Apesar de todas as contingências das austeridades Ibéricas, ainda há Comunidades que desbravam os caminhos da cultura, e procuram construir do presente, futuros sobre o passado.
sábado, novembro 30, 2013
sexta-feira, novembro 29, 2013
quinta-feira, novembro 28, 2013
quarta-feira, novembro 27, 2013
terça-feira, novembro 26, 2013
A intimidade com as objectivas
Quando o vento obrigou o banco a virar as costas à profundidade do horizonte, o Sol preparou-o para acolher os observadores de pássaros.
segunda-feira, novembro 25, 2013
domingo, novembro 24, 2013
Riscos
A obra de Amadeo Sousa Cardozo, foi, é e será sempre uma paixão, e muitas das suas imagens estão ainda gravadas e sobresalientes com algum pequeno esforço de memória. As incidências dos já longínquos almoços no self-service do CAM na solidificação dessas memórias, foram decisivos para fazer crescer esta paixão, e para incitar a reserva de um limitado período de vida (1987/1989) para tentar teimosamente uma auto-provocação que abrisse uma vereda para deixar às minhas Netas e aos meus Netos um legado com muitos riscos. A paixão, solidifica registos sensoriais de obras alheias, e embora de forma inconsciente, na verdade afasta-nos de alguma total liberdade criativa, e por isso as condições para abrir as frestas onde se risca diferente, foram efémeras e de resultados que não sabemos avaliar sobre a apreciação dos olhares alheios, e a herança que deixamos, tão pequena ou tão grande conforme os apreciadores a vierem a avaliar, vai-se desfolhando, e até se cruza agora com a maior exposição da obra de Amadeo. Por agora fica uma versão do texto do catálogo, e a outra na nossa língua ficará para logo que revisite a Mostra e leve comigo a máquina da Lente Verde.
Sob o signo de Amadeo
Under the Sign of Amadeo: A Century of Art
For the first time, this exhibition is showing, almost all of the museum's collection of works by Amadeo de Souza-Cardoso (Manhufe, 1887 - Espinho, 1918), the Portuguese painter whose work heralded the advent of modernism and formed one of the early cornerstones of the CAM collection. Although the museum itself did not open to the public until 25 July 1983, the works that would come to make up the CAM's collection began to be purchased in the late 1950s.
Numbers and dates will be found throughout this text since anniversaries inevitably create a compulsion to tot up and take stock. ln the past thirty years, the collection has come to comprise ten thousand works. The monthly guided tours of the storerooms, which will take place over the course of a year, are an opportunity for the public to experience the collection in a more complete and intimate way.
Under the Sign of Amadeo: A Century of Art occupies the entirety of the space available in the CAM's building but contains only around five per cent of the collection, taking visitors on a voyage through the twentieth century. It is a voyage with pre-defined ports: in the nave, particular attention is paid to the representation of the body in action and to works classified as performance, one of the most disruptive and significant languages to have evolved in the transition between modern art and contemporary art': in the first room, the dialogue between British and Portuguese art, one of the characteristic features of this collection, is presented with a focus on pop art; in gallery 1, we see the outstanding masterpieces of the collection, which offer a summary of the period between the start of the twentieth century and the present day; in the multipurpose room, the film and video collection can be seen; in the temporary exhibitions room, the stage and the theatrical are presented in the context of modernity; and in gallery 1, spectators can see the work of the great modernist Amadeo. ln November, gallery 1 will also be used to host an international conference organised by the History of Art Institute and the Communication and Language Studies Centre ofthe Universidade Nova de Lisboa. The conference will place the Amadeo's work in context: in the period surrounding the First World War, between the cosmopolitanism of Paris and the manorial ruralism of Manhufe, between the various movements and avantgarde techniques, creating a unique language, helping to ensure that recent historiography, which is finally paying attention to work produced on the peripheries, establishes parallels with other artistic eographies.
In celebrating the CAM's thirtieth anniversary, besides showing the collection, we were also driven by a desire to examine the current space of the museum as a laboratory, a space of creation and risk, by commissioning Rodrigo Oliveira (Sintra, 1978) and Carlos No (Lisbon, 1967) to produce new works for the facade of the building and the hall respectively and by staging, in parallel, a performance cycle to take place between October and December, beginning with a pioneering figure in this genre, Alberto Pimenta (Porto, 1937), and ending with Isabel Carvalho (Porto, 1977), who is currently staying in Berlin with the help of a grant from the Calouste Gulbenkian Foundation.
