Antena 2

Serralves convida novos curadores a pensar exposies para diversos locais, frequentemente longe dos maiores centros urbanos nacionais. A cada um destes recm-chegados profissionais disponibilizada a coleco da Fundao, em cada stio apresentada sob um prisma singular, confrontada com novos espaos e, por vezes, em dilogo com produes de artistas concebidas para cada contexto especfico. Serralves invites new curators to conceive exhibitions for various sites, frequently located far from Portugals main urban centres. Each of these recently qualified professionals is provided with access to the Foundations collection, which will be presented from a singular perspective in each venue, confronted with new spaces and, on certain occasions, in dialogue with artistic productions conceived for each specific context.

PROGRAMA ANTENA PROGRAMME ANTENNA Concepo / Concept Joo Fernandes Ricardo Nicolau Coordenao / Coordination Ricardo Nicolau Filipa Loureiro

CMARA MUNICIPAL DE SINES CENTRO DE ARTES DE SINES Presidente da Cmara Mayor Manuel Coelho Carvalho Departamento de Educao, Cultura, Desporto e Aco Social Diviso de Cultura e Desporto / Servio de Cultura Centro de Artes de Sines Department of Education, Culture, Sports and Social Action Culture and Sports Division / Cultural Service Sines Arts Centre Coordenao de programao Programming coordinator Marta Mestre Sector Administrativo Administrative sector Srgio Cordeiro (chefe de seco / head of section) Sandra Santos Cristina Almeida Dalila Maria Servio Educativo e Cultural Educational and Cultural Service Liliana Rodrigues Albina Petrolati Francisca Lima Montagem e instalao / Installation Pedro Sequeira Artur Chanho

BROCHURA / BOOKLET Concepo Editorial / Editorial Concept Ricardo Nicolau Coordenao / Coordination Filipa Loureiro Ricardo Nicolau Textos / Texts Joo Fernandes Maria do Mar Fazenda Marta Mestre Ricardo Nicolau Traduo / Translation Martin Dale Sofia Gomes Reviso de provas Proofreading Paulo Monteiro Concepo Grfica / Design Pedro Nora Pr-impresso, impresso e acabamento / Prepress, printing and binding Ginocar Indstria Grfica Lda. Tipografia / Typography Dolly, Underware Verlag, H&F J Papel / Paper Bikraft 325 g/m2 Munken Lynx 150g/m2 Arjowiggins PopSet Limo 120g/m2

EXPOSIO / EXHIBITION Organizao / Organization Fundao de Serralves Serralves Foundation Cmara Municipal de Sines Sines Municipal Council Centro de Artes de Sines Sines Arts Centre Curadoria / Curator Maria do Mar Fazenda FUNDAO DE SERRALVES Programao / Programming Joo Fernandes Ricardo Nicolau Coordenao / Coordination Filipa Loureiro Ricardo Nicolau Montagem e instalao / Installation Joo Correia Manuel Martins Pedro Arajo Registo e transporte Registration and transports Daniela Oliveira

Agradecimentos / Acknowledgements Ao Senhor Presidente da Cmara Municipal de Sines, Manuel Coelho, e Coordenadora da programao do Centro de Artes de Sines, Marta Mestre. Ao Director do Museu de Serralves, Joo Fernandes, e ao Adjunto do Director, Ricardo Nicolau, bem como Filipa Loureiro e Helena Abreu. Aos artistas Julio Castro, Gabriel Casares e Rolando Flores (Tercerunquinto). Ao Joo Silvrio e ao Mrio Valente. To the Mayor of Sines, Manuel Coelho, and the Programming Coordinator of Sines Arts Centre, Marta Mestre. To the Director of Serralves Museum, Joo Fernandes, and the Deputy to the Museum Director, Ricardo Nicolau, and also to Filipa Loureiro and Helena Abreu. To the artists Julio Castro, Gabriel Casares and Rolando Flores (Tercerunquinto). To Joo Silvrio and Mrio Valente.

Contactos / Contacts Centro de Artes de Sines Rua Cndido dos Reis, 7520 Sines Diariamente, das 14h s 20h Open daily from 2 p.m. to 8 p.m. T +351 269 860 080 F +351 269 860 099 www.centrodeartesdesines.com.pt cas-geral@netvisao.pt Museu de Arte Contempornea de Serralves Rua D. Joo de Castro, 210 4150-417 Porto, Portugal T +351 22 615 65 00 F +351 22 615 65 33 www.serralves.pt serralves@serralves.pt

Fernanda Fragateiro S possvel se formos 2 / Its only possible if there are two of us, 20002007 Tecido e fotografia a preto e branco / Cloth and black-and-white photograph Dimenses variveis / Variable dimensions Coleco Banco Privado em depsito na Fundao de Serralves, Museu de Arte Contempornea, Porto Banco Privados Collection on deposit in the Serralves Foundation, Museum of Contemporary Art, Oporto Fotografia / Photograph cms

Apresentao / Presentation
Joo Fernandes Director do Museu de Serralves / Director of Serralves Museum

quando propusemos aos vrios espaos interessados em mostrar parcelas da nossa coleco que integrassem o programa de exposies Antena, confesso que contvamos com algumas resistncias iniciais. Desde logo a resistncia ao novo, associada ao inevitvel confronto com o imprevisvel que este programa subentende: quando desafiamos um novo curador, externo a Serralves, a conceber uma exposio utilizando a nossa coleco, no sabemos partida exactamente que obras ir seleccionar; como, e visto que existe a possibilidade de confrontar peas da Coleco de Serralves com projectos inditos de artistas que nela no estejam sequer representados, no podemos calcular que artistas poder cada curador convidar. Esta imprevisibilidade justamente um dos motivos que nos levou a conceber este programa o privilgio de ver devolvida, em cada exposio, uma viso renovada da coleco , associada, acima de tudo, vontade de estimular os panoramas curatorial e artstico: no nosso pas subsistem espaos sem programaes definidas e potenciais curadores sem oportunidades, situao que a ser revertida deve dar oportunidades a artistas em incio de carreira de exibir em espaos que no os da sua galeria, se a tiverem, onde no mximo mostram trabalho de dois em dois anos. De qualquer forma, calculmos que seria mais difcil para as instituies que co-produzissem estas exposies connosco receber obras de artistas que partida no so os mais expectveis, ou que ainda no foram suficientemente legitimados. O processo de trabalho com o Frum Eugnio de Almeida, em vora, que acolheu a primeira exposio do Antena, como agora com o Centro de Artes de Sines, veio provar que estvamos enganados. Desde o incio que em Sines se entusiasmaram com o projecto, instituindo-se como interlocutores de excepo, no apenas connosco como com a curadora por ns convidada, Maria do Mar Fazenda, a quem disponibilizaram, e aos artistas por ela seleccionados, todas as ferramentas necessrias para trabalharem e em quem depositaram toda a confiana. Cabe-nos reconhecer a forma empenhada como a curadora retribuiu. Como devemos uma palavra especial de reconhecimento aos artistas portugueses seleccionados por Maria do Mar Fazenda, que se disponibilizaram para conversar sobre as suas obras, pensar uma sua adaptao ao espao expositivo, e, nalguns casos, para se deslocarem ao prprio Centro de Artes de Sines para nos ajudar na sua montagem. Por ltimo, dirigimo-nos aos Tercerunquinto para lhes agradecer o entusiasmo com que, desde a primeira hora, abraaram este desafio que, alm de nos permitir rever a nossa relao com a arquitectura deste espao, nos faz pensar sobre algumas das questes mais estimulantes que a arte de hoje nos tem colocado, nomeadamente a relao entre espao pblico e privado, e a possibilidade de ainda vivermos verdadeiras experincias contra os piores diagnsticos, que defendem que devemos partir da constatao de que elas j no se oferecero como qualquer coisa de realizvel.

when we proposed to various exhibition spaces interested in displaying samples from our collection, that they should take part in the Antenna exhibitions programme, I must admit that I anticipated a certain degree of resistance. First and foremost, due to the generalised resistance to novelty, associated to the inevitable confrontation with the intrinsic unpredictability underlying this programme, where we ask a new curator, outside Serralves, to construct an exhibition using our collection, and where we dont know at the outset exactly which works will be chosen. We also cannot foresee which artists will be invited by the curator given that there is the possibility of confronting works from the Serralves collection with hitherto unseen works by artists that are not represented in the collection. This element of unpredictability is precisely one of the reasons that initially led us to devise the programme the privilege of generating a renewed vision of the collection in each exhibition associated, above all, to our desire to stimulate artistic and curatorial panoramas. In Portugal there continue to be exhibition spaces that dont have a predefined programme and potential curators who find no opportunities to practise their profession. Reversing this situation should also provide opportunities for artists embarking upon their careers in exhibition spaces outside their own galleries, if they have one, where at best they can display their own work once every two years. We believed that it would be more difficult for the institutions co-producing the exhibitions, to receive works by unusual or insufficiently legitimated artists. However, our experiences with the Eugnio de Almeida Forum, in vora that hosted Antennas first exhibition and with Sines Arts Centre, has shown us that we were mistaken. The staff at Sines expressed enthusiasm from the commencement of the project, establishing themselves as exceptional interlocutors, not only with us but also with the curator, Maria do Mar Fazenda. They provided all the necessary working tools and entrusted complete confidence in the curator and the artists chosen by her, and the curator responded with tremendous dedication. A special word of recognition is due to the Portuguese artists selected by Maria do Mar Fazenda, who were willing to discuss their works, contemplate their adaptation to the exhibition space, and who, in certain cases, travelled to Sines Arts Centre in order to participate in their assembly. Finally, we would like to thank the collective Tercerunquinto for the enthusiastic manner in which they embraced this challenge from the beginning. In addition to enabling us to review our relationship with the architecture of this space, they led us to reflect upon several of the more stimulating questions posed by contemporary art, in particular the relationship between public and private spaces, and the possibility of still engaging a genuine experience defying the worst diagnoses that suggested that we should assume the idea that such experiences may no longer be implemented.

