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ARCOMadrid | Fev 19 - 23 2014 Ifema, Madrid, Spain

Artists at ARCOMadrid_2014: Ricardo Angélico (Cuíto, Angola1973) Daniel Blaufuks (Lisbon, Portugal, 1963) Manuel Caeiro, (Évora, Portugal, 1975) Paulo Catrica (Lisbon, Portugal, 1965) Roland Fischer (Saarbrücken, Germany, 1958) Javier Núñez Gasco (Salamanca, Spain, 1971) José Lourenço (Lisbon, Portugal, 1975) Mónica de Miranda (Porto, Portugal, 1977) BOOTH 9G13 CARLOS CARVALHO ARTE CONTEMPORÂNEA Rua Joly Braga Santos, Lote F R/C 1600 - 123 Lisboa Portugal Tel.+(351) 217 261 831 | Fax+(351) 217 210 874 carloscarvalho-ac@carloscarvalho-ac.com www.carloscarvalho-ac.com Artistas Artists Ricardo Angélico | José Bechara | Daniel Blaufuks Catarina Campino | Mónica Capucho | Isabel Brison | Carla Cabanas Manuel Caeiro | Alexandra do Carmo | Paulo Catrica | Sandra Cinto Roland Fischer | Javier Núñez Gasco | Susana Gaudêncio Catarina Leitão | José Lourenço | José Batista Marques | Mónica de Miranda Antía Moure | Álvaro Negro | Luís Nobre | Ana Luísa Ribeiro | Richard Schur Eurico Lino do Vale | Manuel Vilariño Open Mon- Fri 10am-7:30pm Sat 12am-7:30pm Google Map © Carlos Carvalho Arte Contemporânea


CARLOS CARVALHO ARTE CONTEMPORÂNEA, gallery exhibition room


CARLOS CARVALHO ARTE CONTEMPORÂNEA, gallery storage


DANIEL BLAUFUKS Daniel Blaufuks (Lisbon, 1963) Solo shows (selection) Utz, (Vera Cortes, Lisboa, 2012), Works on Memory, (curated by David Drake and Filipa Oliveira, Ffotogallery, Cardiff, 2012), Três quartos de memória (Fundação Eva Klabin, Rio de Janeiro, Brasil, 2011), Hoje é sempre ontem (curated by Luiz Camillo Osório, MAM, Museu de Arte Moderna, Rio de Janeiro, Brazil, 2011), Perecs Büro (curated by Sérgio Mah, Kunstverein Ruhr, Essen, Germany, 2010), A memória da memória, (Carpe Diem, Lisboa, 2010), O ofício de viver, Galeria Carlos Carvalho, Lisboa, 2010, Viagens com a minha tia / Travels with my Aunt, Solar - Galeria de Arte Cinemática, Vila do Conde, 2009 Album (Centro Cultural Vila Flor. Guimarães, Portugal, 2008), O Arquivo, Agencia Vera Cortes, Lisboa, 2008 Terezin, Galeria Manoel Macedo, Belo Horizonte, 2007, Blaufuks, Galeria La Caja Negra, Madrid, 2007, Cinema Motel, (Elga Wimmer PCC, New York City, 2006), No Próximo Sábado, (Gallery Carlos Carvalho Arte Contemporânea, Lisbon, 2006), A Perfect Day, (Museu do Chiado, Lisbon, 2005), Collected Short Stories, (Centro de Arte Moderna, Fund. Calouste Gulbenkian, Lisbon, 2003), Exile, Image Galery, Aarhus, 2001, Lisboa, Pessoa, Exílio, Saramago, Galeria Luís Serpa, Lisboa, 2001, Fotografias Recentes, Galeria Maria Martin, Madrid, 2000, andorra, Galeria André Viana, Porto, 2000, Uma viagem a São Petersburgo, Encontros de Fotografia, Coimbra, 1998, Flores para Walt e otras historias, Galeria Maria Martin, Madrid, 1998, The White Sands Project/ion Room, Project Room, ARCO, Madrid, 1998, O Livro do Desassossego, Galeria Luis Serpa, Lisboa, 1997, Tasso, Mois de la Photo, Paris, 1996, Ein Tag in Mostar, Haus der Kulturen der Welt, Berlin, Goethe-Institut, Madrid, 1996, London Diaries, Primavera Foto, Barcelona, Centro Cultural de Belém, Lisboa, The Akehurst Gallery, London,1994, A Terra é azul como uma laranja, Galeria Cómicos, Lisboa 1992, Fund. Athos Bulcão, Brasilía, 1995, Cinema Paraíso, Cinema Eden, Lisboa, 1991, My Tangier, Ministério das Finanças, Lisboa, 1991, Para mais tarde recordar, Galeria Ether, Lisboa, 1990 Group exhibitions (selection) Tarefas Infinitas, Fundação Calouste Gulbenkian, Lisboa, 2012 (curated by Paulo Pires do Vale) Between Times, Instants, intervals,

durations (Photoespaña.Teatro Fernán Gómez, Centro de Arte . Madrid, Spain, 2010), Da outra margem do Atlântico, alguns exemplos da fotografia e do vídeo português (curated by Paulo Reis, Centro de Artes Hélio Oiticica . Rio de Janeiro, Brazil), Parangolé: Fragmentos desde los 90 en Brasil, Portugal y España Patio Herreriano - Museo de Arte Contemporáneo Español, Valladolid (curated by Paulo Reis and David Barro), 2008, 50 Anos de Arte Portuguesa, (Fundação Calouste Gulbenkian, Lisbon, 2007), BES Photo, (Centro Cultural de Belem, Lisbon, 2007), Del Zero al 2005, (Fundacion Marcelino Botin, Santander, 2005), Erich Kahn, (Museu de Arte Moderna – Colecção Berardo, Sintra, 2005), 20 + 1, (Centro Galego de Arte Contemporânea, Santiago de Compostela, 2004), We Are The World, (Chelsea Art Museum, New York City, 2004), RE-Location Shake, (National Museum of Contemporary Art, Bucharest, 2004), Pallazzo delle Libertà, Palazzo delle Papesse, Siena, 2003, Arquivo e Simulação - Archive and Simulation, (LisbonPhoto, Centro Cultural de Belém, Lisbon, 2003), Artists in Residence 2002-2003, (Location One, New York, 2003), Open Studios, (International Studio and Curatorial Program, New York, 2002), London Art Biennale,(Shoreditch Town Hall, London, 2000), O Autoretrato na Colecção, (Fundação Calouste Gulbenkian, Lisbon, 1999), Linha de Sombra, (Centro de Arte Moderna, Lisbon, 1999), Biennale Internazionale di Fotografia, (Palazzo Bricherasio, Torino, 1997), En la piel de Toro, (Centro de Arte Reina Sofia, Madrid, 1997), Imagens para os Anos 90, (Fundação de Serralves, Porto, Culturgest Lisbon, 1993). Collections (selection) Byrd Hoffman Foundation, New York, Centro de Arte Moderna da Fundação Calouste Gulbenkian, Lisbon, Centro Cultural de Belém, Lisbon, Centro Galego de Arte Contemporânea, Santiago de Compostela, Colecção BES, Lisbon, Fundação PLMJ, Lisbon, MEIAC, Badajoz, Museu de Arte Contemporânea, Funchal, Museu de Arte Contemporânea - Colecção Berardo, Sintra, Palazzo delle Papesse, Siena, Sagamore Art Collection, Miami and The Progressive Collection, Ohio.

