Mel

Exposición / Earlymade Cedofeita / Rua do Rosário 235 / Oporto, Santiago de Cuba, Cuba
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Cuándo:
23 nov de 2024 - 11 ene de 2025

Inauguración:
23 nov de 2024

Horario:
De lunes a sábado de 11 a 19 h.

Precio:
Entrada gratuita

Organizada por:
Lehmann + Silva, Monitor

Artistas participantes:
Dayana Lucas, Elisa Montessori, Joana da Conceição

       

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Descripción de la Exposición

MEL (a collaborative project by Monitor, EARLYMADE Cedofeita, and Lehmann + Silva) is pleased to present, for this second event, a compelling dialogue between the works of Dayana Lucas (Caracas, Venezuela, 1987), Elisa Montessori (Genoa, Italy, 1931) and Joana da Conceição (Rebordões, Portugal, 1981). These three bodies of work, centered on the theme of nature, are showcased across MEL’s vitrine, garden, and basement. MEL’s Vitrine: Lightness, transparency, and emptiness are central themes in “Kew Gardens” (2015), where large cellophane sheets, drawn on by the artist, are arranged to form a greenhouse-like structure (as quoted by Ilaria Gianni, 2016). For Elisa Montessori, drawing is an agile and versatile medium: it can unfold into a wide, airy flow that transitions into painting when stretched or can fold, tear, and crumple, engaging with space as volume and sculpture (excerpt from Davide Ferri's essay, 2019). MEL’s Garden: Dayana Lucas has consistently explored the symbiotic relationship between art and nature, incorporating natural elements or evoking them through drawing, sculpture, installation, or performance. “)(“, a sculpture rising from the ground toward the sky, engages in a continuous dialogue with the landscape, where two elements meet at a point of balance, creating an almost symmetrical, nearly perfect relationship between above and below. Displayed at MEL Garden, this work underscores her fascination with the line as a foundational element, fluidly transitioning from drawing to sculpture. “)(“ was previously exhibited in “Em Viagem” at Quinta Magnólia (Madeira Island, Portugal) in 2019. Lucas’s connection to organic materials is evident in her “Untitled” series (2021–2022), where she uses ink derived from the sap of the dragon tree (Dracaena Draco), known as “dragon's blood” for its red hue. This act symbolizes a pact with the natural world, where artistic expression engages with the essence of the raw material, from extraction to its mark on paper. Her thematic exploration continues through projects such as “Pulso [Pulse]”, presented at Galeria Jahn und Jahn in collaboration with Galeria Encounter, Lisbon (2022); “Negro Secreto”, exhibited at Galeria Lehmann + Silva, Porto (2019); and “Quero ver as minhas montanhas” / “A Defesa da Natureza” by BoCA - Biennial of Contemporary Arts, Faro (2021), where she performed “Cair para o alto”. This performance involved delicate water drawings on the ground that gradually evaporated, leaving only the trace of a circle of fire. MEL’s Basement: The works of Joana da Conceição and Elisa Montessori engage in a dialogue, bridging generational divides through a shared exploration of natural themes. Joana da Conceição presents a series of works created between 2012 and 2019, some of which were featured in “Cores em Silêncio” at Galeria Lehmann + Silva, Porto (2018). Inspired by natural elements such as cells, blood, and crystals. The artist applied a microscopic lens to Nature, bringing it to a macro scale for everyone to observe. This selection of paintings goes beyond a simple micro/macro view of nature, offering an engaging interpretation of the pieces and Joana’s artistic trajectory. The majority of these works align with what Gilles Deleuze describes in his book “Francis Bacon: Logique de la sensation” (1981, Éditions de la Différence) as the ‘diagram’ in painting. According to Deleuze, the idiosyncratic diagram — the singular pictorial language of each artist and the way they organize their painting — destabilizes representational order and creates ‘zones of indiscernibility’, where new forms and sensations come to life. In this selection, “Mundo Tripartido” a painting from 2012, is essential to the exhibition as a contrasting element. The intrinsic order of this painting prevents the diagram from functioning, creating a counterpoint to the other eight works (from 2016 and later) where the diagram is fully realized. This juxtaposition not only allows for a contrast between pieces with and without the ‘diagram’ but also highlights Joana’s evolution as an artist, who continues to develop her own visual language. Continuing in the basement, alongside Joana da Conceição’s paintings, Elisa Montessori exhibits a series of sketchbooks created over the years. Books have always been faithful companions to Elisa Montessori, a passionate reader and author of numerous publications. Her intimate relationship with literature and poetry has inspired works dedicated to women writers such as Emily Dickinson, Marianne Moore, and Ingeborg Bachmann. Her unique, handmade books mark significant moments in her artistic journey. For Montessori, the sheet of paper is a space for confessional engagement, an element she approaches freely, unbound by constraints. This one-on-one relationship unfolds in a writing-drawing continuum, composed of full and empty spaces, balancing abstraction and figuration. Page by page, her compositions weave together evocative narratives that invite a new way of observing the world.

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