Performance is a genre that evokes the theme of the avant-garde movements, having itself emerged from among them. For this reason, it has been chosen as one of the key elements of both the programme and our reflections. The avant-gardes attacked the artistic institution by questioning the traditional concept of the work of art, defending the right of art to be reintegrated into a vital praxis. Or perhaps into a praxis of life and the quotidian, which explains why these movements rejected the metaphysical notion of the artist. The concept of avant-garde is taken from a particular conception of the modern - that which identifies the modern with non-objectivity - and within it, performance is doubtless a radicalising genre to the extent that it puts an end to figuration and the question of matter in the work of art, establishing itself as a language based wholly on ideas and actions.
From the strictly theoretical point of view, performance raises a series of problems that stem from the fact that it is shot through with fundamental tensions (and premises) that largely manifest themselves as binomials: art-life, art-technique, the body of work equals the body of the artist.
From the point of view of communication, performance establishes a new relationship between the emitter and the receiver that demands the latter's participation, not 50 much in the sense that the spectator is included in the action but more as a means by which to approach a register of complicity or anti-complicity. We could say that performance makes a degree of involvement necessary: the emitter and the receiver are involved on the same plane. In other words, performance obliges spectators to define themselves as users: either positively or negatively; they do not experience a performance in the same way that they experience a painting in a museum.
For all of these reasons, performance puts art in an uncomfortable place because initially, and almost always physically, it has opted for an uncomfortable space - the streets, rundown spaces, informal sites - where performer and spectator are in an uncomfortable situation: with no stage, scenery or seats to divide them, they are mutually exposed to each other. The history of the concept of performance as an artistic field largely coincides with the history of the avant-garde movements themselves. In fact, the 19005 and 19105 witnessed the near simultaneous emergence of three artistic movements - constructivism, futurism, and dada - that would play the key role in what subsequently came to be known as the 'modernist rupture' and which would completely alter the configuration of all twentieth-century art.
Futurism echoes in several works by Amadeo and obviously in the work of Fernando Pessoa, the poet whom Almada Negreiros (São Tomé e Príncipe. 1893 - Lisbon, 1970) immortalised in portraits painted in 1954 and 1964. In fact, the greatest expressions of futurist ideology in Portuguese literature can be found in the eulogies to the machine and motion in the poetry of Fernando Pessoa (or rather, in that of his heteronym, the naval engineer Álvaro de Campos) and in Mário de Sá-Carneiro. Recall the passages in the 'Ode Marítima' in which the exaltation of the machine is accompanied by the use of onomatopoeia (or 'onomatopoeic artillery', as Marinetti liked to call it). A short extract from the acclaimed 'Ode Marítima' will suffice:
Crushed keels, sunk ships, blood on the waters,
Decks floating in gore, chunks of corpses!
Fingers lopped off on the gunwales!
Here and there, the heads of infants!
People with eyes gouged out screaming and howling!
Hey, that's it, hey, hey, hey!
Hey, that's it, hey, hey, hey!
And listen to the voice of Diogo Dória, near the Amadeo facsimile, reading Flaubert's The Legend ot Saint iullan the Hospitaller, in which blood also flows everywhere, and we can easily see that the authors who made the twentieth century breathed, if not the same air, then at least the same books and references. However, recall how the engineer-poet Álvaro de Campos defines himself:
And I who love modern civilization, I who embrace the machines with ali my heart,
I, the engineer, the civilized mind, the man educated abroad,
I would love to see again before me only schooners and ships built of timber
The same journey can perhaps be traced with Amadeo in moving from the 1917 work that places a cash register at the centre of both the canvas and the action to Casinha da Casa de Manhufe [The Kitchen atManhufe House] (1913).
The modernist rupture went further still when, in 1917, Mareei Duchamp's urinal became a work of art entitled Fountain, serving as a eulogy to and apology for the ready-made. The notion of the ready-made became a genuine source of inspiration for ali contemporary production and served as one of the most stimulating and operational concepts for future artistic generations (see, for example, O Menino Imperativo [The Imperative Child] by Marcelino Vespeira (Alcochete, 1925 - Lisbon, 2002): a dummy with a shell for a head is flanked by two candles which were lit when the sculpture was first presented, causing wax to run down the body).
Where the relationship between art and technique is concerned, the concept of the ready-made is essential in that it directly (and radically) confronts the question of the artist's hand and, consequently, the notion of original. The metaphysical notion of art, for which the artistic value of an object stems from the fact that it is made by hand and unique, is completely blown away, opening up the field of art to the domain oftechnique. Notions such as repetition, seriality, duplication, and the absence of any direct intervention by the artist in the act of artistic production are notions that traversed ali twentieth century art and reached their apogee in pop art: see the British pop artists and particularly Peter Philips (Birmingham, 1939) and his work For Men On/y - Starring MM and SS in 1961 (and yes, MM is the same Marilyn Monroe that AndyWarhol featured repeatedly in his work from 19620nwards).