DANIEL BLAUFUKS, 24 de Maio de 2013 (from the series Dos dias perdidos), 2014, Inkjet print, 80 x 80 cm, Ed. 3 + 1 PA


DANIEL BLAUFUKS, 29 de Maio de 2013 (from the series Dos dias perdidos), 2014, Inkjet print, 80 x 80 cm, Ed. 3 + 1 PA

DANIEL BLAUFUKS, 28 de Agosto de 2013 (from the series Dos dias perdidos), 2014, Inkjet print, 80 x 80 cm, Ed. 3 + 1 PA


DANIEL BLAUFUKS, O jardim de Eugène Delacroix (da série from the series Um mundo igual a este mas ligeiramente diferente), 2013, Inkjet print, 120 x 160 cm

DANIEL BLAUFUKS, O guia Baedeker (da série from the series Um mundo igual a este mas ligeiramente diferente), 2013, Inkjet print, 120 x 160 cm

DANIEL BLAUFUKS, O saco de fruta (da série from the series Um mundo igual a este mas ligeiramente diferente), 2013, Inkjet print, 120 x 160 cm


MÓNICA DE MIRANDA Porto, Portugal, 1976 Solo shows Erosion (curated by Gabriela Salgado, Appleton square . Lisbon, Portugal, 2013), An Ocean Between us (curated by Gabriela Salgado, Plataforma Revolver . Lisbon Portugal, 2012), Tuning (National theatre . Utrech, Holland, 2009), Just do it (curated by Fatima Lambert, Quase galleria . Oporto, Portugal, 2009), Underconstruction (curated by Paul Goodwin, Pav. 28 . Lisbon, Portugal), London caravan (INIva . Londres, Inglaterra, 2008), New geographies (exposição itinerante: Plataforma Revólver . Lisbon, Portugal e ImagineIC, Amsterdam, The Netherlands), Tunning A1 (Voyeur project . Lisbon, Portugal, 2008), New Geographies (198 Gallery . London, GB, 2007), Black sheep: do not pull my hair (Studio News Parade . London, GB, 2005), Routes (The Red Gate Gallery, London, GB, 2005). Group exhibition (selection) Do silêncio ao outro hino (Centro cultural português . Praia e Mindelo, Cabo Verde, 2012), Once Upon a time (Carpe Diem . Lisboa, Portugal, 2012), Arquivos secretos (Arquivo fotográfico de Lisboa . Lisbon, Portugal, 2012), L’art est un sport de Combat (Musée des Beaux-Arts . Calais, France, 2011), An then again (Pavilhão Preto, Museu da Cidade . Lisboa, Portugal, 2011), This Location (Mojo Gallery,Dubai, 2011), She is devil (Studio Stefania Miscetti . Roma, Italia, 2010), Teresiasvideos de artists made in Portugal, (Centro cultural de Espana . Montevideo, Urugai, 2010), Whose map is it? (Iniva . London, GB, 2010), This location (The Mojo gallery, Dubai, 2010), New Territories (Pav 28 . Lisboa, Portugal, 2009), Mundos Locais (no âmbito da iniciativa “Allgarve 2008”, Centro Cultural de Lagos . Lagos, Portugal, 2008), Paradise (Museum of Modern Art Hertogenbosh . Hollanda, 2007), Do u hear me (Gulbenkian, O Estado do Mundo - Instalação de som . Lisboa, Portugal, 2007), United Nation (Singapore Fringe Festival, Singapore, 2007), Identity and History (Living Gallery . Itália, 2007), Un-furnished, File . Rio de Janeiro, Brasil, 2007), Lore and Other Convergence, (em colaboração com Janini Antonini, INIVA and Live development Agency . London, GB,

2006), De-colonized Bodies:Video portraits (em colaboração com Guilhermo Gomez Penã and la Pocha Nostra, The art Pavilion, Live developmente agency . Londres, GB, 2006), Black sheep “Do not pull my hair” (Conjunction , Londres , Birmingham, Stoke-on-Trent, GB, 2006), Welcome goodbye Adeus Obrigada (The blue elephant Gallery, apoiado pela Gulbenkian. Londres, GB, 2006), Territories (October Gallery . Londres, GB, 2006), Changing Skins - Rencontres Internationales (roARaTorio, Paris e Berlin, 2006), In the back of our Hands (Centro Pablo de Cuba . Havana, Cuba, 2006), Road lines (Contemporary digital art museum . Buenos Aires, Argentina, 2006), Un-furnished (Node . Londres, GB), European’s Workers Union (Liverpool Biennale and London Biennale . Liverpool e Londres, GB, 2006), London Biennale Self-portraits - exposição realizada dentro do âmbito da retrospectiva do trabalho de David Medalla. (curated by Guy Brett, ICA-Instituto Contemporâneo de Artes de Londres . Londres, GB, 2005), Insomnia - Dis-Covers (Bargehouse, South Bank . London,GB, 2005), In the bag-Changing Skins and Inside out (Brixton Art Gallery . London, GB, 2005), We are the revolution (Elastic Gallery . Whitechapell, London, 2005) 2004 In between the Lines: In Search of identity-New visions (Doncaster Museum, Exposição colectiva de arte contemporânea com artistas británicos da diaspora, participação de artistas: Mona Hatoum, Paula Rego , Shirazeh Houshiary and Balraj Khanna. Exposiçao apoiada pelo Ministério das Artes de Inglaterra . Doncaster, GB, 2004), Crossing The Borders (The Point . Doncaster, GB, 2004), Percursos, Sentidos Grátis, Convento de S. Francisco . Coimbra, Portugal Changing Channels (The Backfabrik . Berlim, Alemanha, 2004), London Biennale (Gallery 294 . Londres, GB, 2004), Labyrinth (Horniman’s Museum . Londres, GB, 2004), Memories (Victoria & Albert Museum, Londron, GB, 2004)

