Article — by Alberta Romano
"It’s a date" is a new column of Contemporânea written by Alberta Romano and dedicated to studio visits with artists from Lisbon and from all over the word, both in person and online. Episode 1: Fernão Cruz. I ring the bell outside Fernão’s studio. I can already take a peek at some of his paintings through the glass window. Then I see him coming up from the staircase, he puts on his mask and opens the door. The date has started. Fernão's studio (which he shares with Horácio Frutuoso) extends over two floors: a shop window at street level works as the main entrance and display area for some of his pieces, but it is in the more spacious underground room that he has the majority of his works.
Review — by Cristina Sanchez-Kozyreva
Belen Uriel’s sculptures are puzzling constructions. Made from organic materials such as paper pulp, glass, and bronze, the Madrid-born artist crafts awkward fragmented replicas of daily objects—such as baskets, small inflatable mattresses, or backpacks that bear the various marks of human interaction. The shapes she creates retain some of the characteristics of the original models, but they are also greatly transformed by her hands during their making. “They are very basic objects of consumption to start with. I don’t have that much imagination,” smiles Uriel. “I use things that exist and that we use in society. Then the transformation step is very important for me”, she explains about her process.
Review — by Cristina Sanchez-Kozyreva
In his Interpretation of Dreams, published in 1899, Sigmund Freud proposes that studying dreams offers an effective tool for unpacking the unconscious activities of the mind. He suggests writing down all that we can remember, without instant-judgement, but relying on a natural, creative human penchant for associative ideas and descriptions. In doing so, we are able to reveal even the oddest fragments of narratives. In fact, the dreamer herself is the only one who can approximate an interpretation. Nothing is linear with dreams, their elucidation being as personal as the dream itself. Dreams have been a primary source material for the Surrealists, who openly included them as part of their artistic process, but also for many other artists before them, and after. New York-based German artist Lena Henke is one of them.
Review — by Cristina Sanchez-Kozyreva
The night of October 31st is Halloween, the eve of the Christian festival of all saints All Saints' Day. But it is also São Paulo-based artist Yuli Yamagata’s birthday. For her first exhibition with Madragoa in Lisbon, called BRUXA (“Witch”, until October 31), Yamagata floods the gallery with dramatic characters and witchy props like an explosion of candies. The notion of witchcraft is often treated as children’s beliefs or cultural ideology. For the latter, it can be a means to describe life’s adversities by attributing them to occult beings or people who are unwelcomed in a particular community (notably, in the case of witches, women were historically targeted)
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