Ongoing

Ongoing

 

 INÊS TELES   | PAIRAR ADENTRO


OPENING: OCTOBER 11, 7 - 10 PM


DURATION: 2018.10.11 - 2018.12.21


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Inês Teles’s work is suspended in time. It hovers from the interior of the gallery extending itself to the outside, to the world, stemming from every viewer to which it surrenders. This free, profoundly aesthetic work, is neither conditioned nor restricted to the space in which it is exhibited, as its very nature is neither fixed nor constant, but rather transient and changeable.
Inês Teles understands that nothing is absolutely stable, solid. But that everything is ephemeral and, to a certain extent, liquid, applying that idea to the link she establishes with the disciplines and techniques through which she expresses herself. In the case of a painting - one of the areas to which she feels particularly close - the artist understands that this expression, primary and traditional, can exist in different forms, regardless of any support. It is going beyond the barriers that determine that practise that she frees it  from any boundary, allowing it to be broad, heterogenous, plural. To assume different faces, to be bidimensional and tridimensional, representative or abstract. Or yet, to exist purely in the form of a chromatic proof. In this way, the artist explores innumerable processes, taking advantage of the different possibilities that they entail, thus tracing a complex and singular course, resulting in objects reflecting her free constructions and transformations, this possibilities also being allowed by the the singular elements used in the artistic production.
Inês Teles has a deep knowledge of everything she uses to create. She is interested in the different materials she uses and she seeks, really, to understand them and to respect them. And so she recognises them not only as tools and supports, but also as fragments, components, bodies of the final object. The selection of the technique and raw materials is the first step of a continuous construction that surprises the very author. And therefore, the discovery of her works by the audience - which should be attentive, observing, lingering and progressive - is,  in part, similar to the moment of production.
The artist’s path is that of experimentation, in a absolute and unrestrained progress and search which, for that reason, materialises in such a contemporary and current body of work.
To paper, fabric, cristal resine, varnish, colour, pulverised painting and the indispensable pigments, the movement of the artist’s hand adapts, the rhythm meets the gesture and these creations appear which, for their naturalness and constructive clearness, and a tactility so much of her own, become abstract, singular and unrepeatable. These are, indisputably, feminine works without them being, for that reason, reducible to a dichotomy of gender, in the sense that this work is, indeed, multiple, transversal and timeless. The work functions, precisely, in an admirable balance between the extreme sensitiveness and a likewise transparency, sustained by an intelligible assertiveness, rationality and study.
Another parallelism can be found between some of the presented figures, resulting from shapes of window railings, which bear a certain geometry and other, more organic, the resines Imagens táteis (2018). The later, conceived with such artistic intelligence and aesthetic quality, seem to be works of nature. They’re sculptural pieces that seduce and capture the eye of the observer, with a charm that allows for a unique visual and perceptive experience. They have structure, colour and light. They emanate light. They’re objects that mirror the plastic abilities of the artist and which constitute examples of how something so fragile can, simultaneously,  hold an own force of artefact installed around it. Alike the paintings, these shapes adapt to whatever space in which they are placed, and need nothing but their reception and contemplation by the viewer.
The creation of Inês Teles does not exist in a single artwork she exhibits, it is something that inhabits one space and inhabits the other.
 
 
Constança Babo
 
 
 
 
 
 
 
 PEDRO PASCOINHO   | DISMANTLE - TO DISSIPATE
OPENING: JUNE 21, 7 PM
DURATION: 2018.06.21 - 2018.09.14
| Press Release | Confirm Presence
 
„ (…) inspired by a phrase by Eva Hesse, and by the title of the catalogue of an exhibition held at the Solomon R. Gugenhein Museum of New York, Abstraction in the Twentieth Century: Total Risk, Freedom and Discipline, commissioned by Mark Rosenthal, I have decided to contribute to the reading of the work of Pedro Pascoinho departing from the title of that exhibition and by changing its order: Liberty, Discipline and Total Risk. (…)
The works presented at this exhibition follow this line. Works such as Contraption, Entrance, Annull/Void, Remnant I, Remannat II, Erase, Withraw Extraction, Order show the artist’s capacity to take risk and to develop a new line of work, based on the past research on figuration but which, it seems, approaches formal abstraction. Abstraction in the sense of leaving behind a restrict representation based on a narrative typical of figuration, to propose new visual paths (…)
These works presented at Acervo how a shift in the work of Pedro Pascoinho towards the abandonment of the world of appearances and the entrance into the world of a style of its own in which depuration is clearly a subject.“
 
Lourenço Egreja (2), Lisbon, June 2018
 
(2) Art Historian, Artistic Director of Carpe Diem - Art and Research (Lisbon, Portugal), platform of research, experimentation and study in the filed of contemporary art, since January 2009.
 
 
 
 
 
 
 
 
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