“The Day After Tomorrow”

Centro Cultural de Belém

“The Day After Tomorrow” displayed a rough romanticism. Curated by Isabel Carlos, this was a show in the “provinces” that was not “provincial,” obsequious, or describing yet another horizon of “assimilation.” The exhibition functioned as a sober response to the malaise of the “end of history” syndicate and the smugness of the North. It also demonstrated that Carlos is neither innocent of the art of the North nor an isolationist, as it included major commissioned projects and works byJames Turrell, Cathy de Monchaux, Stephan Balkenhol, and Taro Chiezo.

Yeah, you would have found familiar themes had you been there to see it all. João Paulo Feliciano, Ângela Ferreira, Xana, and Gerardo Burmester are among the most promising of the Portuguese artists presented. Feliciano is light. As a member of the pop group “Tina and the Top Ten,” he designed The Big Red Puff Sound Site, 1994, to be a listening

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