Possibilidades de Percepo / Possibilities of perception

Marta Mestre Coordenadora da programao do cas / Programming coordinator of the Sines Arts Centre

o projecto curatorial que o cas acolhe, numa parceria com a Fundao de Serralves, manifestou desde o primeiro momento uma vontade de calibrar a arquitectura do edifcio. Maria do Mar Fazenda, a curadora da exposio, quis testar as possibilidades de percepo dos espaos, seleccionando para o efeito um conjunto de obras de artistas contemporneos que organizam a jogada como no xadrez, em inteiro fairplay com o espectador. Parceira fundamental para um dilogo sobre a importncia da arte dos nossos dias, a Fundao de Serralves timoneira de uma actividade sustentada com jovens curadores, disponibilizando o patrimnio da sua coleco. No Centro de Artes de Sines promoveu-se um dilogo indispensvel entre curador e instituies, no sentido de responder s especificidades do lugar e contribuir para reforar uma das linhas orientadoras do cas: interpretar, nele intervindo, o mundo contemporneo. S possvel se formos 2 tem duas linhas de montagem indissociveis: as obras da coleco de Serralves e a integrao do projecto convidado dos Tercerunquinto, colectivo mexicano cujo trabalho se centra na definio do espao, amplificando o seu discurso em torno de proposies opostas (dentro-fora; aberto-fechado; envolvido-excludo, etc.). O projecto em exposio resulta da estada dos Tercerunquinto em Sines e reflecte uma vivncia singular da cidade e do seu carcter bipolar: a coexistncia da urbanidade com a ruralidade; a sobrevivncia da comunidade piscatria a par do desenvolvimento dos projectos industriais de grande escala; a disparidade dos fluxos tursticos prpria das cidades balneares, ou ainda a integrao do edifcio do cas na malha do centro histrico. Em rigor, os aspectos enumerados tornam este local num pequeno global, contemplando as questes gerais do mundo presente e a sua ressonncia nos principais eixos do trabalho artstico contemporneo. Em particular esto em causa processos de intercmbio (humanos, relacionais, espaciais, sociais e arquitectnicos) entre o lugar e a produo artstica actual. A seguir cidade, o cas o segundo plo da pesquisa, e funciona como interface (institucional) activador da exposio quer a nvel da comunicao com o pblico quer pela tenso da sua arquitectura. Apesar do figurino institucional, a arquitectura do cas desafia a matriz expositiva habitual (o edifcio avesso tradicional sucesso de quadros na parede) e abre-se por inteiro a um projecto artstico medida. O percurso que vai da calada vulgar das ruas ao branco intenso do interior uma imagem sugestiva da utopia (cultural) do artstico abarcar o poltico. Numa poca em que no tanto a nossa vida mas a nossa percepo que se encontra ameaada, oportuni-

dades de excitao qualitativa do olhar como a que prope Maria do Mar Fazenda so contributos indispensveis para reforar a importncia do artstico.

from the outset, the curatorial project now hosted by Sines Arts Centre, in partnership with the Serralves Foundation, expressed a desire to calibrate the buildings architecture. The exhibitions curator, Maria do Mar Fazenda, aimed to test the possibilities of perception of the Centres space, selecting a series of works by contemporary artists for this purpose, that organise the exhibition as if it were a game of a chess in a complete spirit of fairplay with the spectator. As a key partner for constructing dialogue regarding the importance of contemporary art, the Serralves Foundation is the helmsman of this activity involving young curators, through the provision of works from its collection. An indispensable dialogue is fostered in the Sines Arts Centre between the curator and the institutions, in order to respond to the specific characteristics of the location and contribute towards strengthening one of the Centres key objectives to intervene within and interpret the contemporary world. The exhibition, Its only possible if there are two of us is founded on two essential elements: works from the Serralves Collection and integration of the guest project from Tercerunquinto a Mexican collective which focuses on definition of space, amplifying its discourse through mutually contrasting propositions (inside-outside; open-closed; included-excluded, etc.). The current project results from Tercerunquintos visit to Sines and reflects a uniquely living experience of the city and its bipolar character: the coexistence of urban and rural aspects; the survival of the fishing community together with the development of large scale industrial projects; the disparity of tourism flows that is typical of seaside resorts, and also Sines Arts Centres recent architecture in confrontation with the historical centre. In truth, the aforementioned aspects transform this local setting into a mini-global setting, incorporating the general issues that face the modern world and their resonance within the principal lines of enquiry of contemporary artistic work. In particular, this involves various processes of exchange (human, relational, spatial, social and architectural) between the exhibition space and current artistic production. After the city itself, the Sines Arts Centre is the second pole of enquiry and functions as an (institutional) interface that catalyses the exhibition either in terms of its communication

with the public or the tension associated to the Centres architecture which, in the limit, has been subverted by Tercerunquintos project. Notwithstanding its institutional nature, the architecture of the Sines Arts Centre challenges the normal exhibition framework (the building is not suitable for a traditional succession of paintings hanging on a wall) and is ideal for a tailor-made artistic project. A classic example is the itinerary charted from the typical paving stones of the city streets to the intense white interior - an accelerated image of the cultural dream of bringing political and artistic utopias closer together. At a time in which it is not so much our lives that stand in peril but rather our very perception of the world, opportunities to foster a quantitative excitation of our perception, as that proposed by Maria do Mar Fazenda, constitute an indispensable contribution in order to reinforce the importance of artistic production.

Asswalls. Arte e arquitectura so mesmo 2 Asswalls. Art and architecture are indeed 2 *
Ricardo Nicolau Adjunto do Director do Museu de Serralves / Assistant to the Director of Serralves Museum

o espao destinado a exposies do Centro de Artes de Sines funciona num premiadssimo edifcio projectado pelo atelier de arquitectura dos irmos Aires Mateus, que congrega ainda um auditrio e um arquivo municipal. Estes dois arquitectos so particularmente conhecidos, e reconhecidos, na esfera da arte contempornea, em grande parte pelas relaes que estabelecem, em termos de resposta a programas e de singularidade nos processos de trabalho, com a actividade de artistas visuais seminais no contexto da arte das ltimas quatro dcadas: quando o Centro de Exposies do Centro Cultural de Belm, hoje Museu Berardo, lhes dedicou em 20052006 uma exposio, pudemos confrontar-nos com uma singular apresentao de projectos de arquitectura, que alm de ter dado origem a um texto de Delfim Sardo que os relacionava com a arte contempornea,1 de facto excedia largamente a apresentao das tradicionais maquetas, aproximando-se das pesquisas, e respectivas materializaes, de artistas como Gordon Matta-Clark, Dan Graham, Robert Smithson, Robert Morris ou Carl Andre. Estes artistas, particularmente os trs primeiros, interessaram-se largamente, como sabemos, pela arquitectura, pelo que a sua convocao para uma exposio de arquitectos vinha sublinhar a confluncia entre prticas artsticas e arquitectnicas que caracteriza a deriva disciplinar, a heterodoxia, que vivemos agudamente neste incio de sculo mas que tem razes no sculo passado. Estas porosidades entre arte e arquitectura foram amplamente exploradas durante todo o sculo xx: basta pensarmos na quantidade de maquetas e desenhos tcnicos empregues por artistas, como numa determinada expanso (e diluio) da noo de projecto reclamada por muitos arquitectos, para percebermos como aquelas duas disciplinas se foram informando e contaminando mutuamente. Desde as experincias construtivistas das suas primeiras duas dcadas, passando pelas neo-vanguardas dos anos 1960 e 1970, grande parte das experincias artsticas mais estimulantes e radicais do sculo passado partiu de um confronto com a arquitectura. Recordemos apenas que vrios artistas a trabalhar nos muito politizados anos 1960 estabeleceram um curioso dilogo com a arquitectura modernista. Isto porque ela representaria, com as suas pretenses de

neutralidade e iluses de pureza e universalidade, tudo aquilo que pretendiam combater, reclamando o carcter impuro dos contextos sociais e histricos. Da uma grande recorrncia, nesta reavaliao de teorias essencialistas e emancipadoras, de referncias arquitectura modernista, que representaria o seu modelo mais elaborado, ao elidir as contingncias e auto-alienando-se em relao aos contextos sociais. Os artistas nossos contemporneos continuam a referir-se arquitectura, mas os exemplos com que se confrontam correspondem cada vez mais a figuras desalinhadas em relao a quaisquer doxas da arquitectura (utilitarismo inquestionvel, obrigatria materializao de um projecto, resposta a programas preestabelecidos) e que inclusive abalaram os seus limites disciplinares. So recorrentes os projectos artsticos que convocam implicita ou explicitamente as pesquisas de, entre outros, Cedric Price, Jean Prouv 2 e Buckminster Fuller 3 sem esquecer os trabalhos da artista Fernanda Fragateiro que nascem de um confronto com determinada arquitectura sul-americana, nomeadamente chilena e brasileira, de que exemplo paradigmtico S possvel se formos 2, a pea que d nome presente exposio no Centro de Artes de Sines. partida poderamos pensar que um espao arquitectnico idealizado pelo Atelier Aires Mateus teria forosamente de corresponder, enquanto suposta materializao das porosidades entre arte e arquitectura e enquanto espao projectado por arquitectos to atentos arte que se faz hoje, ao local quase perfeito para a apresentao de artistas contemporneos. No o caso, longe disso: os vrios agentes artsticos que o visitaram e com quem falei, muitos deles ignorando que este espao no foi de incio projectado para servir a exibio de obras de arte (eu prprio fiquei a sab-lo apenas recentemente), oscilam entre a perplexidade e a indignao com a distribuio dos espaos, com os tectos muito baixos e a imposio da arquitectura. frequente um comentrio potencialmente rico em interpretaes: Que grande desafio para curadores e para artistas. Este desafio coube agora a Maria do Mar Fazenda, jovem curadora que Serralves convidou a integrar o projecto Antena.

