br /><br /></span><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXXR460ok7y5xr0nFfXMusvo38m7X1YaiCU0T70hGdGkmK3uVrMGjErDih65dguscv6CDfKKbm07PM39FqdfILo_n5qcB0axLbEz4Q2sCdLk241ABUEvVY8Z3i4Nrq2oRcJ8ns0LCAfnvE/s1600-r/Cavalo+Preso,+2006,+resina+de+poli%C3%A9ster.jpg"><img id="BLOGGER_PHOTO_ID_5139828331437775410" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7TYaudpf42beGAbwIrEitbTWrdf1weU_BXJjsGa5nRbT_6q9mvEAnpF4zgSZZz8MDd-03bYlv_XrQbo81nHCq42ZLBuYp2N0ImsHIvtANiyxEQfYsdP4tXpkRV_FK2-oZ03r9j8bLPkO7/s400/Cavalo+Preso,+2006,+resina+de+poli%C3%A9ster.jpg" border="0" /></a> <div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><em><strong>*</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Cavalo Preso, 2006, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="justify"><br /><span style="font-family:lucida grande;font-size:85%;color:#330000;">É deste mundo – outro que se vem tentando visualização e visibilidade. Entendendo-se facilmente, na escultura, a evolução do figurativo ao abstracto, torna-se previsível, se não óbvia, a não representação do corpo do homem, perseguindo-se-lhe, sim, a alma, a desocultação do ainda não visível no mundo dos corpos – sombras. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span></div></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg1INiAIvEg0yIqriutmvuRADAxGP5-H4PUxqiAgSujxRdah6mHWiMW5aGumGciUg1BWwvAzsSJe9wsdJh1MwNdS93dKljCGcQQZ_8WwPk-test4zw56cNcFJgsy-Hsa8Lv8wx47M2ZYTB/s1600-r/Gr%C3%A9cia+alada+I,+2007,+resina+de+poli%C3%A9ster.jpg"></a><img id="BLOGGER_PHOTO_ID_5139828103804508706" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjObO-49GwDnqEQRLI6qRNs9x1_fn84J-cpC_3wsxApB1ZptTr2nwWXc7Ob_ZLjCFodsna6orOL5KLmCEy0EROX7lGxhjetUcVsX0oAeP3N6ZiBL8qnCSaxDiArNr0iD1yjKUJCzMGv6lLb/s400/Gr%C3%A9cia+alada+I,+2007,+resina+de+poli%C3%A9ster.jpg" border="0" /> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg1INiAIvEg0yIqriutmvuRADAxGP5-H4PUxqiAgSujxRdah6mHWiMW5aGumGciUg1BWwvAzsSJe9wsdJh1MwNdS93dKljCGcQQZ_8WwPk-test4zw56cNcFJgsy-Hsa8Lv8wx47M2ZYTB/s1600-r/Gr%C3%A9cia+alada+I,+2007,+resina+de+poli%C3%A9ster.jpg"><p align="center"></a></p><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><em><strong>*</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Grécia alada I, 2007, resina de poliéster</strong></em></span> </div><div align="center"><span style="color:#ffffff;">*</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">... A escultura continua, porém, serviçal, útil a outras vidas que não à sua (porque não à da Arte), não tendo contado, ao contrario da pintura, com um Courbet que fizesse aparecer “Estúdio do Escultor”...<br />... Mas apareceu Rodin e a “Porta do Inferno”, coroada pelas “Três sombras” – lembrando-nos, respectivamente “As Portas do Paraíso” e a “Alegoria da Caverna” dando luz às “Três Graças”. </span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span><br /></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWHhrrgvpNptdbaKnD5BwnBhI8vhD2tumsCde31KGwZqwdGKW3Sg_wPnnINLZNbdkY7xTtMxLyi4e-0DUUGDCOCmsbrYx9ljmtmIdpCm5S13NLkKUkRUGZCGrYJkzKVL_oTHH2wCGiEWLe/s1600-r/Chegada+I,+2006,+resina+de+poli%C3%A9ster.jpg"><img id="BLOGGER_PHOTO_ID_5139827889056143890" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiOI7BPH84LLVRDLN_RcEUufMEseYDg70kT7Dig_WKlePhBxWSwYKWOVYZa3gyArzfhft3PNQHpKE4ds2534c-EmIY30MeooRI7Nc6qMssCfYdM_n2eQESw6L6brWCh0DPWZR7F8nporErN/s400/Chegada+I,+2006,+resina+de+poli%C3%A9ster.jpg" border="0" /></a><span style="color:#ffffff;"> *</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Chegada I, 2006, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="justify"><br /><span style="font-family:lucida grande;font-size:85%;color:#330000;">E, talvez não por acaso (?), é esta a mais necessária das portas a transpor... para entrar(mos) na(s) obra(s) de Pedro Figueiredo (a quem sugiro e peço a criação da(s) Porta(s) da Terra”). Não nos iludamos, trata-se de escultura não convencionalmente representativa, sem os antigos referentes, modelos ou motivos. E só não digo que não é figurativa, porque não há apenas figuras representativas mas também apresentativas, incluindo as geométricas, incluindo as da formatividade, incluindo as da criação... para além das do criado. </span></div><div align="center"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></div></span></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjF9X2Mi2DfwZloTSLWhSzIin4eaXfZ69NK8NNFXQikknL_dq3hiBPOTyl8E4l3hkS8gQEyrCExxC0LS_2-u5hVMMdqsgAUOTv7_5HhR3MKkeBFfYJYP9lY2NJ9FtBfyqXQBAAOs2BY81bQ/s1600-r/Cabe%C3%A7a+sem+fim.jpg"><img id="BLOGGER_PHOTO_ID_5139827575523531266" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjI6wnLDOq64CegIzpTemmZ1_FyCBJ61RW8iA_oli1HN9CdXfQAHtvhuqAvVABmiZVYHVbjvcjGrEbWqqZn1owd8S4JpyWMu78BkXU50yC4ZU34dooQJlxM16MiB00oxMyNSYB_4qZbuZ-/s400/Cabe%C3%A7a+sem+fim.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><em><strong>* </strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Cabeça sem Fim I, 2006, resina de poliéster</strong></em></span></div><div align="center"><strong><em><span style="font-size:85%;color:#ffffff;">*</span></em></strong></div><div align="center"><strong><em><span style="font-size:85%;color:#660000;"></span></em></strong></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">São ensaios de meta-escultura. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">É o esculpir em si, na sua intrinsecidade, o fazer-comunicar-fruir em valiosa autotelia. É a excelência do fazer estético documentado em plenitude, no efeito, na plurívoca eloquência dos registos (dos “regestos”, perdoem-me o estratégico erro). No útil (e mais acentuadamente no utilitário e ainda mais no utensílio) só importa a causa final.<br /><br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjeNI6LlRWrnpR2Madu0Qs6Oy-Pv6fkEZ3BaCYo2MJI3HAO2xjiB1oJrwc3Ompxgjj73NadeHULSJKTARWdE1kLdIvBa7lZhaRiRJG4dlRDDYOgZO8t9WMund3LEOzYkA4XwKH0XMmP2G7r/s1600-r/Chegada+II,+2006,+resina+de+poli%C3%A9ster.jpg"><img id="BLOGGER_PHOTO_ID_5139827373660068338" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1_3jH2gEf1DcYWWOWelNAWbhN-c_BB4QqL78yEWG3641sfQ8XlKBgtMg49zzMFW3duS41CPmEIlCD0ePfg4XASjiHhQqiaS8Oghygj8hZ7M3ht9x0tthtnl7oNde_IkyVowg7CtyU5UoC/s400/Chegada+II,+2006,+resina+de+poli%C3%A9ster.jpg" border="0" /></a><em><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong></strong></span></em></div><div align="center"><em><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><strong>*</strong></span></em></div><div align="center"><em><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong>Chegada II, 2006, resina de poliéster</strong></span></em></div><div align="center"><em><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong></strong></span></em></div><div align="justify"><br /><span style="font-family:lucida grande;font-size:85%;color:#330000;">Mas na obra estética, na forma poética o valor está na heterogeneidade, na globalidade do “faber” onde nada é insignificante: alem e acima da representação, a gestualidade, a matericidade e a formatividade, empaticamente na escultura em que a causa final é o esculpir.</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span><br /></div></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicu3D9tdXynLBkX6DtDqeB4XTzJoPGzU3t9Ahf_DX1u91abyvU2978bmht7pEPkwdrVuk6161kQXSJveDbySTSwN4dCLF4xZpM415nJomCHHNeRW1PsovAxtRU6GlId9KthHXOBxH_CHag/s1600-r/Infinito,+2006,+resina+de+poli%C3%A9ster.bmp"><img id="BLOGGER_PHOTO_ID_5139827146026801634" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhb8Tv5LKXoOISg9ggZ2WXO_EttPo0nXcGA7u0P1bBslcW0ZK2Nps0YJjQnCL8Fi98ks4Y-dUWGfc58CXMg-mZ2PmAZzNc1MN0vexrmnMFy_SodtoQrdsPaMXSxobCfTfpzzEygl38kEGSc/s400/Infinito,+2006,+resina+de+poli%C3%A9ster.bmp" border="0" /></a><br /><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Infinito, 2006, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><br /><div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAXbjoATSfSyMv63BHeJIUzGq9GC9i2mQ81gZnBCALfoVbLh-jmmjDa24azeZ-OAbTTzDcOJxVv5Fjoz_2AZ7c4hlEryah-07mCQh-X-iKPCdFBVE5F0Sy3LjMstULhq-iNalXPJRlVoei/s1600-r/Retrato+III.jpg"><span style="font-size:85%;color:#330000;">Temos hoje a consciência de que bem mais do que ser bela a arte semelhante à natureza, verdadeiramente bela, é a natureza que se assemelha à arte. É este o relâmpago que obsessivamente atravessa o esculpir de Pedro Figueiredo. Não persegue as formas naturadas, criadas, formadas...; busca, sim, as formas da criação, do criar, do formar, da formatividade, as formas formantes...</span></a></div><div align="justify"><span style="color:#ffffff;">* </span></div><div align="justify"><span style="color:#ffffff;">*</span></div><div align="center"><img id="BLOGGER_PHOTO_ID_5139826527551510994" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5UIiHjVlMepTDk7RmvkRVQ6PEFdX0-USJ9BGYrXe1ep9P15GYOwPB2qdg5kZLpxSWroMBnFqFPtBAUM4NWkajDgkIkXQdYM7P_31SZZnautG3wG0NJ8ybfYAMpocOFjWLKSUrl23SZtJq/s400/Retrato+III.jpg" border="0" /><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><em><strong> *</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Retrato III, 2005, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><br /><div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_gF2TLp42WX_mKJMf0fsuCT3bQiIfETsQ5DtBt88QoSYeB-3hyphenhyphen7IejU3VSOv5n-BaB7KgB6Ep9LR5O918RtwApVn8MAdKacM3r-ajcxFn_ZRLVotEzweIduNJlLkBLgRIDU2QtB5a4Ne2/s1600-r/Miragem+I,+2007,+resina+de+poli%C3%A9ster.jpg"><span style="font-size:85%;color:#330000;">Sabe que não é criador o que copia o criado, mas o que põe a criação em acto, o que atinge o poder de criar, na medida em que algo surge do nada. Não é criador o que representa (reapresenta) um mundo já visto mas o que apresenta – pela primeira vez, claro – um mundo (ou, ao menos, algo) novo.</span></a></div><div align="justify"><span style="color:#ffffff;">*</span></div><div align="justify"><span style="color:#ffffff;">**</span></div><img id="BLOGGER_PHOTO_ID_5139825428039883202" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgeeREkXc3J6RWSpwjZ9T4oneHDfDqZJ3zDwh9oj_6vq_08pKz6ALJg4AyimGcj8gsKh9TOADXMQkc39fo4ekkFUGNoTClaqMsEHsj8HGzMNRiEfxjExbjPDlbBWY6bwBcMQPi3Xzcd5NH/s400/Miragem+I,+2007,+resina+de+poli%C3%A9ster.jpg" border="0" /> <a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_gF2TLp42WX_mKJMf0fsuCT3bQiIfETsQ5DtBt88QoSYeB-3hyphenhyphen7IejU3VSOv5n-BaB7KgB6Ep9LR5O918RtwApVn8MAdKacM3r-ajcxFn_ZRLVotEzweIduNJlLkBLgRIDU2QtB5a4Ne2/s1600-r/Miragem+I,+2007,+resina+de+poli%C3%A9ster.jpg"><p align="center"></a></p><p align="center"><span style="font-size:85%;color:#660000;"><em><strong>Miragem I, 2007, resina de poliéster</strong></em></span> </p><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Disse – e reafirmo – que as peças de Figueiredo não são convencionalmente figurativas. Mas, à evidencia, muito menos são abstractas... e ainda menos rotuláveis de conceptuais. A arte conceptual privilegia a concepção em detrimento, sobretudo, da execução. Ora, é, antes de mais, a eloquência do fazer que nos convida à comunhão do prazer estético.<br /><br /></span><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgscRkHF8pW8rUfDd3VYJ2W2ATuTQtBCcIIBFz-EYbozXlglz3DRtliVBU3Wz-a1IRc8Ugw7Gamc2aAVdahoPueEzdievljbDx_C7kiNWWX_Du5c41FXcAyd7zjgzwkeyOVEOfqsP-m91oz/s1600-r/Antes+do+C%C3%A9u,+2006,+resina+de+poli%C3%A9ster+2.jpg"><img id="BLOGGER_PHOTO_ID_5139825144572041650" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgovKvqwOUDZrqvnWglGLOkh6To2VEu8XvOn1fOp-prc0FULr3bJNrJgN5X837wVv5-vETO6DvSIjs_1Va743_w2r-29UKKmTffUviC_9Q8FxNA4wx4YO4YTJPxzTPLI-tSbUAubZfXNCe7/s400/Antes+do+C%C3%A9u,+2006,+resina+de+poli%C3%A9ster+2.jpg" border="0" /></a><br /><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>«Antes do Céu» series, 2006, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="justify"><br /><span style="font-size:85%;"><span style="font-family:lucida grande;color:#330000;">Pelo menos, muito notoriamente, no acto livre, voluntário, criativo de Pedro Figueiredo, concepção, deliberação, decisão, e execução fundem-se na verdadeira simultaneidade do gesto formante. As suas criações lembram(-me) Rodin... mas também Renoir, Degas... Seurat e Van Gogh... e Matisse... mais ainda Giacometti e Calder... e, ainda mais fortemente, Brancusi... e a “Alegoria da Caverna”...