Tuesday, August 21, 2018

The ART-MAP concept (Moving Curatorial Project)


The opening of the ART-MAP concept (Moving Curatorial Project) to diversified proposals allows us a set of immeasurable relations. From the artistic forms or disciplines, to the theme and the motif, from the technique to the support, from the author's experience to the proposal of curation and organization of the exhibition space, from the intention of the organization to the character of the supports, from the choice of spaces to the visitors, it is possible to group experiences and phenomena whose meaning leads to a "baroque thinking". In this case, the genesis of the project pursues a dynamic character, of movement and fluidity, which meets the theme chosen for the edition. The strategy of approach to the various spaces confers a spatial narrative character proposing an immersion and an experience that collapses different temporal dimensions, new and old forms.

However, one must understand what actually animates the experience. That is, the possibility of a baroque form of thought and of this movement will result in works that illustrate it. In this field, as the first intuitive approach, illustrate refers to the formalist appropriation of a set of signs generalized by the consumption of works of art and their popularization. In fact, this concept of illustration is the materialization of knowledge and knowledge. If some examples can easily be noticed among the present works, others escape it by the artist's will to ignore this sense of response or to seek a rational construction on the subject. Thus, it is possible to find explicit visual references - a volumetric carving, the tile pattern, the tension of a face, an infinite perspective - as other less immediate in the domain of the expression of idiosyncratic emotions, of disturbing the artist's spirit.

This ART-MAP event acts (much in the spirit) as a provocation, constructing a collective manifestation that allows us, from today and despite the proximity, a more objective analysis of the phenomenon. Its wide thematic spectrum, although less useful for a more definite study, enlarges the multiplicity of points of view according to the narrative interaction that can be established with the works. In this sense, always avoiding the immediate and more normative, shaper, one must look for all works that do not have an explicit reference to the past. That is, all those who, by force of a contemporary expression, in the spirit of time, refer in a manner analogous to a common, coherent, constant type. An analogue that is a quality, not necessarily formal and concrete, expressed by attitude. A type that despite intersubjective is clearly animated by the experiences of each individual.

This is an excerpt from the catalog text by:
Miguel Duarte, Director of the Nogueira da Silva Museum / UM

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