WHILE SATELLITES DANCE - Paulo Arraiano Solo Exhibition

Paulo Arraiano

"WHILE SATELLITES DANCE"

TAL Tech Art Lab Gallery
Rio de Janeiro, Brazil

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24 Sep - 24 Oct 2016

Opening 24 Sept - 13h - 18h


The contemporary Portuguese artist Paulo Arraiano presents his first solo exhibition in Brazil entitled While Satellites Dance, opening on 24 September at TAL Tech Art Lab Gallery, located in the old Bhering Factory, in Rio de Janeiro’s harbour district.

Paulo Arraiano held numerous solo and group exhibitions as well as site specific projects, of which stands out "Point of View" at Palace Of Pena (Sintra, Portugal); "Down to Earth" at The Dot Project Gallery (London, United Kingdom); “1/81” Coa Museum (V. N. Foz Côa, Portugal); "Fold/Fault" at Forty/Forty Gallery (Warsaw, Poland); “Circles Of Hope”, Trädgården (Stockhoml, Sweden) and many others.
The artist has also participated in multiple international and public art projects and his works are part of various public collections, such as Luciano Benetton (Italy); Zewnetrznej Sztuki Foundation; (Poland); D. Luís Foundation / Museum Quarter, (Portugal), Pestana Group Collection / Cidadela Art District (Portugal); Museé d'Art Moderne (Luxembourg) and the CAC Museum (Malaga, Spain).

For his latest exhibition the artist shows works made only in 2016 that consists mainly of two-dimensional pieces and installation. Paintings in large and small formats are presented and displayed in the gallery, creating their own rhythm and a feeling of closeness and remoteness, such as the zoom in and zoom out of images sent by satellites. This new series is inspired by human relationship within the contemporary society context, controlled by artificial satellites.
 
In a critical reflection of his time, such as satellites moving and drifting in certain orbits, Paulo Arraiano uses his body and movements based on gestural abstraction, thus creating a direct correlation between the body and the natural flow. The result of this process culminates in images similar to what we see in photographic and digital records made by satellites.
 
In a context of transformation of human perception influenced by the digital innovations of our society, a dialogue is created between the post-digital era and the organic essence of our natural being, immersed in an electronic environment. Those elements symbiotically contribute to drive the body to its ancient basic elements of human existence although constantly perceived by technology. The "digital act" contrasts and coexists with our human nature in an eternal cross communication. The continuous influence of our own accelerated pace, propagates in a new paradigm of new media and digital realities that alters our perception of time, space and reality, in contrast to the availability of a sensory contemplation.
 
We interact through analogic and electronic signals of subtleties and speed, guided by information that travels throughout artificial satellites. Orbit bodies, created by man, thousands of them, are constantly flowing through the sky and directly acting in our daily lives. Far from our eyes, they constantly influence us. We receive their information as we also move by various routes and at varying speeds, virtually connecting sky to earth. The coexistence of our organic and digital aspects is reflected in Paulo Arraiano’s newest creations. His painting invites us to contemplate the deepness of the sky, without loosing the certainty of being part of a continuous accelerated generation of "scrolls and swipes."
 
Embodying cultural and physical shifts, currently redefining the city of Rio de Janeiro, is the former Bhering factory. Located at the port region of the city. 20,000 square meters of what used to be an abandoned German iron and steel construction, now daily occupied by a flock of creative minds. Impressive in its industrial innards, the aspects of a once powerful and afterwards ruined factory, now remains, partly renovated by its tenants, providing a unique type of inspiration.
Located at Bhering since 2011, TAL Tech Art Lab held exhibitions and cultural events inside and outside it’s own space. TAL is a gallery, cultural platform and residency program that creates, supports, promotes and conducts contemporary art events, exhibitions and artistic productions, online and offline. Now, after a major renovation, reopens its gallery space with Paulo Arraiano’s solo exhibition. The artist’s works will also be shown at TAL Gallery’s stand at the Vista Pavilion at the ArtRio 2016 - International Art Fair.