The passage from the ready-made to the notion of anti-art was but one small step. The notion of anti-art, like the series of terms and attitudes prefixed by 'anti' that would follow it (the anti-artist, anti-taste, the anti-museum, or the anti-work), are the notions that gave birth to the artistic ideology that governed the emergence of performance.
Thus, while it is true that dada and the first wave of surrealism - see Rapto na Paisagem Povoada [Abduction in the Populated Landscape] (1947) by António Pedro (Cidade da Praia, 1909-Moledo, 1966) - were not guided by many actions that could be described as performance, the concepts that these movements introduced were extremely significant in the development of phenomena associated with that creative territory, namely, the notion of automatism advanced by André Breton and the introduction of psychology to art.
These phenomena were significant in that the importance of dreams and the psychic mechanisms of the mind - see the photograph Eu (auto-retrato) [I (Self-Portrait)] (1949- 1952) by Fernando Lemos (Lisbon, 1926) - would themselves become material used by performance, sometimes leading the public and critics to misunderstand the process given that it was operating precisely in the realm of assystematicity, the non-narrative, and the linking together of themes and images similar to those found in dreams and unavoidable psychic automatisms. Years later, in 1993, all of these questions were explored more deeply in the video Hypnotic Suggestion 505 by Jane & Louise Wilson (Newcastle, 1967), in which the artists, who are twins, undergo a hypnosis session.
The goal of provoking the public, preventing it from remaining in the passive stance of a spectator faced with a painting on a wall or a sculpture in a museum, was fully realised in the notion of performance. Lt was a question of inventing a new audience.
Today, the notion of the museum is still subject to debate, particularly the question of Whether the contemporary art museum should house a permanent collection or be a space that continually rotates artists and works that are usually constructed specifically for a particular space, making the way in which the work adapts to and interacts with the place an essential aspect of its nature.
The CAM has tried to strike a balance between these two extreme positions. We believe that a museum, as the term has traditionally been understood over the years, is a place in which to keep and conserve established masterpieces and in this respect we must acknowledge the importance of the donations that the CAM has received from artists and their families in the past thirty years: let these works be enjoyed by everyone. But the museum must also be a place in which artists reflect the disruption, chaos, violence or simply the ugliness that life and the world outside witness and sometimes display and exhibit.
What are artists seeking in adopting this attitude to the space of the museum? Do they seek complicity with the public or do they aim to provoke or even reject it? Or do they intend simply to alert us to the way in which the public, all of us, must confront a series of problems, be they economic, social, political or merely artistic?
This is how we are celebrating our thirtieth anniversary, with the collection but also with our questions.
Isabel Carlos
Numbers and dates will be found throughout this text since anniversaries inevitably create a compulsion to tot up and take stock. ln the past thirty years, the collection has come to comprise ten thousand works. The monthly guided tours of the storerooms, which will take place over the course of a year, are an opportunity for the public to experience the collection in a more complete and intimate way.
Under the Sign of Amadeo: A Century of Art occupies the entirety of the space available in the CAM's building but contains only around five per cent of the collection, taking visitors on a voyage through the twentieth century. It is a voyage with pre-defined ports: in the nave, particular attention is paid to the representation of the body in action and to works classified as performance, one of the most disruptive and significant languages to have evolved in the transition between modern art and contemporary art': in the first room, the dialogue between British and Portuguese art, one of the characteristic features of this collection, is presented with a focus on pop art; in gallery 1, we see the outstanding masterpieces of the collection, which offer a summary of the period between the start of the twentieth century and the present day; in the multipurpose room, the film and video collection can be seen; in the temporary exhibitions room, the stage and the theatrical are presented in the context of modernity; and in gallery 1, spectators can see the work of the great modernist Amadeo. ln November, gallery 1 will also be used to host an international conference organised by the History of Art Institute and the Communication and Language Studies Centre ofthe Universidade Nova de Lisboa. The conference will place the Amadeo's work in context: in the period surrounding the First World War, between the cosmopolitanism of Paris and the manorial ruralism of Manhufe, between the various movements and avantgarde techniques, creating a unique language, helping to ensure that recent historiography, which is finally paying attention to work produced on the peripheries, establishes parallels with other artistic eographies.
