Tag Archives: Sarmento

Museu Coleção Berardo

Abstracto, Branco, Tóxico e Volátil.

Julião Sarmento

Museu Coleção Berardo, Lisbon, Portugal

Opening 11.05.2022

 

 

The Museu Coleção Berardo have the pleasure of opening Julião Sarmento’s exhibition Abstracto, Branco, Tóxico e Volátil, on Wednesday, 11 May, from 5 to 9 p.m., with free admission. 

 

 

The exhibition Abstracto, Branco, Tóxico e Volátil brings together a very significant selection of works which is the result of a close collaboration between the artist and the curator Catherine David.

 

 

Julião Sarmento (1948–2021) was one of the most internationally recognised Portuguese artists, having developed an artistic career that was immensely coherent, rich, and intense. Constantly renewing himself, closely connected with the artistic practices of his time, and strongly influenced by the culture of English-speaking countries and the themes and images of literature and film, he employed a diverse range of methods and techniques to establish a concise vocabulary of ambiguous images. His work has a performative and theatrical dimension, which accumulates through the constant evocation of timeless themes and representations—such as the woman, sexuality, transgression, memory, duality, home, the word—which operate as structural axes of his work.

 

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Mais nada se move em cima do papel.

O desenho como pensamento

 

14 NOV. 2020 – 18 ABRIL 2021 

CAA – Centro de Artes de Águeda, Portugal

 

Comisaria: Sara Antónia Matos

 

Exposición colectiva, con obras de Julião Sarmento.

 

 

Enmarcada en el ciclo O desenho como pensamento (El dibujo como pensamiento), de CAA – Centro de Arte Águeda, la exposición “Mais nada se move em cima do papel (Nada más se mueve sobre el papel)” adopta como título el primer verso de un poema de Al Berto y recoge obras de artistas que a lo largo de los años, en sus propios caminos y lenguajes, han venido trabajando el dibujo como un registro indisciplinado, en algunos casos transversal a sus prácticas.

 

Las obras expuestas muestran que el dibujo refleja una condición previa, poco tangible, comparable al pensamiento, como si el gesto o la intuición que precede a la inscripción de la línea se desplazara o flotara sobre el papel, y luego se formara sobre soportes bidimensionales y tridimensional, ganan cuerpo y adquieren formulaciones escultóricas, sonoras, atmosféricas y espaciales.

 

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No brilho da pele, exhibition by Julião Sarmento at Museu de Aveiro / Santa Joana, Portugal.

 

July 15 – September 27, 2020

 

Exhibition organized by the Museums of Aveiro in partnership with the Serralves Foundation – Museum of Contemporary Art and curated by Joana Valsassina.

 

 

Selection of works by Julião Sarmento (Lisbon, 1948) that illustrate different approaches to themes such as desire, voyeurism and violence, central to the artist’s practice.

 

The exhibition includes works from the 1970s to the present, covering different supports worked by the artist throughout his career, such as painting, sculpture, drawing, photography and installation. Exploring ambiguous territories associated with gestures of seduction and transgression, Julião Sarmento’s work create a network of references to cinema, literature, popular culture, everyday episodes and his own work.

 

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Museu Nacional de Arte Antiga, Lisboa

18.5 – 26.7.2020

 

In an exhibition dedicated to Florentine Renaissance drawing and its Iberian extensions, works either produced by or attributed to Baccio Bandinelli, Luca Cambiaso, Correggio, Pontormo and Francisco Venegas would always establish predictable ties between one another. However, the presence among this group of some works by Julião Sarmento has the effect of upsetting the balance of the temporal, thematic and stylistic sequences that we might establish between artists belonging to a common cultural and chronological background.

The exhibition enables us to open up unexpected paths, leading us in multiple directions between the past, present and future. It is not a question of discovering a genealogy, but rather of inventing (or possibly not even considering) one; it is not a question of closing the circle, but of opening it up indefinitely.

Research undertaken into the MNAA’s drawing collection has given primacy to the expression of the outlines over the patch, thus bringing us closer to the solutions to be found in the work of Sarmento, who has developed a long theory of linear images, of actions that are interrupted, suspended or paralysed in time, images that are available to be incorporated into open narratives.

Julião Sarmento’s works are not studies, they are finished works. By completely reversing the Renaissance rules, they present the non finito as finito. It is a question of choosing and fixing fragments in action (especially parts of female bodies) separating these from the whole to which they belong, and without the intention of ever using them to reconstruct a body. All this is done so that we can concentrate our attention on the erotic aspects of gestures and choreographic games played with objects (hands, arms, legs, …), as if we were looking (as voyeurs) at everyday rituals, individual performances that can function as models for the abstract behaviour of a dual humanity. It is as if we were conducting an analysis while also wishing to operate a synthesis.

 

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