Review — by Cristina Sanchez-Kozyreva
Grada Kilomba is a Portuguese interdisciplinary artist, a professor, and a writer. For years, she has been working on bringing forth forgotten stories of Black history by revisiting memory and trauma through a decolonizing framework, and questioning narratives based on colonial concepts of knowledge, gender, and power. At MAAT, her installation O Barco (The Boat) is composed of around 140 large blocks of burnt wood, arranged in the shape of the bottom of a 32-metre long boat. The blocks are spread out on the paved bank of the Tagus river in front of the museum.
Review — by Cristina Sanchez-Kozyreva
Clara Imbert’s Circular Visions at Foco Gallery takes over both floors of the Intendente space with an impressive number of sculptures and objects, all departing from the circle. The circle is the ultimate geometric symbol, with no beginning and no end, that can represent unity as well as the infinite. Its associated forms, spheres, semicircles, and arcs are equally ubiquitous shapes that appear in science, design, mechanics, art, and the everyday objects, at once mysterious and plain. Here Imbert played with its representations through photography, sculptures, prints, video projection, and installation, drawing from a free-spirited love of science and wonder.
Review — by Cristina Sanchez-Kozyreva
Running through the DNA of Vasco Araújo's latest exhibition, Rehearsals, is the spirit of existential liberation. This works-abundant show talks of liberating yourself from everything, psychologically and physically. Via a series of works in sculpture, photography, installation, and writings, this process of breaking free expresses itself through past aesthetics and repetition. The visual language of the exhibition borrows from a time when handwriting was taught as penmanship, before photography went digital, and when the most advanced sound devices crafted by the military would seem rudimentary today, not to mention big as furniture.
Interview — by Alberta Romano
It has been a while since I made a studio visit with the aim of writing about it for a magazine. During these last few months that separated me from new studio visits, I often thought that there are some mechanisms and structures that can only work in some specific moments. "It's a date" is one of those many formats born during the pandemic, a moment in which, understandably, we all felt a huge desire to have “dates", deadlines, and the desire to share every kind of exchange we had with others.
Review — by Cristina Sanchez-Kozyreva
The three large photographs on show at Madragoa, under the title For Laura, by Jaime Welsh, read like static camerawork scenes from a psychological drama. Featuring mid-century architecture and glossy interiors—Welsh says he often shoots inside governmental institutions and museums—the artist stages a lone young man evolving in an empty, highly designed, and spotless building. In the select photographs on show, initially presented by Welsh for his degree exhibition at Goldsmiths, an austere protagonist consistently appears in the middle ground, somehow mediated by glass and never looking directly at the camera.
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