[ 1 ] Segundo Delfim Sardo, A arquitectura de Francisco e Manuel Aires Mateus situa-se num campo muito peculiar da prtica arquitectnica, na medida em que o programaticamente (de forma determinada e quase clssica), mas tambm um campo de confluncias entre prticas projectuais e formas que derivam da arte contempornea e, de forma heterodoxa, se cruzam com a arquitectura tomada como disciplina, com as suas referncias histricas e tericas. Aires Mateus: arquitectura, Lisboa: Centro Cultural de Belm, 2006. [ 2 ] ngela Ferreira, artista que representou Portugal na ltima edio da Bienal de Veneza (2007), construiu o seu projecto Maison Tropicale partindo de uma aturada pesquisa sobre o trabalho daquele engenheiro francs. Cf. Jrgen Bock (org.), ngela Ferreira. Maison Tropicale, Lisboa: Instituto das Artes / Ministrio da Cultura. [ 3 ] Leonor Antunes, por exemplo, tem vindo a apresentar peas que remetem directamente para o seu trabalho, nomeadamente 55 octaedros (2006), uma escultura de cho em balsa, flexvel ao ponto de se poder apresentar de diversas formas, e que de certa forma materializa uma ideia de arquitectura transportvel, recolhvel, viajante, que a artista tem vindo a traduzir para escultura. Cf. Ricardo Nicolau (org.), 1:1. Leonor Antunes / Didier Fiza Faustino, Porto e Coimbra: Fundao de Serralves / Pavilho Centro de Portugal.

Desde o incio que ficou bem claro que a curadora no queria mascarar as caractersticas do espao, impondo mais arquitectura (efmera) ao edifcio. Queria, isso sim, perceber como determinadas obras a seleccionar da Coleco de Serralves muitas partindo j de um confronto com a ideia de arquitectura se comportariam num espao com caractersticas partida to desadequadas sua exibio. Como queria tirar partido das qualidades que reconhecia ao Centro de Artes, nomeadamente o seu enquadramento na malha urbana, permitindo uma nova perspectiva sobre o centro histrico de Sines e nunca excluindo, pelo contrrio, a populao que passa, vive ou trabalha no centro da cidade nas palavras de um dos arquitectos, Foi um projecto que nos agradou muito, porque uma nova maneira de olhar para o centro histrico, um edifcio aberto para a cidade e para os seus habitantes. 4 Maria do Mar Fazenda quis transportar esta possibilidade de relao prxima com o utilizador do edifcio sintetizada por Delfim Sardo como campos de performatividade para o espectador, [] campos de negociao pessoal e social 5 , para a experincia de ver exposies de arte; desde logo, seleccionando peas que contrariem o exclusivismo do ver, implicando o espectador numa relao com a arte que o institua enquanto dnamo imprescindvel para a efectiva existncia das obras. Chamar a esta exposio S possvel se formos 2, pedindo emprestado o ttulo de uma pea de Fernanda Fragateiro, convoca imediatamente determinadas premissas que esto no centro do trabalho desta artista nomeadamente a obrigatoriedade de andar para experienciar, o desdm pela exclusividade da imagem como substituio da experincia,6 o primado do uso, o apelo participao do espectador 7 , sem nunca ter precisado, note-se, de sujeitar-se aos slogans panfletrios que, no final dos anos 1990 e incio dos anos 10 desse sculo, deram despropositado destaque a uma determinada arte relacional, ou de participao. Maria do Mar seleccionou uma quantidade de obras pertencentes Coleco de Serralves, quase exclusivamente esculturas, que se apoiam directamente no cho, ou no tecto, dialogando directamente com o espao. Esta ausncia de bases, ou de plintos, o facto de se apoiarem directamente no solo, f-las imediatamente pertencer ao espao real em que se move o

espectador, declarando que a sua identidade fsica no muito diferente da dos outros objectos que formam o seu mundo. Em alguns casos, as peas no se limitam a ocupar espao, mas criam-no, propondo relaes inditas com a arquitectura envolvente. A curadora prescinde das imagens, do seu envelope liso, da prudncia que elas de certa maneira instauram na nossa relao com o mundo. Todas as obras escapam representao, algumas das peas exigem ser experimentadas em tempo real, a grande maioria prope experincias cinestsicas. Alm das peas da Coleco de Serralves, Maria do Mar Fazenda props-se trabalhar com um colectivo mexicano chamado Tercerunquinto e composto pelos artistas Jlio Castro, Gabriel Czares e Rolando Flores. A sua insistncia em trabalhar em equipa, a valorizao do trabalho colaborativo, a vontade de trabalhar a relao entre o espao pblico e os museus e galerias, vieram ao encontro daquilo que a curadora valoriza no seu prprio processo de trabalho, na sua relao com os artistas e com as instituies assim como o facto dos Tercerunquinto definirem como campo de aco privilegiado a arquitectura e a forma como ela tem ajudado expropriao da sociabilidade humana e ao incentivo da privao de verdadeiras experincias. Uma visita com um dos artistas ao espao expositivo e uma regular troca de correspondncia permitiram-lhe garantir a sua participao na exposio e a presena do colectivo em Sines durante duas semanas, tempo em que pensaram e executaram vrias intervenes especficas no espao do Centro de Artes. Aos Tercerunquinto temos de agradecer o entusiasmo com que corresponderam ao desafio da curadora. Como temos de agradecer aos artistas portugueses que ela seleccionou para integrarem a exposio Ana Jotta, ngela Ferreira, ngelo de Sousa, Fernanda Fragateiro e Francisco Tropa , sempre dispostos a falar entusiasmadamente sobre as peas escolhidas e a sugerir solues de montagem que se adaptassem ao espao. Um palavra especial de reconhecimento a Ana Jotta e a Fernanda Fragateiro, que generosamente, e em cmplice dilogo connosco, no s ajudou na procura da montagem de S possvel se formos 2 que melhor se adequasse ao Centro de Artes e s premissas curatoriais de Maria do Mar Fazenda, como se deslocou a Sines para instalar a pea.

[ 4 ] Francisco Aires Mateus, Dirio de Notcias, 22 de Fevereiro 2006. [ 5 ] Delfim Sardo, Liminal, in Desenho contnuo. Aires Mateus / Pedro Calapez, Sines: Centro de Artes de Sines, 2006, pp. 1617 [originalmente publicado in Aires Mateus: arquitectura, Lisboa: Centro Cultural de Belm, 2006]. [ 6 ] Note-se que a artista tem uma pea cujo ttulo nos interpela, confrontando-nos directamente com a questo da imagem, e uma sua relao com a privao da experincia: existe um substituto para a experincia? (2002). [ 7 ] Cf. Delfim Sardo, Ecologia emocional, in Caixa para guardar o vazio, Lisboa: Assrio & Alvim, 2007, pp. 31-40.

Ao Centro de Artes de Sines, particularmente a Marta Mestre, estamos particularmente agradecidos pelo empenho com que abraaram este projecto, disponibilizando todas as ferramentas para que a curadora desempenhasse o seu trabalho e arriscando com ela e connosco produzir e apresentar trabalhos com um estimulante grau de imprevisibilidade. Maria do Mar Fazenda foi infatigvel em todas as etapas que permitiram a realizao desta exposio. Desde as inmeras viagens a Sines e ao espao do Centro de Artes, s incontveis deslocaes ao Museu de Serralves para ver as obras e falar com quem com elas lida habitualmente de curadores a produtores e a registrars , assim como s conversas com os artistas seleccionados sobre o seu trabalho em geral e sobre as peas na nossa coleco em particular, a curadora conseguiu provar que uma exposio de facto muito mais do que um conjunto de trabalhos que est exposto, subentendendo negociaes e dilogos fundamentais. Como, com uma grande sensibilidade, esteve atenta a todos os factores, s vezes muito subtis, que numa mostra podem impedir uma obra de cumprir o seu papel: confrontar-nos com o desconhecido, desconcertar-nos visualmente, perceptivamente e conceptualmente. Creio que todos estes papis foram aqui tornados possveis.
[*] Ttulo parcialmente pedido de emprstimo a uma obra de Didier Fiza Faustino, Asswall (2003), originalmente concebida para ocupar o trio do Museu de Serralves durante uma exposio daquele arquitecto em 2003 (17 Outubro de 2003 a 4 de Janeiro de 2004), e que pode ser entendida como comentrio a uma certa arrogncia da arquitectura de carcter minimalista. Cf. Didier Fiza Faustino / bureau des Msarchitectures, Porto: Fundao de Serralves / Institut Franais de Porto, 2003 e 1:1. Leonor Antunes / Didier Fiza Faustino, Porto e Coimbra: Fundao de Serralves / Pavilho Centro de Portugal.

sines arts centres exhibition space operates in an award-winning building designed by the architecture atelier run by the Aires Mateus brothers. The space also includes a municipal archive and auditorium. The Aires Mateus brothers are particularly well known and renowned in the world of contemporary art, primarily due to the relations that they establish in terms of their response to programmes and singular working procedures, associated to the activities of seminal visual artists in the art world over the last four decades. When the exhibition centre of the Centro Cultural de Belm (now the Berardo Museum), dedicated an exhibition to them in 20052006 we found a singular presentation of architectural projects, which in addition to originating a text by Delfim Sardo that linked them to contemporary art,1 went well beyond the presentation of traditional scale models, and drew closer to the investigations and respective materialisations of artists such as Gordon Matta-Clark, Dan Graham, Robert Smithson, Robert Morris or Carl Andre. These artists, in particular Matta-Clark, Graham and Smithson, are extremely interested in architecture and their presence within an exhibition dedicated to architects emphasised the confluence between artistic and architectural practices that characterises the heterodox disciplinary deviation that we experience intensely in the early years of the 21st century but whose roots date back to the 20th-century. The permeable links between art and architecture were widely explored throughout the 20th-century: we only need to consider the high volume of technical drawings and scale models used by artists, and the determined expansion (and dilution) of the concept of project announced by many architects, in order to realise how these two disciplines have progressively intermingled and contaminated one another. From the constructivist experiences of the 1910s and 1920s to the neo-vanguard movements of the 1960s and 1970s, many of the most stimulating and radical artistic experiences of the 20th-century commenced by means of confrontation with architecture. Various artists working during the highly politicised 1960s established a curious dialogue with modernist architecture. This was because such architecture with its pretensions of neutrality and illusions of purity and universality was considered

