Tag Archives: lisbon

Antoni Muntadas

Calouste Gulbenkian Foundation, Lisbon

05.05 – 18.09.2023

 

In the year that marks the 40th anniversary of the Calouste Gulbenkian Foundation’s Modern Art Centre (Centro de Arte Moderna – CAM), Histórias de uma Coleção [Histories of a Collection] is an opportunity to revisit some of the most significant works from the CAM Collection, acquired by the Gulbenkian Foundation since the late 1950s, and to get to know its lesser-known or previously unseen works.

 

The Calouste Gulbenkian Foundation acquired its first works of modern art in the late 1950s, with the intention of including them in temporary travelling exhibitions organised by the institution. It also purchased works from its grant holders, in the context of the support for artists set up immediately after its creation, in 1956. The Modern Art Centre Collection thus began to take shape, now boasting around twelve thousand works.

 

During the 1960s, the first groups of works purchased for the Collection included works by key figures in the national and international art scene, such as Amadeo de Souza Cardoso, José de Almada Negreiros and Maria Helena Vieira da Silva. The British artworks were mostly acquired between 1960 and 1965, featuring major players such as David Hockney and Bridget Riley.

 

The desire to build a space to house this burgeoning collection of modern art, which now included a significant number of national and international artists, was made official in 1979. The Modern Art Centre opened on 20 July 1983 with an innovative programme making up for the lack of a museum in Portugal dedicated to the promotion of 20th-century art.

 

The Collection grew exponentially from then on, leading to the purchase of works by a diverse range of artists in a plethora of media and supports. Built up over more than 60 years, the CAM Collection is the result of various encounters, intimacies, rifts, aesthetic relationships and contrasting artistic languages.

 

With an innovative presentation, Histórias de uma Coleção aims to bring together a wide spectrum of works covering different eras, geographies and artistic dynamics, underpinned by new narratives and interpretations. Key moments that explore the constitution of the CAM Collection will be highlighted, accompanied by a catalogue, with essays by the exhibition curators, among others, as well as a parallel programme to the exhibition that will seek to open space for reflection on what the CAM Collection represents and on models of collecting, allowing the public to comes closer to the works in the Collection and the stories they have to tell.

 

Curators
Ana Vasconcelos
Leonor Nazaré
Patrícia Rosas
Rita Fabiana

 

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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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The Lisbon Totem #3, 2017

Opening: 26.9, 7 pm 

Exhibition October – November

 

 

We are pleased to announce Pedro Cabrita Reis´ first exhibition in our gallery, presenting a selection of recent works of sculpture, paintings and photography.

 

The work by Cabrita Reis includes a great variety of media, varying from photography and drawing to large-scale paintings and sculptures, composed of industrial and often found materials, as in the case of Floresta, 2017, which we are presenting in the exhibition, and they frequently reach architectural dimensions. In this exhibition, we encounter works made of different materials such as steel, wood, aluminium, glass, enamel, bronze and acrylic. In the words of the artist, “Everything that exists is material which can be used in the construction of a work of art”. Consequently, he does not establish hierarchies between the objects and materials he work with. For Cabrita Reis, the material is the way of looking and thinking that changes everything.

 

Cabrita Reis´ work investigates the limits between architecture, sculpture, painting and photography, while he primarily considers himself a painter. His work is three-dimentional, often very personal and aim to alter, define or question the limits of spatiality. The meaning remains mysterious and fascinating. The contemplation takes form in the material, reaching the spectator, provoking new questions and linking imagination to experience.

 

Pedro Cabrita Reis began his career in the 1980s, as one of the most distinguished artists of his generation, introducing an universe of archaic and mythical references, collective memory and individual revelation. His works have had a great impact on the Portuguese and international culture, incorporating, into the more radical modern heritage, the possibility of returning to more traditional artistic disciplines: drawing, painting and sculpture.

Julião Sarmento

Lisbon, 1948- Estoril, 2021

 

 

From the early seventies, Julião Sarmento has explored the possibilities of painting, photography, sculpture, installation and video. There is a process of suggestive hiding in his works that situates the spectator not only as an observer but also as a participant of his narrative.

 

The woman is a recurring motive in his works and from it he elaborates concepts linked to sexuality, desire or seduction. The relationships he evokes, on latent tension, violence, obsession or mystery, are obtained from a meticulous dynamic between the participating agents in the physical space, in the case of installations, or in the edition, in case of films and videos. The resulting works unleash all the detached intrigue of the images in constant suspense and tension.