Tag Archives: portugal

Sexuality and representation

The artist Julião Sarmento participates in the group exhibition ‘RED LIGHT: Sexuality and representation in the Norlinda and José Lima Collection’ at Centro de Arte Oliva, João da Madeira, Portugal, until March 14, 2021.

 

RED LIGHT presents a selection of works from the Norlinda and José Lima art collection, having in common the approach to sexuality, declined in multiple themes, both presented in a complement of counterpoint and in a discordant confrontation: the representation of the body, male and female nudity, eroticism, fantasy, desire and pain, object and subject, pleasure and domination, places of female representation, male gaze, voyeurism, exhibitionism and self-representation in art.

 

Cuarated by Sandra Vieira Jürgens.

 

 

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Culturgest Porto

Speculative Intimacy – Culturgest, Porto.

 

Adaptación de la exposición de Fidelidade, Lisboa. Del 18 de diciembre, 2020 hasta el 28 de febrero de 2021, se puede visitar Speculative Intimacy, en Culturgest Porto.

 

A partir de las leyes de atracción de los cuerpos celestes y su posible analogía en el campo de las relaciones humanas, la exposición que aporta Alicia Kopf al ciclo ‘Chain Reaction’ traza un diagnóstico de las nuevas formas de intimidad en la era de las tecnologías digitales y la inteligencia artificial.

 

Más concretamente, los vídeos, dibujos y textos recogidos en esta exposición construyen un doble movimiento entre ellos. Por un lado, buscan en los desarrollos más recientes en cosmología y física cuántica vislumbres de una ley rigurosa del comportamiento de los cuerpos: una ley tan completa que explica la mecánica de lo que nos impulsa a un Otro, que finalmente revela la naturaleza de esa energía peculiar que llamamos amor. Por otro lado, estas obras nos colocan frente a la virtualización que las nuevas tecnologías prometen imponer a las formas y vivencias de ese mismo amor: la pantalla del móvil como baluarte sensual de contactos interpersonales, el espejismo del placer a la distancia de un clic, el aislamiento paradoja de la ultraconectividad, seducción transcrita en forma de algoritmo.

 

 

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Mais nada se move

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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Cabrita: Obras na Coleção de Serralves.

Museo Municipal de Caminha, Portugal.

07/08 – 29/11/2020

 

 

La colección Serralves vuelve al Museo Municipal de Caminha con una exposición de obras de Cabrita.

 

La muestra reúne un conjunto de obras del artista que pertenecen a la colección del Museo de Arte Contemporáneo de Serralves y que dan una perspectiva sobre la evolución de la obra de Cabrita a lo largo de los años 80 y 90.

 

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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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Screening of Sarmento’s work and a talk by the director

Bush House Lecture Theatre 1,

King’s College London

6.12.2019, 18-20h

 

A special screening of some of Julião Sarmento’s work that openly opposed the Salazarist state repression and the profound cultural conservatism of the era. The screening will be followed by a very special talk with the director himself chaired by Bruno Marques and Érica Faleiro Rodrigues.

 

Programme of films:

 

Legs (15*). Fixed frame shooting of a sequence centered on the bare pubis of a female body. A slow and sensual alternation of forward and backward leg movement repeats indefinitely.

Portugal 1975 Dir. Julião Sarmento 3´45´´

 

Copies (15*)

Two naked women face each other replicating self-directed gestures and caresses. Near the end, the director steps out of his voyeuristic shadow, to turn his hand to playing the exhibitionist.

Portugal 1976 Dir. Julião Sarmento 14´23´´

 

Faces (15*)

Close up of an endless kiss between two women, centered on their mouths and the movement of their tongues.

Portugal 1976 Dir. Julião Sarmento 44´22´´

 

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A ROVING GAZE (UM OLHAR INQUIETO)

Pedro Cabrita Reis

Opening 19.11, 22h
20.11.2019 – 22.03.2020
FUNDAÇÃO DE SERRALVES, Porto, Portugal

 

Specifically conceived for the Museum’s spaces, a single, large-scale work with a very clear autobiographic quality will reflect the ever-present relationship between Cabrita Reis’s artistic practice and his reflection on the role of museums. Far from any chronological concern, A ROVING GAZE includes photographs of a large selection of Cabrita Reis’s works from 1999 to the present, displayed on structures created by the artist, along with a series of objects, drawings, documents and other works, the whole generating a total installation environment in which the artist’s life and work intersect. 

 

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Juliao Sarmento, Film works

02.07 – 11.10.2019

Escola das Artes, UCP, Porto (PT)

 

Curadoria de Nuno Crespo

 

A Exposição Julião Sarmento. Film Works irá fazer a abertura oficial do programa público da Porto Summer School on Art & Cinema, no dia 2 de julho, às 19h30 e ocupará a Sala de Exposições da Escola das Artes, Universidade Católica Portuguesa. Esta exposição individual concentrará parte importante do trabalho que o artista fez com a imagem em movimento.

 

Serão mostradas dez obras de diferentes épocas – desde 1, 2, 3 (1975) até O Fim do Mundo (2015) -, expostos em diferentes formatos, formando um puzzle de referências teóricas, literárias, cinematográficas e reflexões sobre atos e gestos quotidianos.

