Inicio » Agenda de Arte

Olhos nos Olhos: um poema elementar

Exposición / Casa-Museu da Fundação Medeiros e Almeida / Rua Rosa Araújo, 41 / Lisboa, Portugal
Ver mapa


Cuándo:
06 nov de 2018 - 21 dic de 2018

Inauguración:
06 nov de 2018 / 18:00

Horario:
2ª a 6ª feira: 10h -17 - Domingo cerrado

Precio:
5 Euros

Organizada por:
Casa-Museu da Fundação Medeiros e Almeida

Artistas participantes:
Pedro Calapez

ENLACES OFICIALES
Web 

Correo electrónico
maria.mayer@casa-museumedeirosealmeida.pt
Etiquetas
Arte de Acción  Arte de Acción en Lisboa  Instalación  Instalación en Lisboa  Pintura  Pintura en Lisboa 

       


Descripción de la Exposición

eye to eye: an elementary poem What has died is dead. From loving comes life. Who says what, how where or when? How is love; nothing? Or all? Water? Fire? Good? Evil? Life? Death? For me the exhibition space in the Casa Museu da Fundação Medeiros e Almeida is a place for double representation. What is exhibited in its halls was once the object of a daily life that through a careful and saturated museological staging presents a life of success. The works of art bought and collected by Medeiros e Almeida, for his own prestige and personal enjoyment, are then made into an art collection, thus perpetuating this success in the future This collection, made up of objects, furniture artefacts and artworks of a remarkable quality (which goes beyond the legitimate status granted to it by the society of its time) show a sense for the care taken over detail, craft pieces of minute care and surroundings of luxury. The wall clocks, the porcelain vases, the silverware, the screens and desks that are still objects which possess some status, as well as the paintings and sculptures by masters from different periods show an eclectic view, made real in the decision to acquire, revealing a spirit for collecting that was aware of the need to broaden and complete his different collection. This house was a dwelling, hands stroked tables and chairs, bodies touched and books were opened. The presentation of a once-lived space, later turned into an exhibition space, has led me to create a series of works in an autonomous discourse. Their placement in this space confronts the possible paths and the rooms in which they are. The visitor’s wandering vacillates between the impertinence of the intruding objects and the stability of those thus consecrated as such. In a process of interfering communion with the stability of the museological demonstrating there is this intimately dependent dialogue of our gaze. And it is this dialogue that led me to think of Grünewald. The painting produced by Matthias Grünewald (1470-1528) is extremely expressive and dramatic, paradoxically theatrical and on occasion static. He uses colour in a broad palette, exploring strong contrasts or tones, as expressive as they are in the drawing. In the scenes he depicts I find pieces of a puzzle in which the characters represent a staging through gestures and sight. From the inside of his painting appear meanderings that do not directly touch the spectator but which inevitably place him as an element in the image. As we try to understand why certain gazes do not meet our own we are allowed to penetrate the inside of the painting. In this confrontation with the other’s gaze we try to see if it comes to ours. But it is the askance or dissimulated gazes that progressively lead to “eye to eye”. The supposition that the painter portrays himself in his work (opinions are divided, as little is known about his life) may lead us to another state, to that of contact with the painter within his own painting. I recall the book “After Nature” by W.G. Sebald, in which in the first poem of the trilogy he deals with the life and work of Grünewald. The face of the unknown Grünewald emerges again and again Long before that time pain had entered into the pictures. the degrading of life goes on slowly, and between the glance and his holding of the brush The immersion in the space of what is represented, whatever are the techniques and supports used, takes place in the intimate relationship between the person who sees, inside and outside of the painting. Going from the painting to the space where it exists is the next move. The exhibition space is the product of the crossing of gazes and feelings of the imagined parallel universe that is discovered in a painting. It is a giant pictorial space, full of details into which there penetrates an unknown “path to the world that no one took except the man who vanished without a trace.” Pedro Calapez, 2018 Quotes from “After Nature” by W.G.Sebald Text translation by David Alan Prescott


Imágenes de la Exposición
Vista nas salas da Casa Museu

Entrada actualizada el el 09 nov de 2018

¿Te gustaría añadir o modificar algo de este perfil?
Infórmanos si has visto algún error en este contenido o eres este artista y quieres actualizarla.
ARTEINFORMADO te agradece tu aportación a la comunidad del arte.
Recomendaciones ARTEINFORMADO

Premio. 17 sep de 2024 - 27 nov de 2024 / España

VII Puchi Award

Ver premios propuestos en España

Exposición. 19 nov de 2024 - 02 mar de 2025 / Museo Nacional del Prado / Madrid, España

Darse la mano. Escultura y color en el Siglo de Oro

Ver exposiciones propuestas en España

Formación. 23 nov de 2024 - 29 nov de 2024 / Museo Nacional Centro de Arte Reina Sofía (MNCARS) / Madrid, España

Hito Steyerl. Tiempos líquidos, tiempos feudales

Ver cursos propuestos en España