In celebrating the CAM's thirtieth anniversary, besides showing the collection, we were also driven by a desire to examine the current space of the museum as a laboratory, a space of creation and risk, by commissioning Rodrigo Oliveira (Sintra, 1978) and Carlos No (Lisbon, 1967) to produce new works for the facade of the building and the hall respectively and by staging, in parallel, a performance cycle to take place between October and December, beginning with a pioneering figure in this genre, Alberto Pimenta (Porto, 1937), and ending with Isabel Carvalho (Porto, 1977), who is currently staying in Berlin with the help of a grant from the Calouste Gulbenkian Foundation.
Performance is a genre that evokes the theme of the avant-garde movements, having itself emerged from among them. For this reason, it has been chosen as one of the key elements of both the programme and our reflections. The avant-gardes attacked the artistic institution by questioning the traditional concept of the work of art, defending the right of art to be reintegrated into a vital praxis. Or perhaps into a praxis of life and the quotidian, which explains why these movements rejected the metaphysical notion of the artist. The concept of avant-garde is taken from a particular conception of the modern - that which identifies the modern with non-objectivity - and within it, performance is doubtless a radicalising genre to the extent that it puts an end to figuration and the question of matter in the work of art, establishing itself as a language based wholly on ideas and actions.
From the strictly theoretical point of view, performance raises a series of problems that stem from the fact that it is shot through with fundamental tensions (and premises) that largely manifest themselves as binomials: art-life, art-technique, the body of work equals the body of the artist.
From the point of view of communication, performance establishes a new relationship between the emitter and the receiver that demands the latter's participation, not 50 much in the sense that the spectator is included in the action but more as a means by which to approach a register of complicity or anti-complicity. We could say that performance makes a degree of involvement necessary: the emitter and the receiver are involved on the same plane. In other words, performance obliges spectators to define themselves as users: either positively or negatively; they do not experience a performance in the same way that they experience a painting in a museum.
For all of these reasons, performance puts art in an uncomfortable place because initially, and almost always physically, it has opted for an uncomfortable space - the streets, rundown spaces, informal sites - where performer and spectator are in an uncomfortable situation: with no stage, scenery or seats to divide them, they are mutually exposed to each other. The history of the concept of performance as an artistic field largely coincides with the history of the avant-garde movements themselves. In fact, the 19005 and 19105 witnessed the near simultaneous emergence of three artistic movements - constructivism, futurism, and dada - that would play the key role in what subsequently came to be known as the 'modernist rupture' and which would completely alter the configuration of all twentieth-century art.
Futurism echoes in several works by Amadeo and obviously in the work of Fernando Pessoa, the poet whom Almada Negreiros (São Tomé e Príncipe. 1893 - Lisbon, 1970) immortalised in portraits painted in 1954 and 1964. In fact, the greatest expressions of futurist ideology in Portuguese literature can be found in the eulogies to the machine and motion in the poetry of Fernando Pessoa (or rather, in that of his heteronym, the naval engineer Álvaro de Campos) and in Mário de Sá-Carneiro. Recall the passages in the 'Ode Marítima' in which the exaltation of the machine is accompanied by the use of onomatopoeia (or 'onomatopoeic artillery', as Marinetti liked to call it). A short extract from the acclaimed 'Ode Marítima' will suffice:
Crushed keels, sunk ships, blood on the waters,
Decks floating in gore, chunks of corpses!
Fingers lopped off on the gunwales!
Here and there, the heads of infants!
People with eyes gouged out screaming and howling!
Hey, that's it, hey, hey, hey!
Hey, that's it, hey, hey, hey!
And listen to the voice of Diogo Dória, near the Amadeo facsimile, reading Flaubert's The Legend ot Saint iullan the Hospitaller, in which blood also flows everywhere, and we can easily see that the authors who made the twentieth century breathed, if not the same air, then at least the same books and references. However, recall how the engineer-poet Álvaro de Campos defines himself:
And I who love modern civilization, I who embrace the machines with ali my heart,
I, the engineer, the civilized mind, the man educated abroad,
I would love to see again before me only schooners and ships built of timber
The same journey can perhaps be traced with Amadeo in moving from the 1917 work that places a cash register at the centre of both the canvas and the action to Casinha da Casa de Manhufe [The Kitchen atManhufe House] (1913).
The modernist rupture went further still when, in 1917, Mareei Duchamp's urinal became a work of art entitled Fountain, serving as a eulogy to and apology for the ready-made. The notion of the ready-made became a genuine source of inspiration for ali contemporary production and served as one of the most stimulating and operational concepts for future artistic generations (see, for example, O Menino Imperativo [The Imperative Child] by Marcelino Vespeira (Alcochete, 1925 - Lisbon, 2002): a dummy with a shell for a head is flanked by two candles which were lit when the sculpture was first presented, causing wax to run down the body).
