Jorge Martins

Jorge Martins

Continuing the plastic trajectory that our Gallery raises, this is another name that calls our attention due to the fact that we have represented it in an available work and, above all, because it fits our concern – which is nothing more than a form of our cultural interest – with publicizing pathways that break routines and avoid the static attitude of mere possession for possession.

We are convinced that aesthetic expression, however it takes the form in which it manifests itself, is not an end in itself, exhausted. It is not the end of a cycle, but the beginning of as many as our analysis is capable of discovering. It's a challenge! Using the words of Jorge Martins, because "Art is faster than theory." "Drawing is seeing in the dark."

From 1958 to 1961, Jorge Martins from engraving ( Society Cooperative of Portuguese Engravers ) on his way to Paris, going through collective exhibitions (especially the II Exhibition of Plastic Arts of the Calouste Gulbenkian Foundation ), started the construction of the path that still exists today. characterizes. The multiple circumstances of Portugal in the 50s and 60s and his experience as an artist in the process of assertion motivate him to leave for a long 13 years. Not looking for cosmopolitanism so used for curricular ornamentation… acquires experience and knowledge with Maria Helena Vieira da Silva and Arpad Szenes, Lourdes Castro, Júlio Pomar and René Bertholo. He is awarded prizes and becomes a collaborator, in Portugal, with “Galerie 111”, in Sweden with “Galerie Borjeson” and in France with “Galerie Bellechasse”.

In 1975 he moved to New York. In 1978, he exhibited at the “Musée National d'Art Moderne” better known as the “Centre Pompidou”.

In 1985, he integrated the representation of Portugal at the “XVIII Bienal de S. Paulo”, with Jorge Molder, he exhibited at the “Centro de Arte Moderna” of the Gulbenkian Foundation, where he returned to exhibit in 1988, the year in which he also exhibited in Brussels and Paris. In 1991, at “Galeria Valentim de Carvalho”, in 1993 again at Fundação Calouste Gulbenkian, in a sequence of exhibitions at “Galeria Luís Serpa”, “Corcoran Gallery of Art” and “Galeria Fernando Santos”.

At the end of the 90's, 2001 is the time for the exhibition of “Culturgest” and the beginning of an itinerary that travels through Brazil exhibiting in Rio de Janeiro (National Museum of Fine Arts), in S. Paulo (Pinacoteca do Estado de S. Paulo ) and in Brasília (Caixa Económica Federal Gallery).

From the retrospective at the “Museu Colecção Berardo” in 2006 we arrive at “A Substância do Tempo” in Serralves from March to June 2013 simultaneously in Lisbon at the “Fundação Carmona e Costa”.

This was the greatest retrospective of Jorge Martins' work ever held. Therefore, we cannot resist reproducing what was then included in the presentation published by the “Fundação de Serralves”:

“In Serralves, more than two hundred works created between 1965 and 2012 will be exhibited and reveal the constant appropriation of everyday elements and an exhaustive research on modes of representation, namely on the way in which light reinvents space and objects . Mostly abstract and colorless, the designs presented make up a language rich in textures, intensities and gradations that unfolds in continuous variations.”


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