MÓNICA DE MIRANDA, Untitled (an Ocean Between Us), 2013, digital print, 60 x 90 cm


MĂ“NICA DE MIRANDA, Untitled (an Ocean Between Us), 2013, digital print, 60 x 90 cm


ONCE UPON A TIME…AN OCEAN BETWEEN US…AND NEVERMORE…. by Fátima Lambert So far my cultural identity has been an “imaginary home” a place of imagination, thoughts and feelings. Home here will be perceived to have no fixed physical locations—instead, home may relate instead to a mental or emotional state of refuge, belonging or comfort. (Mónica de Miranda, 2012) “Ce qu’on voit dans les voyages n’est jamais qu’un trompe l’oeil. Des ombres à la poursuite d’autres ombres.” (2) What better way to affirm the journey, but through film? Undoubtedly different authors expressed this conviction. With regard to the works of Mónica de Miranda, we are located in the video production (also installation oriented) and photography - embedded that video to which it refers, thus closing a circle of thought that is psycho-geographic. The identity will have the nationality of the self. And the self will be pasting this, overlapping layers that do not match the chronology or the sum of the months, and the dissolution of decades ... Layers of existence that reside in locations identified, mapped and circumscribed. Monica de Miranda continues a research aimed to gain knowledge of her own cultural matrices, recovery in ancestry, the result of clarity and rigor that goes from the sociological and anthropological to the aesthetic.There are no legitimate revenue streams, existing or general strategies to access to the supposed authenticity of identity - being it one, or being it plural. Each author will have their reasons and proceed accordingly to access it and, in this case, these options are entrenched and determined The I [read the identity] is a search , some authors, in successive assumptions of themselves described it as self-portraits and, often, are self-representations. Sometimes representative axiology is assumed for self-enactment that after its externalisation it validates and introspects itself . Thus, we have sought in the images of external personhood , adding to them attributes , working them in places converted into scenarios and exacerbating certain canonical stipulations: a mixed ideological requirement and aesthetic celebration. The personality lives in the imaginary succession of time and in its compound of over locations , Sto. Augustine[3]already knew that. It resides on the unequivocal grading, crisscrossed with duration and instant at the intersection of places (which

is inevitable) and its ephemerality, in more or less the lucid science of guessing belonging . For that belonging is not just the result of an analysis, critique and reflection (for indexing subjective epistemologies ) before raises the “close, closer”, in a prototype of the others - all those who cross, or only interact and hunch each other ; those who were only a mythical belief - excerpts from an inheritance adulterated or not, those who know are not known but lived as complete. All existing at the same time as the author - Monica de Miranda - in order to recognize the path ancestry: gathers them so. The time that mobilizes, also implies a sense of historical time, not only biographical, chronological and the mythical. Safeguarding the typological distinctions, they are involved, contributing to its definition in the current coordinates. It might be thought of a miscegenation of times, places and hence aesthetic. Not that from there it originates any contamination , instead a consolidation and mastery that results in artistic work. The gaze is not neutralized, either in suspension of contexts or circumstances. there are no naive gazes to be authentic at 100%. Perhaps only in scope that moved Voltaire, Almada Negreiros[4] or Manoel de Barros. These authors and according to the corresponding periods in which their activity was developed - the supposed naivete and waste of parts and of different authenticity, spontaneity, irony, criticism, lucidity and many other qualities and principles, providing axiologies were they were consistent. However, their reflections lead, to direct paths in search of the most genuine and consistent assertions. So to build up visions wishing to regain (= earn back) what has happened or existed of essential in the lives of others, even to life itself and individuated as an inconclusive outcome that needs to be clarified, repudiated and / or celebrated. II. I can see now, at the end of my map zone that this book is shaped as an architectural ensemble.5 The viewing of a video implies distinct phases - in terms of aesthetic perception - which are unlikely to generalize because of circumstances arising from spectators. Moreover, the video itself is a product of the conditions, contexts and the author states, as well as its intent and operational decision. As for the aesthetic reception, in the Once upon a time at first, “strikes up,” noting the images with analytical order, so to speak, trying to capture / see. In a second “phase” that requires the viewer to engage in an acuity, fulfilling the act of isolating (if possible ...) elements that are stabilized (like there were a house) in the images in each of the 3 screens.

The task can be risky and stressful, in what is being requested to each one, and may be imposed before the 3 projections: redounding ultimately a sense of achievement and overcoming perceptual / aesthetic. Lets explain why:, finished editing the film and subsequent deployment / sedentarization in the space of technological devices to do the projection of video, necessarily affect the reading of content (imagery and semantic). The viewer (aesthetic subject) gets closer or distant in an aggregator process that operationalizes the pragmatic motives and explores the psycho-affective conditions regarding the appropriation aesthetic (and scope) of the work - as aesthetic object. It is then here rendered the potencial of establishing individual maps , defined from the stimulus that viewers can develop through their contact with the video installation - Zones of Contact. The video makes present - before the subject that experiences - a complex plurality, curiously clear and shared on the multiple nature (and synchronous) of iconographic content and semantic. Provides a certain complicity, artistic corollary of deliberations which direct the design and hence the production. Contemplation is a requirement. The time it takes to contemplate, in this work does not match the “real” duration of the same. It is a typical case of experiencing lasting psychological duration and not the one that is timed. It is the chronology of each one of us, more than what succeeds in other cases , because the hieratic predominates in the capture of images and its presentification (alone and together) as it infect us. Be this a explicit case that relates to this slowness d’apres Milan Kundera or the poetic duration term that Peter Handke made explicit! Extrapolation of imagery of the stillness and duration is a form of fighting the transient . It’s an aesthetic that evokes the current concept of Tableau vivant contextualized and injected from anthropological and societal purposes. Heiress of this pragmatic that combines visual and performing arts, popular in the XIX century , when actors and extras professionals or amateurs - recreated and staged situations and stories that then were decoded by an elitist or wider public. In this case, Tableaux vivants configure episodes, converted to actuality and simultaneously turned into fables. The actuality is reflected in what the author wanted, the tales also belong to her, but also to anyone who visualises the videographic piece installed. In artistic practice, which is much distant to the free