[ 1 ] According to Delfim Sardo, the architecture of Francisco and Manuel Aires Mateus lies within a very specific field of architectural practice, to the extent that it is programmatic (in a determined and almost classic form) but also constitutes a field of confluences between project-based practices and forms that derive from contemporary art and, heterodoxically, intersects with architecture viewed as a discipline, with its historical and theoretical references. Aires Mateus: architecture, Lisbon: Centro Cultural de Belm, 2006.

to represent the epitome of that which these artists aimed to combat, through their appeal to the intrinsically impure nature of social and historical contexts. In this re-evaluation of emancipatory and essentialist theories, there were repeated references to modernist architecture, that was viewed as representing modernisms most elaborate model, by omitting contingencies and auto-alienating itself in relation to social contexts. Present-day artists continue to make references to architecture, but the examples which they address increasingly correspond to non-aligned figures in relation to any common beliefs concerning architecture (unquestionable utilitarianism, obligatory materialisation of a project, response to pre-established programmes) and have thereby shaken its disciplinary borders. A repeated number of artistic projects implicitly or explicitly refer to the research pursued by Cedric Price, Jean Prouv 2 and Buckminster Fuller,3 amongst others without forgetting the works by the artist Fernanda Fragateiro, which were born from a confrontation with a specific form of South American architecture, in particular Chilean and Brazilian. A paradigm example of Fragateiros line of enquiry is the work Its only possible if there are two of us which gave its name to the present exhibition in the Sines Arts Centre. At first glance, we might be tempted to think that an architectural space designed by the Atelier Aires Mateus would constitute the perfect place for presenting works by contemporary artists, given that it represents a supposed materialisation of the permeable connections between art and architecture and a space designed by architects who pay great attention to contemporary art. However, this is far from being the case: many of the artistic agents that visited the site, with whom I spoke, ignored the fact that this place was not initially designed as an exhibition space (I only learned this myself recently), and oscillated between perplexity and indignation in relation to the distribution of spaces, given their low ceilings and imposition of architecture. One of the most frequent comments, open to multiple interpretations, was: what a tremendous challenge for curators and artists. This challenge has now been set to Maria do Mar Fazenda, the new curator that Serralves invited to join the Antenna project.

From the outset, it was clear that the curator did not wish to hide the intrinsic characteristics of the exhibition area by imposing more (ephemeral) architecture to the building. Instead she wished to understand how specific works to be selected from the Serralves collection many inspired by a confrontation with an idea of architecture would appear in a space whose characteristics at first sight appeared to be so inappropriate for their exhibition. She wanted to take advantage of the qualities she saw in the Arts Centre, in particular its insertion within the urban community, enabling a new perspective on the historic centre of Sines and never excluding, on the contrary, the people who live, work or pass through the city centre. In the words of one of the architects, This project gave us great pleasure, because it offers a new manner of looking at the historic centre, it opens out to the city and its inhabitants.4 Maria do Mar Fazenda aimed to transport this possibility of proximal relations with the user of the building summarised by Delfim Sardo as fields of performing possibilities for the spectator, [] fields of personal and social negotiation 5 to the experience of viewing art exhibitions. She began by selecting works that due to the exclusivity of the act of seeing, involve the spectator in a relationship with art that establishes him as an essential dynamo for the very existence of the art works. The title chosen for this exhibition, Its only possible if there are two of us, borrowed from a work by Fernanda Fragateiro, immediately conjures up certain concepts that lie at the centre of Fragateiros work in particular the obligation to walk in order to acquire experience, disdain for the exclusivity of the image as a substitute for experience,6 the primacy of use, and the appeal to spectators participation7 , without ever feeling the need, it should be noted, to be subjected to pamphlet-style slogans that, at the end of the 1990s and in the first decade of the 21st century, have given excessive emphasis to a specific type of relational art or participation. Maria do Mar selected a number of works pertaining to the Serralves Collection, almost exclusively sculptures, designed to be placed directly on the floor or ceiling, thus establishing a direct dialogue with the space. The absence of bases or plinths, and the fact that the works are placed directly on the floor,

[ 2 ] ngela Ferreira, represented Portugal in the most recent edition of the Venice Biennale (2007) and constructed her project, Maison Tropicale, on the basis of in-depth research into the work of this French engineer. See Jrgen Bock (org.), ngela Ferreira. Maison Tropicale, Lisbon: Arts Institute/Ministry of Culture. [ 3 ] Leonor Antunes, for example, has presented works that are directly linked to his work, in particular 55 octaedros (2006), a floor sculpture made of wicker, which is flexible to the point of being able to assume various forms, and which to a certain extent materialises an idea of transportable, collectable, travelling architecture, that the artist has transposed to sculpture. See Ricardo Nicolau (org.), 1:1. Leonor Antunes / Didier Fiza Faustino, Oporto and Coimbra: Serralves Foundation /Centre Pavilion of Portugal. [ 4 ] Francisco Aires Mateus, Dirio de Notcias, February 22, 2006. [ 5 ] Delfim Sardo, Liminal, in Desenho contnuo. Aires Mateus / Pedro Calapez, Sines: Sines Arts Centre, 2006, pp. 1617 [originally published in Aires Mateus: arquitectura, Lisbon: Centro Cultural de Belm, 2006]. [ 6 ] It should be noted that the artist has a work whose title questions us, confronting us directly with the question of the image and its relationship with deprivation from experience: is there a substitute for experience? (2002). [ 7 ] Cf. Delfim Sardo, Ecologia emocional, in Caixa para guardar o vazio, Lisbon: Assrio & Alvim, 2007, pp. 31-40.

immediately makes them pertain to the real space in which the spectator circulates, implicitly declaring that their physical identity is not very different from that of the other objects included within this world. In several cases, the works did not solely occupy space, but instead created space, proposing unprecedented relations with the surrounding architecture. The curator abstained from the use of images, or their smooth envelope, and the prudence that to a certain extent they establish in our relationship with the world. All the works lie beyond the field of representation, several need to be experienced in real-time, and the vast majority propose kinesthetic experiences. In addition to the works from the Serralves Collection, Maria do Mar Fazenda decided to work with a Mexican collective, Tercerunquinto, constituted by the artists Jlio Castro, Gabriel Czares and Rolando Flores. Their insistence on working in a team, thereby emphasising collaborative work, and the desire to work upon the relationship between the public space and museums and galleries, drew close to that which the curator values in her own working process and in her relationship with artists and institutions such as the fact that Tercerunquinto define architecture as their privileged field of action, including the manner in which architecture has helped foster the expropriation of human sociability and deprive us from true experiences. A visit by one of the artists to the exhibition space and a regular exchange of correspondence, enabled her to guarantee their participation in the exhibition and the presence of the collective in Sines over two weeks, during which time they conceived and implemented various specific interventions within the Arts Centre. We would like to convey our sincere thanks to Tercerunquinto for their enthusiastic response to the challenge posed by the curator. We must also thank the Portuguese artists selected for the exhibition Ana Jotta, ngela Ferreira, ngelo de Sousa, Fernanda Fragateiro and Francisco Tropa who were always willing to speak enthusiastically about the selected works and suggested assembly solutions in order to adapt them to the space. A special word of recognition is due to Ana Jotta and to Fernanda Fragateiro, who generously, and in a collaborative

dialogue with us, helped us analyse the most appropriate assembly of Its only possible if theres two of us in light of the Arts Centres characteristics and the curators objectives, and who also travelled to Sines in order to install his work. We are particularly grateful to the Sines Arts Centre, in particular to Marta Mestre, given the dedication shown in this project, including provision of all necessary tools in order to enable the curator and artists to work, and sharing of the risk of producing and presenting works that involved a stimulating degree of unpredictability. Maria do Mar Fazenda worked tirelessly in all the stages of the exhibition. She succeeded in proving that an exhibition is much more than the works on display. It also encompasses essential dialogue and negotiations, commencing with countless trips to Sines and the Arts Centre, numerous visits to Serralves in order to view the works and talk with the respective curators, producers and registrars, and conversations with the selected artists concerning their work in general and the works held in our collection in particular. She showed great sensitivity to the multiplicity of often very subtle factors, that may impede a work of art from fulfilling its role in an exhibition: to confront us with the unknown, to disturb us visually, perceptively and conceptually. I believe that all these roles were made possible in the present exhibition.
[*] Title partially borrowed from a work by Didier Fiza Faustino, Asswall (2003), originally designed for the atrium of the Serralves Museum for an exhibition by this architect in 2003 (October 17, 2003 to January 4, 2004), and which may be understood as a commentary concerning a certain arrogance of minimalist architecture. See Didier Fiza Faustino / Bureau des Msarchitectures, Oporto: Serralves Foundation / Institut Franais de Porto, 2003 and 1:1. Leonor Antunes / Didier Fiza Faustino, Oporto and Coimbra: Serralves Foundation / Centre Pavilion of Portugal.

