Permanecemos implicados
Museu Alberto Sampaio
Rua Alfredo Guimarães s/n
Tuesday→Sunday: 10am–6pm
Palacete de Santiago
Praça de São Tiago 31
Monday→Friday: 10am–6pm
We remain implicated
Diogo Machado Ferreira, Eduardo Brito, Jorge Quintela, Paulo Furtado, Pedro Bastos, Rodrigo Areias and Susana Abreu
We believe that we cannot think of a future without looking at the other, placing ourselves in the place of the other, and feeling like other. In the vast field of culture, and by contamination of art, Cinema holds its own space, autonomous and, sometimes, disconnected from other artistic manifestations. In these Times we live in, made of contamination, merging, meetings and collaboration, this observation presents itself as a paradox, presuming it derives from the reduced perspectives that exist on the infinite links that Cinema conceives as a creative but also technical space. In each cinematographic proposal we find a reading, a report, or a reinvention of reality, we are confronted with perspectives over a reality that each one of us is still realizing, which results in a construction of ideas for the future. In everyday life, the processes implied in the construction of the future are about transforming the perception. Post-modernity is informational, contextualizing everything around us, provoking in us, in artists, and in the community in general, the need to multiply the expressive field, working on the senses, on memories, on the way of being in the world. We think of the movement-image -cinema- as the reproduction of life itself, in a documentary, imagined, in a real or fictional way. The exhibition we have created and intentionally entitled Permanecemos implicados (We remain implicated) presents the work of six artists who define themselves as filmmakers, musicians, photographers, and painters. In the works to be exhibited we can find the contamination that we feel to exist and that pierces our senses. The exhibition brings together in two museum spaces, the works of artists who inhabit a restricted and autonomous community that is involved in the creation of reflections on the current reality, on a past, and on what lies ahead. Works by six artists, short films and installations, unpublished works together with revisiting pre-existing works, which explore the logics of human existence within the context, the place, the memory, in short, the existence as a constant discovery where the unknown is built. The exhibition aims to amplify the concept of art and, consequently, of the work of art, reinforcing the mission of the Guimarães Project Room, insofar as it ascertains the idea that all places have the same possibility of being encounters of the artistic act and of being part of that moment, responding to the condition of contemporary art and its manifestations, understood as an event, a moment, part of a larger journey, here revealed in the specific community built by these filmmakers and by the relationships they generate, highlighting their understanding through the artworks/films/short films exhibited. Created from previous situations, they open space for reflection on the reality that precedes them and in the future that perpetuates them.
Diogo Machado Ferreira
Trajectory – Boomerang
Guimarães ~ San Pedro de Atacama ~ Recife ~ Satanawa ~ Porto. A dance of images. Intertwine of fragments. ‘Trajectória (Trajectory) – Boomerang’ is a photo-film that allows a glimpse through five places~moments that mark a temporal lapse of my life in the last five years. In search of its own identity through personal archive images, this photo-film rehearses a movement of departure and return to the same place, just like a boomerang. The sound reflects the movement and whirl of the images. The shuttle that brings together all the fragments and invites us either to meditation or to be able to recognise ourselves in them and thus fall into the vertigo of the poetic self that guides them.
A voice questions the traveller: you have never been to La Ermita, but I am sure you have already been there. When?
Where's Your Memory?
The future of memory is oblivion. Excerpt from the text Tempo, distorção, esquecimento: assim se escrevem coisas que lembramos (Time, distortion, forgetfulness: this is how we write things we remember), by Eduardo Brito.
Macroscopic Time-Lapse for a study on the change of states of matter through the crystallisation process of a salt solution.
A phenomenon that represents the self-organising nature of the thermodynamic system.
A manifestation of order from chaos.
‘Amor Quântico' (‘Quantum Love’) exists under the triple sign of time: the cinematic, the photographic and the poetic. As we move away in the film and from the film — and even if the elements change form (the house is no longer a house, the photogram is now a polaroid, the represented word is a written poem) — we will always continue to speak of survival and possibility, of cycles that mysteriously repeat themselves through the time where we have already lost the memory of where they begin and end. And that may, for that very reason, happen at the same time, in an uncertain time. Eduardo Brito.
This work involves us in a hypnotic universe, where dance and music become powerful vehicles of expression and transformation. We are transported beyond the limitations of time and space, plunging into the emotions of the past and the present.
Ursula's grandfather had about 2000 reindeer, he was a famous reindeer herder in the whole of Lapland. In a plague year they were reduced to eight. The stench of death lasted for years. Ursula sings the joik that immortalized him as a Sami respected by the whole community.
Pedro Bastos
Cinema Indústria Trash Trash
What unites these two works, is neither the theme nor the subject, but their remediable condition as a cinematographic archive in destruction. In ‘Flyby Kathy’, we start from an old abandoned 35mm copy of an adult film, where there’s an obsession to find out who is one of the involved actresses (Kathy Harcourt). ‘A Menos de 50km de Casa’, is a film installation shot in 35mm in a wandering way through the territory and landscape of Vale do Ave, where abandoned factories of the textile industry cohabit, with rivers, hills, and chapels on top of them.