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