Centro de Artes de Sines

S possvel se formos 2
Curadoria: Maria do Mar Fazenda

3112007 27012008

1 S possvel se formos 2 o ttulo de uma pea de Fernanda Fragateiro que aqui se estende exposio e que sintetiza os seus objectivos: a relao com a arquitectura, que na pea reduzida a uma estrutura quadrangular, e a suscitao de um dilogo, sugerido pelas duas redes que actuam num jogo de equilbrio. O desenho da Casa simplificado s linhas que perfazem um cubo, e a funcionalidade do espao a duas redes de descanso que apenas podem ser utilizadas quando esto presentes duas pessoas. uma pea que congrega participao do observador a negociao com um outro. Uma vez deitados nas redes, o nosso olhar direccionado para o que nos rodeia, e se estendermos a mo podemos comear um dilogo segundo esta condio plural e momentnea. 2 O projecto expositivo S possvel se formos 2 prende-se, antes de mais, a um local, a um contexto social e a um edifcio especficos. Este tringulo problematizador constituiu-se motor da exposio que habita um territrio, recentemente sinalizado por um equipamento cultural, onde ainda perceptvel a procura de uma convivncia entre edifcio e cidade. A ideia de que as estruturas lingusticas espelham as estruturas urbanas, suas extenses e afinidades uma das superfcies de leitura da obra de Raymond Hains que alia os conceitos de viagem, passeio, deriva e encontro com o acaso permanncia em aberto do processo artstico: tudo pode ser integrado, porque a arte j l estava; as minhas obras existiam antes de mim, mas ningum as via, porque elas saltavam aos olhos. Durante os anos de construo do Centre Georges Pompidou, em Paris, Hains realiza Les Palissades de Beaubourg, uma obra que, semelhana da pea Partido de los Autnomos, constituda por paliadas reconduzidas da rua para o contexto do museu. Estas obras sintetizam o seu interesse pelo estaleiro urbano, pela desconstruo do mundo que o rodeia e pelas permeabilidades lingusticas, colocando o espectador na posio de um flneur. A presena de elementos que remetem para a construo do edifcio activa a histria daquele lugar por cada um que por ali passa transpondo o que v para um outro espao/ tempo de projeco, por completar, por imaginar. Aquilo que em Sines Hains poderia ter considerado como ferramenta, ou produto do seu trabalho artstico, no possvel de determinar. Mas o desajuste potico desencadeado pela sua pea replica o desajuste urbano da cidade. Tornou-se claro que o dilogo a propor pela exposio residiria nas aberturas, nos desvios e nas falhas da mediao. A arte, assim como a arquitectura ou a poltica, obriga a uma prtica de

descodificao, de decifrao e de leitura, que nos direcciona ao dilogo com o outro. na coexistncia entre lugares, construes e pessoas, e na relao que estabelece com o poder burocrtico e cultural, que o discurso dos projectos do colectivo Tercerunquinto se constri. A sua prtica depende de uma srie de aces quase que administrativas: questionar, negociar, coordenar, comprometer, pesquisar, analisar, entrevistar. Se, por um lado, os projectos do colectivo podero ter um cariz utpico, h sempre um aspecto que concretizado e capaz de desencadear um princpio revolucionrio. A eliso ou a extenso de uma parede resulta no desmantelamento da fronteira entre o museu e um consulado, ou na edificao de uma diviso num passeio pblico; a ampliao ou a demarcao de solo reduz a potencialidade da economia urbana ou autonomiza a produo da economia global; o museu enquanto anfitrio da economia informal, na iluminao do espao urbano a partir de uma puxada elctrica do museu ou pela entrega do seu funcionamento a vendedores de rua; a convocao a um cho comum, atravs da obstruo do Paseo de la Castellana com vrias reprodues de caixas da companhia dos telefones ou atravs da ocupao por uma comunidade da ilha de cimento erguida sob o cho no-nivelado de um bairro perifrico.1 Problematizar as estruturas determinadas pelo contexto do espao e desmontar as conotaes ideolgicas da arquitectura so exerccios que tambm remetem para a obra de ngela Ferreira, que apesar de produzir objectos artsticos mais autnomos se comparados com as propostas de Tercerunquinto so interdependentes de um forte discurso terico. Os valores simblicos da arquitectura so regados, revistos e reconsiderados na instalao Portugal dos Pequenitos, e as construes ilegais, extensivas e espontneas, analisadas na srie Marquises, remetem para a vivncia individual no espao projectado. O arquivo de imagens e esculturas que resulta deste projecto particularmente interessante quando em relao ao planeamento urbanstico, actividades e intervenes na paisagem nos vrios tempos de Sines. Os mdulos que constituem o Centro de Artes de Sines situam-se na fronteira entre a cidade nova e o centro histrico, e entre eles traada uma rua incorporando no edifcio a cidade. A entrada no Centro de Artes de Sines faz-se por uma ponte, e uma espcie de instabilidade (ou de abismo) o que sentimos ao entrar no edifcio. Rapidamente nos apercebemos de que o espao nos provoca fsica e cognitivamente a inquietude do percurso relembra-nos a nossa prpria presena. Os elementos arquitectnicos recorrentes no trabalho de Juan Muoz chos, varandas, corredores, ou os elementos que nos ligam

[ 1 ] Correspondendo, respectivamente, s seguintes obras do colectivo Tercerunquinto: Integracin del Consulado General de Mxico en Miami a la exposicin Mxico: Sensitive Negotiations, Miami, 2002, La BF 15 + Pared, Mxico, 1999, Ampliacin de un rea verde, Mxico, 2004, Proyecto 16 m2 para cultivo, Frana, 2002, Iluminacin Pblica, Bienal de Habana, Cuba, 2006, Proyecto para MUCA Roma, Mxico, 2004, Sin titulo, Paseo de la Castellana, Madrid, arco 2005 e Escultura Pblica para la Periferia de Monterrey, Mxico, 2003.

Antena 2 S possvel se formos 2

 arquitectura, e.g. o corrimo transformam o local onde esto inscritos em espaos de outras memrias, sensaes, inseguranas. As suas peas so activadas pelo espectador, no s atravs do olhar mas tambm na ideia de participao. Trata-se de um modo diferente de experincia da obra: a relao fsica reside na escultura e no no observador. Tal como as obras de ngelo de Sousa desconstrangem o espao, na linha que segura e une trs formas estveis numa constante segmentao dos planos que ocupam, ou na escultura enquanto desenho que ocupa livremente cho, parede, tecto sem preocupaes geomtricas, tambm a pea Narrow white flow, de Hans Haacke, e os objectos mecanizados de Ren Bertholo desafiam as linhas fixas da construo atravs do seu movimento, a que mais nenhuma superfcie no edifcio parece reagir. a partir do traado do edifcio que o projecto expositivo se constri, seguindo o impulso de intervir nesse desenho a vrios gestos: enfrentar, sublinhar, fomentar, questionar, repensar as proposies do espao projectado. Os objectos injustificveis de Ana Jotta minam as reas onde se inscrevem com um humor irreverente. O exerccio livre de apropriao, de transformao e reciclagem de objectos, aces e disposies do quotidiano, pontuam o rigor do edifcio de enigma, enredo, e acentuam por vezes o seu abismo. impossvel adivinhar a configurao deste edifcio a partir do exterior, relembrando-nos a arquitectura rabe, que apenas nos revelada no seu interior. Por outro lado, uma vez dentro do edifcio apartamo-nos completamente do exterior. Somente a partir de uma janela no ltimo andar o exterior convocado (e em plenitude). A constelao Filliou-Buren-Tropa questiona de modos diferentes a direccionalidade do olhar produzida pelas configuraes do espao: as Optimistic Boxes concebidas por Robert Filliou espelham, escala do jogo de descoberta da caixa, a configurao do edifcio (fechado sobre si mesmo); o preenchimento da arquitectura da exposio com riscas verticais semelhantes s dos toldos, realizada por Daniel Buren desde os anos 60, no tem como inteno esconder, mas revelar; os lugares de observao concebidos por Francisco Tropa utilizam o jogo entre a janela e a luz, o movimento mope, ou o olhar retrovisor na sua construo. 3 A ideia de passagem e de transformao, concretizada na plataforma que une a rua ao interior do edifcio, uma caracterstica essencial da lgica de espao do Centro de Artes de Sines; so vrios os dispositivos de passagem (corredores, aberturas, rampas) que constituem os sistemas de circulao, e que se revelam enquanto orgnica do edifcio. A obra concluda

pela passagem, movimento e presena do espectador. Em 1961, o artista brasileiro Hlio Oiticica concebe no modelo do Projecto Ces de Caa um espao penetrvel, escala de um jardim, traando o dispositivo do labirinto (configurao emblemtica da auto-descoberta e da explorao do outro) atravs de rampas, corredores e paredes que confluem em espaos de trnsito e de mudana. Nas suas palavras torna-se claro o desejo de convivncia sem limites entre a obra e o seu activador, o espectador. O projecto tomou a forma de um grande labirinto com trs sadas e logo de inicio seu carter passou a ser muito particular, pelo fato de no ser um jardim no sentido habitual que se conhece e somente porque seria construdo permitindo o acesso pblico. Pelo facto de possuir obras, ou melhor, ser constitudo de obras de carcter esttico, ressaltou logo tambm seu carcter no-utilitrio e em certo sentido, mgico. [...] A estrutura da obra s percebida aps o completo desvendamento mvel de todas as suas partes, ocultas umas s outras, sendo impossvel v-las simultaneamente. [...] como se o projeto fosse uma reintegrao do espao e das vivncias cotidianas nessa outra ordem espcio-temporal e esttica, mas, o que mais importante, como uma sublimao humana. 2 4 A exposio S possvel se formos 2 parece convocar a trilogia do realizador italiano Michelangelo Antonioni: o drama dos lugares em LAvventura, o jogo e o espao em La Notte, o dcor como obstculo em LEclisse. Nestes trs filmes de Antonioni, alis como em toda a sua obra, a paisagem (e.g. a ilha) e a arquitectura (e.g. o edifcio Pirelli ou o desaterro arquitectnico) actuam como personagens principais, se que podemos descrever assim a sua pertinncia tanto a nvel visual como a nvel da narrativa.3 Mas tal como em Antonioni, com a entrada de campo dos personagens, activos agentes da redefinio do espao, que esta exposio se concretiza.

[ 2 ] Oiticica, Hlio, Sobre o Projeto Ces de Caa 28 de Agosto de 1961, in Hlio Oiticica, Centro de Arte Moderna da Fundao Calouste Gulbenkian, Lisboa, 1994, pp. 5758. [ 3] Fonseca, M. S., Crnica de uma carreira, in Michelangelo Antonioni, Cinemateca Portuguesa, Lisboa, 1985, pp. 889.