Text: Gabriela Maciel


 

- t r a n s i t i o n -

Pedro Pascoinho

Exposição - T R A N S I T I O N - de Pedro Pascoinho que, apresenta em primeira mão o mais recente trabalho do, consagrado, artista. Composta por mais de 20 obras, na sua maioria pintura a óleo s/ papel, mas também em carvão e giz, esta exposição vem sublinhar a contemporaneidade da interpretação aliada à intemporalidade, já reconhecida de tão intrínseca ao artista e à sua obra. A exposição estará patente até 14 de Agosto, na [Galeria] Joana Arez_Cidadela Art District / De 4ª Domingo e Feriados / Das 11h às 20h. (Encerrada para almoço, das 14h às 15h)

In attach, all the information regarding the exhibition - T R A N S I T I O N -  By Pedro Pascoinho, presents the artist's latest work. more than 20 paintings mostly oil on paper, but also in charcoal and chalk, the exhibition underlines the contemporary interpretation combined with the timelessness, already recognized as intrinsic to the artist and his work. The exhibition will be open until August 14, at Joana Arez [Gallery] _ Cidadela Art District / Wed_Sunday and Holidays / 11am_8pm (Closed for lunch: 2pm_3pm)

Info & Cont.: info@joana-arez.com

ANDREIA SANTANA, NOVO BANCO REVELAÇÃO FINALIST

NOVO BANCO and Serralves Museum have launched the 2016 edition of NOVO BANCO Revelação, which aims to distinguish outstanding young Portuguese photographers. 

Portuguese photographers, or foreign photographers resident in Portugal, under 30 years of age (at the application deadline on April 30) may take part in the NOVO BANCO Revelação competition. 

Commencing with this edition the prize adopts a new format, providing an annual award to the main winner, who will receive a higher production grant of 15,000 euros.

The new format of the NOVO BANCO Revelação prize has an international jury, which in the initial stage will be responsible for selecting four projects from all the applications received. The names of the four selected photographers will be announced in May and a catalogue of their works will be published.

In the second stage, the jury choose will choose the winner of the competition, from the shortlist of four projects. The winner, to be announced in July, will receive a production grant of 15,000 Euros, and will have the unique opportunity to present his or her work in a solo exhibition held at Serralves Museum, that will open in November.

Launched in 2005, this initiative has distinguished and awarded prizes to 39 young artists.

By forging a partnership with the Serralves Museum in an initiative that promotes the emergence of new artists, NOVO BANCO strengthens its strategy of cultural patronage of photography and simultaneously intervenes in the community through innovative ways to stimulate artistic production, especially in the context of young Portuguese contemporary artists. 

Point Of View, Park Of Palace Of Pena

Point Of View Site Specific / Group Exhibition, Park O Palace Of Pena, Sintra, Portugal  (25.05.16 - 25.05.17)
Alberto Carneiro, Alexandre Farto / Vhils, Antonio Bokel, Bosco Sodi, Gabriela Albergaria, João Paulo Serafim, NesPoon, Nils-Udo, Paulo Arraiano, Stuart Ian Frost


2016 represents the bicentenary of the birth Ferdinand II. Ferdinand of Saxe-Cobourg and Gotha (1816- 1885), following his purchase of the ruins of the Jerónimo de Nossa Senhora da Pena Monastery, and with support from Baron von Eschwege (1777-1855), in 1838 began construction of the National Palace of Pena and a Park spanning 85 hectares. In total and complete symbiosis, for the last two decades they have integrated the Cultural Landscape of Sintra, registered by UNESCO as World Heritage and encapsulating the greatest romantic architectural landmark in Portugal. Ferdinand II also commonly known as the ‘artist king’ – was one of the most important patrons of the arts in Portugal. Renowned as a collector, not only from the artistic panorama but also of species of flora from the four corners of the world (Nordic forests, Australia, New Zealand, North America, Brazil and...), he transformed Sintra from a rural landscape with only low level tree coverage into the lush scenario that we today encounter and rendering the National Palace of Pena and its Park into an installation established by man in permanent dialogue with the pre-existing nature.

“Point of View” arises out of the expression Point de Vue, applied in landscape architecture and interrelating directly with the concept of perspective. This seeks to set out a contemporary (but also timeless) vision on the Man/Nature binomial and, simultaneously, a cultural dialogue between them. This dialogue was established a priori by Ferdinand II at the time of his design of a project in which Art/Architecture/Nature were mutually interwoven. On the premise of providing continuity to this dialogue, “Point of View” gathers together, in the National Palace of Pena Park, 10 national and international artists - Alberto Carneiro (PT), Alexandre Farto/Vhils (PT), Antonio Bokel (BR), Bosco Sodi (MX), Gabriela Albergaria (PT), João Paulo Serafim (PT), NeSpoon (PL), Nils-Udo (GER), Paulo Arraiano (PT) and Stuart Ian Frost (UK) for an in situ exhibition commissioned by Parques de Sintra.

