Where: Centro Internacional das Artes José de Guimarães - CIAJG
Held in partnership with the Museu de Abade de Baçal, the exhibition establishes a symbolic rapprochement between the rich universe of the African art collection of José de Guimarães, in booty in CIAJG, and a wide range of materials depicting winter rituals of various parties transmontanas (north) from the collection of the Museum of Abade de Baçal, in Bragança. Oscillating between the material and the immaterial, the tradition and contemporaneity, the familiar and the strange, this project intends to, according to the specific codes of contemporary art, revisit and make known to the younger generation an ancestor and idiosyncratic dimension of the portuguese culture.
At the turn of the years 1950 to 1960, the Grupo KWY was responsible for the opening of the portuguese art at a international context and by the adherence to new figurative languages which, under the aegis of postwar economic reconstruction, gave boost to one of the most exciting periods of the European culture of the 20th century. Composed by portuguese artists Lourdes Castro, René Bertholo, António Costa Pinheiro, João Vieira, José Escada, Gonçalo Duarte, by the bulgarian Christo and by the german Jan Voss, the Grupo KWY published in Paris between 1958 and 1964, the KWY magazine, a publication of artist in 12 numbers performed at the same time that the authors made their individual artistic practices. Th KWY exposure (provisional title) has as its starting point the Serralves Collectionby the portuguese and foreign artists which gravitated around the editorial project, as Raymond Hains, François Dufrêne, Martial Raysse, Vieira da Silva, António Areal and Jorge Martins, in addition to the Grupo members themselves. Extrapolating the editorial activity of the group for the collaborations with other magazines of the period (such as the Daily-Bul and Dé-Collage) and crossing these with paintings, drawings, installations and objects produced by its members, the exhibition adopts a broader chronology that the homonyn magazine and offers the vision of an international context of circulation of ideas and the various crossings between the portuguese Nova Figuração and the Nouveau Réalisme, the Fluxus spirit, the Spanish group El Paso and the lyricists experiences and sound poetry, among other manifestations that questioned the modernist artistic tradition and promoted an approach of art to reality.
The Animar, which in recent years has deployed in programs dedicated to different topics within the world of Animation Cinema, celebrates in 2015 its 10th Edition, proposing new activities for audiences of all ages, among which stands out the school community in the region. It is foreseen a collective exhibition centered on the theme of travel and built around the film 'Fuligem' by David Doutel and Vasco Sá (2014), to which will associate works of the early days of cinema, with the support of the Cinemateca Portuguesa, along with photographic material collected in the Arquivo Municipal de Vila do Conde. The 'Animar 10' proposes us a trip, not a simple trip but rather a full of magic and entertainment to real and imaginary territories, worlds and universes, present and passed through the animated films and their authors. Taking by mote the short film 'Fuligem', a film that, through a journey by train, transports us through the memories of a man, on a to-and-fro in time, where past and present interlace on the tracks of the railroad lines. Exploring the imaginary and the imagery associated with train travels, the 'Animar 10' intends to transform the Solar Gallery in a large station where trains depart towards different destinations that the authors and the works on display suggest. This activity also includes three animated ateliers guided by trainers guests, along with a series of shorter ateliers, also in the classroom; guided tours of the exhibition and small concerts in the gallery; movie sessions, presentations and exhibitions 'Before the Film' and other events at the Teatro Municipal, targeted at different audiences -f amilies, schools of all levels of education, and other groups.
Temporary exhibition which marks the 2nd anniversary of the Museu das Marionetas do Porto, a museum focused on the work of João Paulo Seara Cardoso (1956-2010). For the exhibition were reunited puppets, props and pieces of scenography of plays: «A Cor do Céu», «Bichos do Bosque», «O Lobo Diogo e o Mosquito Valentim» and «Macbeth».
«There's 20 years we exist, we, the Artistas Unidos. And, since the beginning, we've come so often to Porto that we already know all the corners -and we like. It is good. We debuted shows (Coriolanus by William Shakespeare, in a fresh remodel Rivoli, or The Lover by Harold Pinter, at the Pequeno Auditório), we presented orselves on tour (so often in the Carlos Alberto, others in Rivoli, some in Campo Alegre, in Helena Sá e Costa, in the Balletatro), we came to Fitei often, we co-produce with the TNSJ (La locandiera of Goldoni, Homecoming by Harold Pinternow, Cat on a Hot Tin Roof by Tennessee Williams), we want to go back, don't you? Just let us know.»Jorge Silva Melo
What to do
«História Natural com Parafusos» - Luís Manuel Gaspar
The exhibition brings together the graphic work of Luís Manuel Gaspar published in books, magazines and newspapers. Luís Manuel Gaspar was born in Lisbon, in 1960. Is an artist, poet and textual critic. Since 1986 he publishes several covers and illustrations in books and periodicals, being an inescapable reference in the current editorial and artistic portuguese panorama.
Faces and gestures, narrative plots of sacredness and death, work scenes and rituals, accuse the marks of a work that, notwithstanding the variation of formal and creative strategies that mobilize, don't give up the real as reference, which here is made of dirt and ancient mysteries and has deep connection to memory and affections. Transfigured or morphed through distortion and overlapping lines and shapes, capable of triggering different levels of reading, each piece is a pictorial metaphor not only of meeting the Trás-os-Montes of Graça Morais, but by the interpretation and unsettling reflection that, from this old territory in imminent disintegration, the artist makes from the world. In permanent reinvention and revisiting of themes and approaches, the work of Graça Morais has developed from a very own languagebased on multiple derivations and in successive creative wanderings, which overlap, combine or disrupt and make it a work aside, unmistakable, in the context of portuguese contemporary art. Its pictoral practice is not in the picturesque record or in the capture under ethnographic point of view for future memory, is in the analysis of an imaginary and the way it explains, with great pictorial sincerity, what observes and subtracts the reductive naturalistic reference.The chronological range of the exhibition that now presents itself is huge, bringing together a selection of series and emblematic works and some unpublished, allowing, in some way, the reunion with a wide range of themes and stylistic worked by Grace Morais in the last forty years.
With the exhibition of Arthur de Barros Basto, (18871961), based on the baseada no Fundo Fotográfico do CPF/DGLAB includees the unpublished photographic images taken by the author, at the time incorporated in the Corpo Expedicionário Português, with what the CPF and the CMP aim to evoke the memory, a century after the First Great War. A set of peculiar images of a peculiar man, far from the shipments in Alcântara, Bernardino Machado's visit or the 'sweet goodbye' of Benoliel or the unofficial photographs of Garcêz, Barros Bastos shows us the daily life of the camp of his 4th company: the bivaque, the definition of the trenches and barbed wire protection, the pose of the militar in front of the ruins of the war or the creation of na imaginative and impressive presence of the divine in the short-lived military community.
Where it is
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