Where the relationship between art and technique is concerned, the concept of the ready-made is essential in that it directly (and radically) confronts the question of the artist's hand and, consequently, the notion of original. The metaphysical notion of art, for which the artistic value of an object stems from the fact that it is made by hand and unique, is completely blown away, opening up the field of art to the domain oftechnique. Notions such as repetition, seriality, duplication, and the absence of any direct intervention by the artist in the act of artistic production are notions that traversed ali twentieth century art and reached their apogee in pop art: see the British pop artists and particularly Peter Philips (Birmingham, 1939) and his work For Men On/y - Starring MM and SS in 1961 (and yes, MM is the same Marilyn Monroe that AndyWarhol featured repeatedly in his work from 19620nwards).
The passage from the ready-made to the notion of anti-art was but one small step. The notion of anti-art, like the series of terms and attitudes prefixed by 'anti' that would follow it (the anti-artist, anti-taste, the anti-museum, or the anti-work), are the notions that gave birth to the artistic ideology that governed the emergence of performance.
Thus, while it is true that dada and the first wave of surrealism - see Rapto na Paisagem Povoada [Abduction in the Populated Landscape] (1947) by António Pedro (Cidade da Praia, 1909-Moledo, 1966) - were not guided by many actions that could be described as performance, the concepts that these movements introduced were extremely significant in the development of phenomena associated with that creative territory, namely, the notion of automatism advanced by André Breton and the introduction of psychology to art.
These phenomena were significant in that the importance of dreams and the psychic mechanisms of the mind - see the photograph Eu (auto-retrato) [I (Self-Portrait)] (1949- 1952) by Fernando Lemos (Lisbon, 1926) - would themselves become material used by performance, sometimes leading the public and critics to misunderstand the process given that it was operating precisely in the realm of assystematicity, the non-narrative, and the linking together of themes and images similar to those found in dreams and unavoidable psychic automatisms. Years later, in 1993, all of these questions were explored more deeply in the video Hypnotic Suggestion 505 by Jane & Louise Wilson (Newcastle, 1967), in which the artists, who are twins, undergo a hypnosis session.
The goal of provoking the public, preventing it from remaining in the passive stance of a spectator faced with a painting on a wall or a sculpture in a museum, was fully realised in the notion of performance. Lt was a question of inventing a new audience.
Today, the notion of the museum is still subject to debate, particularly the question of Whether the contemporary art museum should house a permanent collection or be a space that continually rotates artists and works that are usually constructed specifically for a particular space, making the way in which the work adapts to and interacts with the place an essential aspect of its nature.
The CAM has tried to strike a balance between these two extreme positions. We believe that a museum, as the term has traditionally been understood over the years, is a place in which to keep and conserve established masterpieces and in this respect we must acknowledge the importance of the donations that the CAM has received from artists and their families in the past thirty years: let these works be enjoyed by everyone. But the museum must also be a place in which artists reflect the disruption, chaos, violence or simply the ugliness that life and the world outside witness and sometimes display and exhibit.
What are artists seeking in adopting this attitude to the space of the museum? Do they seek complicity with the public or do they aim to provoke or even reject it? Or do they intend simply to alert us to the way in which the public, all of us, must confront a series of problems, be they economic, social, political or merely artistic?
This is how we are celebrating our thirtieth anniversary, with the collection but also with our questions.
Isabel Carlos
sábado, novembro 23, 2013
A intimidade com as objectivas
No outono, a sombra, a luz e o contraluz, o céu, a terra e o mar constroem a sua identidade.
sexta-feira, novembro 22, 2013
A intimidade com as objectivas
Com muitos verdes, e alguns azuis, se fazem os recantos acolhedores do Sudoeste, onde sopram brisas do Mediterrâneo e brilham os reflexos das areias dos desertos longínquos.
quinta-feira, novembro 21, 2013
quarta-feira, novembro 20, 2013
A intimidade com as objectivas
Quando as tábuas dos barcos abandonados já só servem para satisfazer com uma "assinatura" a pegada do "passei por aqui"!
terça-feira, novembro 19, 2013
segunda-feira, novembro 18, 2013
Imagens da beira mar
Nos planos do imaginário dos contraluzes, o Outono com mais de 20º mastigou grãos de areia que pairaram ao sabor da lei do assobio das ondas rasteiras, replicando à nossa escala as ondulações do deserto mediterrâneo, e este tempera a sua dieta com o diz que disseram os anzois de bronze sobre o sabor das aranhas, que nas marés vazias de Verão atormentam silhuetas de solas de pés delicados e ainda ajeitados por exercícios em solários e nos ginásios dos bolos com creme.