“entertainment” game, without concept, the images established and choreographed by Monica de Miranda and the hieratic stillness have become evocative of the happening factor, promoting an ephemeral topic. Given some “stills”, isolating them, so some passages of the triptych dominates the static form of appearances: being of the artist herself, her daughter and the man - who here embodies the masculine gender and both the identity of one or another mate of hers. The character of each - Mother / Daughter / Man - has the valence and pragmatic adjacent to the figures / persona in a Greek theater, ensuring character and typologies of belonging - social, ideological and existential. They represent them beyond themselves , a symbolic assumption, acquiring the “scenarios” that inhabiting an allegorical function. The option for the joint in three projections, with times out of compass by reference to space and time contained in capturing images, confers greater stability in stance and on the claim of the people “typified”, objects and scenarios, more than there were the induction of an effective dynamism . It generates a paradox: it is known that there is a situation before and after of the situation/ fixed location but this does not become something irreversible. As if we knew that the duration of the scene engenders a strategy to dominate the chronology, for reassurance . Progressing: the assumptions of historical content (privacy versus socio-cultural contemporary history) crossed by poetic images, injected into the presentation of circumstantial ages (Biographical times) privileged , they dominate the passage of time. Through an acting dynamic, in active principle of causality, are the product simultaneously, of this slowness of decisions that presided over the convocation of the drawn scenes, giving them an almost ontological acuity in his own irreversibility. That is, regardless of the decision, or the acting or its absence or cancellation , what happens is unavoidable, hence the appearance of this passive stance surpasses the triyptic videographic images. In certain passages, the development of movements, such as walking, sitting, lying down, pull over ... further accentuates the stop, giving it a supraexistential relevance. III. “…a fine voice is the most universal thing that can be figured; and while the narrow individual that uses it


presents himself before the eye, he cannot fail to trouble the effect of that pure universality..”6 The photos do not replace the real , they ttransform it , making it more absent because they reverse the record. They allow to expand and extend their intrinsic knowledge to whom sees them or to whom know that. Photographs should be read because the whole framework has the concept of an Atlas, according to Aby Warburg. That is, the Atlas is a visual way of knowing; allows to give shape to a wisdom in a visual mode. The images contains a superior knowledge and / because visual. Recalling the study of Georges Didi-Huberman[1], Atlas - in this sense - presents itself as “epistemic paradigm of knowledge.” The sequence of photographs associated with the result of the video, a kind of atlas embodies a individual / personalised , which integrates an argument ( a script), and can be applied (with appropriate safeguards, by a process of projective-introspectionn) to others. The photographs are understood in this context as pages. As a book, they let themselves be “handled” by favoring different interpretations of the world, reinventing readings - of each one of us , agreeing

with their circumstances - Ortega y Gasset dixit ... The images designed by Monica de Miranda are structured from a thought transferred in composition. Looking at the pictures alone, seizes up what is a “secret geometry” of its composition, heiress of established knowledge (canons) - going back to the Renaissance - by Leon Battista Alberti-. It should be noted that the secret geometry and depth have been applied to works of art of the 20th century , notably by authors like Madeleine Hours or Bouleau Charles, among others. The visual thinking which governs the composition can be latent, or underlying applied therefore. Each element in the photograph occupies a space that is yours and only there could be - is the conclusion that one has, it seems to stabilize an area of perfectibility. Hence, also, the legitimacy is urgent because of the “delay” (topic about which reflected rather the purpose of the video by the author). This concern in the organization of the image to be, is denotative of aesthetic principles that are assumed to be primordial because revealing the contents and ideas as fundamental. Each unit is indispensable for the visual reading of the whole that is the picture and the selection of pictures, and the consistency of this series. Each offers a unique presence and is

MÓNICA DE MIRANDA, Falling (from the series Once upon a time), 2013, digital print, 70 x 100 cm

individuated exemplar of a whole, can extrapolate from the parameter of the author / biography to others that determine it. The elements / visual singular units are located in internal and external plans, equivalent to the desired conceptual: the evident notes disclosing an extreme intimacy give rise to gigantic factors (and public) of social and human. The architecture of the interior of the house or hotel accentuates the figure . The fact that is there does not gain the right to dwell or of a “home.” Is “home” but also holds out the possibility that it is a place of passage, of transience double meaning: someone who travels there or internal displacement of the” I” of “selves” (in analytical terms). Figures monopolize the attention of the viewer, linking it to excerpts of spaces that are shredded depending on your aesthetic and symbolic interests - as mentioned before. It is a kind of “traveling”, which is brought about from the photos and videos, and has no place in those addresses or actual scripts. However, presides over an imperative demand to the visitor who takes a seat and becomes a belonger of the story. Power would undertake, along with the author, a sort

of imaginary pilgrimage, following the highlight of the tour to the sacred places selected by Monica de Miranda.

[1] By myself, I live and I am in Lisbon... I have been in London... Never been to Mindelo... Never been in Luanda only dreamt about it. I do not live in Rio de Janeiro but it always lives in me [2] Cf. St. Augustine, Confessions, written in the 3rd Century AC. [3] Almada Negreiros, portuguese artist, poet, writer, born at the Island of S.Tomé, 1893;Manoel de Barros, contemporary brasilian poet, born in Mato Grosso (Cuiabá), 1916. [4] “Les routes et les pays ne nous apprennent rien que nous ne sachions déjà, rien que nous ne poussions écouter en nous-mêmes dans la paix de la nuit.” Amin Maalouf, Le Périple de Baldassare,Paris, Grasset, 2002, pp.36-37 [5] Giuliana Bruno – Atlas of Emotions, NY, Verso, 2002, p.5 [6] J.W. Goethe, Wilhelm Meister’s Apprenticeship, ebook The Harvard Classics Shelf of Fiction, Vol. XIV, Copyright © 2001 Bartleby.com, Inc. http://www.bartleby.com/ebook/adobe/314.pdf (consultado em 29 Setembro 2012) [7] Cf. texto de Georges Didi-Huberman in Catálogo da exposição Atlas – como levar o mundo às costas, Madrid, Museu Centro de Arte Reina Sofia, 2011, p.14 e ss. http://www.o-u-t.org/#!texts/vstc7=f%C3%A1timalambert


MĂ“NICA DE MIRANDA, Untitled (an Ocean Between Us), 2013, digital print, 60 x 90 cm


MĂ“NICA DE MIRANDA, Untitled (an Ocean Between Us), 2013, digital print, 60 x 90 cm