<br /><br /></span><br /></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHSDkvRcpFRTShAs-H-e79jeXvY5tePuS6A1WFs5CNOp5zrELAwfiEKHqcWPQDWl6kvDtThl4EdRciHVB4NdUqiF3tgJQJZzSIt7P7tfw87KEPU9-csTvcQGFiGzjybOxVmeVtCQQZsMFN/s1600-r/Terra+I,+2007,+resina+de+poli%C3%A9ster.jpg"><img id="BLOGGER_PHOTO_ID_5139824972773349794" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKtiEO-B_tqqPNbgD9ai04bW_tegK_S2GQpwuoZPxpf0ax5uFQaGtzG7DTEOlgR-qwyhx2iBB4cgnf8Rba-pd-A2H39QUilsM-ONH3Tvpz1lRX9h0OwNocIymKRzE5GQXLtWinSoNE-l45/s400/Terra+I,+2007,+resina+de+poli%C3%A9ster.jpg" border="0" /></a></div><div align="center"><span style="color:#ffffff;">*</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Terra I, 2007, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="justify"><br /><span style="font-family:lucida grande;font-size:85%;color:#330000;">Para Platão, como sabemos, há três camas, em hierarquia descendente: a Ideia de cama, criada por Deus, sendo no homem necessidade, parte da animalidade; a cama feita pelo marceneiro, mera sombra da Ideia (mas utilizável não só para dormir...); e a imagem de cama – pintada, que não considera a esculpida pelo artista- sombra da sombra, no seu parecer. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCp_1bOd3VbbynIPgDgiFlzbLq29XSdaOa9gPBr0Y6pvi-q_QFRv0b38oNTNhrTGLK0-fIjPlm60ndMiwS435R6mw3uX1gSmqy4JCclPmwsEzKdsvvz0kd4SJWhNd6psHlJmZCaZkV4cNY/s1600-r/Antes+do+C%C3%A9u,+2006,+resina+de+poli%C3%A9ster.jpg"><img id="BLOGGER_PHOTO_ID_5139824646355835282" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEisx4Sh2p9yggkNJQ65JxLSSSQ-D15ZoKQflPgmBcF0InRv9tccPbt1xeSn7-6kMlxkPzBdyep3Xfbu60BE1oefV2ieX3eKsIZAOO_nO1tlH73l7K5ETn830J45bnKRvJmHsQ0T5oPFwwZt/s400/Antes+do+C%C3%A9u,+2006,+resina+de+poli%C3%A9ster.jpg" border="0" /></a><br /><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong><em>«Antes do Céu» series, 2006, resina de poliéster</em></strong></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong><em></em></strong></span></div><br /><div align="justify"><span style="font-size:85%;color:#330000;">E em boa verdade, se é rigorosa e exclusivamente o conceito (o significado) ou analogia no mais alto grau, então tem razão. Só que... Não se deve confundir sobrevivência e vida e, menos ainda, reduzir o Homem à animalidade. “A minha cama é outra” – dirá o Esteta, mesmo lembrando-se do “primum vivere...”. </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*<br /></span><span style="font-size:85%;color:#330000;"><br /></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoyM2WSu7gtjJqP2EwRNYeOPxI7KueZngYMsS-3pKEeN7YIrgtUMxh7dPHrZz2PhpR7wWKAfwilB5024QKedAYcCqCwm8fO9wC_8pTsGXQPNyYO7mfYFlpYvFqcYyKo9Qkhbkl-MuDfcxf/s1600-r/Durante+I,+2007,+resina+de+poli%C3%A9ster.jpg"><img id="BLOGGER_PHOTO_ID_5139824371477928322" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAlXMZCm-oulGWpZwomFn1smAfRCdJ4zRBpobYfgkUlB8Ctfl-I8_esFLVhBskQWzgt28R9YWKP5DnuobgKqTi5_vXZuSpTLx-k0eqm33HFMeKQtpG6a5ueDJYsKm5tzZ07h4cUlZorQja/s400/Durante+I,+2007,+resina+de+poli%C3%A9ster.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><em><strong>* </strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Durante I, 2007, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><br /><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Na linha de Platão, haveria correspondentemente à cama, três tipos de homem: a Ideia de Homem, criado por Deus (anterior ou posterior ao pecado original?); o homem concreto, por exemplo, Platão (sombra do Adão antes de colher o fruto do conhecimento?); e o homem pintado ou esculpido (imagem de Platão continuando o exemplo, sombra da sombra?).A questão está aqui. Deverá mais a arte à sombra do homem ou o homem à arte? </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*<br /></span><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggzexnuaUwUlntZ_-FZRXNEEYVCC4IQxczsW0QiVE9yHt5EGoQ6fUOdIu9Efet-dTqz28dDu0bkvgYGFXEkl2ZacY5iunpDtLSqGD20yhTiZXSbNiH1g5koJ-N2n4Kr5NyAI4W9HQOh0sm/s1600-r/Entre+N%C3%B3s.jpg"><img id="BLOGGER_PHOTO_ID_5139824100894988658" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhepMtLsz5DHKwfczO9hzuA_hGhWzSBSjuD_ODCdfJm3zHJz9LVXWZc62XeyjDWGn9Thuhzk-WKjqSf5MlmKogL81l-94Fp6GmzeGe0OYbEiciCwTmPeNON64I1lGRDxXk5XwoEF4bDbjdi/s400/Entre+N%C3%B3s.jpg" border="0" /></a><br /><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong><em>Entre Nós, 2005, resina de poliéster</em></strong></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong><em></em></strong></span></div><br /><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">“A arte é o homem” – dir(-me-)ão, recebendo (a minha) total concordância. A arte é precisamente o homem mas no fabricar não determinado nem condicionado pelo mundo natural. É o acto plenamente voluntário de comunicar, de produzir objectos sem utilidade, sem transitividade, sem adiamento... mas autotélicos, com função, portanto.<br /></span></div><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxq0MokEjmVAOI0BJhPU0cBwm0WJLsRN6XD5big6boRm9SLafVzTIib6c8HEVudr9hbzHHHJd3uhWhmfV7YfnjBtZimX5wExrDCrY-46Pr84c-JfrjK2bNwQYf_by8sfbBTj6OsTB_Ajyr/s1600-r/Sentido+%C3%9Anico+II,+2007,+resina+de+poli%C3%A9ster.jpg"><img id="BLOGGER_PHOTO_ID_5139823890441591138" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj9ooje6I6HBpkRtNgbmmUD4uHjw6YC-yYawqCtoZVq2H8-MFd0RrxWd3rh-Y-tEYykL8IWgLbn351-Vh4ykX2x1NzA0QuDf2VpCTSzW0J9wQ3Fa87cb_WK_yDkVjbT6VN-06UGamOLeVPD/s400/Sentido+%C3%9Anico+II,+2007,+resina+de+poli%C3%A9ster.jpg" border="0" /></a></div><div align="center"><span style="color:#ffffff;">*</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Sentido Único II, 2007, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><br /><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Se belo é o que dá prazer pelos sentidos superiores limpos ou depurados de desejo, então uns olhos-outros são convenientes, são mesmo precisos para a apreciação da escultura, nomeada e particularmente de Pedro Figueiredo. A ideia (de Platão), Brancusi materializou-a, apresentou-a como forma, tendo passado as sombras a Ideia. É ainda ou já o ovo, mesmo quando já ou ainda parece peixe, pássaro, cabeça...</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;"><br /></span></div></span><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWq8EzBZ2CCpNzWCttMWSQbquKPy9KdU-oABI90wopHcVhFM8W37r2WX9f-qR0m6uDXyVAa2SJTZOkCh_kko1nRer142OlJ3DuLj6cOu9hRxu2UPf-0UfBrlJ1u1MUVcan0TIx_Nrhn241/s1600-r/Vertical+I,+2006,+resina+de+poli%C3%A9ster.jpg"><img id="BLOGGER_PHOTO_ID_5139823546844207442" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRTs4UFPPtjpOEqoNh0u1gT5Ij3BO1_r4ggobrovfQQ9JvfXRc2-DHd_1hmiKCLeON4i-ntlP3s_wmkXVBMiFkl1TOBX_4f154k0sKXRA8wqDEMoqBqCuzQTqhL8S1nFIVaPKwrYsPNHrL/s400/Vertical+I,+2006,+resina+de+poli%C3%A9ster.jpg" border="0" /></a><span style="color:#ffffff;"> *</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong><em>Vertical I, 2006, resina de poliéster</em></strong></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><strong><em></em></strong></span></div><br /><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Para Figueiredo, a Ideia é a Escultura em si, ela mesma, intransitiva, em asidade... propondo uma outra “alegoria da caverna” ou a alegoria de uma caverna-outra, desafiando-nos a desembrulhar as esculturas-sombras. Veremos então metáforas que utilizam o corpo humano. Não é o representado em perspectiva maneirista, são os grandes pés (e as grandes mãos) eventualmente da própria Escultura – ela mesma, bem assente no chão mas voando, fugindo à (lei da) gravidade.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span><br /></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjEbpFFY-lASL5URPGn5ZDk3wDraOD6ft3hLbzIopxIncKWZUf_lvK2r4VKoihie6kYqmbUZv3y7Dn_C0tJSKgDvvlOj1ta46aX54ww_YtsdyKN9dDbzoC0T6uI1w6QSg4AE2g7_0l_qDpP/s1600-r/Ponte+I,+2006,+resina+de+poli%C3%A9ster.jpg"><img id="BLOGGER_PHOTO_ID_5139823289146169666" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi50TPcrctUH7gZFyaL8fArEh9Vj5X3HNMfJZgAYpunmvtxJZdUtmin2M67xEN_iQN0Wq09fjFF38xeWFxm_mBfcoLbmKe2QQfMExjSvcWIY80zlg7EmVsOJjKONTHs-hTAQEBzOUQAYiNC/s400/Ponte+I,+2006,+resina+de+poli%C3%A9ster.jpg" border="0" /></a></div><div align="center"><span style="color:#ffffff;">*</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Ponte I, 2006, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="justify"><br /><span style="font-family:lucida grande;font-size:85%;color:#330000;">São incontáveis gestículos-beijos, expressão e formatividade em gesto unificado, etimológica e semanticamente caligráfico. São estátuas que revelam um olhar de olhos posicionados ao nível do chão em hiperbólica perspectiva. Realisticamente coladas à terra de que foram criadas, têm naturalmente base, (em metafórica prosopopeia) pés. Pés (ou mãos) enormes, se em primeiro plano na tal hiperbólica perspectiva, não pertencem à figura humana mas Sim à Arte ganhando corpo, manifestando-se, tornando-se visível. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span><br /></div></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLIsb9uxKphTHwhbTAQEybRTjzCe5YLm2Z5H2IeXmM70BZllXJROelo6iwEBq4Ivf-eKCEYsX6JJHVTkj9A9fgMZfviFP7AgKGpr0HvCBPB93B2eUDodCVoYOa1fmRJzMOU-3LKhxUtYLq/s1600-r/Equil%C3%ADbrio,+2005,+resina+de+poli%C3%A9ster.jpg"><img id="BLOGGER_PHOTO_ID_5139823001383360818" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0gikjEZWB7Vw1yUb6vK03uug-uADMih4gpDR8fwkfs9QpKw1SN4UNwGvy-VXUYV7f6HgC2FWMMq6jfW2NGa5BFOnapA_2E8I2sSrGmMAfRqANmPvdBzfBX18Df9dQxYTxiEzskGSv5Ial/s400/Equil%C3%ADbrio,+2005,+resina+de+poli%C3%A9ster.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><em><strong>*</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>Equilíbrio, 2005, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><br /><div align="justify"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0MOlnLXelgu_vvEwa1P2Y-MjqLRvD4CER4agNn2au-CQ_QU3p_he7sRjZ6Pt2Zn2lA-74DVGOiYJhOh75FMW_PDVKwxVbPJGgsbXCibFupMi8JOHkrbC_GmRo5pmWzLjLgUmV20CFC8bH/s1600-r/Ovo,+2004,+resina+de+poli%C3%A9ster.jpg"><span style="font-size:85%;color:#330000;">Contemos os pés. Vejamos que, se os “opostos complementares” se tocam, é precisamente pelos pés que se fundem numa só carne, mesmo em “repouso”. Não é o acto sexual representado. É a visualização do prazer sem desejo. Uns fazem panelas; outros, liras; ainda outros, objectos artísticos...</span></a></div><div align="justify"><span style="color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><span style="font-size:100%;color:#000000;"></span><br /></div></span><img id="BLOGGER_PHOTO_ID_5139822717915519266" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgCZXyL9vwRfSP3-yBecYbyBOFH84oedYKBdxUGkH3f5BX4OZi15a7ppy7_2DQavIrq9bIjNtArlocVnDEs2qqS3YA0YVaZKn8tZqKGrhOGsE8GBCxQhAYxWJrh139BlQojifEM9CpGLUVy/s400/Ovo,+2004,+resina+de+poli%C3%A9ster.jpg" border="0" /><br /><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong>O Ovo, 2004, resina de poliéster</strong></em></span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#660000;"><em><strong></strong></em></span></div><div align="justify"><br /><span style="font-family:lucida grande;font-size:85%;color:#330000;">Pedro Figueiredo apenas esculpe. Descubro que, afinal, “esculpir” pode ser rigorosamente um verbo intransitivo. Não menos que Miguel Ângelo, Marcel Duchamp tem razão: Tire-se o que está a mais (matéria, indigestão, fastio, ou desejo...) e veremos a Fonte. É a alma da escultura.