domingo, novembro 17, 2013
A intimidade com as objectivas
A divergência proximal das linhas paralelas dos carris, conversam com as amarras paralelas (?) que estabilizam a pista das corridas de comboios.
sábado, novembro 16, 2013
sexta-feira, novembro 15, 2013
quinta-feira, novembro 14, 2013
A intimidade com as objectivas
A Fotografia não fala (forçosamente) daquilo que não é mais, mas apenas e com certeza daquilo que foi
Roland Barthes
Um moínho de água, que atendendo ao volume do caudal, trabalhava o ano inteiro desde que para isso houvesse corrente suficiente, integrado num belíssimo conjunto edificado que albergava uma família que para além da moagem também agricultava. Um fotografia, que registou um ponto de partida para decretar uma discussão sobre arquitectura "popular" Portuguesa.
Anos 80, Ribeira do Chança, Vila Verde de Ficalho
Anos 80, Ribeira do Chança, Vila Verde de Ficalho
Dia 14 de Novembro, dia de Festa
Vive, dizes no presente;
Vive só no presente.
Mas eu não quero o presente, quero a realidade;
Quero as coisas que existem, não o tempo que as mede.
O que é o presente?
É uma coisa relativa ao passado e ao futuro.
É uma coisa que existe em virtude de outras coisas existirem.
Eu quero só a realidade, as coisas sem presente.
Não quero incluir o tempo no meu esquema.
Não quero pensar nas coisas como presentes, quero pensar nelas como coisas.
Não quero separá-las de si-próprias, tratando-as por presentes.
Eu nem por reais as devia tratar.
Eu não as devia tratar por nada.
Eu devia vê-las, apenas vê-las;
Vê-las até não poder pensar nelas,
Vê-las sem tempo, nem espaço,
Ver podendo dispensar tudo menos o que se vê.
É esta a ciência de ver, que é nenhuma.
Alberto Caeiro
quarta-feira, novembro 13, 2013
terça-feira, novembro 12, 2013
segunda-feira, novembro 11, 2013
Imagens de rua
Uma fotografia é sempre invisível, nunca é
aquilo que, de facto, vemos
Roland Barthes, Pensador
domingo, novembro 10, 2013
A ROTA DO AZULEJO
Pode-se gostar muito, ou quase nada de azulejos, em qualquer caso, esta exposição (entrada 2,5€) é uma maravilha, e uma oportunidade única para apreciar um conjunto de peças único, sequente históricamente, e proveniente das mais variadas origens de fabrico e expositivo, encontra-se aqui em Lisboa para todos apreciarem afinal como pode ser o resultado do aproveitamento de pedaços de barro cozido quando a criatividade é colocada ao serviço das Cidades.
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sábado, novembro 09, 2013
MuseoCarmenThyssenMálaga
O balanço, de uma Exposição com E grande, só é possível se a mesma puder ser apreciada com todo o tempo do mundo, em especial quando é difícil gerir o tempo mínimo para guardar imagens que reservem as propostas mais emocionais das melhores obras dos principais artistas em exposição, e portanto aquele fica reduzido à modéstia de cinco imagens, 2+1+2, na resposta à pergunta fatal, “que pensez-vous?”.
sexta-feira, novembro 08, 2013
quinta-feira, novembro 07, 2013
quarta-feira, novembro 06, 2013
terça-feira, novembro 05, 2013
segunda-feira, novembro 04, 2013
domingo, novembro 03, 2013
Uma voltinha pelos cacos
S.Brás3 é um local de culto, cada vez mais um ponto de libertação, onde o nosso envelhecimento se espelha na linguagem entre “ele” e nós, onde por mais que os anos passem, há ainda algo para aprender, é possível falar, sentir os esforços compensados, e mau grado o índice de “devastação” há valores para defender, cada ano mais reduzidos na escala presente, mas nem por isso desprezáveis.
Depois de ter assistido a uma sessão de um Congresso sobre Arqueologia, confidenciava um cientista a um meu especial Amigo cientista/arqueológo que tinha ficado com a certeza de que os arqueólogos têm uma imaginação prodigiosa, pois arriscam formular teses com base em imensas opiniões sem substância de prova material.
