Filipa Oliveira

  • Nuno da Luz

    Nuno da Luz is fascinated by the randomness of the events that take place all around us, whether natural catastrophes or simple everyday accidents—and particularly by the ways we accept or refuse them. For his first solo exhibition, he used a couple of serendipitous events or accidents as a jumping-off point. The first was a simple mishearing. Listening to a recording made during a silent protest march by Italian metal workers in Milan in 1969, he heard at a certain moment during the protest a voice through a megaphone shouting “Il nostro silenzio è un monito” (Our silence is a warning).

  • Carla Filipe

    There is an old expression in Portuguese, “bordas de alguidar,” referring to what’s left over on the sides of a cooking bowl, which the rich don’t bother eating but the poor can’t afford to turn down. It’s a little like the English expression “the bottom of the barrel.” Carla Filipe used the Portuguese phrase as the title for her recent exhibition, making a direct reference to the country’s calamitous economic situation. In this exhibition, Filipe recovers the work of Rafael Bordalo Pinheiro—a satirical journalist and artist who founded three newspapers in the late-nineteenth century and

  • picks February 28, 2012

    “The Indiscipline of Painting”

    This ambitious group show, a collaboration between the Mead Gallery and the Tate St Ives, proposes an alternative vision to our most commonly held ideas about abstract painting from the past fifty years. In doing so, it posits abstraction as a method of continuous critical reflection. By juxtaposing the diverse ideological and conceptual viewpoints of forty-nine international artists––from Myron Stout to Katharina Grosse––curator Daniel Sturgis opens our eyes to the key role of abstraction in contemporary artistic practice.

    Sturgis states in the catalogue that his perspective as a curator and as