PAULO CATRICA (Lisboa, Portugal, 1965) Solo shows (selection) More pictures about buildings, houses, cars and islands (2011, Carlos Carvalho Arte Contemporânea, Lisboa, Portugal), Subtopia (2011, London Gallery West. Middlesex, Inglaterra), TNSC A prospectus archive (2011, Centro de Artes de Sines. Sines, Portugal Museu da Electricidade. Lisboa Lisbon, Portugal), Terrain Vague (2006, Centro das Artes Casa das Mudas . Calheta, Madeira), Fotografias 1997/2005 (2006, Carlos Carvalho Arte Contemporânea . Lisboa, Portugal, The White Room Series (2004, Middlands Art Center . Birmingham, Reino Unido) Exposições colectivas (selecção) Galápagos (CAM - Centro de arte Moderna - Fundação Calouste Gulbenkian . Lisboa, Portugal, 2013) Imagem Entre Imagens (Arquivo Municipal de Lisboa Fotográfico . Lisboa, Portugal, 2013) Dear Stories (Museu da Imagem . Braga, Portugal, 2013), Lugares en pérdida (Centro de Arte Contemporáneo Huarte . Navarra, Espanha, 2012), Galápagos The Fruit Market Gallery (Edimburgh, United Kingdom, 2012) Vistas do Alto Douro & Guia de Portugal, 2012 Deambulações (diálogos fotográficos com Orlando Ribeiro), (Átrio da Reitoria da Universidade de Lisboa . Lisboa, Portugal, 2012), Community Without Propinquity (MK Gallery . Milton Keynes, 2010), Res Publica (2010, comissariada por Leonor Nazaré e Emília Ferreira, Edifício sede da Fundação Calouste Gulbenkian . Lisboa, Portugal), Exposição #07 Arquite(x)turas (2010, comissariada por Sara Antónia Matos, BES Art & Finança . Lisboa, Portugal), POVOpeople (2010, EDP – Museu da Electricidade. Lisboa, Portugal)., Impresiones y comentários (2010, Fundació Foto Colectania .

Barcelona, Espanha), Terminal Trienal de Arquitectura de Lisboa (2007, Pavilhão de Portugal . Lisboa, Portugal), Ingenuidades (2007, Fundação Calouste Gulbenkian . Lisboa, Portugal), Prémio BESPhoto (2006, Centro Cultural de Belém . Lisboa, Portugal) Colections Siemens UK Art Collection, Inglaterra Museum of London, Inglaterra National Monuments Record, Inglaterra Colecção Nacional de Fotografia, C.P.F./M.C., Porto, Portugal Arquivo Fotográfico da Câmara Municipal de Lisboa, Portugal Encontros da Imagem, Museu da Imagem, Braga, Portugal Centro de Fotografia Isla de Tenerife, Espanha Fundação Eugénio de Almeida, Évora, Portugal Birmingham Library, Reino Unido, Portugal Centro de Artes Visuais, Coimbra, Portugal Fundação PLMJ, Lisboa, Portugal Fundação Ilidio Pinho, Porto, Portugal Colecção BES Art, Lisboa, Portugal

PAULO CATRICA Untitled (da série from the series Estación Terrena), 2013, Lightjet print, 38 x 48 cm

PAULO CATRICA Untitled (da série from the series Estación Terrena), 2013, Lightjet print, 38 x 48 cm


PAULO CATRICA Untitled (da s茅rie from the series Estaci贸n Terrena), 2013, Lightjet print, 38 x 48 cm


PAULO CATRICA Untitled (da s茅rie from the series Estaci贸n Terrena), 2013, Lightjet print, 38 x 48 cm


ROLAND FISCHER Solo shows (most recent) Monche un Nonnen (Flatz Museum . Dorbim, Osterreich, 2012) Only you only me (MAMAC Musée d’Art moderne et d’Art Contemporain . Parc de la Boverie, Bélgica, 2012) Roland Fischer (Galeria Maior . Pollenca, Espanha, 2011), Roland Fischer (retrospective) (Domus Artium . Salamanca, Espanha, 2012) Roland Fischer (Von Lintel Gallery . New York, EUA, 2011), Roland Fischer (retrospective), Centro de Arte La Regenta . Las Canárias, Espanha, Photoworks 19902010 (Comissariada por Javier Panera), Centro de Arte Contemporáneo de Salamanca . Salamanca, Espanha, 2012, New architectures (Walter Storms Galerie . Munich, Alemanha, 2012) Roland Fischer. Portraits and Architecture Michael Schultz Gallery . Beijing, China, 2010 Nos Meilleurs Souvenirs (Fondation Vranken Pommery Domaine . Reims, France, 2010), Mudam Collection Musée d’Art Moderne, Luxemburgo, 2010) Roland Fischer (Walter Sorms Galerie . Munich, Alemanha, 2010) Sudoku (Michael Schultz Gallery . Berlim, Alemanha, 2010), New architectures (Galería Max Estrella . Madrid, Spain, 2009), Art Report (Sa Nostra Cultural Center . Palma de Mallorca, Spain), The Edge of Vision Le Printemps de la Photographie, Musée Henri Martin, Cahors, Kunstverein Ludwigsburg, Kunsthalle Bielefeld Saarland Museum, Saarbrücken, Musée d’Art Moderne de la Ville de Paris, Goethe-Institut, New York Amerikahaus, München Group shows most recent) Reproductibilitat 1.0 (Es Baluard - Museu d’art Modern i Contemporani de Palma . Palma, Espanha, 2014 2000+ Neu im Saarlandmuseum, Saarlandmuseum . Saarbrucken, Alemanha, 2014, The Human Touch (SMoCA, Scottsdale Museum of Contemporary Art .

Estados Unidos, USA, 2013 The edge Vision (Louisiana Art & Science Museum . Estados Unidos, USA, 2013) Language Games (Centro de Artes Visuales Helga de Avelar . Cáceres, Espanha, 2013) Babel (Palais de Beaux-Arts de Lille . Lille, França Paisagem Humana - Exposição #15, 2012 BES Arte & Finança . Lisboa, Portugal The Human Touch (RBC Wealth Management Art Collection . Nevada Museum of Art, USA, 2010 Exposição #07 Arquite(x)turas (comissariada por Sara Antónia Matos), BES Art & Finança . Lisboa, Portugal, 2010, Hot & Cool (Galeria Maior . Pollença, Palma de Mallorca, Spain 2008), Pasions Privadas, Visions Publicas, MARCO . Museo de Arte Contemporánea de Vigo, Vigo, Spain, 2008), Mixed Emotions. Apuntes para una colección del siglo XXI, 2008), DA2, (Domus Artium, Salamanca, Spain, 2008), Galerie Sollertis (Toulouse, France, 2007), X mal ICH , Städtische Galerie . Fruchthalle Rastatt, Rastatt, Made in China, Galerie Sollertis . Toulouse, France, Grey Water IMA Institute of Modern Art, Brisbane, Walter Storms Gallery, Munich, Germany, Destino Santiago, Instituto Cervantes, Berlin, Germany, Existencias, MUSAC, León, Spain, Expansiones implosivas. Derivas de la escultura en la Colección Caja de Burgos Centro Cultural de la Villa, Colección Caja de Burgos . Madrid, Spain, Surrounding MattaClark Carlos Carvalho Arte Contemporânea. Lisboa, 2006 Outras Arquitecturas,Outros Artistas…Outras Alternativas, Carlos Carvalho Arte Contemporânea . Lisboa, Portugal, 2005, Abstraction in Photography, Von Lintel Gallery, New York, NY 2003, Impressions of a Revolution: New Prints, Elias Fine Art. Allston, MA, Gotische Reflecties, Stadsgalerij Heerlen, Netherlands 2001, Fotografie und Archiv, Stadthaus Ulm Dans le bain, Institut d’art contomporain Villerbanne ROLAND FISCHER, Bank of China, Hong Kong, C-print Diasec, 180 x 125 cm, Ed. 5