Based upon the historical and conceptual assumptions of Ferdinand II, “Point of View” now endows continuity to a culturally pre-established dialogue but with a very contemporary perspective; a reflection in which the cultural and natural landscapes are not opposing but rather complementary languages as happens with the dichotomies light/dark, interior/exterior, and tangible/intangible. Transporting this discourse into the exhibition context essentially engenders an intimate dialogue between Nature and Culture. This intentional displacement seeks to play with the idea of creativity within the conditions of its remote and seminal origins and thus seeking to feed our desire for a universal language, an intelligible structure capable of spreading a collective subconscious in an era saturated with interfaces and satellites technological, artificial , thereby returning an emotive and contemplative experience to the universe of visual representation.

This - Man/Nature - dialogue correspondingly questions whether a moment, an epoch, in which, to a greater or lesser extent, there looms the restlessness of those who inhabit a space in which not everything may be grasped, where speed becomes proportional to forgetting in generating a condition that leads us to reinvent the way in which we read and interpret reality and in which there is debate about new forms of dialogue, human relations and processes of contemplation as well as the relationship with those features pre-existing prior to Man. This also questions that deemed contemporaneous society, controlled by artificial satellites, in which the speed of post-digital generation dictates time and artificially replaces the natural/analogic world. The frequent scroll through reality in the search for “new histories, in which the reference to contemplation becomes lost, increasingly contributes towards the dislocation of human beings from their natural elements.

In this context, the ten artists work as agents for the re-connection and dialogue between the binomial of Man/Earth (concepts that in their essence are the same even while a notion that gains little traction in that deemed contemporary society) through a process of geographic acupuncture that thus fosters different in situ dialogues with a living organism. In this way, “Point of View” strives to celebrate and recall this correlation and the collaboration first launched by Ferdinand II in 1838 following his building of a neuralgic bridge to human cultural heritage. 


Aujourd'hui je dis oui, group exhibition, galeria da boavista


Aujourd'hui je dis oui - Group Exhibition, Galeria da Boavista, April 15 - May 14, 2016

Ana Manso, Andrew Birk, Antoine Donzeaud, Asger Dybvad Larsen, Béla Pablo Janssen, Benoit Platéus, Ittah Yoda, João Paulo Serafim, Manor Grunewald, Manuel Forte, Michele Gabriele, Miguel Januário, Mikkel Carl, Nuno Patricio, Olivier Kosta-Théfaine, Pedro Barateiro, Pedro Matos,  Ricardo Passaporte, Samuel François and Sasha Kurmaz.


Aujourd’hui is pleased to present "Aujourd’hui je dis out", a group exhibition in Lisbon curated in collaboration with Domenico de Chirico. Gathering works from multiple national and international artists, the exhibition will be on view from the 15th of April until the 14th of May, featuring works by: 

Ana Manso, Andrew Birk, Antoine Donzeaud, Asger Dybvad Larsen, Béla Pablo Janssen, Benoit Platéus, Ittah Yoda, João Paulo Serafim, Manor Grunewald, Manuel Forte, Michele Gabriele, Miguel Januário, Mikkel Carl, Nuno Patricio, Olivier Kosta-Théfaine, Pedro Barateiro, Pedro Matos, Ricardo Passaporte, Samuel François and Sasha Kurmaz.

This exhibition embodies a fluid and fluent dialogue between the most diverse national and international artistic practices in contemporary art – the purpose for which Aujourd’hui was established. 

Aujourd’hui emerges as a Lisbon based publication about contemporary art. It has since then organically evolved from an observant spectator concentrated on the most pertinent contemporary art practices, to become an operating and independent cultural agent. It celebrates its first anniversary in 2016 with this first group exhibition: "Aujourd’hui je dis out".


Curated by: Aujourd'hui in collaboration with Domenico de Chirico.
Photos by: Maria Rita
Sponsors and supporters: EGEACGalerias MunicipaisFlattered ApartmentsRedbull.

PEDRO MATOS, UNDERDOGS GALLERY

Pedro Matos - Less Than Objects
Underdogs Gallery, February 19 - April 02
www.under-dogs.net

On the face of it, the body of works presented in Less Than Objects seems, in all, to explore only the domain of abstraction, but what Pedro Matos shows us here is that this abstraction contains, too, the representation of something. Weaving a skilful reflection based on undervalued elements present in the material reality, of both human and natural origin, that surrounds us, the exploration which the artist undertakes of the interstices between representation and abstraction expresses an intentional articulation between one and the other that seeks to elevate the latter to a status in all equal to that of the former. By recreating and transposing disparaged material elements to a space of aesthetic contemplation, the artist translates the abstract quality of the texture of the random, of imperfection, of decay and mutation, as well as the existing correlations between human action and the effect of nature, into proposals that suggest their sublimation and acceptance.