As três pedrinhas na imagem, não passam de três calhaus, diria um céptico Amigo meu, que não é apenas isso mas também um anti-defensor da salvaguarda do património, porque no entender dele isso não trás vantagens económicas directas imediatas para as contas públicas!...
Em parte, é verdade, são três calhaus recolhidos “agora” em S.Brás3, mas se percorrermos os campos longe mesmo de cursos de água, só encontraremos os seixos rolados que lá tenham ido parar pela mão humana, e aquele sítio fica distante do Guadiana e é um dos pontos de cota mais elevada nas redondezas, e portanto tudo o que seja pétreo e não seja xisto não foi lá parar pelos acasos da natureza, e com imaginação ou sem ela temos a certeza de que as centenas de seixos rolados que por lá ainda sobrevivem inteiros ou já não, são o resultado das necessidades da vida quotidiana de quem ali habitou há cerca de cinco milénios atrás. Noutras distâncias muito mais próximas do rio, são notórios os locais onde os terraços quaternários depositaram milhões de seixos, uns mais rolados do que outros em conjuntos policromáticos de todos os tipos de rocha.
Na primeira das duas imagens destes seixos rolados, os mais claros estão com a parte da sua superfície mais plana para baixo, o que lhe conferiu muito boa estabilidade para a “pose” e o mais escuro, com a superfície coberta por concreções calcárias para baixo, tem a forma de uma oval achatada. Como não sou arqueólogo não estou sujeito à acusação de dar largas à imaginação para depois de descrever estes três achados de superfície, comentar o seu potencial funcional, com base nos resultados visíveis nas suas superfícies decorrentes da sua manipulação milénios atrás, e também com analogias a utilizações mais conhecidas porque correntes nos hábitos de sobrevivência de agregados populacionais. Em varias ocasiões, assisti a arremessos de calhaus pelos pastores para cima de cabras e ovelhas a fim de as reconduzir aos pastos e percursos “legítimos”, e também ao lançamento de pequenos calhaus através de fisgas no intuito de caçar pássaros, e se no primeiro caso parece desajustada a comparação pré-histórica, pois nãos sabemos se havia rebanhos e muito menos riscos sobre a segurança da sua liberdade domesticada, para além dos possíveis conflitos entre clãs, no segundo julga-se ter sido praticada a utilização de fundas como alternativa a catapultas elásticas, e portanto as “balas de funda” para utilizar uma expressão de analogia funcional mais moderna, pode ser o motivo de encontrarmos em seixos rolados esférico/ovalados provadamente pré-históricos tantas marcas de impactos em toda a superfície, visíveis macroscópicamente. De fora da especulação, fica a garantia de que estes três registos ficaram depositados e quase incólumes durante séculos, e agora também vemos a orientação da sua deposição através do círculo perfeito das concreções calcárias homogéneamente adjacentes em parte da sua superfície. Mas também, se poderemos aventar que os impactos resultaram de uma movimentação lúdica, lá estaremos a tomar o caminho perigoso da subjectividade imaginativa. As descobertas que permitem concluir através de análises químicas a natureza das adjacências, são um bom motivo para deixar estes seixos tal como estão, não os desconcregar, mantendo em aberto todas as hipóteses para que algum micro vestígio faça luz sobre a sua funcionalidade e considerar também que valeu a pena ter andado com o “nariz no chão” durante quase hora e meia para os descortinar entre os torrões, por vezes apenas através de uma curtíssima janela, iluminada pelo contraste entre a terra e as pedras húmidas.
Para além das protuberantes concreções calcárias apresentadas nestes “artefactos”(?), resultantes da sua longa deposição nos estratos ácidos dos fundos das cabanas pré-históricas, há sempre um outro factor distintivo de muitos outros seixos que com eles coabitaram, que é a sua pátine que ou não apresenta mesmo qualquer lustre ou então a superfície ainda luzidia é diminuta. Nas mesmas circunstâncias de deposição muitas das enxós encontradas em S.Brás3, embora apresentem também concreções calcárias em partes variáveis da sua superfície, mantém vivo o brilho do seu polimento, pois a sua utilização articulava-se através dos processos de encabamento, e as mãos humanas presumidamente rudes só as manipulavam para o polimento e o encabamento, o que já não aconteceu com os seixos, baços, e quem sabe se ainda adesivos de algumas micro-partículas de gordura humana.
Os seixos 3 e 2, na imagem desenho, apresentam uma total estabilidade, em especial o maior e em ambos na base plana ainda é visível a “casca” mais escura dos primitivos seixos, e enquanto no maior a superfície não coberta pelo calcário não apresenta visível marcas de impacto legíveis como resultado de procedimentos intencionais, no mais pequeno, há uma pequena zona onde estão concentrados muitos impactos. O seixo 1, ao longo da sua cintura mais horizontal apresenta incontáveis marcas de inúmeros impactos, mais concentrados nos opostos do seu eixo maior, e em mais um do que no outro, enquanto a restante superfície, embora baça, é práticamente lisa.