</span></div><div align="left"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong><span style="color:#330000;">Armando Azevedo</span></strong> </span></div><div align="left"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><span style="color:#ffffff;">*<br /></span><br /></div></span><span style="color:#990000;"><strong></strong></span><div align="center"><strong><span style="color:#330000;">* * * </span></strong></div><div align="center"><span style="color:#ffffff;">*<br /></span></div><span style="font-family:lucida grande;font-size:85%;color:#330000;"></span><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;"><strong>*</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#990000;"><strong>Sobre a exposição no Centro de Artes e Espectáculos da Figueira da Foz:</strong></span></div><div align="justify"><span style="color:#330000;"><span style="font-family:lucida grande;"><span style="font-size:85%;"><span style="color:#ffffff;">*<br /></span>A exposição de escultura de Pedro Figueiredo ‘transbordou’ da Sala Zé Penicheiro, no Centro de Artes e Espectáculos (CAE), e encheu de vida o seu jardim interior e os corredores que o ladeiam. A mostra terminou no último domingo, mas a arte do escultor de 32 anos, natural da Guarda, deverá em breve regressar ao CAE, materializada numa peça que o artista se encontra já a conceber, a pedido da administração daquele espaço. Em conversa com O Figueirense, Pedro Figueiredo falou das suas criações, e foi esculpindo a sua visão da arte.<br />Nasceu em 1974, na cidade da Guarda. Academicamente, o seu percurso na arte começou com o curso profissional de Cerâmica na Escola Artística de Coimbra (ARCA), instituição onde viria a licenciar-se em Escultura e onde, actualmente, frequenta o mestrado de Comunicação Estética, ao mesmo tempo que aí lecciona a disciplina de Desenho e é assistente na de Escultura. Exposições, entre colectivas e individuais, já fez dezenas. Na do CAE, sublinha, foi “muito bem tratado”. As peças menores, na Sala Zé Penicheiro, revelam a sua visão da arte, que se amplia nas esculturas maiores: “<em>Arte e natureza não se identificam, a arte dá liberdade, não tem as limitações físicas da natureza</em>”, afirma.<br /><span style="color:#ffffff;">*<br /></span><strong>Pés grandes</strong></span></span></span></div><div align="justify"><span style="color:#330000;"><span style="font-family:lucida grande;"><span style="font-size:85%;"><span style="color:#ffffff;"><strong>*</strong><br /></span>Formas que se alongam elegantes e se ‘prendem’ ao chão, ao real, em pés ou mãos de enormes dimensões. É esta a ‘imagem’ de marca de Pedro Figueiredo. Seduzem-no também os rostos. Que, realça, não são os de ninguém em particular, mas o de conceitos, sentimentos, emoções. Simplificar é a palavra de ordem, ou não fosse esta exposição – originalmente criada para o Teatro Municipal da Guarda, baptizada de “Geração em Linha”. Assim, linhas simples, peças que representam seres não humanos, não-animais, porque são arte e é como tal que o escultor pretende que as suas obras ‘falem’ com o público. Admirador de Jacometti e Rui Chaves, entre outros, admite também gostar de escrever, ainda que na maioria das vezes as suas letras acabem ‘na gaveta’. Algumas das suas obras têm, aliás, o mesmo destino. “<em>A arte é feita para dar prazer, é outra forma de nos alimentarmos, é quase uma promessa de felicidade</em>”, explica. Por isso, quando a sua criação não cumpre a promessa do criador não hesita em guardá-la para si. Para sempre ou para mais tarde porque, considera, “<em>uma obra de arte só está acabada quando fala connosco, e pode estar acabada para uma pessoa e não estar para outra</em>”. Assim, Pedro Figueiredo não teme errar, não desconhece o erro, antes o capitaliza para o constante processo da (sua) evolução artística. "<em>A obra perfeita é inatingível</em>", afirma. E, assume, não pretende atingi-la, porque depois viria o vazio. Dedica-se a cada obra, desde a concepção mental à construção material, cerca de um mês, ou mais. Nem tudo é inteligível, defende. O subconsciente também tem o seu papel na criação, e o próprio material fala, reivindica, sugere caminhos. O escultor escuta-os, e segue-os. Depois aguarda a crítica, que não tem o condão de o incomodar, ao contrário do não-conhecimento. “<em>Se alguém me diz ‘vi, mas não gostei’</em> <em>não me incomodo. Mas se alguém esteve junto à escultura e não deu por ela, é porque não cumpriu o seu papel, não logrou tocar. Ver é tocar ao longe</em>”, conclui.<br /><span style="color:#ffffff;">*<br /></span><strong>O desencanto das explicações</strong></span></span></span></div><div align="justify"><span style="color:#330000;"><span style="font-family:lucida grande;"><span style="font-size:85%;"><span style="color:#ffffff;"><strong>*</strong><br /></span>O que o incomoda, também é a tentativa de identificar a arte com o real. “<em>Peço que não o façam</em>”, revela Pedro Figueiredo. Irritam-no os comentários de que “os cavalos não podem estar naquela posição”, de que o corpo humano não tem aquelas proporções. “<em>Aqueles não são os cavalos da natureza, os seres humanos da natureza… são os meus cavalos, as minhas figuras humanas</em>”, desabafa. Por tudo is-to opta por limitar ao mínimo as explicações sobre as peças, dando-lhes títulos ambíguos. “<em>Os títulos são importantes, não devem iludir as pessoas. Mas demasiadas explicações podem criar desencanto no público. Alguém olha para o meu cavalo e vê nele uma girafa? Pois bem, é a sua girafa</em>”, sustenta. E o que é uma boa escultura? "<em>É a que perdura no tempo, a que é interessante hoje e que continuará a sê-lo daqui a um século. É o contrário da moda, que nos faz olhar para uma fotografia dos anos 80 e pensar ‘mas como é que eu pude vestir isto?"</em> <em>Uma boa escultura é intemporal, avança no tempo mas o tempo não passa por ela e nem a arte, que está sempre a mudar, afecta a percepção que temos da sua beleza</em>”, conclui. </span></span></span></div><div align="justify"><span style="font-family:lucida grande;"><span style="font-size:85%;"><strong><span style="color:#330000;">Andreia Gouveia, </span></strong></span></span><a href="http://www.ofigueirense.com/"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong>O Figueirense</strong></span></a><br /><br /><a href="http://www.pedrocfigueiredo.blogspot.com/"><span style="font-family:lucida grande;font-size:85%;color:#ff6666;"><strong><span style="color:#990000;">Pedro Figueiredo</span> blog<br /></strong></span></a></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com1tag:blogger.com,1999:blog-2054748435853847162.post-21315933787494048052007-11-27T19:44:00.000+00:002007-11-27T21:40:21.422+00:00Marina Fedorova, Leningrado / Rússia - pintura contemporânea<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcMnObDD6qX3y_oRS_3R5ZIfnr9mxXY7DzWM1sHUYmUmcTMx-_5fBVwALWNh_cWbcqhjHhP5WIlFWShAxSqdd-ZLhpBp5H40Yt8zGY7JlobldkXLnwVvvNOKRSnCsK47cE1qlYedFCYZVy/s1600-h/Autumn+time+series+%C2%ABAutumn+time+2%C2%BB,+2006-07,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137615998888048978" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcMnObDD6qX3y_oRS_3R5ZIfnr9mxXY7DzWM1sHUYmUmcTMx-_5fBVwALWNh_cWbcqhjHhP5WIlFWShAxSqdd-ZLhpBp5H40Yt8zGY7JlobldkXLnwVvvNOKRSnCsK47cE1qlYedFCYZVy/s400/Autumn+time+series+%C2%ABAutumn+time+2%C2%BB,+2006-07,+oil+on+canvas.jpg" border="0" /></a><span style="font-family:lucida grande;color:#660000;"><span style="font-size:85%;"><strong>Autumn Time series</strong> «Autumn time 2» 2006-07, oil on canvas </span></span></div><div align="center"><br /></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1QEM417Xl77lukkn69QdFURm3uAE1uwovrdPa9r5NaW9JZ5yCNz_pOwsphDPVdNrVcEtl_6mbBs0b-Sf6raQ1NNXEYam9LnKhBoFqdUBa5RfyJo2uvn8p6EhXMsAacHZPUYfCfKLsMgFU/s1600-h/Autumn+time+series+%C2%ABArriverderci%C2%BB,+2006-07,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137615857154128194" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1QEM417Xl77lukkn69QdFURm3uAE1uwovrdPa9r5NaW9JZ5yCNz_pOwsphDPVdNrVcEtl_6mbBs0b-Sf6raQ1NNXEYam9LnKhBoFqdUBa5RfyJo2uvn8p6EhXMsAacHZPUYfCfKLsMgFU/s400/Autumn+time+series+%C2%ABArriverderci%C2%BB,+2006-07,+oil+on+canvas.jpg" border="0" /></a> <span style="font-family:lucida grande;color:#660000;"><span style="font-size:85%;">«Arrivederci» 2006-07, oil on canvas<br /></span><br /></span><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJMzmDivtqxrBAtB78lfTUYV5BrvXJVkx4Hv0QG-6zWSse6254-KxI2_pDKY9r1Cxi61d9VQge0bDLankw9udmcgXtWZHnN1sH91qvS-mWwSTkvKIkaGzy72BhrEdft8XiYVZQGosRNgsW/s1600-h/Autumn+time+series+%C2%ABShe%27s+waiting%C2%BB,+2006-07,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137615672470534450" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJMzmDivtqxrBAtB78lfTUYV5BrvXJVkx4Hv0QG-6zWSse6254-KxI2_pDKY9r1Cxi61d9VQge0bDLankw9udmcgXtWZHnN1sH91qvS-mWwSTkvKIkaGzy72BhrEdft8XiYVZQGosRNgsW/s400/Autumn+time+series+%C2%ABShe%27s+waiting%C2%BB,+2006-07,+oil+on+canvas.jpg" border="0" /></a> <span style="font-family:lucida grande;font-size:85%;color:#660000;">«She's waiting» 2006-07, oil on canvas<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaRYi0k_l1oStnItLEeKpqaKeg_14OdQRRRqpJmQllLU112B_FLcWcRhtqF2hO53cy1hcwN1_t1vSIUEMsHTN3XzbnBsY7DMbzqO_L9wszFmJiMLnmNKMeEwrki22QlkXn9VBK131cA4NO/s1600-h/Blue+Story+series+%C2%ABPresent+for+me%C2%BB,+2004,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137615560801384738" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiaRYi0k_l1oStnItLEeKpqaKeg_14OdQRRRqpJmQllLU112B_FLcWcRhtqF2hO53cy1hcwN1_t1vSIUEMsHTN3XzbnBsY7DMbzqO_L9wszFmJiMLnmNKMeEwrki22QlkXn9VBK131cA4NO/s400/Blue+Story+series+%C2%ABPresent+for+me%C2%BB,+2004,+oil+on+canvas.