Video of the opening of Materiality exhibition, curated by Aneta Szylak, Arne Hendiks, Inês Moreira, Leire Vergara
EDIFÍCIOS E VESTÍGIOS , projecto-ensaio sobre espaços pós-industriais (exposição, conferência, livro)
curadoras: Inês Moreira e Aneta Szylak
organização: Guimarães 2012, Capital Europeia da Cultura
local: Fábrica ASA, sector G
data: 29 setembro – 1 Dezembro 2012
BUILDINGS AND REMNANTS , essay-project on post-industrial spaces (exhibition, conference, book)
curators: Inês Moreira e Aneta Szylak
commissioner: Guimarães 2012 European Capital of Culture
venue: Fábrica ASA, sector G
date: 29 september – 1 December 2012
How materiality resonates politically? The discussion around the worker’s sheds installation Participants: Arne Hendriks, Inês Moreira, Aneta Szyłak, Leire Vergara Five sheds from the Gdańsk Shipyard from the inspiration of the artist Grzegorz Klaman are put on tour to form Solidarność Camp in 5 European cities. Made decades ago by the shipbuilders they were meant to provide some private space within the harsh conditions associated with outdoor labour in heavy industry. Today, no longer in use and rescued from the scrapyard they are being seen as examples of vernacular architecture. The status of the random objects is transformed into an art installation. The questions we would like to raise are: How the meaning of the object is changed according to its location? What does it mean for us to discover them in the center of Madrid? How their materiality influences our thinking about the visual, the vernacular, the somatic, the audible and the performative? How this gesture reframes what we think about the city and how the contrast between the sheds and their temporary surrounding triggers our thinking about the status of the found and vernacular? How the sheds can sound politically to us, whilst thinking about the control over heavy industry by European regulations? These questions and more are to be addressed to four speakers invited to take part in the talk: Arne Hendriks, co-curator of upcoming Alternativa in Gdańsk, Inês Moreira, architect, researcher and curator based in Portugal, Leire Vergara, an independent curator based in Bilbao and Aneta Szyłak, Director of Wyspa Institute of Art in Gdansk. www.mataderomadrid.org/ficha/1009/solidarno%C5%9B%C4%87-camp.html
Petit CABANON (private version for Wyspa) exhibited at Labour and Leisure Exhibition, in the context of Alternativa Visual Art Festival 2012, curated by Aneta Szylak at Hall 90B, Wyspa Institute of Art in Gdansk, Poland. The physical installation consists of the reconstruction of the two sheds that Le Corbusier had in his garden: CABANON + the Work Shed. The two buildings were made of cardboard bricks, in a playful construction. The sounds cape inside both volumes would reproduce the atmospheres and summer conversations by Le Corbusier, Eileen Gray and their friends, as an evocation. http://www.alternativa.org.pl/
Opening on the 25th May 2011 @ Mies and on the 26th @ Fira.
We´ll be part of the project “Art for Living” by Lab´Bel, at Mies Van Der Rohe Pavillion and at Swab Art Fair.
Besides the quality and the prestige of such venues, it is a wonderful feeling getting back to this exquisite building where I spent so much time during the Erasmus Program at ETSAB, and the Metropolis Master at CCCB. In those days, a very precise program of conferences and talks happen in the summer´s evenings, and students and professionals gathered around the lake attending the talks. Hope to revive that atmosphere.
[the image is a print screen of: Jeff Wall, Morning Cleaning, Mies Van der Rohe Foundation, Barcelona, 1999]
petit CABANON, Inês Moreira (space) and Claudia Martinho (sound)
This is the work model for a spatial installation to be presented in an event of Alternativa 2012 at Wyspa Institute of Art, at Gdansk Shipyard in Poland.
Opening on the 28th of May 2011. (hopefully)
More information soon.
… the date of the inception of Alternativa International Contemporary Visual Art Festival has been set. The Apeniny of the Alternativa, the festival whose heart beats on the premises of the former Gdańsk Shipyard, will take place on Saturday, May 28th. We extremely encourage you to reserve the whole weekend for the art right now!
Detailed program of the Festival will be published at the end of April.
Welcome, Wyspa Progress Foundation/ Wyspa Institute of Art
fotos Diogo Matos . Sandra Pereira
These are a few images of the “making-of” the spatial installation of Rewind.
The exhibition is about to open on the 4th of July (Friday) 2010, Lons-le-Saunier, France.
