5 Art Exhibitions to Visit in June 2022

5 Exposições de Arte a Visitar em Junho de 2022

What to visit in June?
What's new in the world of the party in June? Do you want to know what are the exhibitions during this month? Novelties in the artistic world multiply in such a way that, as we realize it, events have already happened. Discovering a new space to visit seems simple, but it can turn into a complicated task. So that you can enjoy spring in the best way, P55 put together a list of five art exhibitions that took place during June. Do you already have plans for next month? Take a look at this guide and discover the perfect proposal for you.
(The curatorial texts present are published in the galleries/museums)

Lehmann + Silva
28.05.2022 - 16.07.2022
Spurred on by his curiosity about scientific puzzles, Daniel Lergon experiments with light effects and chemical reactions. Although he calls himself a painter, he rarely uses paint. In early works, such as Cold Fire (2008), he applied transparent varnish to high-tech fabrics, exploring optics and perception, while in Lapetus (2010), he used retroreflective materials to highlight the contrast between light and dark. In recent works, he combined elemental metals such as powdered copper, zinc and oxidized iron with water to form ephemeral patterns. Lergon believes in a phenomenological approach to the experience of a work of art, maintaining that the space of a painting functions as a “space of its own”, in which one has a personal reaction to physical matter.

DANIEL LERGON | Magazine | P55.ART

Berardo Museum
Julião Sarmento. Abstract, White, Toxic and Volatile
Temporary exhibition 05/12/2022 - 01/01/2023
The exhibition Abstract, White, Toxic and Volatile, title of a 1997 piece, is the first major exhibition to be held after the death of Julião Sarmento, bringing together a very significant set of works that marked his career and whose selection resulted from close collaboration between the artist and the exhibition’s curator, Catherine David.
It was a project for which the artist fought and in which he committed himself in an extraordinary way. The layout of this exhibition and the arrangement of the works in the rooms were finalized two months before his death. For Julião, the installation of his works in the space was an integral part of the works he exhibited, as he considered the relationship established between the work, the space that surrounds it and the spectator to be of capital importance. Abstract, White, Toxic and Volatile is an exhibition in which Julião is very present and in which we can not only feel the sensuality of his textures and the complexity of his compositions, but also discover his enigmatic, delicate and perverse images, in a enormous plastic and theoretical sophistication. His works do not present conclusions, theses or hypotheses. They don't ask questions or give answers; rather, they propose that we play their game between dissimulation and revelation, and that we build our stories.
 Julião Sarmento was born in Lisbon on May 4, 1948. He attended the Architecture and Painting courses at ESBAL between 1967 and 1974. He was one of the Portuguese artists with a more solidly established international career, having built an artistic path of enormous coherence, richness and intensity .
In constant renewal and in close connection with the artistic practices of his time, ranging from post-pop to the present day, he used a wide variety of media and techniques, such as photography, painting, collage, drawing, sculpture, performance and film, to deploy a concise vocabulary of ambiguous images. The artist was greatly influenced by Anglo-Saxon culture and by the themes and images of literature and cinema, which are very present in his works through quotations and montages. Her work has a performative and theatrical dimension, accumulative due to the constant summoning of timeless themes and representations — such as women, sexuality, transgression, memory, duality, the house, the word — that function as structuring axes of her work. constructions. His career began in the seventies, more precisely in 1974, when he began to use photography not as a means of representation but rather to capture, enumerate and stage situations, focusing on details.
His paintings confront fragments, images of glamor and violence, with the word, which appears as a way of researching the ambivalence of things, as a game of meanings between what is manifested and what is hidden. This fragmentary dimension that Julião Sarmento explored in his works throughout his career, progressively simplified and refined in the eighties and nineties, when his painting became more restrained, more minimal.
It was in the eighties that Julião Sarmento becomes known as a painter, associated with the so-called «return to painting», and who begins his international journey, participating in the Kassel documenta in 1982 and 1987. The period of his White Paintings, in which graphite drawing on background predominates white and in which the female figure is represented with enormous restraint and subtlety, coincides with full national acclaim when he represented Portugal at the 46th Venice Biennale, in 1997. Equally important were his collaborations with Atom Egoyan, at the 48th Bienal of Venice, in 2001, and with John Baldessari and Lawrence Weiner, in a film made in 2004. alexander Melo, Nancy Spector, Delfim Sardo, Hubertus Gabner, James Lingwood, Adrian Searle, Louise Neri, among others, who were interested and wrote about his works. — Rita Lougares, Artistic Director

Julião Sarmento | Magazine | P55.ART

Sao Mamede
May 14 – June 30, 2022
ANOTHER PLACE II of Fernando Gaspar
the painting of Fernando Gaspar is linked to a gestural abstraction with a Retenue that means an approximation between Pierre Soulages and the deep blacks of Hans Hartung, work processes where the painter's experience is approximated to the easel painter, École de Paris and later the Rapard movement - Surface. Fernando Gaspar In his line of work, he is not concerned with establishing parallels with visual reality, he sees through his synthesis, his line is situated in an abstraction, where the role of the image is referred to in its own visual depth. Where those backgrounds look like clouds from a world where painting itself resides in voids, that's the secret! With a coloring projected on a line that takes us to a waiting compass between the composition and the depth of the image reflected in the image of the painting itself, all this clarifies that the abstraction is projected on the canvas, but it is he who observes and defines what is indefinable . If we consider that it is always difficult to define painting in words, we understand that the painting of Fernando Gaspar he chooses a solitary, silent path, projected into an adventure, relating himself between painting and dialogue, which the painting itself internalizes. The color appears not as a decorative note but on the journey where it is projected almost in monochrome within an experience of monochromatic color itself, the tone, the tones he uses in each painting make the created composition reflect a work of duality where strength reigns in a dual gesturalism between the line and the canvas. It is interesting to notice that this artist's intention always seems to be the same, marking a different position, in a minimalism varying in series where the identical is projected, being always different, the solitary persistence of this painter is concentrated in a deep attention to understand where the subtlety is. difference of the same being different. I don't want to fail to mention that his painting is something that leaves endless marks in its depth. Fernando Gaspar it is situated between the abstract and contemplative gestures of the cloud that appears in the texture of the canvas and the distance in its journey. This coherence between the depth of the dialogue he establishes between the craft that takes the form of painting. I give absolute scope to this mystery of the concrete of the visual, where he dominates the technique of charcoal ashes, currently going to the sculpture that ends up and remains in painting panels, painting that moves him to us in the foundation of culture and in the difference of what it generates.To represent memory, memories in time, time dedicated to painting by the artist who conveys his inner plastic vision. — João Moniz, Curator