Maria do Mar Fazenda

Tercerunquinto Open Access, 2005 Tcnica Mista / Mixed technique Dimenses variveis / Variable dimensions Coleco dos artistas, Mxico / Artists Collection, Mexico

1 Its only possible if there are two of us is the title of a work by Fernanda Fragateiro, that has also been adopted as the title of this exhibition. The title summarises the works objectives: its relationship with architecture wherein the work is reduced to a quadrangular structure and the fostering of dialogue, suggested by two hammocks that act in a game of balance. The design of the house is simplified to the lines that form a cube and the functionality of the space is limited to two hammocks, that may only be used when two people are present. The work constructs the spectators participation as a form of negotiation with an other. Once lying on the hammocks, our gaze is directed towards the surroundings, and if we reach out with our hand we may initiate a dialogue on the basis of this momentary, plural condition. 2 The exhibition project, Its only possible if there are two of us is primarily linked to a specific location, social context and building. This underlying thematic triangle constitutes the driving force of the exhibition. The building has recently been classified as a cultural facility and there is still a perceptible search to achieve a communion between the Centre and the city. The idea that linguistic structures mirror urban structures and their extensions and affinities is one of the preliminary conclusions delivered from reading Raymond Hains work, who allies concepts of travelling, strolling, wandering and random encounters to the permanent openness of the artistic process: wherein everything may be integrated, because art already existed: My works existed before me, but nobody had seen them, because they were blindingly obvious. While the Centre Georges Pompidou was being built in Paris, Hains produced Les Palissades de Beaubourg, a work that, as with the Partido de los Autnomos [Game of the Autonomous Beings], is constituted by fences transferred from the street to a museum setting. These works summarised his interest in building yards, deconstruction of the world around us and the linguistic permeabilities that place the spectator in the position of a flneur. The presence of elements that conjure up an image of construction of the building, activates the history of this location for each person passing therein, thus transposing that which they see to another projection of space/time, by means of complementing and imagining other elements. In Sines, it is impossible to determine exactly what Hains would have viewed as constituting a tool or product of his artistic work. But the poetic de-adjustment triggered by his work, replicates the citys own urban de-adjustment. It be-

comes obvious that the dialogue proposed by the exhibition resides in the openings, deviations and gaps of mediation. Art, as with architecture or politics, has to be decodified, deciphered or interpreted, thus leading us to a dialogue with the other. The discourse underlying the projects designed by the collective, Tercerunquinto, is constructed through co-existence between places, constructions and people, and the relationship established with bureaucratic and cultural power. This practice depends on a series of almost administrative actions: questioning, negotiating, coordinating, committing, researching, analysing, interviewing. While on the one hand, the collectives projects may have a utopian flavour, there is always an implemented aspect able to trigger a revolutionary principle. The elision or extension of a wall results in dismantling the frontier between the museum and a consulate, or in the construction of a division within a public promenade; the widening or demarcation of the ground area, reduces the potentiality of the urban economy or autonomises the production of the global economy. The museum as a host for the informal economy, through illumination of the urban space by means of an electrical discharge from the museum or by handing over its operation to street sellers; the convocation of a common floor, through obstruction of the Paseo de la Castellana with various reproductions of telephone booths or by community occupation of the island of cement erected on the unlevelled ground of an outlying neighbourhood.1 Addressing the problems associated to structures determined by the context of the space and deconstructing the ideological connotations of architecture also makes us think of ngela Ferreiras work. Although the latter produces artistic objects that are more autonomous than Tercerunquintos proposals they are also interdependently linked to a strong theoretical discourse. The symbolic values of architecture are irrigated , revised and reconsidered in the installation, Portugal dos pequenitos [Portugal for the little ones], and spontaneous and extensive, illegal constructions are analysed in the series, Marquises, that makes us think of the individual living experience associated to the projected space. The set of images and sculptures resulting from this project is particularly interesting when considered in relation to urban planning, activities and interventions in the landscape, implemented over time in Sines. The modules that constitute the Sines Arts Centre are located on the border between the new city and the historic centre, and a street is traced between them, thereby incorporating the city within the building. The entrance to the Sines Arts Centre is achieved via a bridge that constitutes a type of instability (or abyss)

[ 1 ] Corresponding, respectively, to the following works by the collective, Tercerunquinto: Integration of the Mexican General Consulate in Miami within the exhibition, Mexico: Sensitive Negotiations, Miami, 2002, The BF 15 + Wall, Mexico, 1999, Enlargement of a green area, Mxico, 2004, 16 m2 project for cultivation, France, 2002, Public Lighting, Havana Biennale, Cuba, 2006, Project for the MUCA Rome, Mexico, 2004, Untitled, Paseo de la Castellana, Madrid, arco 2005 and Public Sculpture for the outskirts of Monterrey, Mexico, 2003

Antena 2 S possvel se formos 2

that we sense when entering the building. We soon realise that the space provokes us at a physical and cognitive level the anxiety of our trajectory reminds us of our own presence. The recurrent architectural elements in Juan Muozs work floors, verandas, corridors, or the elements that link us to architecture, e.g. the handrail transform the place where they are inscribed into spaces that harbour other memories, sensations, insecurities. His works are activated by the spectator, not only by means of his gaze but also through the idea of participation. This is a different mode of experiencing the work: the physical relationship resides in the sculpture and not in the spectator. ngelo de Sousas works unfetter the exhibition space, by means of a line that secures and unites three stable forms in a constant segmentation of the planes that they occupy, or by means of a sculpture that constitutes a design which freely occupies the floor, wall, ceiling without geometrical concerns. In the same manner, Narrow white flow, by Hans Haacke, and Ren Bertholos mechanised objects also challenge fixed lines of construction through their movements, to which no other surface in the building seems to react. The exhibition project has been constructed on the basis of the buildings contours, following an impulse to intervene within this space by means of various gestures: confronting, emphasising, fostering, questioning, rethinking the propositions underlying the projected space. Ana Jottas unjustifiable objects undermine the areas in which they are placed by means of irreverent humour. The free exercise or appropriation, transformation and recycling of everyday objects, actions and devices, introduce elements of enigma and perplexity within the rigour of the building and sometimes accentuate its abyssal characteristics. Its impossible to foretell the buildings configuration from the exterior, reminiscent of Arab architecture, which is only revealed to us from the interior. On the other hand, once we enter the building, we are completely separated from the exterior. Only from a window on the top floor are we able to see the exterior (in its full amplitude). The trio of artists Filliou-Buren-Tropa raise different types of questions concerning the directionality of the gaze produced by the configurations of the exhibition space. Optimistic Boxes by Robert Filliou, in a box-sized game of discovery, mirrors the buildings configuration (enclosed upon itself ); Daniel Burens occupation of the exhibition architecture with vertical stripes similar to those used in awnings, that he has produced since the 1960s, is not designed to hide, but rather to reveal; the observation places conceived by Francisco Tropa capitalise on the game between the window and the light, and the myopic movement, or rear-view gaze, in its construction.

3 The idea of passage and transformation, concretised in the platform that unites the street with the buildings interior, is an essential characteristic of the logic underlying the architectural space of the Sines Arts Centre; there are various passages (corridors, openings, ramps) that constitute circulation systems, and which form organic elements of the building. The work is concluded by the spectators passage, movement and presence. In 1961, the Brazilian artist, Hlio Oiticica conceived a penetrable space in his model, Project for hunting dogs, in the form of a labyrinthine device traced within a garden (an emblematic configuration of self discovery and exploration of the other) achieved by means of ramps, corridors and walls that flow into spaces of transit and change. He claimed that this highlighted the desire for unbounded living between the work and its activator the spectator. The project took the form of a great labyrinth with three exits. From the outset its character was rendered highly special, due to the fact that it was not a garden in the classic sense of the term and not only because it would be built, thereby enabling public access. The fact that it contained works, or more precisely, was constituted by works of an aesthetic character, highlighted its non-utilitarian, and in a certain sense its magical, character. [...] The structure of the works is only truly perceived after full moving revelation of its constituent parts, each of which is hidden from the others, and wherein it impossible to see them simultaneously. [...] It is as if the project was a reintegration of the space and of daily experiences in this other spatial, temporal and aesthetic order, but more importantly, as a form of human sublimation. 2 4 The exhibition, Its only possible if there are two of us is reminiscent of the film trilogy by the Italian director, Michelangelo Antonioni: the drama of locations in LAvventura, the game and space in La Notte, the dcor as an obstacle in LEclisse. In these three films by Antonioni, as in his overall oeuvre, the landscape (e.g. the island) and the architecture (e.g. the Pirelli building or the architectural excavation) intervene as main characters, if we can describe their visual and narrative pertinence in this manner.3 But as in the case of Antonioni, this exhibition is only concretised upon the entry into the field of characters, i.e. of active agents in redefinition of the space.
[ 2 ] Oiticica, Hlio, On the Hunting Dogs Project August 28, 1961, in Hlio Oiticica, Centre of Modern Art of the Calouste Gulbenkian Foundation, Lisbon, 1994, pp. 57-58. [ 3 ] Fonseca, M. S., Chronicle of a career, in Michelangelo Antonioni, Cinemateca Portuguesa, Lisbon, 1985, pp. 8-89.

Maria do Mar Fazenda

MARIA DO MAR FAZENDA

Maria do Mar Fazenda nasceu em Lisboa em 1977. Licenciada em Escultura pela Slade School of Fine Arts, ucl, Londres, realizou o ano curricular do Mestrado em Estudos Curatoriais na Faculdade de Belas-Artes e Fundao Calouste Gulbenkian, em Lisboa. Em 2007 comissariou a exposio Trabalhar Cansa, com seis artistas emergentes Catarina Botelho, Pizz Buin, Ramiro Guerreiro, Sara & Andr, Toms Nogueira e Vasco Barata na galeria Arte Contempo, em Lisboa. Em 2005 foi co-curadora da mostra Vista Parcial, com cinco artistas portugueses de origem africana Ana Silva, Eugnia Musa, Francisco Vidal, Manuel Santos Maia, Slvia Moreira e Teodolinda Varela na Galeria Municipal Lagar de Azeite, em Oeiras. A Hurtadillas foi um projecto expositivo concebido para a galeria alternativa Los 29 Enchufes, em Madrid, e integrado no mad 2003 Encuentro de Arte Experimental de Madrid. Durante 2002 e 2003 programou e comissariou Equador, uma srie de primeiras exposies individuais de jovens artistas na Livraria Ler Devagar, em Lisboa. Escreveu vrios textos de exposies, colabora mensalmente na L+Arte (Lisboa) e recentemente colaborou na revista ArteContexto (Madrid).