Rewind _contemporary art exhibition
Curators: Laurent Fiévet and Silvia Guerra
Spatial Concept: Inês Moreira + Diogo Matos [petitcabanon.org]
Artists: Dan Colen (USA, 1979), Robert F. Hammerstiel, (Austria, 1957), Bertrand Lavier (France, 1949), Jan Vercruysse (Belgium, 1948), John Wood et Paul Harrison (UK 1969 and 1966), Cléa Coudsi et Eric Herbin (France, 1979 et 1980), Gabriel Desplanque (France, 1981), Xavier Gautier (France, 1974), Fabien Mérelle (France, 1981), Moira Ricci (Italy, 1977).
Produced: Laboratoire Artistique de Bel _Construction: Produções Reais
Maison de la Vache Qui Rit Lons le Saunier, France, June 2010
André Guedes . André Tavares + Opúsculos . Ângela Ferreira . atelier base . ateliermob . ateliers de santa catarina . auzprokect + José Miguel Gervásio . Catarina Simão . Cirurgias Urbanas . Cláudia Martinho . Dieter Lesage . Filipe Balestra + Urban Nouveau . freespeech . João Afonso . João Martins + Visões Úteis . José Capela + mala voadora . José Pedro Sousa . Manuel Henriques . Marcin Szczelina . Os Espacialistas . Paulo Moreira . Pedro Homem de Gouveia . Pedro Jordão . pecha kucha night lisbon . pecha kucha night porto . Revista Conditions . Revista Detritos . Rita Palma . Susana Ventura . Tiago Castela . Tiago Hespanha . Urban Future Organization + Eduardo de Oliveira Barata . Vasco Mourão
Dossier de presse en français
[click DP REWIND]
5 juin – 5 septembre 2010
La Maison de La vache qui rit®
Comissaires: Laurent Fiévet + Sílvia Guerra
rewind _contemporary art exhibition / the spatial installation [a preview]
This project is a conceptual space created to host rewind, the contemporary art exhition curated by Laurent Fièvet and Sílvia Guerra for Label. The space concept is by Inês Moreira + Diogo Matos [petitcabanon.org] an adventurous collaboration between Paris+Genéve+Porto+Lons-le-Saunier
Projecto artístico de Eduardo Matos
8 de Março 2010, 17:30h, Auditório Pavilhão Sul, FBAUP, Porto
Salgueiros – As cidades novas 2005/2006
“Uma notícia de Jornal levou-me a conhecer um desses espaços que se formam na margem e à margem da cidade. Trata-se de um terreno baldio, um espaço encravado entre edifícios urbanos e uma via rápida de automóveis, essa noticia de jornal, dava ainda conta da existência de um lago e de uma intensa flora que tinha crescido espontaneamente a sua volta, arbustos, plantas e flores que formavam uma espécie barreira ao exterior e dava a ideia de se tratar de um pequeno micro-ambiente.
Os habitantes da cidade não tardaram em apropriaram-se do espaço e a mesma noticia falava em pessoas que para lá iam pescar. O pequeno lago com a sua orla verdejante era também uma lixeira, um lugar onde pessoas e famílias passeiam e repousam nos fins de semana, zona de consumo de drogas, uma espécie de recreio onde crianças brincam e adultos se divertem, zona de assaltos e de operações stop da policia, o negócio do lixo tem ali uma intensa actividade.” Eduardo Matos
[sessão aberta organizada no âmbito da colaboração científica com o Projecto Europeu Transformations/FBAUP”, financiado pela Cultura 2000]
Series DW, 1967
corrugated cardboard (square tubes, 140 x 70 x 70 cm
Through May 15 Curated by Marc-Olivier Wahler, PALAIS DE TOKYO, PARIS
“The things I make are variable, as simple as possible, reproducible,” Posenenske remarked in the late ’60s. Emerging as a painter while American Minimalism was taking shape, the German artist (1930–1985) went on to develop an approach strongly influenced by architecture. Constructing objects from simple industrial materials like tin and corrugated cardboard, she tested the combinatorial possibilities of modular forms, delegating an active role to the viewer. In 1968, for political reasons, Posenenske stopped making art, and her work was largely forgotten. A substantial career survey, in 2005, in Innsbruck, Austria, and Siegen, Germany, sparked a resurgence of interest, making Posenenske something of a cult figure. This extraordinary artist is now the subject of a comprehensive retrospective of roughly fifteen major works made between 1956 and the end of her abruptly truncated career.”