Fernando Gaspar | Magazine | P55.ART

olive art center
Between Words and Silences – Works from the Norlinda and José Lima Collection
March 18 — December 30, 2022
Curatorship: Luísa Soares de Oliveira
Among paintings, drawings, photographs, sculptures and installations, created by some of the most recognized contemporary artists, both Portuguese and foreign, this exhibition highlights the diversity of the Norlinda and José Lima Collection in stylistic, temporal and geographical terms. The selected works contextualize the dualism between discourse and silence in contemporary art. According to curator Luísa Soares Oliveira, “between the works that appeal to narrative and those that seem to demand silence, each one of us will build a personal path, knowing in advance that it also includes the memories and experiences that we bring with us. The exhibition invites the public to establish for themselves the speeches, silences and connections that emerge when faced with the works, providing them with their instruments for understanding artistic expression, and it is to the exercise of this freedom that this exhibition intends to respond”.
The Norlinda and José Lima Collection is one of the largest private art collections in the country: it comprises approximately 1,200 works of art, representing around 250 Portuguese artists and 230 international artists. It began in 1980 and covers a period of almost one hundred years, between 1926 and 2020, with a greater concentration on the artistic production of the last forty years. The collection, in storage in the Municipality of S. João da Madeira since 2008, is accessible to the public through a regular program of exhibitions at the Centro de Arte Oliva.
Artists: Adriana Varejão, Álvaro Lapa, Ana Hatherly, Ana Jotta, Ana Luísa Ribeiro, Ana Vieira, André Cepeda, Andres Serrano, Andy Warhol, Ângela Ferreira, Ângelo de Sousa, Anish Kapoor, António Dacosta, António Olaio, António Palolo, Arlindo Silva, Árpád Szenes, Bernard Rancillac, Carlos Correia, Cindy Sherman, Cristina Iglesias, Damien Hirst, Daniel Melim, Diogo Pimentão, Domingos Pinho, Eduardo Arroyo, Eduardo Batarda, Eduardo Chillida, Erró (Guðmundur Guðmundsson), Fátima Mendonça, Fernando Calhau, Fernando Lanhas, Francisco Tropa, Franz West, Gaëtan, Gonçalo Pena, Graça Morais, Helena Almeida, Henri Michaux, Jacques Monory, João Galrão, João Hogan, John Jacinto, João Louro, João Maria Gusmão + Pedro Paiva, João Onofre, João Pedro Vale + Nuno Alexandre Ferreira, João Vieira, Joaquim Bravo, Joaquim Rodrigo, Jorge Queiroz, José de Guimarães, Jose Loureiro, José Pedro Croft, Julia Ventura, Julião Sarmento, Júlio Pomar, Leda Catunda, Lourdes Castro, Luisa Correia Pereira, Maria Capelo, Maria Condado, Maria Helena Vieira da Silva, Mariana Gomes Mário Cesariny, Mauro Cerqueira, Michael Biberstein, Michelangelo Pistoletto, Paradisiacal Muse, Nan Goldin, Nikias Skapinakis, Noronha da Costa, Nuno Siqueira, Paula Rego, Pedro Cabrita Reis, Pedro Calapez, Pires Vieira, Robert Combas, Robert Rauschenberg, Rui Chafes, Sandra Baía, Sara Bichão, Sérgio Fernandes, Sol Lewitt, Susanne SD Themlitz, Tiago Baptista, Valerio Adami, Victor Vasarely.

Oliva Art Center | Magazine | P55.ART
International Arts Center José de Guimarães
MAY 7 - SEPTEMBER 18, 2022
“Voz Multiplicada” brings together a group of artists who explore the narrative substance of the voice or who understand the museum as a space of resonances, singularities and distortions. “Voz Multiplicada” also evokes the time of listening and speaking in the museum.
Over the past ten years, the CIAJG has consolidated a project that combines experimentalism, freedom and rigor, based on the work of José de Guimarães and its collections. The artistic cycle “Beyond History”, imagined by Nuno Faria – launched the idea of a “maze-museum” which set out to “reenchant” our perception, based on visible and invisible things. More than an exhibition program, the CIAJG affirmed, in those years, the idea of meeting as a ritual. Recently, under the uncertain sign of the pandemic, we inaugurated a new moment for the CIAJG that is the sum of what comes from behind, and which adds other directions and other visions. “On the margins of fiction”, the title of the current artistic cycle, places fiction at the center of our reflections. Fiction that has its own reality, and makes us experience new ways of relating to each other. Imagining the future of the CIAJG is wanting to build new meanings with the léxico that was sown: enchantment, history, fiction... And to affirm the ritual of the encounter as a possibility of activating the museum.

International Arts Center José de Guimarães | P55.ART

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