ROLAND FISCHER, Sogo-Kobe, C-print Diasec, 180 x 125 cm, Ed. 5

ROLAND FISCHER, Uniqlo-Osaka, C-print Diasec, 180 x 125 cm, Ed. 5


JAVIER NÚÑEZ GASCO Solo exhibitions Miedo Escénico (Espaço Sirvent . Vigo, Espanha, 2012) Tres imágenes valen más que mil palabras (ÚteroLand . Lisboa, Portugal, 2010), A Nova Europa, Drop D . Lisboa, Portugal, On Sale, (Espai Ubu . Barcelona, Espanha), Misérias Ilimitadas. Lda, (Comissariado por Indrek Leht, Galería Ms . Madrid, España, 2009), Misérias Ilimitadas, Lda. Pantallas sensibles, (comisariado por Javier Panera), DA2 Domus Artium 2002 – Centro de Arte de Salamanca . Salamanca, España, “Tu Creador no te olvida” (Espaço Land . Lisboa, Portugal, 2007), Resting Pieces (R.I.P.), Galería T20 . Murcia, España), Violência Doméstica, “Espaços em Branco”, Galeria Cubic de Arte Contemporânea, Lisboa, Portugal, 2006, Happiness (Galeria Sicart . Barcelona, España 2005, Switch (EMAC . Cáceres, España 2005)Registros (comisariado por Javier Panera) DA2 Domus Artium 2002 – Centro de Arte de Salamanca . Salamanca, España, 2004, Javier Núñez Gasco (Galería Bores & Mallo . Lisboa, Portugal, 2004), Postfiesta (comisariado Domingo Sánchez Blanco), Espacio de Arte Contemporáneo El Gallo, Almacén del Laval del Genovés, Salamanca . España, Spain, 2003, Ocio y Juego (Sala Unamuno . Salamanca, España 2002), Memoria Virtual (comisariado Enrique Marty, Centro de Arte Ego . Espacio de Arte Contemporáneo El Gallo, Salamanca, España, 2002), Gente Corriente, “Nuevos Territorios para la Creatividad” (comisariado por Javier Panera, Facultad de Geografía e Historia, Universidad de Salamanca . Salamanca, España, 2001), Virtual (Galería Varrón . Salamanca, España, 2000), Hacia el Exterior (comisariado por Carlos T. Mori, Sala Fevesa, Salamanca, España), Cuerpo e Identidad (Museo de Salamanca, Salamanca, España)

Group shows (most recent) Sssh! Del silencio un lenguaje (Galeria Nuble . Santander, Espanha, 2014), A la sombra del árbol . Otro arte (Palacio Quintanar . Segovia, espanha, 2014), O princípio da inércia (Pavilhão Branco do Museu da Cidade . Lisboa, Portugal, 2012), VIII Edição do Concurso Bienal de Fotografía Purificación Garcia (Museu da Cidade . Pavilhão Preto, Campo Grande, Lisboa, Portugal, 2011), VIII Edição do Concurso Bienal de Fotografía Purificación Garcia (Palácio de Cristal . Porto, Portugal, Festival Estrella Levante SOS 4.8 (comissariado por David Barro, Murcia . Espanha, 2011), Pasajes del cuerpo contemporâneo Colección MURAM, MURAM, Museo Regional de Arte Moderno . Cartagena, Múrcia, Espanha, 2013, Concurso Bienal de Fotografia 2010 Purificación Garcia 2010, Centro de Arte Purificación Garcia, Zaragoza, España 2010, Concurso Bienal de Fotografía 2010 Purificación Garcia 2010, Círculo de Bellas Artes . MAdrid, Espanha, Abismos Contemporâneos I Look Up! Natural Porto Art Show (Comissariada por David Barro, Fundação da Juventude - Palácio das Artes . Porto, Portugal), Spain on the Edge - Limits of a Narrative Conflict NEXT: the inventional Exhibition of Emerging Art (comissariado por Nacho Ruiz, Instituto Cervantes de Chicago . Chicago, E.U.A , 2010), La comunidad desobrada (comisariado por Jose Luis Corazon), Pabellón de mixtos de la ciudadela de Pamplona . Pamplona España, 2009 (No future Art Bus (comisariado por / curated by Raúl Martínez e Michele Robecchi) Monkey Town . New York, USA, 2008, Transacciones (comisariado por Javier Hontoria, galería Cubo Azul . Leon, España 2007), Idilios (comisariado por / curated by Javier Panera, DA2 Domus Artium 2002 – Centro de Arte de Salamanca . Salamanca, España

JAVIER NÚÑEZ GASCO, Naturaleza Muerta, 2010, Durst-lambda color print, 150 x 180 cm, Ed. 5 + 1 AP


JAVIER NÚÑEZ GASCO, Historia de un paisaje 2014 Inkjet color print on paper, 60 x 45 cm, (Ed. 5 + 1 AP) #1


