What to visit in June?
What are the news in the world in June? Want to know what are the patent exhibitions this month? The news in the artistic world multiplies in such a way that, as we realize, the events have already happened. Discovering a new space to visit, it seems simple, but can turn into a complicated task. So that you can enjoy the spring in the best way, the P55 has gathered a list of five art exhibitions that took place during June. Do you have plans for next month? Squeeze this guide and discover the perfect proposal for yourself.
(The curatorial texts are published in the galleries/museums)
Lehmann + Silva
28.05.2022 - 16.07.2022
Stimulated by his curiosity in relation to scientific puzzles, Daniel Lergon experiences light effects and chemical reactions. Although he calls himself as a painter, he rarely uses ink. In initial work, such as Cold Fire (2008), he applied transparent varnish on high -tech fabrics, exploring optics and perception, while in Lapetus (2010), he used retro -rhelative materials to highlight the contrast between light and dark. In recent works, he combined elementary metals such as copper powder, zinc and iron oxidized 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 acts as a "its own space", in which there is a personal reaction to physical matter.
Julião Sarmento. Abstract, white, toxic and volatile
Temporary Exhibition 12/05/2022 - 01/01/2023
The abstract, white, toxic and volatile exposure, title of a piece of 1997, is the first major exhibition that takes place after the death of Julião Sarmento, gathering a very significant set of works that marked his career and whose selection resulted from a close collaboration of the artist with the curator of the exhibition, Catherine David.
It was a project by which the artist fought and in which he worked 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 work in space was an integral part of the works he exposed, since he considered the relationship between work, the space that surrounds him, and the viewer. Abstract, white, toxic and volatile is an exhibition in which Julião is very present and in which we may not only feel the sensuality of its textures and the complexity of its compositions, but also to discover its delicate, delicate and wicked images of a huge plastic and theoretical sophistication. His works do not present conclusions, theses or hypotheses. They do not ask questions, nor give answers; Rather, they propose to us that we get into their game between concealment and revelation, and that we build our stories.
Julião Sarmento He was born in Lisbon on May 4, 1948. He attended the eSbal architecture and painting courses between 1967 and 1974. He was one of the Portuguese artists with a more solidly signed international career, having built an artistic course of enormous coherence, wealth and intensity .
In permanent renewal and close connection with the artistic practices of his time, ranging from post-pop to today, he used a great diversity of means and techniques, such as photography, painting, collage, drawing, sculpture, performance and film, for Implement a concise vocabulary of ambiguous images. The artist was greatly influenced by the Anglo-Saxon culture and the themes and images of literature and cinema, much present in his works through citations and montages. His work has a performative and theatrical dimension, cumulative by the permanent calling of timeless themes and representations - such as women, sexuality, transgression, memory, duality, house, the word - which function as structuring axes of their constructions. His career begins in the seventy decade, more precisely in 1974, when he begins to use photography not as a means of representation but before to capture, enumerate and enach situations, focus on the 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 manifests itself and what is hidden. This fragmentary dimension that Julião Sarmento It explores in his works throughout his career is simplifying and progressively purifying in the eighties and ninety years, when his painting becomes more contained, more minimal.
It is in the eighties that Julião Sarmento It becomes known as a painter, connoted with the so -called 'return to painting', which begins its international journey, participating in the Kassel document in 1982 and 1987. The period of its white paintings, in which the graphite drawing on background predominates predominates predominates White and in which the female figure is represented with huge containment and subtlety, coincides with the full national consecration by representing Portugal in the 46th Biennial of Venice, in 1997. Equally important were their collaborations with Atom Egoyan, in the 48th Biennial From Venice, in 2001, and with John Baldessari and Lawrence Weiner, in a film made in 2004. The work that was the target of numerous exhibitions in large national and international institutions, and there were many art historians and art critics, such as Germano Celant, Alexander Melo, Nancy Spector, Delfim Sardo, Hubertus Gabner, James Lingwood, Adrian Searle, Louise Neri, among others, who became interested and wrote about his works. - Rita Louigai, Artistic Director
May 14 - June 30 2022
Another place II of Fernando Gaspar