Working the depuration of these frontier elements, of this formal and conceptual ambiguity present in the reality of the objects he highlights, Pedro Matos seeks to make us focus our gaze on that which frequently, in its original context, is ignored, stressing the singular and ephemeral beauty it contains in itself. “Less than Objects” is, in this way, an indagation into the nature of elements that are not really complete objects, but also into the intangible issues they contain, into their quality as conduits for ideas or aggregators of content, into, in short, the contemplation of a poetic significance that transcends their physical appearance.

Text by Miguel Moore.
Photos by Bruno Lopes

 

 

 

PERIPLO GROUP EXHIBITION, CAC MÁLAGA

António Bolota, Paulo Arraiano and João Paulo Serafim (CAD Resident Artists)
At CAC Málaga Museum, Curated By Fernando Francés


El CAC Málaga presenta la exposición Periplo/Arte portugués de hoy, que reúne el trabajo de 211 artistas portugueses, que han empleado como soporte un lienzo con medidas reducidas (10 X 12 centímetros) para interpretar libremente su trabajo. La exposición, comisariada por Fernando Francés, es un paseo por las tendencias artísticas actuales, además de incorporar las nuevas corrientes, como el arte urbano. Artistas portugueses consagrados, como Julião Sarmento o Rosario Rebello de Andrade, junto a otros emergentes como Sara Bichão o Rita Cadete, comparten espacio en una selección única y variada de trabajos. Además de la pintura, se podrán ver  dibujos, fotografías, instalaciones y piezas escultóricas más allá de los límites físicos del lienzo.

IMAGO MUNDI, LUCIANO BENETTON COLLECTION

António Bolota, Paulo Arraiano and João Paulo Serafim (CAD Resident Artists)
At Luciano Benetton Collection


Portuguese art signifies an art from Portugal that has nothing Portuguese about it, so as not to imitate what is foreign. Being Portuguese, in the proper sense of the word, means being European without the bad form of nationality. - Fernando Pessoa

To understand the desire of the Portuguese to set sail in search of new worlds, we just have to go to Lisbon, to the mouth of the Tagus. Passing through the Arco da Rua Augusta in Praia do Comercio, gateway onto the Atlantic, the attraction for the unknown that made Portugal a land of explorers becomes almost palpable. Some of the greatest navigators of all time set sail from this corner of Europe that borders the sea, from a capital that even now shows an unconditioned passion for travel. It is, therefore, the ideal place to reflect on the Portugal of today, whose energies are directed mainly towards the economic recovery of the country. Since 2011, in fact, in exchange for a plan of international aid, the government has introduced reforms that are as severe as they are unpopular in order to revive the economy, causing widespread discontent that has mixed with that deeply rooted expression of Portuguese culture, the saudade, a kind of poetic melancholy for the past. But Portugal is still the country of Vasco da Gama, and the ability to look to the world and to the future has not abandoned the Portuguese. So, to compensate for the steady decline in domestic consumption, companies have invested in new technology to attract customers and compete abroad. Today exports are worth more than 40 per cent of Portuguese GDP, in 2009 they only accounted for 27 per cent. On a cultural level, now the emergency (which had led to

hypothesis, subsequently averted, of auctioning 85 state-owned works by Mir6 to swell the public coffers) is receding, the country is animated by a strong resolve - especially by the new generations - to build a better future through education. And in this context, art, once again, plays a key role. Portugal, moreover, can count on a tradition whose origins are lost in the mists of time. Graffiti discovered in 1994 in Foz Coa (in the Douro region) confirms that artistic expression in Portugal dates back twenty thousand years. This rock art is accompanied by dolmens and ritual sculptures, scattered across different locations. From the Moorish architectural influence, with its patio and azulejos (from the Arabic az-zuleycha: polished stone, terracotta), to the sad and passionate strains of Fado, combining Arabic, Lusitanian and African notes, Portuguese tradition has often become a springboard towards the future. An opportunity to see the country's past through modern eyes. If twentieth century modernism is substantially linked to the European movements, particularly those in France, in the seventies, Portugal developed a more autonomous artistic language in the wake of the "Carnation Revolution" of 1974, in the euphoria determined by the end of the Salazar dictatorship and the intellectual isolation of the nation. A now historic exhibition of 1977 - Alternativa Zero, Tendencias Polemicas na Arte Portuguesa Contemporer nea, organized at the Galeria de Arte Nacional de Belem in Lisbon - can be considered the symbol of a reclaimed political and cultural freedom. A new aesthetic horizon, a fresh beginning, using the languages of modern art, such as happenings, performances, video art, body art. Since then, Portuguese visual art has once again begun to reclaim its place, opening a dialogue with the rest of the world to affirm both the specificity of Portuguese culture and its internationality. 