TERCERUNQUINTO
Tercerunquinto um colectivo formado em 1996 pelos artistas naturais de Monterrey, Julio Castro (n. 1976), Gabriel Czares (n. 1978) e Rolando Flores (n. 1975). Foi-lhes atribudo o prmio blueOrange de apoio a jovens artistas em 2004. Entre as exposies individuais recentes contam-se: Investiduras Institucionales [Investiduras institucionais], Centro de las Artes de Nuevo Len, Monterrey, Mxico (2007); Casa del Lago. Sugerencias para una nueva sede [Casa del Lago. Sugestes para uma nova sede], Casa del Lago, Cidade do Mxico, Mxico (2006); Project of Public Sculpture in the Urban Periphery of Monterrey [Projecto de escultura pblica para a periferia urbana de Monterrey], cca Wattis Bulletin Board Project Institute for Contemporary Arts, Los Angeles, Califrnia, eua (2006); e Ampliacin de un rea verde [Ampliao de uma zona verde], Galera Nina Menocal, Cidade do Mxico, Mxico (2004). Participaram nas seguintes exposies colectivas: New Langton Arts Archive For Sale: A Sacrificial Act [Arquivo artstico de New Langton venda: um acto sacrificial], New Langton Arts, So Francisco, eua (2007); Please Excuse our Appearance [Por favor desculpem o nosso aspecto], Ikon Eastside, Birmingham, ru (2007); Habitat/ Variations [Habitat/Variaes], Centre dArt Contemporain, Genebra, Sua(2007); Suitcase Illuminated 5 on Parallel Economy [Mala iluminada 5 sobre

Maria do Mar Fazenda was born in Lisbon in 1977. After graduating with a b.a. Hons honours degree in Sculpture from the Slade School of Fine Arts, ucl, London, she spent a curricular year in the Masters degree course in Curatorial studies, in the Faculty of Fine Arts and the Calouste Gulbenkian Foundation, Lisbon. In 2007, she curated the exhibition, Working is Tiring with six emerging artists Catarina Botelho, Pizz Buin, Ramiro Guerreiro, Sara & Andr, Toms Nogueira and Vasco Barata in the Arte Contempo gallery, Lisbon. In 2005, she co-curated the exhibition, Partial View with five Portuguese artists of African origin Ana Silva, Eugnia Musa, Francisco Vidal, Manuel Santos Maia, Slvia Moreira and Teodolinda Varela in the Lagar de Azeite Municipal Gallery, Oeiras, Portugal. Hurtadillas was an exhibition project designed for the alternative gallery, Los 29 Enchufes, in Madrid included within mad 2003 Experimental Art Encounter of Madrid. Between 2002 and 2003, she programmed and curated Equador, a series of first individual exhibitions by young artists in the Ler Devagar bookshop, Lisbon. She has written various exhibition texts and is a monthly contributor to the L+Arte magazine (Lisbon) and more recently to the ArteContexto magazine (Madrid).

economia paralela], p74 Center and Gallery, Ljubljana, Eslovnia (2007); e Trienal de Arquitectura de Lisboa, Pavilho do Mxico, Lisboa, Portugal (2007). Os Tercerunquinto vivem e trabalham em Monterrey e na Cidade do Mxico.

Tercerunquinto is a collective formed in 1996 by Monterrey-born artists Jlio Castro (b. 1976), Gabriel Czares (b. 1978), and Rolando Flores (b. 1975). They won the blueOrange support prize for young artists in 2004. Recent solo exhibitions include: Investiduras Institucionales, Centro de las Artes de Nuevo Len, Monterrey, Mexico (2007); Casa del Lago. Sugerencias para una nueva sede, Casa del Lago, Mexico City, Mexico (2006); Project of Public Sculpture in the Urban Periphery of Monterrey, cca Wattis Bulletin Board Project Institute for Contemporary Arts, Los Angeles, California, usa (2006); and Ampliacin de un rea verde, Galera Nina Menocal. Mexico City, Mexico (2004). Selected group shows are: New Langton Arts Archive For Sale: A Sacrificial Act, New Langton Arts, San Francisco, usa (2007); Please Excuse our Appearance, Ikon Eastside, Birmingham, uk (2007); Habitat/ Variations, Centre dArt Contemporain, Geneve, Switzerland(2007); Suitcase Illuminated 5 on Parallel Economy, p74 Center and Gallery, Ljubljana, Slovenia (2007); and Trienal de Arquitectura de Lisboa, Pabelln de Mxico, Lisbon, Portugal (2007). Tercerunquinto live and work in Monterrey and Mexico City.

Antena 2 S possvel se formos 2

 Ana Jotta Vasco, 1998 Serigrafia sobre toalha contnua / Serigraphy on continuous towel Pano / cloth 3000 x 25 cm; suporte / support 39 x 21,4 x 7 cm Coleco Peter Meeker em depsito na Fundao de Serralves, Museu de Arte Contempornea, Porto Peter Meekers Collection on deposit in the Serralves Foundation, Museum of Contemporary Art, Oporto

Ana Jotta You are here, 1995 Pano-cru bordado e debruado a fita de nastro Embroidered raw-cloth bound with a ribbon 114 x 143,5 cm Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto Serralves Foundations Collection, Museum of Contemporary Art, Oporto

Hans Haacke Narrow white flow [Fluxo estreito e branco], 19671968 Tecido branco, suporte e ventoinhas / White fabric, support and fans 147 x 1170 cm Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto Serralves Foundations Collection, Museum of Contemporary Art, Oporto

ngelo de Sousa Sem Ttulo / Untitled, 19701972 Tiras de ao inox (7 elementos) Stainless steel strips (7 items) Dimenses variveis Variable dimensions Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto Serralves Foundations Collection, Museum of Contemporary Art, Oporto Sem Ttulo / Untitled, 19701972 Tiras de ao inox (7 elementos) Stainless steel strips (7 items) Dimenses variveis Variable dimensions Coleco do artista, Porto Artists collection, Oporto Sem Ttulo / Untitled, 19701972 Tiras de ao inox (7 elementos) Stainless steel strips (7 items) Dimenses variveis Variable dimensions Coleco do artista, Porto Artists collection, Oporto

ngela Ferreira Da srie Marquises From the series Marquises, 1993 Ferro e acrlico / Iron and acrylic 180 x 170 x 172 cm Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto Serralves Foundations Collection, Museum of Contemporary Art, Oporto

Damian Ortega Unin Separacin / Union Separation, 2000 Mesa de madeira, mecanismo giratrio, cmara de vdeo, vdeo 31 min, som Wooden table, gyrating mechanism, video camera, video 31 min, sound Dimenses variveis / Variable dimensions Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto Serralves Foundations Collection, Museum of Contemporary Art, Oporto

Francisco Tropa Projecto Casalinho (Maqueta) Casalinho Project (Scale Model), 1998 Madeira de balsa, feltro sinttico Balsam wood, synthetic felt Dimenses variveis / Variable dimensions Coleco Fundao Luso-Americana, Lisboa, em depsito na Fundao de Serralves, Museu de Arte Contempornea, Porto Luso-American Development Foundations Collection, Lisbon, on deposit in the Serralves Foundation, Museum of Contemporary Art, Oporto

Robert Filiou Optimistic Boxes, 1968-1981 Conjunto completo de 4 objectos / Complete set of 4 objects Dimenses variveis / Variable dimensions Coleco Livros de Artista da Biblioteca da Fundao de Serralves, Museu de Arte Contempornea, Porto Collection of Artists Books of the Library of the Serralves Foundation, Museum of Contemporary Art, Oporto

S possvel se formos 2 Centro de Artes de Sines 3 Novembro de 2007 a 27 de Janeiro de 2008 Curadoria / Curator Maria do Mar Fazenda

LISTA DE OBRAS LIST OF WORKS ngela Ferreira Da srie Marquises, 1993 Ferro e acrlico 180 x 170 x 172 cm Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto From the series Marquises, 1993 Iron and acrylic 180 x 170 x 172 cm Serralves Foundations Collection, Museum of Contemporary Art, Oporto ngela Ferreira Portugal dos Pequenitos, 1995 Madeira, pvc, alumnio, plexiglass, caixa de luz, 2 desenhos sobre papel Dimenses variveis Coleco Banco Privado em depsito na Fundao de Serralves, Museu de Arte Contempornea, Porto Portugal dos Pequenitos [Portugal for the Little Ones], 1995 Wood, pvc, aluminium, plexiglass, light box, 2 drawings on paper Variable dimensions Banco Privados Collection on deposit in the Serralves Foundation, Museum of Contemporary Art, Oporto ngelo de Sousa Sem Ttulo, 19701972 Tiras de ao inox (7 elementos) Dimenses variveis Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto Untitled, 19701972 Stainless steel strips (7 items) Variable dimensions Serralves Foundations Collection, Museum of Contemporary Art, Oporto ngelo de Sousa Sem Ttulo, 19701972 Tiras de ao inox (7 elementos) Dimenses variveis Coleco do artista, Porto Untitled, 19701972 Stainless steel strips (7 items) Variable dimensions Artists collection, Oporto ngelo de Sousa Sem Ttulo, 19701972 Tiras de ao inox (7 elementos) Dimenses variveis Coleco do artista, Porto Untitled, 19701972 Stainless steel strips (7 items) Variable dimensions Artists collection, Oporto