The painting of Fernando Gaspar It is linked to a gesture abstraction with a retenue that means an approximation between Pierre Soulages and in the deep blacks of Hans Hartung, these processes of work where the painter's experience is approximate to the Painter of the Kideller, École de Paris and later the Rapard Movement - Surface. Fernando Gaspar He is not concerned with his line of work to establish parallels with visual reality, he sees by his synthesis, his line is in an abstraction, where the role of the image is referred to in its own visual depth. Where these funds look like clouds of a world where painting itself lies in vacuums, this is the secret! With a color projected in a line that leads us to a waiting compass between the composition and the depth of the image reflected in the image of the picture itself, all of this clarifies that the abstraction is projected on the screen, but it is observing and defines what is indefinable . If we consider that it is always difficult to define painting by words, we understand that the painting of Fernando Gaspar Choose a lonely, silent path, designed in an adventure, relating between painting and dialogue, which it internalizes itself. Color appears not as a decorative pointing but on the trip where it projects itself almost in a monochrome within a monochrome color experience, the tone, the shades it uses in each picture makes the composition created a work of duality reflect where force reigns in dual gesture enters the line and the screen. It is interesting to realize that the intention of this artist always seems to be the same, marking a different position, in minimalism ranging in series where the identical is always different, the lonely persistence of this painter concentrates on a deep attention to realize where the subtle difference from the same being different. I do not want to mention that his painting is something that makes us endless marks in its depth. Fernando Gaspar It is between the abstract and the contemplative gestalisms of the cloud that appears in the texture of the screen and distance if on your trip. This coherence between the depth of the dialogue he establishes between the office that takes the shape of the painting. I give absolute margin to this mystery of the concrete of the look, where he dominates the technique of charcoal ashes, currently going to the sculpture that ends and remains in painting panels, which moves him to us on the foundation of culture and difference from what It generates. Figure memory, memories in time, time dedicated to painting by the artist who gives us his inner plastic vision. - João Moniz, curator
OLIVA ART CENTER
Between the words and the silences - works of the Norlinda and José Lima collection
18 March - 30 December 2022
Curator: Luísa Soares de Oliveira
Among paintings, drawings, photographs, sculptures and facilities, made by some of the most recognized contemporary artists, 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, “among the works that appeal to the narrative and those that seem to demand silence, each of us will build a personal path, knowing beforehand that it also includes the memories and experiences we bring with us. The exhibition invites the public to establish discourses, silences and connections that emerge when in the face of works, endowing it with their instruments of understanding the artistic expression, and it is to the exercise of this freedom that this exposure intends to respond ”.
The Norlinda and José Lima collection is one of the largest private art collections in the country: it comprises approximately one thousand and two hundred works of art where about two hundred and fifty Portuguese artists and two hundred and thirty international artists are represented. It started in 1980 and covers a period of almost a hundred years marked between 1926 and 2020, with higher concentration in the artistic production of the last forty years. The collection, in deposit in the municipality of S. João da Madeira since 2008, is accessible to the public through a regular exhibition program at the Oliva Art Center.
Artists: Adriana Varejão, Álvaro Lapa, Ana Hatherly, Ana Jotta, Ana Luísa Ribeiro, Ana Vieira, André Cepeda, Andres Serrano, Andy Warhol, Angela 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, João 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, José Loureiro, José Pedro Croft, Julia Ventura, Julião Sarmento, Júlio Pomar, Leda Catunda, Lourdes Castro, Luisa Correia Pereira, Maria Capelo, Maria County, Maria Helena Vieira da Silva, Mariana Gomes, Mário Cesariny, Mauro Cerqueira, Michael Biberstein, Michelangelo Pistoletto, Paradise Muse, Nan Goldin, Nikias Skapinakis, Noronha da Costa, Nuno Siqueira, Paula Rego, Pedro Cabrita Reis, Pedro Calapez, Pires Vieira, Robert Entis, Robert Rauschenberg, Rui Chafes, Sandra Bay, Sara Bichão, Sérgio Fernandes, Sol Lewitt, Susanne S. D. Themlitz, James Baptista, Valerio Adami, Victor Vasarely.
International Arts Center José de Guimarães
7 May - September 18, 2022
“Multiplied Voice” brings together a set of artists who exploit the narrative substance of the voice or who understand the museum as a space of resonances, singularities and distortions. “Multiplied Voice” also evokes the time of listening and speech in the museum.
In the last ten years, CIAJG has consolidated a project that combines experience, freedom and rigor, from the work of José de Guimarães and your collections. The artistic cycle “beyond history”, imagined by Nuno Faria-launched the idea of a “labyrinth museum” that proposed to “reincarnate” our perception, from visible and invisible things. More than an exhibition program, CIAJG has stated, in those years, the idea of meeting as ritual. Recently, under the uncertain sign of the pandemic, we inaugurated a new CIAJG moment which is the sum of what comes from behind, and which adds other directions and other visions. “In the margins of fiction,” the title of the current artistic cycle places the fictions at the center of our reflections. The fiction that has its own real, and makes us experience new ways to relate. To imagine the future of CIAJG, is to want to build new meanings with the léXico who was sown: enchantment, history, fiction ... and affirming the ritual of the meeting as the possibility of activating the museum.