Estamos portanto em presença de três “artefactos”(?), que achamos terem tido duas distintas utilizações; o seixo mais escuro terá sido um pequeno percutor para trabalhos de “precisão”, pois temos dúvida em que tivesse sido possível a sua utilização contínua numa funda com os impactos linearmente concentrados, e os seixos mais claros com uma patine tão homogénea por permanentes contactos semi-abrasivos, poderão ter sido peças de uma qualquer actividade lúdica que se estendia à sua deslocação numa superfície plana onde consolidaram a sua estável forma actual.
sábado, novembro 02, 2013
Só as agitações sensoriais epidérmicas se podem traduzir em imagens.
Este sábado, decidi que era melhor compactar as imagens possíveis de uma semana que se iniciou de forma esplendorosa com o casamento do meu Sobrinho Francisco. Em união perfeita com o convite e o Missal que sabiam à felicidade que só o verde nos pode transmitir, o Francisco esteve tão feliz, com a sua gravata e lenço verdes e os adn dos nossos antepassados que nos correm a ambos nas veias devem ser a primeira das garantias para ele se comportar como um verdadeiro cidadão do Mundo na nova Vida por onde agora já caminha.
O Sol, nem se envergonha já em teimar nas prolongadas lambusadelas sobre os corpos nus ou semi-nus, até porque estes são cúmplices de madrugadas estéreis e só o soar do enrolamento da espuma da maré meia cheia quebra a monotonia da espera pela chegada da massa frontal que todos os dias os “oráculos” dizem trazer no amanhã uns aguaceiros que adocem as romãs. As estações do ano estão tão confusas como a dilatação dos discursos estúpidos sobre os (des)equilíbrios nas contas de mercearia que ainda teimam em resistir aos escrutínios da inteligência. mediana.
Domingo 27 de Outubro
Durante esta semana, na praia, quase não havia vento nem sequer uma ajudinha para estender com facilidade a toalha na areia. Os metereologistas deviam ter razão; a água do mar deve ter estado a 21º pois que até ontem, se entrei nas calmas mar dentro foi mais difícil sair ao fim de 20 m de agitar os dedos dos pés, as pernas, a cabeça e os dedos das mãos batendo palmas, porque entretanto sempre chegava o vento companheiro da mudança das marés. Sentado à beira mar encontrei aconchego e fiz o que não estou habituado no Verão, isto é, estender-me na toalha a sintetizar na pele os flocos de água salgada. Depois de esforço para recordar algumas regras do cálculo infinitesimal começo agora a tentar uma sequência lógica para ordenar letras, para descrever o modelo matemático que rege na prática o outono na minha praia. Anteontem julgava que iria ser o último banho de mar de 2013, e afinal não foi adiou-se para ontem, pois como o modelo dos outros está mesmo errado, o mar manteve-se quase uma piscina, e tive tanto calor que ou me vestia ou tinha de ir à água de novo, a melhor das hipóteses, enquanto o vento Norte levava o ruído do mar para os lados de África, embora não dissipasse por completo o meu ecofeno. Sequei tão depressa como se estivéssemos em Agosto, o termómetro do carro disse invariável que ao fim da manhã estavam 25º no ar. Se não há ninguém capacitado para passar atestados climáticos, há quem fez bem em arriscar passar aqui duas semanas de férias nesta altura do ano enchendo quase todas as esperguiçadeiras em fim de estação, embora os nossos sotaques tenham estado audívelmente ausentes.
Quinta Feira, 31 de Outubro
Se as gaivotas sabem pairar no ar contra leves ventos, para olharem com precisão as prezas que o mar fez crescer e esconde para se alimentarem com mergulhos certeiros a pique de precisos 90º, também os levantes suaves desta semana, que só se sentiam do pescoço para cima, ajudaram a manter os nossos bruços na vertical da recta que nos liga ao Sol, pois já não soube tão bem nadar de costas com a brisa à flor do mar, pois os chineses ainda não me mandaram um secador de cabelo que possa ligar à bateria do telemóvel, e enquanto o vento amainava para virar definitivamente para sueste, as ondas amontoaram as conchas, entre a areia seca e a pista das celulites, e assim acabou ontem a época para os calções de banho.
sexta-feira, novembro 01, 2013
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