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;"> <strong>Blue Story series</strong> «Present for me» 2004, oil on canvas<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkNF02aMKlOlnXi4WW8s-zR5t1vaQN-L0Ti4zcU3usgi6o2HR9uCk6iFf12EKCudLArTR_FnGKnhqpfGq-rkfFMVZZZQRAryXOKO-C-K1-58dgF6xg-MEa6G3GDqbFXOI4oNoz-GSI2EbG/s1600-h/Blue+Story+series+%C2%ABSun+city%C2%BB,+2004,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137615303103346962" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkNF02aMKlOlnXi4WW8s-zR5t1vaQN-L0Ti4zcU3usgi6o2HR9uCk6iFf12EKCudLArTR_FnGKnhqpfGq-rkfFMVZZZQRAryXOKO-C-K1-58dgF6xg-MEa6G3GDqbFXOI4oNoz-GSI2EbG/s400/Blue+Story+series+%C2%ABSun+city%C2%BB,+2004,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Sun city» 2004, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBe4pMTo0ZxOxbVYShRrIE3Db1Ql5s1FjsJC_aNDabvrCDOoWafA_Qf-Pz4u0iZ89GaFP3c8W-AHPPFT_jTv8zsFTW98Vde1aauzhSL2Rd-Pbrk2DHdjGPUA5nbrpecgkrMc4MdXeO2n4o/s1600-h/Red+Story+series+%C2%ABGlass+of+champagne%C2%BB,+2004,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137611407568009410" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBe4pMTo0ZxOxbVYShRrIE3Db1Ql5s1FjsJC_aNDabvrCDOoWafA_Qf-Pz4u0iZ89GaFP3c8W-AHPPFT_jTv8zsFTW98Vde1aauzhSL2Rd-Pbrk2DHdjGPUA5nbrpecgkrMc4MdXeO2n4o/s400/Red+Story+series+%C2%ABGlass+of+champagne%C2%BB,+2004,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> Red Story Series</strong> «Glass of champagne» 2004, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUGpU1f_16uOqQIAZ1f0DZMi2Sw9O3HoemZvkrMpwcV8c9F8SXB8IwcBbPpGHPAp1XZca04gTgLVpVq4eaUr8YEB6tut7djG6aXjTf0Ip4IqhfXZkxvSNTvhOhPsY45raFiB4-e5lq9MgB/s1600-h/The+girl+on+the+bridge+series+%C2%ABStop+cadre+10%C2%BB,+2007,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137611257244154034" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUGpU1f_16uOqQIAZ1f0DZMi2Sw9O3HoemZvkrMpwcV8c9F8SXB8IwcBbPpGHPAp1XZca04gTgLVpVq4eaUr8YEB6tut7djG6aXjTf0Ip4IqhfXZkxvSNTvhOhPsY45raFiB4-e5lq9MgB/s400/The+girl+on+the+bridge+series+%C2%ABStop+cadre+10%C2%BB,+2007,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> The Girl on the Bridge series</strong> «Stop cadre 10» 2007, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXKwRtlEaoBb_aIZ0zQniT8HEN_GRDh6VlzMbePvgobh_yl6AZPfN_hz3JCELDUtN7USaeipkY2UCc2ZsfTN5pn0n8IDQ_3ubJWKd8jX42xzoQHIBPBuqRdvSSEVI5QRGxxhwvqoGkniWg/s1600-h/Red+Story+series+%C2%ABTango%C2%BB,+2004,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137611111215265954" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXKwRtlEaoBb_aIZ0zQniT8HEN_GRDh6VlzMbePvgobh_yl6AZPfN_hz3JCELDUtN7USaeipkY2UCc2ZsfTN5pn0n8IDQ_3ubJWKd8jX42xzoQHIBPBuqRdvSSEVI5QRGxxhwvqoGkniWg/s400/Red+Story+series+%C2%ABTango%C2%BB,+2004,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> <strong>Red Story series</strong> «Tango» 2004, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio7fb0nvSZCVvNH12mnwRCBfivVGBo5grSFZcE9XbyrsKtQ54Hq49MYQ7kLirMroXUDCx0vOmQpGVQW0vFquDyl6iPd25zLGDNgyVpNyMdG3zC6VNuKM0kchH_hjLSRa_3rTRhZhUquLJ9/s1600-h/The+girl+on+the+bridge+series+%C2%ABStop+cadre+9%C2%BB,+2007,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137610986661214354" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio7fb0nvSZCVvNH12mnwRCBfivVGBo5grSFZcE9XbyrsKtQ54Hq49MYQ7kLirMroXUDCx0vOmQpGVQW0vFquDyl6iPd25zLGDNgyVpNyMdG3zC6VNuKM0kchH_hjLSRa_3rTRhZhUquLJ9/s400/The+girl+on+the+bridge+series+%C2%ABStop+cadre+9%C2%BB,+2007,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>The Girl on the Bridge series</strong> «Stop cadre 9» 2007, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx3tVAFL1ghHRNd074LX6E9xtc5JhOSxbItLOf8AIgE3fmP_Wyj5SLRAKd4wmWP4tud_Qm1kBE0CPH00F_9mvdcrvDE70souXRSF2vmoWa1ty5wluHQpUHoDEuz3TMJ8jR0gyKn_DhymBZ/s1600-h/Red+Story+series+%C2%ABMy+Muse%C2%BB,+2004,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137610750438013058" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjx3tVAFL1ghHRNd074LX6E9xtc5JhOSxbItLOf8AIgE3fmP_Wyj5SLRAKd4wmWP4tud_Qm1kBE0CPH00F_9mvdcrvDE70souXRSF2vmoWa1ty5wluHQpUHoDEuz3TMJ8jR0gyKn_DhymBZ/s400/Red+Story+series+%C2%ABMy+Muse%C2%BB,+2004,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> Red Story series</strong> «My Muse» 2004</span></div><div><span style="font-size:85%;color:#ffcccc;">*</span></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcVzKecLVrgKQhvs25JAS6Stj7hbNZCp27WcOz8uv_8GjaKOOQLmopn5zftCMO0w2vth7lzFnxhEolt79LTQ4hc85IvriCNUhyphenhyphenYnUSYVOPml7TxVbcVwWrC9ltl0b7LXqd4d5ASM7qLdJe/s1600-h/Reflections+series+%C2%ABIn+front+of+shopwindow%C2%BB,+2007,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137610600114157682" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcVzKecLVrgKQhvs25JAS6Stj7hbNZCp27WcOz8uv_8GjaKOOQLmopn5zftCMO0w2vth7lzFnxhEolt79LTQ4hc85IvriCNUhyphenhyphenYnUSYVOPml7TxVbcVwWrC9ltl0b7LXqd4d5ASM7qLdJe/s400/Reflections+series+%C2%ABIn+front+of+shopwindow%C2%BB,+2007,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> <strong>Reflections series</strong> «In front of shop window» 2007, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq1ho06HZ-wihZsNq_twv0o7Hg9VHVLMwg2mBTA0cE0DWT0o1NafbY68jZMPk5hOEslmOOl7ONMFIqNMqBL8lnY2xOj2GBgxPztJoQdgltexzHYuaI8MKLAwdPQaYZWlLzVQcUugFu4y-q/s1600-h/Reflections+series+%C2%ABHot+pizza%C2%BB,+2007,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137610385365792866" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq1ho06HZ-wihZsNq_twv0o7Hg9VHVLMwg2mBTA0cE0DWT0o1NafbY68jZMPk5hOEslmOOl7ONMFIqNMqBL8lnY2xOj2GBgxPztJoQdgltexzHYuaI8MKLAwdPQaYZWlLzVQcUugFu4y-q/s400/Reflections+series+%C2%ABHot+pizza%C2%BB,+2007,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Hot pizza» 2007, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQSAt0DtN305_m5VMl9tqQi924dg0bwK7arbLqDof1TXEk-6LCDwn8-A1zghx41PjYh_BXGBlwWs2H_OIROkURepa7Dy4TBFfDNWjW5VF9YN0Hi5WsvQTCdYvTYXbJzhSG1lTWUgEENuN/s1600-h/Reflections+series+%C2%ABReflection+2%C2%BB,+2007,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137610239336904786" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOQSAt0DtN305_m5VMl9tqQi924dg0bwK7arbLqDof1TXEk-6LCDwn8-A1zghx41PjYh_BXGBlwWs2H_OIROkURepa7Dy4TBFfDNWjW5VF9YN0Hi5WsvQTCdYvTYXbJzhSG1lTWUgEENuN/s400/Reflections+series+%C2%ABReflection+2%C2%BB,+2007,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">«Reflection 2» 2007, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUyxg6TOJ5pFe_uoyKvZwXMpTS-xmPNA9fqhqUH2wbbPdiJyGb2aarJl5LMzUOfjU6Qj42CtqAtxd5t_pkwwRIB0KWCUsEf1EbgcMs9NcraBCCDh9NN8tsz0ZiPyJPCrECrclfOSOAXx6u/s1600-h/Reflections+series+%C2%ABReflection+3%C2%BB,+2007,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137609857084815426" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUyxg6TOJ5pFe_uoyKvZwXMpTS-xmPNA9fqhqUH2wbbPdiJyGb2aarJl5LMzUOfjU6Qj42CtqAtxd5t_pkwwRIB0KWCUsEf1EbgcMs9NcraBCCDh9NN8tsz0ZiPyJPCrECrclfOSOAXx6u/s400/Reflections+series+%C2%ABReflection+3%C2%BB,+2007,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Reflection 3» 2007, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqg9b0WugWo94aRNdgyP8PcER2szdLUXRbfYZ_buTHgLYoXZkg5_iQE-2Ft8MOvfCMgTQZTlpP9VVYF0oxjQdy3oHXgIcNdNSRAYS_Pg6YrLPLOkrlcxXvTMji6c56Ty3vPcObhnHQBfsh/s1600-h/Reflections+series+%C2%ABLiv+Tyler%C2%BB,+2007,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137609715350894642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqg9b0WugWo94aRNdgyP8PcER2szdLUXRbfYZ_buTHgLYoXZkg5_iQE-2Ft8MOvfCMgTQZTlpP9VVYF0oxjQdy3oHXgIcNdNSRAYS_Pg6YrLPLOkrlcxXvTMji6c56Ty3vPcObhnHQBfsh/s400/Reflections+series+%C2%ABLiv+Tyler%C2%BB,+2007,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Liv Tyler» 2007, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4WeSCXvkrvo-qaQPBzmxO6aGqZISl5Z8BDus41AkvC8EV8ZaLyssVIS63OS7GjdtpPyx9aFjGtaXsgR23i13BRW5MpX1OR3_Avp5ALRn5qnus1N8-23LnMLUHU1n90943qX8j0L4cAXqo/s1600-h/Black+and+white+series+%C2%ABIn+the+train%C2%BB,+2007,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137609530667300898" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi4WeSCXvkrvo-qaQPBzmxO6aGqZISl5Z8BDus41AkvC8EV8ZaLyssVIS63OS7GjdtpPyx9aFjGtaXsgR23i13BRW5MpX1OR3_Avp5ALRn5qnus1N8-23LnMLUHU1n90943qX8j0L4cAXqo/s400/Black+and+white+series+%C2%ABIn+the+train%C2%BB,+2007,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"><strong> Black and White series</strong> «In the train» 2007, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9msNN9nFizhOOKU10MOCY4_n7_XdwWuRTVCSYciT6OGB2ZbUAuOlCPZLtaYPdSQt6LcMnlCquZByTDKMhAZ5_KEAHYhSKKeS1QjHFSctktpLsttWYR3-NQA9Nn0qrrhUexIgF7o_mntau/s1600-h/Fashion+series+%C2%ABYves+St.Laurent%C2%BB,+2006,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137609406113249298" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9msNN9nFizhOOKU10MOCY4_n7_XdwWuRTVCSYciT6OGB2ZbUAuOlCPZLtaYPdSQt6LcMnlCquZByTDKMhAZ5_KEAHYhSKKeS1QjHFSctktpLsttWYR3-NQA9Nn0qrrhUexIgF7o_mntau/s400/Fashion+series+%C2%ABYves+St.Laurent%C2%BB,+2006,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>Fashion series</strong> «Yves Saint-Laurent» 2006, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP8R0TITrkcsUwg-bIfcmoLdteU6KPZsrfn-Bq_QnNU1uF7TgZ2YD_Yvnf6Pph9hEUmjTniGwijh71s1BalCfR0ZmisLeotPOiPTTKS3wBMOziIEI6NbgT8YOFzwkuleRgBg7l_YZZWh0L/s1600-h/Fashion+series+%C2%ABHopper%27s+girl%C2%BB+2006,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137609234314557442" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgP8R0TITrkcsUwg-bIfcmoLdteU6KPZsrfn-Bq_QnNU1uF7TgZ2YD_Yvnf6Pph9hEUmjTniGwijh71s1BalCfR0ZmisLeotPOiPTTKS3wBMOziIEI6NbgT8YOFzwkuleRgBg7l_YZZWh0L/s400/Fashion+series+%C2%ABHopper%27s+girl%C2%BB+2006,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Hopper's girl» 2006, oil on canvas<br /></span><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-yNXhh5_xWEtBWSo4kQc-k7jyeBvKDGRPlWJ6ZmtNueijUnvfXH1sp4kLpfEWuUuvAsNUGYMLzZQfkDhJM06EizndmbdWqZqg0fQggwtgXCgW018Hg0dcvM3JuLfAGYRzd8G6OEjdrLPN/s1600-h/Blue+Story+series+%C2%ABSun+city%C2%BB,+2004,+oil+on+canvas.jpg"></a></div><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqqLEfw7r_s73Ih_AtuUCIzVaI9TzXiZVYe56G0mw0h_Ct2GH6tcTadr85VttX2k18LjbdKMjsxC_c7uygVqdQwzI_DsxG8J34Sq4k6Exknzb5ObP2VL5wZmK6c4pt1lmZGWvOcQ9yEh-R/s1600-h/Live+in+Paris+series+%C2%ABThe+girl%C2%BB,+2007,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137608925076912098" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqqLEfw7r_s73Ih_AtuUCIzVaI9TzXiZVYe56G0mw0h_Ct2GH6tcTadr85VttX2k18LjbdKMjsxC_c7uygVqdQwzI_DsxG8J34Sq4k6Exknzb5ObP2VL5wZmK6c4pt1lmZGWvOcQ9yEh-R/s400/Live+in+Paris+series+%C2%ABThe+girl%C2%BB,+2007,+oil+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;"><strong>Live in Paris series</strong> «The Girl» 2007, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmU-piPSOKUo6J9cAsV5xUIpqMvsUHzaDy76UZZF5zZRSFUsAYAPxIFfRoglUtfqLBAi3j_B-QsySEAR1xQ8YdKAuabBx1Pb9PAlTWscduo8vrUerS6LRYB9YLbUw5MW85HidxEeU8F7nG/s1600-h/Live+in+Paris+series+%C2%ABRed+Light%C2%BB,+2007,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137608791932925906" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmU-piPSOKUo6J9cAsV5xUIpqMvsUHzaDy76UZZF5zZRSFUsAYAPxIFfRoglUtfqLBAi3j_B-QsySEAR1xQ8YdKAuabBx1Pb9PAlTWscduo8vrUerS6LRYB9YLbUw5MW85HidxEeU8F7nG/s400/Live+in+Paris+series+%C2%ABRed+Light%C2%BB,+2007,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Red light» 2007, oil on canvas<br /></span><br /><div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO2sSBhRiOKKs1YyDJiH_zMRKxv-FiCCGMI2Yxhy-8Pv41mIryy-FD86uhcjkj3odt2M8l2D8I7STBeG5sEvGniz-UKF4iBHYyW8-Mnann8vTycH6LO1DxevxuvyzuXWDjuulpjZq9NENO/s1600-h/Live+in+Paris+series+%C2%ABPair%C2%BB,+2007,+oil+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5137608568594626498" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjO2sSBhRiOKKs1YyDJiH_zMRKxv-FiCCGMI2Yxhy-8Pv41mIryy-FD86uhcjkj3odt2M8l2D8I7STBeG5sEvGniz-UKF4iBHYyW8-Mnann8vTycH6LO1DxevxuvyzuXWDjuulpjZq9NENO/s400/Live+in+Paris+series+%C2%ABPair%C2%BB,+2007,+oil+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> «Pair» 2007, oil on canvas<br /></span><br /></div><div align="justify"><span style="font-size:85%;color:#330000;">Marina Fedorova was born in 1981, on Leningrad, Russia and graduated from the Mukhina Art Academy in 2006. Defense of her thesis was quite a performance. Fashion designer and illustrator, Fedorova painted a white dress right on a model whom she met face to face at the podium. Professional precision of Fedorova’s manner was immediately noticed by many critics and viewers of the first solo exhibition of her graphic compositions that took place at D137 gallery in May 2005. This year, the artist exhibits two of her new series of paintings at XL gallery in Moscow and D137 gallery in St. Petersburg. One of the series is devoted to the cult figures of fashion art, including Coco Chanel, Yves Saint-Laurent, Vivienne Westwood, Yohji Yamamoto and photographer Helmut Newton. Another is an homage to such heroes of American art as paint Edward Hopper and film director David Lynch (Fedorova borrows the title for one of her paintings from Lynch’s film “The Straight Story”). The very title of the exhibition, Autumn Time, refers to the famous 1968 hit Summer time and the living is easy as well as to Jackson Pollock’s masterpiece Autumn Rhythm: No. 30, 1950 (Pollock and Lee Krasner also appear on one of the paintings). Marina