Ana Jotta You are here, 1995 Pano-cru bordado e debruado a fita de nastro 114 x 143,5 cm Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto You are here, 1995 Embroidered raw-cloth bound with a ribbon 114 x 143,5 cm Serralves Foundations Collection, Museum of Contemporary Art, Oporto Ana Jotta Vasco, 1998 Serigrafia sobre toalha contnua Pano 3000 x 25 cm; suporte 39 x 21,4 x 7 cm Coleco Peter Meeker em depsito na Fundao de Serralves, Museu de Arte Contempornea, Porto Vasco, 1998 Serigraphy on continuous towel Cloth 3000 x 25 cm; support 39 x 21,4 x 7 cm Peter Meekers Collection on deposit in the Serralves Foundation, Museum of Contemporary Art, Oporto Ana Jotta Zambujeira do Mar, 2000 32 peas em alumnio fundido Dimenses variveis Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto Zambujeira do Mar, 2000 32 items made of wrought aluminium Variable dimensions Serralves Foundations Collection, Museum of Contemporary Art, Oporto Ana Jotta Joana, 2005 10 aros de bicicleta, 181 garrafas, cabos de ao e fio do norte Dimenses variveis Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto Joana, 2005 10 bicycle rims, 181 bottles, steel cables and reinforced thread Variable dimensions Serralves Foundations Collection, Museum of Contemporary Art, Oporto Damian Ortega Unin Separacin, 2000 Mesa de madeira, mecanismo giratrio, cmara de vdeo, vdeo 31 min, som Dimenses variveis Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto Union Separation, 2000 Wooden table, gyrating mechanism, video camera, video 31 min, sound Variable dimensions Serralves Foundations Collection, Museum of Contemporary Art, Oporto Daniel Buren Passage, 1972 Reprodues a cor impressas sobre folha de papel 7 volumes Vol. i: Azul: 32 reprodues Vol. ii: Amarelo: 39 reprodues Vol. iii: Preto: 25 reprodues Vol. iv: Laranja: 29 reprodues Vol. v: Vermelho: 26 reprodues Vol. vi: Verde: 31 reprodues Vol. vii: Violeta: 33 reprodues

Artestudio, Macerata, Itlia Edio de 100 + 10 (p.a.) Coleco Livros de Artista da Biblioteca da Fundao de Serralves, Museu de Arte Contempornea, Porto Passage, 1972 Colour reproductions printed on paper sheets 7 volumes Vol. I: Blue: 32 reproductions Vol. II: Yellow: 39 reproductions Vol. III: Black: 25 reproductions Vol. IV: Orange: 29 reproductions Vol. V: Red: 26 reproductions Vol. VI: Green: 31 reproductions Vol. VII: Violet: 33 reproductions Artestudio, Macerata, Italy Edition of 100 + 10 (P.A.) Collection of Artists Books of the Library of the Serralves Foundation, Museum of Contemporary Art, Oporto Fernanda Fragateiro S possvel se formos 2, 20002007 Tecido e fotografia a preto e branco Fotografia: halogenetos de prata. Autor e datas desconhecidos. Imagem de um jardim desenhado por Mina Warchavchik para a residncia Warchavchik, Rua Santa Cruz, So Paulo, reproduzida no livro Warchavchik e a introduo da nova arquitectura no Brasil 1925 a 1940 de Geraldo Ferraz, Museu de Arte de So Paulo, 1965 Dimenses variveis Coleco Banco Privado em depsito na Fundao de Serralves, Museu de Arte Contempornea, Porto Its only possible if there are two of us, 20002007 Cloth and black-and-white photograph Photograph: Photosilver gelatine. Unknown author and date. Image of a garden design by Mina Warchavchik for the the Warchavchik residence, Rua Santa Cruz, So Paulo, reproduced in Warchavchik e a introduo da nova arquitectura no Brasil 1925 a 1940 de Geraldo Ferraz, Museu de Arte de So Paulo, 1965 Variable dimensions Banco Privados Collection on deposit in the Serralves Foundation, Museum of Contemporary Art, Oporto Francisco Tropa Projecto Casalinho (Maqueta), 1998 Madeira de balsa, feltro sinttico Dimenses variveis Coleco Fundao Luso-Americana, Lisboa, em depsito na Fundao de Serralves, Museu de Arte Contempornea, Porto Casalinho Project (Scale Model), 1998 Balsam wood, synthetic felt Variable dimensions Luso-American Development Foundations Collection, Lisbon, on deposit in the Serralves Foundation, Museum of Contemporary Art, Oporto Francisco Tropa Projecto Casalinho, 1998 23 cibachromes 18 x 16,7 cm Coleco Fundao Luso-Americana, Lisboa, em depsito na Fundao de Serralves, Museu de Arte Contempornea, Porto

Casalinho Project, 1998 23 cybachromes 18 x 16,7 cm Luso-American Development Foundations Collection, Lisbon, on deposit in the Serralves Foundation, Museum of Contemporary Art, Oporto Hans Haacke Narrow white flow [Fluxo estreito e branco], 19671968 Tecido branco, suporte e ventoinhas 147 x 1170 cm Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto Narrow white flow, 19671968 White fabric, support and fans 147 x 1170 cm Serralves Foundations Collection, Museum of Contemporary Art, Oporto Juan Muoz O corrimo, 1986 Madeira e metal 200 x 14 x 16 cm Coleco Carlos Sousa em depsito na Fundao de Serralves, Museu de Arte Contempornea, Porto The banister, 1986 Wood and metal 200 x 14 x 16 cm Carlos Sousas Collection on deposit in the Serralves Foundation, Museum of Contemporary Art, Oporto Raymond Hains Partido de los Autnomos, 2000 Paliada pintada 253 x 1070 x 5 cm Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto Party of the Autonomous, 2000 Painted fence 253 x 1070 x 5 cm Serralves Foundations Collection, Museum of Contemporary Art, Oporto Ren Bertholo Sol, 19682000 Objecto metlico motorizado 300 x 40 x 20 cm Coleco Fundao de Serralves, Museu de Arte Contempornea, Porto Sun, 19682000 Motorised metallic object 300 x 40 x 20 cm Serralves Foundations Collection, Museum of Contemporary Art, Oporto Ren Bertholo Nuage a surface variable, 1971 Objecto metlico motorizado 91,3 x 95 x 19 cm Coleco Ministrio da Cultura em depsito na Fundao de Serralves, Museu de Arte Contempornea, Porto Cloud at the variable surface, 1971 Motorised metallic object 91,3 x 95 x 19 cm Ministry of Cultures Collection on deposit in the Serralves Foundation, Museum of Contemporary Art, Oporto

Robert Filiou Optimistic Boxes, 1968-1981 Conjunto completo de 4 objectos. 1 | Caixa de madeira com fecho metlico contendo uma pedra. Rtulo de papel montado na tampa, onde est impresso o ttulo, o texto, o nome da editora e a morada. Rtulo de papel montado na face interior da tampa com o resto do texto e a assinatura de Filliou (RF) a tinta vermelha. Caixa: 10,7 x 11 x 11 cm. Pedra: c. 5 x 5,5 x 4,5 cm. 2 | Caixa de madeira contendo uma fotografia pornogrfica. Rtulo de papel montado na face interior da tampa com o final do texto e a assinatura de Filliou (RF) a tinta. Caixa: 9,6 x 12,7 x 2,5 cm. 3 | Tabuleiro de xadrez em madeira, dobrado e com fecho metlico. Rtulo de papel montado na tampa, com ttulo e texto impressos. Rtulo de papel montado na face interior da tampa com o final do texto e a assinatura de Filliou (RF) a lpis preto. 6 x 12 x 3 cm. 4/5 | Mealheiro em terracota com a forma de um porco cor-de-rosa. Um rtulo de papel em cada flanco do porco, com ttulo, texto e assinatura de R. Filliou (RF). C. 16 x 9,5 x 11 cm. Coleco Livros de Artista da Biblioteca da Fundao de Serralves, Museu de Arte Contempornea, Porto Optimistic Boxes, 1968-1981 Complete set of 4 objects. 1 | wooden box with metallic lock, containing a stone. Paper label mounted on the lid, upon which the title, text, publishes name and address is printed. Paper label mounted on the interior side of the lid, containing the end of the text and the signature of Filliou (RF) in red ink. Box: 10,7 x 11 x 11 cm. Stone: c. 5 x 5,5 x 4,5 cm. 2 | Wooden box containing a pornographic photograph. Paper label mounted on the interior side of the lid, with the end of the text and the signature of Filliou (RF) in ink. Box: 9,6 x 12,7 x 2,5 cm. 3 | Wooden chessboard, folded into with metallic lock. Paper label mounted on the lid, upon which the title in the text is printed. Paper label mounted on the interior side of the lid with the end of the text and signature of Filliou (RF) in black pencil. 6 x 12 x 3 cm. 4/5 | Pink terracota piggybank. A paper label on each side of the pig, containing the title, text and signature of R. Filliou (RF). C. 16 x 9,5 x 11 cm. Collection of Artists Books of the Library of the Serralves Foundation, Museum of Contemporary Art, Oporto

ARTISTAS CONVIDADOS GUEST ARTISTS Tercerunquinto Open Access, 2005 Tcnica Mista Dimenses variveis Coleco dos artistas, Mxico Open Access, 2005 Mixed technique Variable dimensions Artists Collective, Mexico Tercerunquinto Escultura institucional para o Centro de Artes de Sines, 2007 Tcnica Mista Dimenses variveis Coleco dos artistas, Mxico Institutional Sculpture for Sines Arts Centre, 2007 Mixed technique Variable dimensions Artists Collective, Mexico

Antena programa de itinerncias da Fundao de Serralves Serralves Foundation programme of itinerant exhibitions

S possvel se formos 2
COLECO / COLLECTION / ngela Ferreira / ngelo de Sousa / Ana Jotta / Damian Ortega / Daniel Buren Fernanda Fragateiro / Francisco Tropa / Hans Haacke / Juan Muoz / Raymond Hains / Ren Bertholo / Robert Filiou ARTISTAS CONVIDADOS / GUEST ARTISTS / Tercerunquinto

Curadoria: Maria do Mar Fazenda