JOSÉ LOURENÇO Solo shows Story Building (Galeria Bacelos . Espanha, 2012), Entre as tuas paredes (Galeria Gomes Alves . Guimarães, Portugal, 2010), Conforme o dia (Carlos Carvalho Arte Contemporânea . Lisboa, Portugal, 2010), Anamorphosis (Marilia Razuk Galeria de Arte . São Paulo, Brasil), Anamorphosis (Galeria Siboney . Santander, Espanha, 2009), Pintura (Galeria Reflexus . Porto, Portugal, 2009), Urban Anamorhposis (Galeria My Name’s Lolita Art . Madrid, Espanha, 2009), Paisagens, Pavilhão de Portugal Lisboa, Portugal, 2007, Em teu redor, (Fundação D. Luís Cascais, Portugal, 2007), Ao Redor do Teu Corpo (Carlos Carvalho Arte Contemporânea . Lisboa, Portugal 2006 Jardim dos Sentidos (20M3 - Carlos Carvalho Arte Contemporânea . Lisboa, Portugal, José Lourenço (Galeria Évora-Arte . Évora, Portugal, José Lourenço (Stock House - Galeria MCO, Arte Contemporânea . Porto, Portugal, 2006), Lugares (Galeria My name’s lolita art . Madrid, Espanha 2005, Arte Santander ‘05 Galeria Ara . Santander, Espanha 2005, Entre os teus lugares (Galeria Ara . Lisboa, Portugal, 2004), ¿Dónde os perdi? (Galeria Marisa Marimón . Ourense, Espanha), Um dia foste para mim...(Galeria Bores & Mallo . Lisboa, Portugal, 2003), As florestas de nós mesmos (Galeria Évora-Arte . Évora, Portugal, 2002), Ausência em Seda Galeria Ara . Lisboa, Portugal), Penumbra acesa à Lua (Galeria Bores & Mallo . Cáceres, Espanha), Os teus segredos eram jardins (Galeria Ara . Lisboa, Portugal, 2001) Group shows (most recent) SP-Arte (Amarelo Negro Arte Contemporânea . São Paulo, Brasil 2013), Modulares - Una aproximación a las formas seriadas (Galería Rafael Ortiz . Sevilha, Espanha Párergon (comisariada por José Maria Parreño, Galeria e Auditório Municipal de Torres Vedras . Torres Vedras,

Portugal, Projecto Correspondência (E/L Studio . Washington, EUA, 2012), Primeira Vista (Amarelo Negro . Rio de Janeiro, Brasil), La Colección (Fundación Barrié . A Coruña, Espanha, 2011), Typewiter: A história escrita à máquina (comissariada por David Barro) Fundación Cidade da Cultura de Galicia . Santiago de Compostela, Espanha, 3 PT (Galeria Full_art . Sevilha, Espanha, 2009), Ressonância Visual (comissariada por David Barro, Paços da Cultura . S. João da Madeira, Portugal, 2009), Antes de ayer y pasado mañana; o lo que puede ser pintura hoy (Museo de Arte Contemporâneo Union Fenosa – MACUF . Coruña, Espanha, 2009), En Construcción 2 (Fundación Pedro Barrié de la Maza . Vigo, Espanha, 2009), Opções & Futuros: Obras da Colecção da Fundação PLMJ (Pavilhão Branco e Preto do Museu da Cidade . Lisboa, Portugal, 2009), Estética Solidária (Palácio Marquês de Pombal . Lisboa, Portugal, 2009), Iniciativa X (Galeria ArteContempo . Lisboa, Portugal, 2008), Superficies Minimales (Galeria Goran Govorcín . Santiago de Compostela, Espanha, 2008), Visiones Urbanas (Santander, Espanha, 2008), X Mostra Internacional Union Fenosa (Museo de Arte Contemporâneo Union Fenosa – MACUF . Coruña, Espanha, 2008), À volta do papel, 100 artistas (Centro de Arte Manuel de Brito . Algés, Portugal), Parangolé: Fragmentos desde los 90 en Brasil, Portugal Y Espanha (Patio Herreriano – Museo de Arte Contemporânea Español . Valladolid, Espanha), Propuestas para uma colección (Galeria Marisa Marimón . Ourense, Espanha, 2008), Opções & Futuros – Obras da Fundação PLMJ, Galeria Arte Contempo . Lisboa, Portugal, 2008), Cidades Invisíveis Faculdade de Arquitectura da Universidade Técnica de Lisboa . Lisboa, Portugal, 2007

JAVIER NÚÑEZ GASCO, Naturaleza Muerta, 2010, Durst-lambda color print, 150 x 180 cm, Ed. 5 + 1 AP


JAVIER NÚÑEZ GASCO, Historia de un paisaje 2014 Inkjet color print on paper, 60 x 45 cm, (Ed. 5 + 1 AP) #1


RICARDO ANGÉLICO Solo shows Freak Out (Carlos Carvalho Arte Contemporânea . Lisboa, Portugal 2013), There will be no safety zone Carlos Carvalho Arte Contemporânea . Lisboa, Portugal, 2011), God is great, but God is greater (Galeria Adhoc . Vigo, Espanha, 2010), Pele, Plinto e Pelicano (Galeria Gomes Alves 1 . Guimarães, Portugal, 2009), The aronburg mystery (Carlos Carvalho Arte Contemporânea . Lisboa, Portugal, 2008), The grey cube + Others planets, (MCO . Porto, Portugal, 2005), St. Adolf II – Um arquitecto em Waldau, Biblioteca Municipal da Póvoa de Varzim. Póvoa de Varzim, Portugal, 2004, Caro Jünger/Caro Nabokov (Museu Nacional de História Natural, Sala do Veado. Lisboa, 2003), Museu de Cera – Imagens da Colecção Christian D. Karloff (Fundação D. Luís . Cascais, Portugal, Tlön para principiantes – uma história natural (Galeria Ara . Lisboa, Portugal, 1999), Novas espécies alimentares (Galeria Ara. Lisboa, Portugal, 1999) Group shows 20 anos da Sala do Veado (Museu Nacional de História Natural, Sala do Veado . Lisboa, Portugal, 3 PT (Galeria Full_art . Sevilha, Espanha), O Desenho Dito(Casa da Cerca – Centro de Arte Contemporânea . Almada, 2008), À volta do papel, 100 artistas (Centro de Arte Manuel de Brito . Algés, Portugal, 2006), Desenho – com Jorge Lancinha e Rui Macedo (Galeria Ara . Lisboa, Portugal, 2004, Porto Arte (Secção Jovens Artistas, selecção Alexandre Pomar) . Porto, Portugal, 2000, Lugar(es) do Corpo (Galeria Municipal do Montijo . Montijo, Portugal, 2000), Comemoração do 1000º Programa “Acontece”, Convento do Beato . Lisboa, Portugal, 1999 IV Foro Atlântico de Arte Contemporânea

Galeria Ara . Pontevedra, Espanha, 1998, Exposição de Finalistas, Fundação Cupertino de Miranda . Famalicão, Portugal, V Prémio Fidelidade Jovens Pintores, Culturgest . Lisboa, Portugal, 1998), 7 artistas (Gaia Shopping. Vila Nova de Gaia, 1997), X Salão de Primavera, Casino Estoril. Estoril, 1997), Participação na MOCAP 97, Exponor. Porto, 1997), Colectiva de Pequeno Formato, Casino Estoril. Estoril, Portugal, 1996, VIII Salão de Primavera do Casino Estoril Estoril, Portugal, 1995 Colections Caixa Geral de Depósitos, Lisboa Fundação D. Luís I, Cascais Fundação PLMJ, Lisboa Centro de Arte Manuel de Brito, Algés Ayuntamiento de Pamplona, España

