Manuel Pereira da Silva
Untitled, 1962
Felt tip pen on paper
Dim 33 x 22,5 cm
Thursday, August 30, 2018
Wednesday, August 29, 2018
Sunday, August 26, 2018
Vandoma Galleries - Oporto Art Auction
Manuel Pereira da Silva
Woman, 1984
Oil on canvas
59 cm x 79 cm
Saturday, August 25, 2018
Vandoma Galleries - Art Auction
Manuel Pereira da Silva
Man and Woman, 1993
Oil on canvas
83cm x 59cm
Friday, August 24, 2018
Thursday, August 23, 2018
Vandoma Gallery - Antiques and Auctions Trade in Porto
Manuel Pereira da Silva
Woman, 1995
Plaster on aluminum structure
54cm x 68cm x 41cm
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
Monday, August 20, 2018
The selected works of art reflect the baroque
One of the reasons for uniting
these various works of art is to celebrate
freedom of
expression and the beauty of artistic intention, which
attempts,
at the symbolic level, to elaborate original languages, to express the
truth that anyone can feel but
not realize.
The power of
metaphor allows for the extension of formal frameworks: even
the minimalist piece
can be baroque if it
is conceived with a
holistic intent, such as Round by Sharon Peterz. The massive
object levitates, due to the
sophisticated system of
steel cables;
suddenly the complexity and elegance of the solution of this
suspension dominate its
conceptual charge, the absurdity of this perfection
surrenders the work to
the baroque.
The beautiful woman is screaming
without producing any sound, El Fear of Sandra Jaume, exposed in the
room full of sun, turns the air solid
and causes
the particles to stop in
anticipation of
the scream;
the "total
work"
dominates space, the baroque is present. The
artistic books of Maria X. Fernandez definitely reflect the baroque: pages
rolled and folded elaborately are intangible to the reader, whatever the
knowledge contained within, books seduce
with the visual
eroticism of
their forms and evoke a nostalgic desire for the baroque.
This
is an excerpt from
the text of
the catalog by:
Madina Zingashina, curator of the project ART-MAP Braga 2017
Sunday, April 15, 2018
Hyper baroque
"Clearly, baroque is
fantastic,"
Gregg Lambert
said.
He did not fully understand this expression before the project "Thinking
Baroque"
took place.
We can understand and interpret the baroque in two general ways: rationally, as a historical
period, and consider its formal aspects: the
chronological margins
are defined and the
masters are recognized, the principles of composition and characteristic
elements are
described and preserved with poetized society and spirit of that time. Alternatively, we can feel the
Baroque as a
transitional phenomenon,
which can
occur at any time,
and which brings all matters to its maximum: the skill, the science, the emotion, the illusion, the violence. As one of the
participating artists, Miguel Rodrigues, notably remarked, we are actually approaching
a hyper baroque era; we can witness it, it is in the abundance of information,
possibilities and technologies, in the full
blossom and full acceptance
of any ugliness and of any beauty. His
installation,
specifically made for "Thinking
Baroque", is an assemblage of plumbing tubes and bent
plastic: it shines with gold, it attracts
with the softness of rich red velvet. Isn’t this a sublime of modernity?
This
is an excerpt from
the text of
the catalog by:
Madina Zingashina, curator of the project ART-MAP Braga 2017
Friday, April 13, 2018
The baroque foretold modernity
The common impression
about the baroque is that it is an irregular, obsolete, exaggerated, and
necessarily royal, affiliated with the
inquisition,
aligned with slavery and colonialism. And here I would like to reflect a bit. Somewhere in the late Renaissance, in the occidental
world, begins the
democratization of
art,
and the Baroque,
paradoxically, made a
contribution to this. Resulting from the
reactional intention to reaffirm the power of the
church and the monarchy, Baroque
concepts seek to
communicate with popular taste, using gold, illusion, sculpture
and decoration. Hence
it brought to a
maximum scale and impact
all forms of
art, from
architecture to
music, in
order to convence with the magnificence of the celestial kingdom but ended up confirming the beauty and
pleasure of
earthly existence, finishing at once and for all with the remnants of Gothic
asceticism. Aiming
to convey to an illiterate population, the Baroque spread knowledge
and enlightenment;
inspired by the science and discovery of the
world,
the baroque foretold modernity.
This
is an excerpt from
the text of
the catalog by:
Madina Zingashina, curator of the project ART-MAP Braga 2017
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