Filipa Oliveira

  • Fernanda Fragateiro, To Think Is to Destroy (detail), 2013, mixed media, dimensions variable.
    picks March 19, 2013

    Fernanda Fragateiro

    Fernanda Fragateiro’s practice is invariably about studying a particular space or situation and intervening in it, her objective often being to direct attention to the unquestioned. In the case of her installation To Think Is to Destroy, 2013, the floor of Ermida de Nossa Senhora de Belém, a eighteenth-century chapel, is the object of her attention.

    While the chapel is almost entirely in its original state, during the 1980s the floor was redone in a gray Portuguese marble. This material is noticeably different than those used in the church’s initial construction, so much so that the marble almost

  • José Pedro Croft, Untitled, 2012, wood, MDF, mirror, 7' 4 1/2“ x 16' 4 7/8” x 5' 1".

    José Pedro Croft

    In a career now spanning more than thirty years, José Pedro Croft has constructed a visual and conceptual language that has begun to seem practically unshakable. Particularly in the past fifteen years, we have come to expect his work to be not just sculpture but more specifically metal structures with stainless-steel surfaces, sometimes painted or mirrored. Yet the recent project he developed with curator João Silvério for Appleton Square marks a clear change in his familiar materials and vocabulary.

    Croft presented a new sculpture (all works Untitled, 2012) that is a reworking of a very large

  • Becky Beasley, Given (or One to One), 2012, linoleum, dimensions variable.
    picks December 23, 2012

    Becky Beasley

    Questions related to the overlapping histories of the photographic and the sculptural, to thresholds between the two, and to conditions for exhibiting both have been at the core of Becky Beasley’s work for over ten years. Her current exhibition in Lisbon makes evident her primary conceptual concerns.

    Take the newest piece, specially commissioned for this show: Given (or One to One), 2012. Installed near the entrance to the show, this floor-based work consists of a large piece of linoleum on which a black abstract form has been printed. The work is simultaneously an image (the abstract shape is

  • View of “Effigiae,” 2012.
    picks November 28, 2012

    Sancho Silva

    In his poem “On the Nature of Things,” Lucretius suggests that images are like a second skin: Mimicking their particular material forms, they float freely in the ether. For his first solo show in Lisbon, Sancho Silva stages this poem as an installation, precisely titled as Effigiae, 2012, which is Latin for “ghosts.” The main entrance to the Kunsthalle has been replaced by a mirror, which duplicates the space and prevents access—the museum has set up another entry nearby. Within the exhibition, it becomes evident that the mirror is in fact a spyglass, simultaneously allowing and blocking

  • António Palolo, Drawings/Lines, 1971, Super 8 film transferred to DVD, color, silent, 10 minutes 8 seconds.

    António Palolo

    António Palolo is mostly known as a self-taught painter whose work veered between Pop and abstraction. His recent exhibition at Culturgest focused instead on his films, revealing a side of his practice that, with a few exceptions (notably his inclusion in the 2000–2003 “Slow Motion” survey of Portuguese artists’ explorations of film and video), has remained hidden. While Palolo explored the limits of painting in his work, this exhibition acknowledges that he also occasionally transcended them, using film as a medium to explore possibilities unavailable to painting.

    Palolo, who was born in Évora

  • View of “Fernanda Gomes,” 2012.
    picks August 13, 2012

    Fernanda Gomes

    The Pavilhão Branco is a two-floor pavilion located in the garden of the city museum in Lisbon. It has white walls, high ceilings, yellowish floors, and large glass windows that overlook the grounds. Fernanda Gomes used the specificities of its architecture to determine the installation of her exhibition: All of the pavilion’s space (inside and out) is incorporated and becomes a landscape of events. For example, Gomes inserted a small pointy stick of wood into an existing fissure in the gallery floor. What used to be a barely visible imperfection is transformed into a sculpture and floor drawing

  • Noé Sendas, Peeps Nº1, 2012, black-and-white photograph, 15 x 12”. From the series “Peeps,” 2012.
    picks June 17, 2012

    Noé Sendas

    A relentless collector of images, Noé Sendas has always let photographs––drawn from cinema or art history books, for instance––play a crucial role in his videos, sculptures, and collages. Since 2010, Sendas has dedicated himself almost exclusively to photography, primarily searching out, collecting, and appropriating existing images for his works, in order to manipulate and subvert the originals as if he were sculpting a three-dimensional piece.

    At the heart of his current exhibition is the series “Desconocidas (Madrid 1945)” (Unknown [Madrid 1945]), 2012, which began with nearly 500 negatives

  • View of “Flecha,” 2012.
    picks May 05, 2012

    Bruno Cidra

    Bruno Cidra’s current solo show is titled “Flecha,” Portuguese engineering jargon for “deflection”—that is, the degree a steel beam can be bent under tension. Cidra’s sculptures play with the limits of this idea, experimenting with and frequently intensifying it. Untitled (arrow), 2012, for instance, is a product of extensive research Cidra conducted to find the exact point where a beam of steel and paper would deflect—which it does at five feet and six inches—and naturally curve against the wall. He applied the same process to Untitled (vertical), 2012, cutting a similar beam until it was able

  • Nuno da Luz, The Conquest of Nature, 2010, photocopy, 11 3/4 x 8 1/4".

    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, Instalação Rorschach (Rorschach Installation) (detail), 2011, books with bookworm damage, Plexiglas shelves, seven elements, overall 17 3/4 x 118 1/8 x 1 3/8".

    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

  • View of “The Indiscipline of Painting,” 2012.
    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