Review — by Toni Hildebrandt
How does one re-read oneself or look back at the traces of one's own life? Alexandre Estrela’s Forgotten Sounds of Tomorrow seems to pose this question anew, though answering it beyond the limits of biographical retrospection. As the title indicates, the focus lies on something forgotten, on oblivion, on the one hand, and its reverberation for tomorrow on the other. Nietzsche famously characterised the philosopher as the man of tomorrow and the day after tomorrow. But is this an ambition the artist can unambiguously share?
Interview — by Sara Magno
A conversation between Sara Magno, Annouchka de Andrade, François Piron, and Tobi Maier. Sarah Maldoror: Cinema Tricontinental is one of the two exhibitions that are taking place at Galerias Municipais — Torreão Nascente da Cordoaria Nacional, in Lisbon, as part of the French-Portuguese Season 2022. This exhibition was previously on view at the Palais de Tokyo in 2021 in Paris, and is now being presented as part of the programme of Galerias Municipais de Lisboa, curated by Tobi Maier
Review — by Marta Espiridião
It was a good day, after running errands and spending an hour at the park, reading in the sun. I started my walk to Kunsthalle Lissabon, as the weather allowed so, and at 6:02 pm I arrived, being greeted as the first person to the opening. I had been following the social networks of the institution, and of my friends that run it, and I knew this would be something big — as I knew it would also be something I would rather enjoy alone. There would be a performance, I had been told, and only on this day of the opening. I was happy to be first, to be alone — for sometimes alone, unprotected by the proximity of someone you love or enjoy company, is the best way to be vulnerable to a fantastical unknown.
Interview — by David Silva Revés
Cooking Sections is a duo established in 2013 in London by Daniel Fernández Pascual and Alon Schwabe. Food is at the core of their critical, research, educational, and artistic work, as a methodology to evaluate global economic, political, and social systems and as a means to face human-caused climate changes. In 2021 they were nominated for the Turner Prize, and in 2019 they received the Special Prize part of the Future Generation Art Prize. Undamming Rivers, at Bonniers Konsthall, Stockholm, is their largest solo show to date. In the context of this exhibition, Contemporânea interviewed the duo about their intersectional practice, which is deeply engaged in proposing new possible futures and ecological ways of relationship with the world we live in.
Interview — by Ana Sophie Salazar
In his latest exhibition in Berlin, Yonamine expands on his longstanding research into the language of billposting, unfolding it into an immersive installation that fills the walls and the floor of the gallery space. With a composite title that brings together Italian and English, Parla_mute opens up a space of contradiction between speech and muteness, highlighting a relationship between expression and repression, the individual and the collective. By creating this space of tension, the graphic materials accumulated by Yonamine over time are transformed and edited anew, in an amalgam of posters and silkscreens that cut across references and repeat key expressions. Amidst a plurality of images and typographies, one may read phrases and sentences such as "Sunlight," "Eurovision," "Antarctica’s thousands of species will have no voice," "The beautiful ones are not yet born," or "How To Get Glassy Skin in 7 Days At Home."
Essay — by Eduarda Neves
Dear friend, I have just arrived from Paris. I must confess that watching Heiner Goebbels' Liberté d'action at the Théâtre du Châtelet was a rare experience. The homage to Henri Michaux's autonomy — whose work has always confronted us with an impetuous poetics — mirrored the privilege of those who have always inhabited a higher realm. At the end, the artist's words in the voice of the remarkable performer David Bennent: Une ligne rencontre une ligne. Une ligne évite une ligne. Aventures de lignes. Une ligne pour le plaisir d’être ligne, d’aller, ligne. Une ligne rêve. On n’avait jusque-là jamais laissé rêver une ligne.
Essay — by Mariana Tilly
Curated by Diogo Pinto, PLEASE HOLD is a group exhibition expanding on cultural assimilation protocols through a nuanced analysis of waiting. Running from 27 November 2022 to 1 January 2023 at Ausstellungsraum Klingental in Basel, it recreates the experience of physically-lived bureaucracy — waiting rooms designed to provide the bare minimum of comfort, impersonal offices decorated with artworks from public collections, the bureaucratic processes experienced by immigrants and nationals alike and the strange environments flourishing from such systems.