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José de Almada Negreiros, Retrato de Fernando Pessoa, 1964.

Museu Calouste Gulbenkian

- Coleção Moderna. © Almada Negreiros, VEGAP, Madrid, 2017

7 de febrero, 7 de mayo del 2018

Museo Nacional Centro de Arte Reina Sofía

con la Fundação Calouste Gulbenkian

http://www.museoreinasofia.es/exposiciones/pessoa

Comisariado: Ana Ara y João Fernandes

"A través de la prolífica producción textual de sus más de cien heterónimos, Pessoa creó una vanguardia propia y se convirtió en intérprete de excepción de la crisis del sujeto moderno y de sus certezas, trasladando a su obra una otredad múltiple que achacó a su desorientación existencial."

Queda muy claro, la caida del autor, la falta de nombre, y la busqueda del seudonimo, en Pessoa, que adelanta al hombre contemporaneo: el Otro no lo nombra, porque el Otro ha caido, a su vez el otro no lo representa, ya que todos cambiamos de nombre y de lugar permanentemente. No solo se trata de la caida de la identidad, el nombre y el lugar, sino la identidad al infinito, ahora una ahora la otra. Lo que nos llama la atención es como los museos, y los grandes museos, en principio en el dominio de la imagen, se ocupan de los escritores. Antes se trataba de ver o leer, museo o editorial, galeria o teatro, ahora podemos exponer lo que se lee, podemos visualizar (poesia visual) lo que se escribe. Con esto quiero señalar que no solo es la caida del Otro, que nos identifica y nos nombra, sino de la caida del objeto. El objeto que nos ha permitido separarnos del Otro, y nos empuja a escribir, a pintar, a escuchar o a bailar.

Pessoa: miope y visionario

José María Parreño | 09/02/2018

El Cultural, 09 02 2018

http://www.elcultural.com/revista/arte/Pessoa-miope-y-visionario/40649

"El título de la exposición 'Todo arte es una forma de literatura' puede tener distintos significados. Uno: el arte moderno, que se rebeló frente a toda norma e incluso frente a su destino, sólo puede entenderse como formas diversas de lo poético. Dos: “Todo arte es una forma de literatura, porque todo arte consiste en decir algo”, como escribió Pessoa por mano de Álvaro de Campos. Y tres, como también pensaba Pessoa: la literatura es el arte que aglutina todas las demás manifestaciones artísticas. Pero esto último no fue una mera teoría del oceánico poeta lisboeta, sino una estrategia creativa que le sirvió para dialogar con las remotas vanguardias internacionales, así como para estimular la creación artística local. Por eso, a la hora de ofrecer un panorama de la vanguardia portuguesa de las primeras décadas del siglo XX (entre 1914 y 1936 exactamente) los comisarios de esta interesante exposición han convertido la figura de Fernando Pessoa (1888-1935) en el elemento vertebrador. 

Retrato de Fernando Pessoa, 1914/1928

Pessoa también forjó el interseccionismo, una especie de cubismo radical, en el que la descomposición de planos se trasladaba a lo verbal, y que se resume en la sentencia de Álvaro de Campos: “Experimentar todo de todas las maneras”. Sin embargo, el núcleo de la exposición y la propuesta estética de mayor envergadura de Pessoa fue el sensacionismo, fundado junto con el también escritor Mário de Sá-Carneiro y que tuvo en la revista Orpheu (sólo dos números en 1915) el vehículo privilegiado para su difusión. El sensacionismo observa que distintas de las sensaciones puramente externas y de las espontáneamente internas, hay otras, que proceden del trabajo mental: son las sensaciones de lo abstracto y la manera de organizarlas es lo que llamamos arte.

Candida Höfer: Bourse du Travail, Calais, 2001, Cibachrome-Print, 25 x 22 cm

OHO!!

- ARTISTS' NAMES SEE BELOW -

Based on the motto "Small but OHO!", GALERIE SUPPER presents a group show with our favourite small format pieces. Selected positions from the program of the gallery will be put into dialogue with renowned guest artists like Candida Höfer and Gotthard Graubner.

Since the 16th century, objects and relics, which appeared to be especially delicate or dainty have been referred to as "Kleinod" in Germany, which basically means gem. The term contains the word "klein", meaning small. These precious objects descretely represented the rank of the person wearing it. Therefore, they served as a way of modest demonstration of one's own wealth.

The special value of the small becomes increasingly obvious today: the more compact micro chips and connecting pieces, the more efficient are the machines which shape our everyday life. But not only on a technical scale is small the new big. Also on a personal level we often connect more easily to the small things around us. Not least for this reason, the small format became important in art history. The spatial distance, which is oftenly demanded by big format works, here transforms into an aspiration for proximity. By means of a combination of young, emerging positions and renowned masters, OHO!! presents a wide range of artistic approaches to the special challenges posed by spatial borders.

Participating artists:

Christian Awe, Ellen DeElaine, Joerg Eyfferth, Tino Geiss, Rayk Goetze, Gotthard Graubner, KEHL, Christian Herzig, Candida Höfer, Andreas Lau, Mike MacKeldey, Katharina Meister, Thomas Ruff, Roland Schauls, Dag Seemann, Monika Thiele, Ellen von Unwerth, Patricia Waller, Andreas Wachter.