RICARDO ANGÉLICO, Liebensraum XII, 2014 Acrylic on canvas, 143 x 170 cm


RICARDO ANGÉLICO, S/ título, 2014, Guache on paper, 32,5 x 28 cm

RICARDO ANGÉLICO, S/ título, 2014, Guache on paper, 35 x 28 cm

RICARDO ANGÉLICO, S/ título, 2014, Guache on paper, 32 x 27 cm


MANUEL CAEIRO Solo show Manuel Caeiro (Galeria Lurixs . Rio de Janeiro Brasil, 2013), Amazing Transparent Emptiness, (Crown Gallery . Bruxelas, Bélgica, 2012), Amazing white emptiness (Antigo picadeiro do Colégio dos Nobres, Lisboa, Portugal, 2012), 33’ de fama, (Carpe Diem Arte e Pesquisa . Lisboa, Portugal, 2011), Arrufos e entulhos (Galeria Gomes Alves . Guimarães, portugal, 2011) 12 000 m2 dentro de um T0 (Carlos Carvalho Arte Contemporânea, Lisboa, Portugal, 2013), Belém Coffrage (Ermida, Nossa Senhora da Conceição . Lisboa, Portugal, 2010), Manuel Caeiro (Palácio Vila Flor . Guimarães, Portugal 2010), Golden Mine (Galeria Trem . Faro, Portugal 2009), DownTown (Lurixs . Rio de Janeiro, Brasil 2009), Paredes Vacías (Galeria António Barnola . Barcelona, Espanha, 2008), Podium (MCO Arte Contemporânea . Porto, Portugal 2007), Welcome to my Loft (Carlos Carvalho Arte Contemporânea . Lisboa, Portugal, 2007), Reconstruyendo el Vacío (Galeria Cubo Azul . Léon, Espanha 2007), Deconstruction and Rebuilding (Galeria J. M. Gomes Alves . Guimarães, Portugal, 2006), Às vezes apetece-me estar aqui (Fundação D. Luís I . Cascais, Portugal 2005), The Last Room (Galeria Évora-Arte . Évora, Portugal 2005), Casas da Caparica (Museu Nacional de História Natural, Sala do Veado . Lisboa, Portugal 2005), Dream Houses –Inbox (Galeria Paços do Concelho . Torres Vedras, Portugal, 2004), Dream Houses – Outside Door (Palácio da Galeria . Tavira, Portugal, 2004), Dream Houses (Galeria Ara . Lisboa, Portugal, 2003), Neighbourhood (Galeria Évora-Arte . Évora, Portugal, 2002), Cenas Domésticas (Galeria Ara. Lisboa, Portugal, 2001), Manuel Caeiro (Galeria Ara. Lisboa, Portugal, 1999)

Group shows Casa Ocupada (Casa da Cerca . Almada, Portugal 2014), Exposição Colectiva (Galeria Espacio Líquido . Gijon, Asturias, Espanha 2013), SP-Arte (Galeria Lurixs . Rio de Janeiro, Brasil 2013), La Colección, Fundación Barrié . A Coruña, Espanha, 2011, Terceira metade Museu de Arte Moderna . Rio de Janeiro, Brasil, Artistas solidários com Alzheimer Portugal, Centro Cultural de Cascais . Cascais, Portugal, 2010, 20 anos da Sala do Veado, Museu Nacional de História Natural, Sala do Veado . Lisboa, Portugal, 3 PT (Galeria Full_art . Sevilha, Espanha), Fiat Lux – Iluminación y creación (curadoria Paulo Reis, MACUF – Museo de Arte Contemporâneo . Coruña, Espanha), Building Rooms (Carlos Carvalho Arte Contemporânea . Lisboa, Portugal, 2009), À volta do papel (Centro de Arte Manuel de Brito . Algés, Portugal), 5 Portuguese Artists (Michel Soskine . Madrid, Espanha, 2007, O Espelho de Ulisses 2 (Centro de Arte de S. João da Madeira . S. João da Madeira, Portugal, Surrounding MattaClark (Carlos Carvalho Arte Contemporânea . Lisboa, Portugal, 2007), Wallpaper (StockHouse, Galeria MCO arte. Porto, Portugal, 2005), Outras Arquitecturas, Outros Artistas... Outras Alternativas, Carlos Carvalho Arte Contemporânea . Lisboa, Portugal, Prémio Ariane de Rothschild, Exposição de seleccionados, Palácio Galveias . Lisboa, Portugal, Le Premier Dessin (com José Lourenço e José Batista Marques, Galeria Ara . Lisboa, Portugal, Projecto ArtCup (Galeria Quadrum . Lisboa, Portugal, 2004), As long as space endures (com Rui Macedo) Galeria Vértice . Oviedo, Espanha Prémio Amadeu de Souza-Cardoso (Amarante, Portugal). Prémio Amadeu de Souza-Cardoso Quinta das Cruzadas . Linhó, Sintra, Portugal MANUEL CAEIRO, Para um projecto #5, 2014 Acrylic on canvas, 100 x 70 cm


MANUEL CAEIRO, Sem título, 2012 Acrylic on paper, 39 x 29 cm

MANUEL CAEIRO, Sem título, 2012 Acrylic on paper, 39 x 29 cm

MANUEL CAEIRO, Sem título, 2012 Acrylic on paper, 39 x 29 cm


CARLOS CARVALHO ARTE CONTEMPORÂNEA Rua Joly Braga Santos, Lte. F - r/c + (351) 217 261 831 | + (351) 217 210 874 carloscarvalho-ac@carloscarvalho-ac.com http://www.carloscarvalho-ac.com From Mon to Fri: 10am to 7:30pm / Sat: 12:00 to 7:30pm Artists Ricardo Angélico | José Bechara | Daniel Blaufuks Catarina Campino | Mónica Capucho | Isabel Brison | Carla Cabanas Manuel Caeiro | Alexandra do Carmo | Paulo Catrica | Sandra Cinto Roland Fischer | Javier Núñez Gasco | Susana Gaudêncio | Catarina Leitão Mónica de Miranda | Álvaro Negro | Luís Nobre | Ana Luísa Ribeiro | Richard Schur José Lourenço | José Batista Marques | Antía Moure | Eurico Lino do Vale | Manuel Vilariño

Profile for Carlos Carvalho Arte Contemporânea

ARCOMadrid 2014 | Carlos Carvalho Arte Contemporânea  

ARCOMadrid 2014 | Carlos Carvalho Arte Contemporânea  

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