Today, the two main cities, Lisbon and Oporto, are competing for the contemporary art scene with the energies of many young artists, designers, cultural collectives and gallery owners, all in search of a future to be created. A number of avant-garde institutions in the international art circuit are based in Lisbon, in many cases products of the foresight of private collectors, like the Calouste Gulbenkian Foundation, the Museu Colecao Berardo and Kunsthalle Lissabon. In Oporto, the Serralves Museum is a leading player, a minimalist concrete and steel building set in the park of the Serralves Foundation, designed by Alvaro Siza, Pritzker prize winner (a sort of Nobel Prize of architecture) in 1992. It is also a reminder to us that Oporto is, and has always been, a city of great architects and great projects, such as the Burgo building, a geometric complex with an 18-storey skyscraper, and the Trindade Metro Station, both designed by Eduardo Souto de Moura. Among other things, Siza and Souto de Moura jointly designed the Municipio subway stop in Naples, one of the city's captivating art stations. Appreciation of Portuguese art also involves less central areas of the country. In Alentejo, one of the least prosperous regions, the Eugenio de Almeida Foundation has opened a museum dedicated to contemporary artistic languages in the ancient city of Evora, housed in a historic building that was once the headquarters of the Inquisition. Further east, in Elvas, near the border with Spain, the city's Museum of Contemporary Art, established in 2007, is located in a historic building beautifully decorated with azulejos, in a poetic mix of tradition and contemporary appeal. The magnificent tradition of the azulejos, and that of textiles and of cork, are repeated in many artistic pursuits aimed at the rejuvenation of historic crafts. A good example is the work of artist Joana Vasconcelos, who presented a real Lisbon ferry at the Venice Biennale

in 2013, decorated on the outside with thousands of blue and white ceramic tiles, as a symbol of the shared similarities between the two cities: the sea and navigation. In general, as evidenced by this collection of 213 10x12 centimetre works, the focus of the Portuguese artists is at once the future, feeding on the past and its magic, and the contradictions of a great history. If, as Portuguese contemporary art expert Filipa Casulo writes in her introduction, today "Portuguese artists have difficulties in expanding their work internationally", Imago Mundi aims to support and promote their search for new horizons. The artists of Portugal bear witness to our presently difficult, on occasion tormented, times. But they are also able to intercept and re-elaborate the demands for change. Inventors of new opportunities, they consider their work a necessary and vital requirement. As the famous Portuguese director Manuel De Oliveira said, "if they ask me why I make films, I immediately think: why not ask me why I breathe". 

Luciano Benetton

RICARDO PASSAPORTE AT GALERIA ALEGRIA, MADRID

Ricardo Passaporte - Where Quality Is Cheaper
aleria Alegria, January 16 - March 12
www.galeriaalegria.es

Lidl's history goes back to the 1930s, when the company was founded in Germany as a grocery wholesaler. Today, Lidl is one of the largest grocery retailers in Europe. The first Lidl stores were opened in 1973 and by the 1980s Lidl was a household name throughout Germany. During the 1990s Lidl started to open stores outside Germany and today Lidl stores can be found in nearly every country in Europe. Lidl is now well established as a major European food retailer. Lidl takes pride in providing top quality products at the lowest possible prices to all our customers across Europe. Our stores are operated by a network of dedicated store staff, helping to establish and further develop the success of the company. Lidl will continue to play a major role in the exploration of new markets in Europe and beyond.
The idea behind a logo is to reach the greatest number of people, people with a high aesthetic sense or non-existent. It has to be perfect or, at least, 100% recognizable even if you only could see 1/4 of it.
The idea behind graffiti is very similar, to reach the greatest number of people , imposing words and shapes repeatedly.
When we look to Ricardo´s paintings it seems to be somehow contradictory. If we think that the LIDL logo is a result of countless tests to reach a “perfection”, it will automatically lead us to something that resulted from something methodical, clean and functional. Unlike Ricardo´s painting that requires a good level of self-discontrol” as if he has no respect for the canvas itself but respects the aesthetic of the logo design.
Ricardo Passaporte rejects his painting skills, focused only in the medium and in the matters, he paints with his right hand as if he couldn´t control the spray can properly or if it was the left hand. There is a relation between creation / destruction where it´s impossible to know what comes first.