Fedorova is distinguished by her ability to show her subject in the flash of its total disclosure. At the same time, the artist does not yield to the style and spirit her protagonists, even if they are legendary fashion designers. She definitely has her own style and there is no reason that it would make her to give up being herself. Portraits of fashion designers and genre pictures-frames are made in Fedorova’s own style – they employ the manner of cinema posters of the Nouvelle Vague time, the wintry language of pop art’s transcription of advertisements and the quickness of magazine illustrations that absorb the light glare of fashion. Since Fedorova’s pictures seem to be infiltrated with the lipstick carmine they are superficially attributed by critics to the currently popular trend of trash glamour. This trend is occupied with the utilization of “glamorous garbage” of media images. Both pop art and Edward Hopper have been repeatedly huddled by this trend. Moreover, Hopper won recognition not so much for his own work as for the influence his pictures had on the frame composition in Alfred Hitchcock’s films. However, Fedorova’s attitude to the image recycling in cinema and photography is quite different. The phenomenon of global mass media recycling that exercised post-modernist minds of the late 20th century shows its other side at the beginning of the 21st. Now it brings attention to the image ecology. Fedorova sees her task not so much in the mythologization of mass copying as in the creation of a place for private art meditation beside the objects of mass worship. This is achieved by means of adding her interest to the impersonalized cult of the millions. Each of her painting in this sort of meditation – should it be focused on Pollock’s and Hopper’s styles or on Westwood’s and Chanel’s design. In the world that makes it more and more difficult to avoid substituting thoughts and emotions for their surrogates, artists’ work has again to imitate mechanisms of either self-making or self-purification. It is artist who is responsible for the vitality of silvery colour in Fedorova’s landscapes and the emptiness of the white appearing between two cups on a table in her still lives that make the space of these paintings living and unforgettable. The painterly device invented by Fedorova will always preserve freshness and clarity of world perception for everyone who happen to resonate with her pictures.<br /><span style="color:#ffffff;">*<br /></span><strong>Ekaterina Andreeva</strong>, </span><a href="http://www.d137.ru/cgi-bin/d137.cgi?act=ko&lang=e"><span style="font-size:85%;color:#ff6666;"><strong>D137 Foundation, Moscow</strong></span></a></div><div align="justify"><span style="color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#ff6666;"></span></div><div align="justify"><span style="font-size:85%;color:#330000;">Fedorova spies out life devoid of its everyday smell. It looks almost ideal as if copied from the Vogue pages. Like black and white pictures by Jean-Luc Godard and Alain Resnais, Fedorova’s graphic works are very contained and expressive. Here and now her ‘shots’ betray references to the French Nouvelle Vague as well as to the works of Alfred Hitchcock, Patrice Leconte, Wong Kar-wai and Takeshi Kitano. Her drawings seem to hurriedly retell the stories of her favourite films while pliantly suggesting their new interpretation.</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>Olga Khoroshilova, <span style="color:#990000;">Time Out</span></strong></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">* </span></div><div align="justify"><span style="font-size:85%;color:#330000;">Natural sense of composition allows Marina to maximally unburden the plane of her works by taking details out of focus for the sake of general views. Fragmentary character of her stories, briefness of set-ups and dynamic framings liberate both the artist’s hand and a spectator’s eye...</span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>Anton Uspensky</strong> </span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#330000;">Graphics specificities and dynamics of form reflect an author’s bodily plastic, the speed of glance and the strength of touch. Marina Fedorova operates her brush easily and confidently. </span></div><div align="justify"><span style="font-size:85%;color:#330000;"><strong>Sofia Prokosheva, <span style="color:#990000;">Nevskoe Vremya</span> </strong></span></div><div align="justify"><span style="color:#ffffff;">*</span></div><div align="justify"><span style="color:#ffffff;">*</span></div><div align="justify"><a href="http://marinafedorova.com/mainpage.html"><strong><span style="font-size:85%;color:#ff6666;">Marina Fedorova website</span></strong></a></div><div align="justify"><span style="color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#990000;"><strong>Marina Fedorova paints "Au bord de la mer", </strong><a href="http://hk.youtube.com/watch?v=bOherEkJrVQ"><strong><span style="color:#ff6666;">video</span></strong></a></span></div><div align="justify"><span style="font-size:85%;color:#990000;"></span></div><div align="justify"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="color:#330000;"><strong></strong></span></div><div align="justify"><span style="color:#330000;"></div><span style="font-size:85%;"></span></span><div align="justify"><span style="font-size:85%;color:#330000;"></span></div></div></div></div></div></div></div></div></div></div></div></div></div></div></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0tag:blogger.com,1999:blog-2054748435853847162.post-34020892543164863762007-11-17T21:01:00.000+00:002007-11-17T22:52:53.247+00:00Beatriz Milhazes, Rio de Janeiro / Brasil - pintura contemporânea<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUOjQDX6dWtB-QdH2XotnJrrAozUY0lNe76W4X3XTda593U1UNGouVWPMoZC-kkXRoqd6gxTqmx0OwI6PeXVOg6ucPPGtpRjCUVR1KUgHU3tvuvfcz06w9Fjj1WoOhxLCiyVYqMYR-2101/s1600-h/Avenida+Brasil,+2003-04,+acr%C3%ADlico+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5133927459499406690" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUOjQDX6dWtB-QdH2XotnJrrAozUY0lNe76W4X3XTda593U1UNGouVWPMoZC-kkXRoqd6gxTqmx0OwI6PeXVOg6ucPPGtpRjCUVR1KUgHU3tvuvfcz06w9Fjj1WoOhxLCiyVYqMYR-2101/s400/Avenida+Brasil,+2003-04,+acr%C3%ADlico+sobre+tela.jpg" border="0" /></a><span style="font-size:85%;color:#660000;">Avenida Brasil, 2003-04, acrílico sobre tela </span></div><div align="center"><span style="color:#660000;"><br /><span style="font-size:85%;"></span></span></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn9q9J6siSlYWRQwcMftxhzPjMoxtr2vKqcVZslqthzS6AoyjPyHOhT2fj1JfhcRgVqXi85vumPIILPMWP0LhxyjXOxgJyjrATgNCU5X7brHt2jTQNoi8xACLDMOYBsGihT9rDugOVCcST/s1600-h/Panamericano,+2004,+acr%C3%ADlico+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5133927352125224274" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhn9q9J6siSlYWRQwcMftxhzPjMoxtr2vKqcVZslqthzS6AoyjPyHOhT2fj1JfhcRgVqXi85vumPIILPMWP0LhxyjXOxgJyjrATgNCU5X7brHt2jTQNoi8xACLDMOYBsGihT9rDugOVCcST/s400/Panamericano,+2004,+acr%C3%ADlico+sobre+tela.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Panamericano, 2004, acrílico sobre tela<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi82JcahLCcOCC_sTVoaHc5sBSFVIC_ozJ6F3oJcDsxYP7kFzEaka7Pcd7B8xRG4wx6XA9NKV5WwErQ8fKXuLtu47o4o32uqNyjl66s0VMkYgDtpd_hglIM_vhDj725npM3WrKviywjSBIO/s1600-h/Ouro+Branco,+2006,+collage+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5133927154556728642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi82JcahLCcOCC_sTVoaHc5sBSFVIC_ozJ6F3oJcDsxYP7kFzEaka7Pcd7B8xRG4wx6XA9NKV5WwErQ8fKXuLtu47o4o32uqNyjl66s0VMkYgDtpd_hglIM_vhDj725npM3WrKviywjSBIO/s400/Ouro+Branco,+2006,+collage+on+paper.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Ouro branco, 2006, colagem sobre papel<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI7HHVDaHR_wAdvQJEb7bLN3m5FxS7ipxqTgfhHiWiSRh5DI8uhDUtoUZIltNeq392CX43IwtUCqy_VF8WVBnruI81XiGwQmjjzkUvEIzS65DJ0QKVpPePfQrPpvZSjaaVa5VHm-tmCA44/s1600-h/Succulent+Eggplants,+1996,+synthetic+polymer+paint+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5133926965578167602" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhI7HHVDaHR_wAdvQJEb7bLN3m5FxS7ipxqTgfhHiWiSRh5DI8uhDUtoUZIltNeq392CX43IwtUCqy_VF8WVBnruI81XiGwQmjjzkUvEIzS65DJ0QKVpPePfQrPpvZSjaaVa5VHm-tmCA44/s400/Succulent+Eggplants,+1996,+synthetic+polymer+paint+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Succulent eggplants, 1996, synthetic polymer paint on canvas<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPNsBzEOc27b74wVx6tWwoGUbyBRxpL62vbCBAtKf9JtPv0ny962iTo5hlK1X5mgQG54nq4G4lQcYfdu8yhodsHCaAV-GFgu41dn4eWTDHx9HjTlrE9FK3m6Ygmf4mrxZgcx98jppW3bDG/s1600-h/Nega+Maluca,+2006,+acrylic+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5133926725059999010" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPNsBzEOc27b74wVx6tWwoGUbyBRxpL62vbCBAtKf9JtPv0ny962iTo5hlK1X5mgQG54nq4G4lQcYfdu8yhodsHCaAV-GFgu41dn4eWTDHx9HjTlrE9FK3m6Ygmf4mrxZgcx98jppW3bDG/s400/Nega+Maluca,+2006,+acrylic+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Nega Maluca, 2006, acrílico sobre tela<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0djiZ6wrj3ZmSYQzFdGAOwtF5p5MHz2gIVSxLgfcgKX0Z_MtxXMEUse5CKMo7U7paqVr7kX60Y4a51oyEMKgUsWkc_IUuoZ2MF27bEa0-eS74LFn03Lp_ReP-yhoFDaZahA03_Jr9nZNj/s1600-h/Nu+Azul,+1997,+acrylic+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5133926475951895826" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0djiZ6wrj3ZmSYQzFdGAOwtF5p5MHz2gIVSxLgfcgKX0Z_MtxXMEUse5CKMo7U7paqVr7kX60Y4a51oyEMKgUsWkc_IUuoZ2MF27bEa0-eS74LFn03Lp_ReP-yhoFDaZahA03_Jr9nZNj/s400/Nu+Azul,+1997,+acrylic+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Nu azul, 1997, acrílico sobre tela<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigyl3Jcli0y6aJHvxGQkatv7nL00JwMsMAYgcY7gJVviYVm4F14EjaBioxWluZ7nkV3AeY2QfuhzMwm6NsYeaSes1iYFwQsYSyVcDlA1hyWsXsB3vCaoB1A6b4Y4gSCMe4eIlQFK2Pr0gn/s1600-h/Chokito,+2006,+collage+on+paper.jpg"><img id="BLOGGER_PHOTO_ID_5133926213958890754" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigyl3Jcli0y6aJHvxGQkatv7nL00JwMsMAYgcY7gJVviYVm4F14EjaBioxWluZ7nkV3AeY2QfuhzMwm6NsYeaSes1iYFwQsYSyVcDlA1hyWsXsB3vCaoB1A6b4Y4gSCMe4eIlQFK2Pr0gn/s400/Chokito,+2006,+collage+on+paper.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Chokito, 2006, colagem sobre papel<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFu5A6qqMS2dCepXLI6B45U753eBTZ83I2677xC_cR5UP8R2nfeSzVKSTwL5Z9mrMpCCS7F2KT2ADwk7W31t_Xye7Iw7zQw8HlbzwYfWT363Cs6zFWjLOD3pRxAVDKdnUM-qlOdUOUgtEV/s1600-h/Pipoca+Moderna,+2006,+acrylic+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5133925999210525938" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFu5A6qqMS2dCepXLI6B45U753eBTZ83I2677xC_cR5UP8R2nfeSzVKSTwL5Z9mrMpCCS7F2KT2ADwk7W31t_Xye7Iw7zQw8HlbzwYfWT363Cs6zFWjLOD3pRxAVDKdnUM-qlOdUOUgtEV/s400/Pipoca+Moderna,+2006,+acrylic+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Pipoca Moderna, 2006, acrílico sobre tela<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjthqJIRCRcsugp22AJkpAkhph-hZ23hwtYk7yGGz9vPUTFnHek-F9SyNTT-KZpXa2hR29fYbKzMrVHcNhm0te1Nm58L-wGtOV5n4jdvIqXAU3dR9EB241ap8vaVm5nMRLntiiZ-HCIwNXW/s1600-h/Sampa,+2005-06,+acrylic+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5133925741512488162" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjthqJIRCRcsugp22AJkpAkhph-hZ23hwtYk7yGGz9vPUTFnHek-F9SyNTT-KZpXa2hR29fYbKzMrVHcNhm0te1Nm58L-wGtOV5n4jdvIqXAU3dR9EB241ap8vaVm5nMRLntiiZ-HCIwNXW/s400/Sampa,+2005-06,+acrylic+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Sampa, 2005-06, acrílico sobre tela<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZWvh_EktKOfOH5LXgoMpiHI8M9u6IBFTzQD5XgfELkp0zFwHor5Qd9lXR2SBGekkLQN-xvuqnKbJ2SDm4dWrCktYtpb1A26tX05-tQV8hW2ShzJrjgZIinopMtLx-mReaTBWbP544jekm/s1600-h/The+Sisters+(As+Irm%C3%A3s),+2003,+silkscreen+on+638g+Waterford+paper.jpg"><img id="BLOGGER_PHOTO_ID_5133925354965431506" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZWvh_EktKOfOH5LXgoMpiHI8M9u6IBFTzQD5XgfELkp0zFwHor5Qd9lXR2SBGekkLQN-xvuqnKbJ2SDm4dWrCktYtpb1A26tX05-tQV8hW2ShzJrjgZIinopMtLx-mReaTBWbP544jekm/s400/The+Sisters+(As+Irm%C3%A3s),+2003,+silkscreen+on+638g+Waterford+paper.