NEW YORK, NY – Leilah Weinraub is proud to announce the world premiere of her feature directorial debut SHAKEDOWN, at the 68th Berlin International Film Festival, the Panorama presentation. SHAKEDOWN immerses the viewer in the urban lesbian strip club scene of early 2000s Los Angeles, depicting its protagonists’ performance of sexual freedom and self-determination with poignant intimacy. SHAKEDOWN will be featured in the 2018 edition of the Panorama presentation in the scope of Panorama Dokumente. A short cut of SHAKEDOWN was recently included in the 2017 Whitney Biennial. Following the film’s world premiere, SHAKEDOWN will have its US premiere at the True / False Film Festival followed by a special presentation at CONVERSO, Milan on February 25 and MoMA PS1, New York on March 18.

A West-Coast cousin of the mostly-male New York ballroom scene, the subculture documented in SHAKEDOWN is propelled by female creators infamous in their own community, among them: Ronnie-Ron, Shakedown Productions creator and emcee; Mahogany, the legendary mother of the scene; Egypt, Shakdown’s star dancer; and Jazmyne, the Queen of Shakedown. The film functions as a legend where money is both myth and material in a vibrant world far from the mainstream. After attending Shakedown events as a 23-year-old, Weinraub began taping every Thursday and Friday night, shooting video of the dancers known as “Shakedown Angels.” Throughout the film, as Weinraub participates as both director and community member, questions arise about how to diagram the before and after of the club's utopic moment.

The Panorama program of The Berlin International Film Festival comprises new independent and arthouse films that have a unique artistic vision, the courage to be different, a desire for the unfamiliar, a profound historical awareness or pioneering personalities. Among the 20 films show in the Panorama Dokumente program, SHAKEDOWN will join 37 other world premiers, and 16 directorial debuts. The Panorama challenges its audience and has the confidence to explore new avenues. Press Conferences and public discussions enable the press and audiences to enter into a dialogue about the films with their directors, producers and actors. Since July 2017 the Panorama section has been headed by Paz Lázaro who curates the Panorama program together with Michael Stütz and Andreas Struck.

Katrin Westman, Snärjda best (2018) oil on canvas, 70 x 65 cm

Katrin Westman

Clamour

Galleri Andersson/Sandström is very pleased to present the second solo exhibition with the Swedish artist Katrin Westman.

Katrin Westman’s painting is full of power, sensualism and something that resembles rage.

It wraps itself inwards, folds around itself, flows, splashes and explodes in a driven orchestrated chaos. In many of her previous works, the paintings have stretched out of the wall, down on the floor into the room. In this exhibition she shows paintings on canvas, classically hung on the wall. However the artist's care to come at the viewer from different angels remains unchanged. She wants the observer to meet the works by beholding them as much with the body as the mind.

Westman describes her practice as follows: "In order to be in a constant movement between reality and fiction, I work with three-dimensional and flat surfaces, with sculpture in my mind and my hands in the colour."

Westman is interested in the boundless; that which is exaggerated and bombastic. In her artistry she has found inspiration from Baroque masters like Bernini and Rubens, which can be seen in the drama and dynamics of the paintings, in their texture and nerve. Westman's painting is conceptually paired with tangible sensuality and her colouristic palette derives from earthy colours, flirty seductive pastels and different tones of skin and flesh.

Communication, mixed media on watercolor paper, Antonio Pessoa 2007, could be seen as just another artwork by the artist, however the title leaves enough suggestions, loose ends, arrow keys to navigate related to the frequently asked questions, a dimension of legitimate curiosity where the public, local or worldwide, wishes to know more and more about an artist project, systematically updated, collecting a punctual interesting selection of information, the classic guide for art lovers, art collectors, art gallery managers, art curators and public in general, providing them with substantial lines to be and being kept informed about what's happening with Pessoa's life, career, work and events. Since 2003, Antonio Pessoa already living in Barcelona, Spain, the internet oviously came up and turned out to be another magical and powerful communication tool, providing the artist's closest collaborators with a rather interesting and direct way to tell the world about Pessoa's on- going events and all sort of valuable information concerning his artitic and even personal life. Antonio Pessoa at the beginning clearly not particularly interested, to say the least, in the internet scene, step by step became convinced of the wonderful communication stream of the cyberspace nowadays. If Antonio Pessoa wasn't after all destined to paint live, as it was his primary purpose at the very beginning of his career, at least now he could be in contact with a great amount of public, mainly in Google, as we all know the most consulted and popular search engine in the internet world so far. Therefore, from then on, Google, Yahoo and Msn indeed helped tominimize the time required to find information about Antonio Pessoa out and abouts. When this internet exploring firat experiences took place, Pessoa was going through a rather complicated and complex emotional period due to his personal life, to such an extent that at a certain given point he could hardly manage and handle his studio work on his traditional daily basis, actually slowing down his art production almost to a dangerous situation of total paralysis. For the first time in ten years, Antonio Pessoa was clearly showing signs of obvious lack of interest in art making, proportionally to the great action time golden years of his remarkable Romantic Period fine art performance. Nevertheless, the show had to go on, and despite the emotional whirlwind, Antonio Pessoa had to make a supreme effort and get rid of a great deal of inner contradictory forces in order to get back up on the road again and start from the scratch, one way or another, anything but surrendering to the evil powers of negative thinking up to cripple his fierce creative spirit. In order to star dealing effectively with the stressful rhythm of the big city and the contemporary art scene life, Antonio Pessoa definitely needed a nice warm bath of courage and at the same time an urgent immersion in the stimulating positive bubbles of daily art working time.