 

A concentração destes trabalho nesta exposição individual, permite olhar a obra de Julião Sarmento a partir de uma série de obsessões, como a repetição enquanto modo de desconstruir a normalização das imagens e a reflexão sobre o lugar da linguagem e das suas convenções.

 

 

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Paintings #26, 2016

Lisbon, 1956

Lives and works in Lisbon

 

Cabrita’s complex work can be characterized by an idiosyncratic philosophical and poetical discourse embracing a great variety of means: painting, photography, drawing, and sculptures composed of industrial materials and found objects.

 

His work has steadily received international acknowledgement, thus becoming crucial and decisive for the understanding of sculpture from the mid-1980’s onwards. By using simple materials that are submitted to constructive processes, Cabrita recycles almost anonymous reminiscences of primordial gestures and actions repeated in everyday life. Centered in questions relative to space and memory, his works gain a suggestive power of association which reach a metaphorical dimension by going beyond the visual.

 

The complex theoretical and formal diversity of the work of Cabrita proceeds from an anthropological reflection, which is contrary to the reductionism of sociological discourse. In fact, it is on silences and indagations that the work of Cabrita is based and built on.

Centro Internacional das Artes José de Guimarães (CIAJG), Guimarães, Portugal

29.6 -7.10.2018

 

Leopard in a Cage (leopardo numa jaula) propõe, do ponto de vista curatorial, o desafio de recuperar um conjunto de projetos que nunca antes haviam sido mostrados ou mesmo realizados, que são apresentados em diálogo com trabalhos novos, especificamente concebidos e produzidos para esta exposição.

O título da exposição cita um projeto de 1975, “Um Leopardo na SNBA”, que visto a esta distância temporal, condensa muitos dos traços distintivos da obra do artista. O projeto, que nunca viria a realizar-se, e que é agora apresentado enquanto tal, estabelece, simultaneamente, o tema animal, referencial nestes e nos anos seguintes do trabalho de Julião Sarmento, o tema do desejo, uma estética do rigor e da contenção, um trabalho com as coordenadas invisíveis do tempo e do espaço, o campo de interpretação deixada ao espetador.

Talvez aquilo que sobressaia da imensa diversidade de projetos e de meios nesta exposição seja a forma como o artista parece reclamar para o processo criativo uma liberdade radical e inalienável, uma insaciável curiosidade por tudo aquilo que o rodeia, apropriando-se de objetos de uso comum (um simples, efémero e pequeno bilhete de elétrico que é transposto, em aumento de escala, para tapeçaria), citando obras de outros artistas (Carl Andre) ou criando dois conjuntos de pinturas aparentemente monocromáticas, respetivamente com todos os tons de brancos e pretos encontrados no atelier.

A exposição é assim um desconcertante palimpsesto em que tudo parece ser dito duas vezes, em modo de repetição, mas em que nada é exatamente o mesmo, em que nada é igual. Neste regime de alteridade, cabe ao espetador a aliciante tarefa de nomear (distinguir) aquilo que vê ou de imaginar (construir) aquilo que ouve, ampliando, através da experiência estética, a perceção ou o conhecimento do real.

 

 

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Objects on the New Landscape Demanding of the Eye (part 3)

We are pleased to present Julião Sarmento’s fourth exhibition at Galeria Joan Prats, titled Objects on the New Landscape Demanding of the Eye (part 3), in which we will show his recent work, with installation, sculpture and painting.

 

The title of the exhibition recalls that of the first exhibition held at Ferus Gallery in Los Angeles in 1957, which included paintings by various artists and in which the installation and assemblage pioneer, Edward Kienholz, participated.

 

In the exhibition, the installation Crash Dummy, 2016, and the sculpture Broken Alice, 2014, coexist with a series of paintings that show triangular shapes, delicately drawn, based on the fundamental principles of fractal geometry, and other works inspired by the Little Dancer Aged Fourteen of Degas. This diversity of supports and techniques present in the exhibition is characteristic of the artistic practice of Julião Sarmento and, on this occasion, stands out for the combination of materials that could be defined as poor with materials subject to advanced technological processes.

 

Julião Sarmento produces a work that adopts multiple forms with drawings, paintings, sculptures, performances and videos that speak of the artifices of seduction and the mechanisms of desire. From its beginnings, in the middle of the seventies, the work of Julião Sarmento has been characterized by its archival character. Thus, in his works, they can appear feminine silhouettes, architectural plans, literary fragments and objects.

 

Often, these coded iconographies explicitly present us with the signs needed to identify to the source of his imagery and its meanings. This constant oscillation between appearance and reality, fiction and documentation, invention and fact with which Sarmento confronts us is not at all a gratuitous game. The assemblages fashioned by the artist play on this dialectic of superficial interpretation, where many elements are perfectly identifiable, even banal or anodyne, and deeper interpretation that drives us to seek correspondences, links and relations without realizing that the very fact of carrying out this search is itself the meaning we are supposed to discover.

Broken Alice, 2014

Lisbon, 1948-2021

 

 

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.