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> The Sisters (As Irmãs), 2003, silkscreenon 638g Waterford paper<br /></span><br /><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq-MruoYlI1B9VkyQxTUYJyMA7lwJz-CaNetZ5Y8UYZ3EifVR6l1BQxIxU0SInmjBVcnFWOCdztfYn6_vdGWltWWnVcUbniPoh3-phPiZieur3tNLHNUttcuhp4yqht0wRBCG-dgNRp0-V/s1600-h/Beleza+Pura,+2006,+acrylic+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5133924732195173554" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjq-MruoYlI1B9VkyQxTUYJyMA7lwJz-CaNetZ5Y8UYZ3EifVR6l1BQxIxU0SInmjBVcnFWOCdztfYn6_vdGWltWWnVcUbniPoh3-phPiZieur3tNLHNUttcuhp4yqht0wRBCG-dgNRp0-V/s400/Beleza+Pura,+2006,+acrylic+on+canvas.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Beleza pura, 2006, acrílico sobre tela<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhICv6v55e0qHFI-Vy1eGNlJ88ecFvnVU2x5aRKwhYtk8uw1KObuVEOHXagjtud90oEpb_XBM6OV_axvdScd7Uwsh6yJjJ4fVEC0YNUIXtNxlfpMaozN4bvMu6TdTVRtgAHN0APrF0SMc_4/s1600-h/Mariposa,+2004,+acrylic+on+canvas.jpg"><img id="BLOGGER_PHOTO_ID_5133924504561906850" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhICv6v55e0qHFI-Vy1eGNlJ88ecFvnVU2x5aRKwhYtk8uw1KObuVEOHXagjtud90oEpb_XBM6OV_axvdScd7Uwsh6yJjJ4fVEC0YNUIXtNxlfpMaozN4bvMu6TdTVRtgAHN0APrF0SMc_4/s400/Mariposa,+2004,+acrylic+on+canvas.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">Mariposa, 2004, acrílico sobre tela<br /><br /></span><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggwRNRiMADMx34a1bdOtpTNHOmVryE42n7CuSFtPvzDY4Xs3jyxSP04daHqRLwaj4YZlYmb1kTVapL0k6tdRIHYLgpR8ADtinOfqXVQb6xWdkDmE0MhdhnAqVZlAQcSF3e5vbJNzuAYxc5/s1600-h/O+Sonho+de+Jos%C3%A9,+2003-04,+acr%C3%ADlico+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5133918465837888658" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggwRNRiMADMx34a1bdOtpTNHOmVryE42n7CuSFtPvzDY4Xs3jyxSP04daHqRLwaj4YZlYmb1kTVapL0k6tdRIHYLgpR8ADtinOfqXVQb6xWdkDmE0MhdhnAqVZlAQcSF3e5vbJNzuAYxc5/s400/O+Sonho+de+Jos%C3%A9,+2003-04,+acr%C3%ADlico+sobre+tela.jpg" border="0" /></a> <span style="font-size:85%;color:#660000;">O Sonho de José, 2003-04, acrílico sobre tela<br /></span><br /><br /><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Beatriz Ferreira Milhazes (Rio de Janeiro RJ 1960). Pintora, gravadora, ilustradora, professora. Formada em comunicação social pela Faculdade Hélio Alonso, no Rio de Janeiro em 1981, inicia-se em artes plásticas ao ingressar na Escola de Artes Visuais do Parque Lage - EAV/Parque Lage em 1980, onde mais tarde leciona e coordena atividades culturais. Além da pintura dedica-se também a gravura, e a ilustração. De 1995 à 1996 cursa gravura em metal e linóleo no Atelier 78, com Solange Oliveira e Valério Rodrigues e em 1997 ilustra o livro As Mil e Uma Noites à Luz do Dia: Sherazade Conta Histórias Árabes, de Katia Canton. Beatriz Milhazes faz parte das exposições que caracterizam a Geração 80, grupo de artistas que buscam retomar a pintura em contraposição à vertente conceitual dos anos 1970, e tem por característica a pesquisa de novas técnicas e materiais. Sua obra faz referências ao barroco, à obra de Tarsila do Amaral (1886-1973) e Burle Marx (1909-1994), à padrões ornamentais e à art deco, entre outras. Entre 1997 e 1998, é artista visitante em várias universidades dos Estados Unidos. A partir dos anos 1990, destaca-se em mostras internacionais nos Estados Unidos e Europa e integra acervos de museus como o MoMa, Guggenheim e Metropolitan em Nova York.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#cc0000;"><strong>Crítica:</strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">The clichés of Hispanic culture – carnival, Samba, joie de vivre resonate – are unobtrusively merged with symbols and thoughts of other times and cultures. Thus Milhazes achieves the coalescence of stylistic opposites and atmospheric ambivalences and creates "an overwhelming and seemingly irrational vitality"*.Her flowers undergo endless variations. One moment they are naturalistically painted, another moment they are abstractly transformed or only graphically suggested. While blossoms, flowers, circles, and coloured balls spill out of a visual centre, a seemingly inexhaustible variety and colourfulness fan out over the canvas. The flowers also enter numerous levels of visual depth. Parts of geometric or linear forms - like stripes, squares and rectangles - are closely interwoven, acting mostly as a background which itself is overlaid by other objects and forms, such as rings or flowers.The diverse patterns that cover the paintings should not be considered the subject but rather the medium of the works. The swirling arches and arabesques of blossoms, bows and balls visually refer to each other and let the eye circle around the image. The occasionally emerging objects, that are in most cases feminine and/or religious, for example pearls that can also be seen as rosaries, lose their reference through repetition and become just form. <a href="http://www.maxhetzler.com/804.0.html?&presslistview_referrer=%2F4.0.html&presslistview_uid=102&cHash=f0f13c37b7"><strong><span style="color:#ff6666;">(...)</span></strong></a></span></div><div align="justify"><span style="font-family:lucida grande;color:#330000;"><em><strong><span style="font-size:85%;">Galerie Max Hetzler, Berlin</span></strong></em></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Milhazes’s paintings are saturated with colour and loaded with designs loosely derived from flora and fauna motifs. Her sources range from native Brazilian popular culture and baroque religious art of the Americas to geometric abstraction and Op Art. She occupies a unique position between Western and Latin American traditions. Milhazes uses a technique similar to monotype or collage in her paintings where she builds up figurative elements gradually. Colour or ground is applied directly to the canvas with a brush while motifs are painted onto sheets of plastic which are later pressed onto the primed canvas, transferring the images. The accretion of paint results in a surface texture where some overlapping forms are fully present, while other earlier forms are partially obscured. The inherent imperfection of this process, in which images do not always transfer evenly or smoothly, simultaneously creates the impression of décollage and of images revealed when others are peeled away, in places exposing the under-drawing beneath. Recently, Milhazes has reintroduced collage into her repertoire and is attracted to the shiny, glittery surface of modern-day confectionary packaging. She is particularly drawn to chocolate wrappings which she incorporates in her work. The size and texture of these products in part determines the composition of each collage. Furthermore, the ornate calligraphy of the text on the wrappers, visible in may different languages, adds another conceptual and linguistic dimension to her work. Milhazes has titled her show at Stephen Friedman Gallery Joá, the name of a beach in Rio de Janeiro. The collages and paintings in the exhibition embrace her extensive artistic ancestry and allude to the tropical milieu of Brazil and the music and dance that epitomize the city and history of Rio de Janeiro. Milhazes has exhibited widely all over the world. In 2004 Milhazes had a solo exhibition at Century Museum of Contemporary Art, Kanazawa, Japan. In the same year, Milhazes was commissioned to make a work for the façade of Selfridges Manchester Exchange Store. In 2003 Milhazes had a solo exhibition at Domaine de Kerguehennec-Centre d’Art Contemporain, Bignan, France. In the same year Milhazes represented Brazil in the Venice Biennale at the Brazilian pavilion. Recent group exhibitions include São Paulo Biennale, São Paulo, Brazil in 2004 and 2002 and Urgent Painting, Musee d’Art Moderne de La Ville de Paris, Paris in 2002. This year, Milhazes was selected for a special commission at Tate Modern Restaurant which will be on view through 2007. She has also recently completed an ambitious project at Gloucester Road underground station which was commissioned by Platform for Art. The project will run until through May 2006. </span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong><em>Stephen Friedman Gallery, London<br /></em></strong></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong><em></em></strong></span></div></div></div></div></div></div></div></div></div></div></div></div></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com5tag:blogger.com,1999:blog-2054748435853847162.post-84611224741003355072007-11-11T17:16:00.000+00:002007-11-17T19:20:05.924+00:00Miquel Barceló, Maiorca / Espanha - pintor contemporâneo<div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzX7ZuIR7VKIctOo8272OapkKEoE264ZHT1eh2-4q2iAg33phNvoeLXFQcLLd0ux_u3Jt_ZjN1C8iDoEfPM2QmKWTzmXAmT47LParagoWM1aBzPDhul9TU9QHPoRjTiGKW7vEj6M6o03Vr/s1600-h/La+grotte,+2002,+t%C3%A9cnica+mista+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131637808661733458" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzX7ZuIR7VKIctOo8272OapkKEoE264ZHT1eh2-4q2iAg33phNvoeLXFQcLLd0ux_u3Jt_ZjN1C8iDoEfPM2QmKWTzmXAmT47LParagoWM1aBzPDhul9TU9QHPoRjTiGKW7vEj6M6o03Vr/s400/La+grotte,+2002,+t%C3%A9cnica+mista+sobre+tela.jpg" border="0" /></a><span style="color:#660000;"> <span style="font-family:lucida grande;font-size:85%;">La grotte, 2002, técnica mixta sobre tela </span></span></div><div align="center"><span style="font-size:85%;color:#ffffff;">*</span></div><div align="center"><span style="font-family:lucida grande;font-size:85%;color:#663300;"></span></div><p align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja6Q0UqBthzDEsqJRHtSj5bHk9ZTPrC8XsYjctqPI9-3_njB0alphKEj21JwdMXMvhlHdwQb37OkcBmUCJSSUN2K8muTdoOOt6-klM3CPEl3EeOHowFQyWJND2l0XNl4vGpRqNYP237Spa/s1600-h/Fruits+de+Novembre,+2004,+t%C3%A9cnica+mista+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131637671222779970" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja6Q0UqBthzDEsqJRHtSj5bHk9ZTPrC8XsYjctqPI9-3_njB0alphKEj21JwdMXMvhlHdwQb37OkcBmUCJSSUN2K8muTdoOOt6-klM3CPEl3EeOHowFQyWJND2l0XNl4vGpRqNYP237Spa/s400/Fruits+de+Novembre,+2004,+t%C3%A9cnica+mista+sobre+tela.