The Sublime, as the Beauty, while aesthetics category, has been subject to countless definitions, depending on the times and circumstances. To talk about this “Espaço Ginjal” of Helena Gonçalves, I retrieve one of them from the essay “On the Sublime” by Schiller in 1973: “Sublime we name an object, at whose conceptualization our sensuous nature feels its limits, but our rational nature its superiority, its freedom from limits; in the face of this we thus derive physically our brevity, which we surmount but morally, i.e. through ideas.” This space - already in a stage of abandonment - before which we feel the weight of impossibility of what it was and no longer is, appears here, with a new existence through the eye of Helena Gonçalves, and this time, eternal. For a start, because this is the aspect of any artistic object, its perenniality. But, more than that: in freezing a reality in an instant (not always decisive), she immortalizes it in the memory of who receives it. Of these photos, we appropriate ourselves of that “story” and make other stories, guided by the light with which Helena Gonçalves covers the space, inducing this way, the passage of time. In an authorial and subjective way, the light freezes or drags fragments of this, apparently staged, space. It happens that, although “light” is synonymous of “truth” in its figurative sense, it assumes here one other formality from which it results the sublime aspect of these photos: we see beyond the visible, the dimension of what “can be represented”. What is not shown is so, or by chance even more, important than what is lit. Maybe it is the moment of revealing, quoting Samuel Beckett in “Waiting for Godot”: «Sometimes I feel it coming all the same. Then I go all queer.», that the Espaço Ginjal was there until the middle of 2010 and was the place for countless artistic expressions, namely, in the field of theatre and performance. Symbolically, “Espaço Ginjal” talks about this space and many others that no longer exist by demands of other nature, this way putting an end, and more and more, to places of creativity for artists and gathering with publics. No, we don't what to stay waiting for Godot, before that strangeness of the no-meaning that, some times (more than we want), the human condition encloses. Of de absurd, we would only want Theatre, not Life.
Helena Gonçalves born in Portimão in 1978. Lives and works in Lisboa. Between 2000 and 2002 frequented the Basic Course in Photography in Ar.Co - Centro de Arte e Comunicação Visual, in Lisboa. In 2004 finished the Advanced Course in Photography at the same school. Co-Founder of Black Box Atelier, with Álvaro Teixeira, in 2014. Assistant teacher in Ar.Co - Centro de Arte e Comunicação Visual, in Lisboa, since 2005. In 2010 and 2009, she was finalist in «Emergentes» - Encontros da Imagem, em Braga. In 2006, she was finalist and represented Portugal, on the Photography area, at the Bienal Jovens Criadores in Italy. She had participated in several solo and group exhibitions, in Portugal and abroad (Spain, France, Italy and Czech Republic), of which the following are worth mentioning: «Territories de la photographie portugaise», curated by Rui Prata, at Galerie Nationale de la Tapisserie, Beauvais, France (2013); «Monchique» at FotoGrafic gallery, Prague, Czech Republic (2012); «11.09.10», curated by Ana Matos, Museu de Arte Contemporânea, Funchal, Madeira (2011) and at Espaço Ginjal, Cacilhas, Almada (2010); «Finalistas Emergentes DST» – Encontros da Imagem 2010, Braga (2010); «Fronteiras do Género» - Encontros da Imagem ’09, Braga (2009); Bienal «Jovens Criadores», Bari, Italy (2008), «Dia-Noite», Galeria das Salgadeiras, Lisboa (2008); «Fogo e Água», travelling exhibition in Granada providence, Spain (2006); and «Dança», Galeria das Salgadeiras, Lisboa (2003). Represented in the EDP Foundation collection and in the José Saramago Foundation, as well as in several private collections. Represented by Galeria das Salgadeiras since 2003.
Place of Exhibition
Posto do Turismo de Barcelos
More information soon.