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;">Fruits de Novembre, 2004, técnica mixta sobre tela </span></p><p align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipcxGuutkfqUt8wY3PDcNyTzBB6vhSO2WdsCAtsK-QzxrtBIfKJejNlU1zsayDkolMO8GeoG08MTHCelrS978Vsvt8khyfxd5B9ijYQuLO8tkOMWxo8x6qqBaH95ZqdkIDTVZqTWNMnHJD/s1600-h/Pluja+contracorrent+II,+1991,+t%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131637512308990002" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEipcxGuutkfqUt8wY3PDcNyTzBB6vhSO2WdsCAtsK-QzxrtBIfKJejNlU1zsayDkolMO8GeoG08MTHCelrS978Vsvt8khyfxd5B9ijYQuLO8tkOMWxo8x6qqBaH95ZqdkIDTVZqTWNMnHJD/s400/Pluja+contracorrent+II,+1991,+t%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="color:#660000;"> <span style="font-family:lucida grande;font-size:85%;">Pluja contracorrent II, 1991, técnica mixta sobre tela </span></span></p><p align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEHexX2XlFQq1EjhRVxLV0bFVkeVxVSrMn8cuO5myRAq7R_CHy07VqRn23GnqrrNga_i_JO4Pkcyw9PEClCxup6xG7dNeswm_Y-iLolX_U2kdsM_oB-Pzn9fsy-8SdkvuzxdDIA4QiI9MN/s1600-h/Poisson+coup%C3%A9+en+7+parties,+1986,+T%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131637194481410082" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEHexX2XlFQq1EjhRVxLV0bFVkeVxVSrMn8cuO5myRAq7R_CHy07VqRn23GnqrrNga_i_JO4Pkcyw9PEClCxup6xG7dNeswm_Y-iLolX_U2kdsM_oB-Pzn9fsy-8SdkvuzxdDIA4QiI9MN/s400/Poisson+coup%C3%A9+en+7+parties,+1986,+T%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="font-family:lucida grande;font-size:85%;color:#660000;"> Poisson coupé en sept parties, 1986, técnica mixta sobre tela </span></p><p align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYS7aMjUHmUK55jWxTTW2lYehrEYBVsh8f85oZMzyTkcV1vT30lB4MlYDfuz-jEX5S-QEabl_GtRXNPIW0EMqum7WAZMds_3WJLTTGbW_-N7i7-EizVlDPyfJy-2Gq7BIjH5jDBFXZc68c/s1600-h/B%C3%A2teau+B.N.,+1984,+T%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131637031272652818" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYS7aMjUHmUK55jWxTTW2lYehrEYBVsh8f85oZMzyTkcV1vT30lB4MlYDfuz-jEX5S-QEabl_GtRXNPIW0EMqum7WAZMds_3WJLTTGbW_-N7i7-EizVlDPyfJy-2Gq7BIjH5jDBFXZc68c/s400/B%C3%A2teau+B.N.,+1984,+T%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="color:#660000;"> <span style="font-family:lucida grande;font-size:85%;">Bâteau B.N., 1984, técnica mixta sobre tela</span></span></p><p align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI0VNBHaet_jMO2jHU7WblsJRKQQnHRPp4vb9V-CxSs6F-vvyUm1cdZg5qdWs9RiHqAbeHd9icuVol1lYcA4ZqhfZZYiY2BUjsXWhrbZHyJV63AN7840G_U5AWHjr880sCS-XeDqjkx9H4/s1600-h/Grand+Cr%C3%A2ne+Central,+2006,+t%C3%A9cnica+mista+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131636846589059074" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI0VNBHaet_jMO2jHU7WblsJRKQQnHRPp4vb9V-CxSs6F-vvyUm1cdZg5qdWs9RiHqAbeHd9icuVol1lYcA4ZqhfZZYiY2BUjsXWhrbZHyJV63AN7840G_U5AWHjr880sCS-XeDqjkx9H4/s400/Grand+Cr%C3%A2ne+Central,+2006,+t%C3%A9cnica+mista+sobre+tela.jpg" border="0" /> </p><p align="center"></a><span style="font-family:lucida grande;font-size:85%;color:#660000;">Grand Crâne Central, 2006, técnica mixta sobre tela<br /></span><br /></p><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1WUL9TImHeVPJB4Y36WcFOFJN73MMe06WJOxHIgyrRCYMV8-wZX9m-J7Cq8M5JUz-YbPkdjIkxkwuUpRe52hZKtEksYhcXUnD-TvINClBuaxcMM_zet4ZYsgK_PT3TtmouUb_XqSBGfZd/s1600-h/Grand+fonds+submarin,+2001,+t%C3%A9cnica+mista+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131636700560170994" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1WUL9TImHeVPJB4Y36WcFOFJN73MMe06WJOxHIgyrRCYMV8-wZX9m-J7Cq8M5JUz-YbPkdjIkxkwuUpRe52hZKtEksYhcXUnD-TvINClBuaxcMM_zet4ZYsgK_PT3TtmouUb_XqSBGfZd/s400/Grand+fonds+submarin,+2001,+t%C3%A9cnica+mista+sobre+tela.jpg" border="0" /></a><span style="color:#660000;"> </span><span style="font-family:lucida grande;font-size:85%;color:#660000;">Grand fonds submarin, 2001, técnica mixta sobre tela<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8i107S1vE9MgCOzqJuf9CMXOxAs46fnqKIxv1vQ535Ik9-1cse31OECKt-ZaEPWe7hy552fl4qxVm_03wQuvsWI_Yr4NJblUJ-nq1_mHcAxIHb2m0l8I_g7eAUri39RbfYKUvM4tYTEQ0/s1600-h/De+rerum+natura,+1992,+t%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131636490106773474" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8i107S1vE9MgCOzqJuf9CMXOxAs46fnqKIxv1vQ535Ik9-1cse31OECKt-ZaEPWe7hy552fl4qxVm_03wQuvsWI_Yr4NJblUJ-nq1_mHcAxIHb2m0l8I_g7eAUri39RbfYKUvM4tYTEQ0/s400/De+rerum+natura,+1992,+t%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="color:#660000;"> </span><span style="font-size:85%;color:#660000;">De rerum natura, 1992, técnica mixta sobre tela<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPvemxTZ1Vy2K5-PYnQ2da3QdZkC5nuMRib5d2Z19aKewjB8SzGfM3jK9an632IWysTeAceLDhwGY7VL6dXgJixyuHSj7FoDWyBbwuyh7FF9Is1NhJ7Rl3OLhqzuZwXV7VMs2Rv-pIis_0/s1600-h/Porto+Corvo,+1984,+T%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131636361257754578" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPvemxTZ1Vy2K5-PYnQ2da3QdZkC5nuMRib5d2Z19aKewjB8SzGfM3jK9an632IWysTeAceLDhwGY7VL6dXgJixyuHSj7FoDWyBbwuyh7FF9Is1NhJ7Rl3OLhqzuZwXV7VMs2Rv-pIis_0/s400/Porto+Corvo,+1984,+T%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Porto Corvo, 1984, técnica mixta sobre tela<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9X64yduF9xfBSi3xQI8g0KQ3A4Xbdeb1syn4_9FEJvFAWkQq9NbY5dgN33ALBXj2SL1ZVTWkKP4gZ7doMHV7oy2eeOjvIrXtwM_ERchp9K0trQZOunhILZyOc8j30dUQcqvokqpfpqFnD/s1600-h/Caballos+y+ra%C3%ADces,+2000,+t%C3%A9cnica+mista+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131636103559716802" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9X64yduF9xfBSi3xQI8g0KQ3A4Xbdeb1syn4_9FEJvFAWkQq9NbY5dgN33ALBXj2SL1ZVTWkKP4gZ7doMHV7oy2eeOjvIrXtwM_ERchp9K0trQZOunhILZyOc8j30dUQcqvokqpfpqFnD/s400/Caballos+y+ra%C3%ADces,+2000,+t%C3%A9cnica+mista+sobre+tela.jpg" border="0" /></a><span style="color:#660000;"> </span><span style="font-size:85%;color:#660000;">Caballos y raíces, 2000, técnica mixta sobre tela<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_hXPO-AjD76M5TOemfB-3WEp37ro3TDyJuN6VXyrXNIxliU5HIpl4yQT8NMHIbeYjFTtSkjkbxVwTevO3esX5YS1OamOXqDpkLZVDCHgYJG4-51YmRKsQASLzy69aJNB-ZB5FuSP0WTcN/s1600-h/Atelier+sepia+avec+mod%C3%A8le,+1994,+t%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131635953235861426" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_hXPO-AjD76M5TOemfB-3WEp37ro3TDyJuN6VXyrXNIxliU5HIpl4yQT8NMHIbeYjFTtSkjkbxVwTevO3esX5YS1OamOXqDpkLZVDCHgYJG4-51YmRKsQASLzy69aJNB-ZB5FuSP0WTcN/s400/Atelier+sepia+avec+mod%C3%A8le,+1994,+t%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="color:#660000;"> </span><span style="font-size:85%;color:#660000;">Atelier sepia avec modèle, 1994, técnica mixta sobre tela<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHNCCxkhz-BveslOxesT8iCnweizAgZbWjE6mdcb8sYJTwC3uhzgcqaxgVDdS5pNe975NRr2TBm6_Hs1autfzqidtI6Wkondq8NzQ7cq6_baOfIbPcteD_jNQX3D2z9V0e_bQYHqfR-V6z/s1600-h/Fum+de+cuina,+1985,+T%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131635725602594722" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHNCCxkhz-BveslOxesT8iCnweizAgZbWjE6mdcb8sYJTwC3uhzgcqaxgVDdS5pNe975NRr2TBm6_Hs1autfzqidtI6Wkondq8NzQ7cq6_baOfIbPcteD_jNQX3D2z9V0e_bQYHqfR-V6z/s400/Fum+de+cuina,+1985,+T%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Fum de cuina, 1985, técnica mixta sobre tela<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKjd9AItGdAQo4w6GxJzRj5odfU4crOmRNgYc3asVZgr_bFRmaskb3C9A883DxijYk9TcEGQAecpluwwd7y69YEYDWnkVDvx0COSXyHkmoyVIG6Au402oTtve2vIUd5elNuHGl-4b0Xgqc/s1600-h/Fuerte+Marejada,+2003,+t%C3%A9cnica+mista+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131635562393837458" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgKjd9AItGdAQo4w6GxJzRj5odfU4crOmRNgYc3asVZgr_bFRmaskb3C9A883DxijYk9TcEGQAecpluwwd7y69YEYDWnkVDvx0COSXyHkmoyVIG6Au402oTtve2vIUd5elNuHGl-4b0Xgqc/s400/Fuerte+Marejada,+2003,+t%C3%A9cnica+mista+sobre+tela.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Fuerte Marejada, 2003, técnica mixta sobre tela<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcOdLQWjlS5B8YukCPRp8Cc9broyycgMdDv725RsWLhnhnA1k4YbF3TiaTAqtq5hUcjqr26as6w2BeRyP8qO17Y_4-0vgak15hNtWAqVjq46snP7SLlsS1R-TwLpr8a6giK6VrUUvCCU7C/s1600-h/In+vitro,+1987,+t%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131635347645472642" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcOdLQWjlS5B8YukCPRp8Cc9broyycgMdDv725RsWLhnhnA1k4YbF3TiaTAqtq5hUcjqr26as6w2BeRyP8qO17Y_4-0vgak15hNtWAqVjq46snP7SLlsS1R-TwLpr8a6giK6VrUUvCCU7C/s400/In+vitro,+1987,+t%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="color:#660000;"> </span><span style="font-size:85%;color:#660000;">In Vitro, 1987, técnica mixta sobre tela<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQH-eEu-3jQZrKrF2Cs45iDrWI7rPvAGoFSon76zTSusW7i7E53EM1HxHe4SKfrIMSLu-ATLsvfsB3h8K5X3b2vEKv-DcVaC4j8IHQZwWSIlMDz61I6VQ9dHpmRzNPaHMEy2mWnIHqdiev/s1600-h/Sin+t%C3%ADtulo,+1992,+t%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131635184436715378" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQH-eEu-3jQZrKrF2Cs45iDrWI7rPvAGoFSon76zTSusW7i7E53EM1HxHe4SKfrIMSLu-ATLsvfsB3h8K5X3b2vEKv-DcVaC4j8IHQZwWSIlMDz61I6VQ9dHpmRzNPaHMEy2mWnIHqdiev/s400/Sin+t%C3%ADtulo,+1992,+t%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Sin título, 1992, técnica mixta sobre tela<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio6idHvwNSzmsbL1i3-IITd5tebWyZlRg4n9zWQEjxhIHJwwCsbrUJ4CqJay-ciCm04pVpqMz_QOmiN1Kr3CReiF_gq-sG-Fo1kKFcZ9H2xWs9YhRWCXcAwBWRYCKjblZbe3OwXs-8HnpR/s1600-h/Els+Diaris+Vells,+2004,+t%C3%A9cnica+mista+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131634913853775714" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEio6idHvwNSzmsbL1i3-IITd5tebWyZlRg4n9zWQEjxhIHJwwCsbrUJ4CqJay-ciCm04pVpqMz_QOmiN1Kr3CReiF_gq-sG-Fo1kKFcZ9H2xWs9YhRWCXcAwBWRYCKjblZbe3OwXs-8HnpR/s400/Els+Diaris+Vells,+2004,+t%C3%A9cnica+mista+sobre+tela.jpg" border="0" /></a><span style="font-size:85%;color:#999999;"> <span style="color:#660000;">Els Diaris Vells, 2004, técnica mixta sobre tela<br /></span></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6huam1BkSC3uCqHNoUh85hYiI0FVkvZGnfeTGDFDPlFhI9Pn8e2T0c3W5wCCSiEZyWmUu1RE_Wm72HdqdgGGNK_bP_1-XilR3HCgIj123GqmdW5SaI-GmI1VEmsl3a2XvcK9dyaasteVo/s1600-h/Bodeg%C3%B3n,+1984,+T%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131634776414822226" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6huam1BkSC3uCqHNoUh85hYiI0FVkvZGnfeTGDFDPlFhI9Pn8e2T0c3W5wCCSiEZyWmUu1RE_Wm72HdqdgGGNK_bP_1-XilR3HCgIj123GqmdW5SaI-GmI1VEmsl3a2XvcK9dyaasteVo/s400/Bodeg%C3%B3n,+1984,+T%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="color:#660000;"> </span><span style="font-size:85%;color:#660000;">Bodegón, 1984, técnica mixta sobre tela<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3oG1I9uIeYtHCXoCIgcdF3EA8ZovpMHyRuODxyvEpSLESXePF1pA1S_UXlRLSxMSC52pCzd_ZZcGEDT9pMlKUfCx0AK5k1I6lwceWmptwdXwWcmf_uIWKq59HaTG_PP_1LZDQdnbsd5Ma/s1600-h/La+plata,+1987,+T%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131634518716784450" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3oG1I9uIeYtHCXoCIgcdF3EA8ZovpMHyRuODxyvEpSLESXePF1pA1S_UXlRLSxMSC52pCzd_ZZcGEDT9pMlKUfCx0AK5k1I6lwceWmptwdXwWcmf_uIWKq59HaTG_PP_1LZDQdnbsd5Ma/s400/La+plata,+1987,+T%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> La plata, 1987, técnica mixta sobre tela<br /></span><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBEez11W50tcAGZvKRZU_nFasIo4obPeEcmQ9pPMnWl5IBOa5CWZj2CWwxlF3vgLJIIHOeZ56JCzQbVyT4WZ_P-f0rhkW89xKkrLPHshepi6QTKMldrR8pLa6VFMfaiiPWyclTS2eCcfBx/s1600-h/Smoke+and+water,+1987,+t%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131633646838423314" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBEez11W50tcAGZvKRZU_nFasIo4obPeEcmQ9pPMnWl5IBOa5CWZj2CWwxlF3vgLJIIHOeZ56JCzQbVyT4WZ_P-f0rhkW89xKkrLPHshepi6QTKMldrR8pLa6VFMfaiiPWyclTS2eCcfBx/s400/Smoke+and+water,+1987,+t%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Smoke and water, 1987, técnica mixta sobre tela<br /></span><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDqUFZXo07901FHfQO6jk5j2pM1L_7WYHqEkqsZ1pjQHrvA3tcHuJVUj0Lmf1hvMlFbZ4D63g8o8ZSCdiArds1RlK2JBe_p_OH8BJyQ-nFNkgtO8CKRun1McwyDpnVSshNdsfzoMjLEE1L/s1600-h/La+rosa+blanca,+1986,+T%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131633402025287426" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDqUFZXo07901FHfQO6jk5j2pM1L_7WYHqEkqsZ1pjQHrvA3tcHuJVUj0Lmf1hvMlFbZ4D63g8o8ZSCdiArds1RlK2JBe_p_OH8BJyQ-nFNkgtO8CKRun1McwyDpnVSshNdsfzoMjLEE1L/s400/La+rosa+blanca,+1986,+T%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> La rosa blanca, 1986, técnica mixta sobre tela<br /></span><br /><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTV_tlcgBrySK1vaXvixFBagJO0ncor8M1oTN_bDx7oHQpmnx3hVeeun5FGweZU2xT2Cu7lGxR1CVk-OIWijjAwe2wMtIER066pRQMuawScK5EExLpovh7flWgSm7trYtWU3P83e9rm81-/s1600-h/2+chaussures+2+fen%C3%AAtres,+1986,+T%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131633243111497458" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTV_tlcgBrySK1vaXvixFBagJO0ncor8M1oTN_bDx7oHQpmnx3hVeeun5FGweZU2xT2Cu7lGxR1CVk-OIWijjAwe2wMtIER066pRQMuawScK5EExLpovh7flWgSm7trYtWU3P83e9rm81-/s400/2+chaussures+2+fen%C3%AAtres,+1986,+T%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="color:#660000;"> <span style="font-size:85%;">Deux saussures, deux fenêtres, 1986, técnica mixta sobre tela </span></span></div><div align="center"><span style="font-size:85%;color:#ffffff;">*</span></div><span style="font-size:85%;color:#663300;"><div align="center"></span></div><div align="center"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuTPzTxiXLuSjABIwc-jk3aNxHcGd1VZAG24EnteA0m0xAODxEkuhHsM2GPx35hC8gMVQfIJV00si78mmY3rNkvRaEFYS0Ovy4I7aZ721iDw96_03JA3rOg1WKzhzDAN2SavFcw_obfVNE/s1600-h/T%C3%AAte+de+gorille+albinos,+1999,+t%C3%A9cnica+mixta+sobre+tela.jpg"><img id="BLOGGER_PHOTO_ID_5131633084197707490" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhuTPzTxiXLuSjABIwc-jk3aNxHcGd1VZAG24EnteA0m0xAODxEkuhHsM2GPx35hC8gMVQfIJV00si78mmY3rNkvRaEFYS0Ovy4I7aZ721iDw96_03JA3rOg1WKzhzDAN2SavFcw_obfVNE/s400/T%C3%AAte+de+gorille+albinos,+1999,+t%C3%A9cnica+mixta+sobre+tela.jpg" border="0" /></a><span style="font-size:85%;color:#660000;"> Tête de gorille albinos, 1999, técnica mixta sobre tela<br /></span><span style="color:#ffffff;">*<br />*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Miquel Barceló nasceu a 8 de Janeiro de 1948, em Felanitx, Maiorca</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Estudou no Instituto de Felanitx, e logo depois iniciou os estudos de arte na Escola de Artes e Ofícios de Palma de Maiorca. Continua os estudos em Barcelona na Escola de Belas Artes de Sant Jordi onde se increveu em 1975 mas frequenta-o apenas durante alguns meses. Em 1976 incorpora um grupo maiorquino de arte conceptual chamado Taller Lunatic.<br />O reconhecimento internacional chegou depois da sua participação na Bienal de São Paulo em 1981 e na Documenta de Kassel em 1982. Uma das suas principais características é o tratamento da matéria pictórica nas suas pinturas para conseguir efeitos de relevo. Miquel Barceló pretende incorporar o ritmo da vida e do tempo nas suas pinturas. É obcecado com o significado da arte e como a pintura pode gerar significado. Desde que viajou para Paris em 1975, absorveu uma grande variedade de influências artísticas e literárias: da tradicional pintura espanhola de Velázquez, Miró e Tapiés, de seus contemporâneos como Keith Haring, Jena-Michel Basquiat e Francesco Clemente, que conheceu como único representante espanhol na 7.a Documenta de Kassel, 1982.<br />As suas obsessões com a materialidade e o significado da pintura fundiram-se de uma forma explosiva quando abandonou a Europa em 1988 para experimentar a vida em África. Não estava à procura de algum tipo de exotismo nostálgico ou de nobreza selvagem, mas apenas para abandonar tudo o que lhe era familiar e confrontar a incerteza. Neste ambiente estranho, longe de todas as referências europeias, o seu trabalho sofreu uma enorme transformação.<br />A escassez dos materiais típicos da arte criou-lhe a necessidade de usar tudo o que pudesse encontrar: pigmentos locais e sedimentos marinhos são alguns exemplos. Quando regressou à Europa, este desenvolvimento encontrou expressão em enormes telas, que se tornaram a sua imagem de marca. Barceló limpou as suas telas de todas as referências culturais e autobiográficas que até aí eram frequentes e explícitas, substituindo-as por enormes extensões paisagísticas. Nesta fase as suas pinturas tornaram-se brancas, desoladas e desprovidas de ironia. Mas este branco não significa ausência mas o evitar do excesso. Fisicamente as superfícies eram ainda construídas com camadas de resina, tinta e verniz.<br />As viagens e estadias pela Europa, Estados Unidos da América e África ocidental marcaram a sua trajectória artística ao longo do tempo. A sua obra reflecte interesse pelos motivos procedentes da natureza, tanto terrestre como marítima, tratados numa paleta densa, espessa e geralmente obscura, sendo já uma influência para artistas mais jovens.<br />Expôs pela primeira vez individualmente num museu em 1985 no CAPC de Bordéus: uma selecção de trabalhos do período entre 1983-1985 que foi também apresentada no Palacio de Velázquez de Madrid, em Munique e em Boston. Em 1996, sob a organização do Ministério da Cultura francês, apresenta em Paris no Centro Georges Pompidou e na Galeria Nacional Jeu de Paume uma ampla série de trabalhos - telas de grandes formatos, desenhos, esculturas - realizados desde a sua primeira viagem a África, grande parte deles inspirados na descoberta daquele continente.<br />Em 1998 numa exposição retrospectiva no MACBA, Barcelona, apresenta uma grande parte da sua obra realizada entre 1987 e 1997. No ano seguinte, numa outra grande exposição retrospectiva no Museu Nacional Rainha Sofia, Madrid, a sua obra sobre papel realizada entre 1979 e 1999. Ainda em 1999 recebe o Prémio Nacional da Catalunha de Artes Plásticas. Em Junho de 2003 foi laureado com o Prémio Príncipe das Astúrias para as Artes.</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong><em>Fonte: Wikipédia, Biografias</em></strong></span></div><div align="justify"><span style="font-family:lucida grande;color:#ffffff;">*</span></div><div align="justify"><strong><span style="font-family:lucida grande;font-size:85%;color:#cc0000;">Crítica:</span></strong></div><div align="justify"><span style="font-family:lucida grande;color:#ffffff;">*<br /></span><span style="font-size:85%;"><span style="color:#330000;"><span style="font-family:lucida grande;">Su meteórica carrera y el reconocimiento internacional hacia su obra, en la que la simbiosis entre la naturaleza y el arte, los elementos pictóricos y los materiales orgánicos han sido una constante, convirtieron a Miquel Barceló en el ídolo a imitar para los jóvenes artistas. Nacido en la localidad mallorquina de Felanitx (1957), sus primeros contactos con el arte fueron a través de los pinceles de su madre, que retrataban los paisajes de la isla.<br />Pero fue su primer viaje a París, en 1974, el que le abriría los ojos al ARTE con mayúsculas, a través de las obras de Paul Klee, Fautrier, Wols y Art Brut. Dos años después realizaría su primera exposición individual, bajo el título de 'Jeroglíficos mudos'.<br />Ya entonces destaca en su pintura el interés por la naturaleza, que le llevó a unirse a la batalla ecologista contra la urbanización de la isla Dragonera, en la que permaneció durante días, pintando únicamente con los materiales que encontró. Desde entonces, la incorporación de elementos orgánicos a sus creaciones y la búsqueda de los orígenes convirtieron señas de identidad.<br />La década de los 80 supuso para Barceló una etapa muy fructífera, marcada por los viajes a París, Nápoles, Portugal y las exposiciones internacionales, que culminaría con la concesión del Premio Nacional de Artes Plásticas en 1986. Ese mismo año Barceló se instala en Cap Farruxt (Mallorca) el epicentro de su producción.<br />Su primer viaje a África, en 1988, marcó un antes y un después en su pintura y le otorgó un aura de viajero y aventurero romántico que engrandeció la dimensión artística de este creador con alma de niño venerado como una estrella de rock.<br />Además de la pintura, Barceló experimenta con la cerámica, la ilustración, la escenografía artística, sin renunciar a sus viajes en los que el contacto directo con la naturaleza, con los paisajes y sus gentes queda patente en sus obras. "Tengo una relación muy fuerte con las cosas que me rodean. Pinto lo que como" ha afirmado Barceló, para quien el arte es "producto de la necesidad", un "milagro irrepetible" que no es necesario definir, que nunca se acaba de entender.<br />Durante su trayectoria han sido frecuentes las colaboraciones con otros artistas como Javier Mariscal, Tápies, Sicilia; los escritores Paul Bowles y Evgen Bavcar y los cantaores flamencos Rancapino y Camarón de la Isla.<br />El interés de la crítica por el 'fenómeno Barceló', consagrado ya como uno de los grandes artistas españoles contemporáneos, continuó creciendo, y los documentales, retrospectivas sobre su obra y exposiciones en todo el mundo se suceden durante toda la década de los 90, en la que reparte su tiempo entre Mallorca, Malí y París.<br />Entre sus últimos proyectos destaca el recubrimiento cerámico de la Capilla de Sant Pere de la Catedral de Palma de Mallorca, la ilustración del libro 'La Divina Comedia', de Dante Alighieri, editado por el Círculo de Lectores o los decorados y el vestuario de la ópera de Mózart, 'El rapto del Serrallo'.<br /><strong><em>Marta Arroyo</em></strong></span></span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"><strong><em>Cultura El Mundo Es</em></strong></span></div><div align="justify"><span style="font-family:lucida grande;color:#ffffff;">*</span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#cc0000;"><strong>Miquel Barceló pinta la cúpula de la ONU:</strong></span></div><div align="justify"><span style="font-family:lucida grande;color:#ffffff;">*<br /></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">El artista Miquel Barceló, nacido en Felanitx, Palma de Mallorca, se encuentra a los 50 años ante el gran reto de su carrera, pintar la cúpula de 1.500 metros cuadrados del palacio de las Naciones Unidas de Ginebra (que a partir de ahora se va a llamar de los Derechos Humanos y de la Alianza de las Civilizaciones).<br />Según explica él mismo “será la pintura llevada a sus límites físicos”; y agrega que lo “acojona bastante” y que “es una obra apasionante aunque complicada. Me forzará a llevar al extremo mi modo de trabajar. Estoy acostumbrado”.<br />También comenta que "en cada elemento habrá capas y colores sobrepuestos, como en una cebolla”, aunque no quiere hablar mucho de “cómo es y se gesta la obra porque trae mala suerte".</span><span style="color:#330000;"><span style="font-family:lucida grande;"><br /><span style="font-size:85%;"></span></span></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;">Para su gran obra, Barceló utiliza 30 toneladas de pintura y pigmentos, y dice “aún estamos experimentando con materiales. Hacemos pruebas y observamos muchos detalles. Casi todo está en ciernes”.<br />El artista no está solo, tiene a su alrededor “una quincena” de colaboradores y especialistas franceses, suizos y españoles; y está bajo la tutela de Eudald Guillamet, experto restaurador que ya trabajó en la tumba de Ramsés VI y en la recuperación de pinturas rupestres.</span></div><div align="justify"><span style="font-family:lucida grande;color:#ffffff;">*<br /></span><span style="font-size:85%;"></span></div><div align="justify"><span style="font-size:85%;"><a href="http://www.elpais.com/articulo/cultura/artista/inmensidad/elpepucul/20071023elpepicul_1/Tes"><strong><span style="font-family:lucida grande;color:#ff6666;">Reportaje El País</span></strong></a></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#330000;"></span></div><div align="justify"><span style="font-family:lucida grande;font-size:85%;color:#ffffff;">*</span></div><div align="justify"><span style="font-size:85%;color:#cc9933;"></span></div><div align="justify"></div><div align="justify"></div><div align="justify"></div><br /></div>Fernanda Valentehttp://www.blogger.com/profile/10879211433139196002noreply@blogger.com0