Critic’s Guide to the Best Shows in Lisbon – 评论家在Lisbon最佳节目指南

Critic's Guide - 15 May 2018

Critic’s Guide to the Best Shows in Lisbon

From Sol Calero’s playful clichés of Latin America to an homage to British modernist architect Alison Smithson

By Cristina Sanchez-Kozyreva

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Critic’s Guide to the Best Shows in Lisbon - 评论家在Lisbon最佳节目指南

Mariele Neudecker, There is Always Something More Important (detail), 2012, installation view, Pedro Cera, Lisbon, 2018. Courtesy: Pedro Cera, Lisbon; photograph: © Bruno Lopes 

Mariele Neudecker, ‘Echo Chamber’
Pedro Cera

Referencing the moody atmospheres of 19th century German romantic painter Caspar David Friedrich, who sublimed his landscapes with the spirit of God, Mariele Neudecker exalts slices of the natural world through mise en scène. In her installations, videos and photography God’s presence, however, may have been replaced by that of technology and scientific observation. The earliest work on show from 2000, Another Day (Simultaneous Record of the Sun Rising and Setting in Two Opposite Locations On The Globe – South East Australia and West Azores), is a two-channel video of a sunrise and a sunset that creates a wonderful postcard-like ecliptic anomaly, rich in twilight colours. In the back room of the gallery Neudecker has erected three fibreglass tree trunks, Faintly Falling Upon All the Living and the Dead (2009), as well as a small 3D tank piece, The Touch of Earthly Years (2018), that mystically captures a section of a forest. Neudecker made trips to Greenland in 2012 and 2015, where she saw glaciers in real life for the first time and here a human-size fibreglass example, There is Always Something More Important (2012) reminds the viewer of her journey to these natural wonders. While flirting with clichéd images, Neudecker’s pieces also carry a certain scientific detachment that takes large portions of the romantic out of the sublime but also helps us consider nature for the impact humans have on it.

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Critic’s Guide to the Best Shows in Lisbon - 评论家在Lisbon最佳节目指南

Mariana Caló & Francisco Queimadela, ‘Alfabeto Analfabeto’, 2018, installation view, Monitor, Lisbon. Courtesy: Monitor, Lisbon; photograph: © Bruno Lopes 

Mariana Caló & Francisco Queimadela, ‘Alfabeto Analfabeto’
Monitor

Porto-based artists Mariana Caló and Francisco Queimadela have been working together since 2010, often on research-based projects. In their site-specific installation at Monitor, Alfabeto Analfabeto (2018), we are greeted by several gouache and acrylic paintings similar in content. The canvases backgrounds are coloured blue, green, and black and the subject matter resembles an assemblage of knuckle bones. In the gallery’s small basement space, they have painted an immersive all-green environment, with protuberant plaster horns sticking out from the ground, and have included more of the knucklebones-type paintings, and a video. The video appears like a spread from a catalogue: on the left side of the screen you see a Chinese death mask, from the collection of the International Art Center José de Guimarães's (CIAJG), where the artists have been in residence, and on the right side, stones mimicking the mask components. As a hand moves each stone, one by one, the shape of the mask mirrors the changes on the left, all invisibly but painstakingly made in stop-motion. In this show Caló and Queimadela seem to be plunging deep inside the CIAJG’s collection – a trend started by artist José de Guimarães in 1967 – looking for its smallest particles, in what seems like an attempt to interact and decipher its mysterious history.

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Critic’s Guide to the Best Shows in Lisbon - 评论家在Lisbon最佳节目指南

Luís Lázaro Matos, Tomber Dans Le Lac (Fall into the Lake), 2015, soft pastel on paper, each: 1.5 x 2 m. Courtesy: the artist and Galeria Madragoa, Lisbon

Luís Lázaro Matos, ‘Tomber dans le Lac’
Galeria Madragoa

Luís Lázaro Matos’s solo show at Madragoa presents paintings, drawings and a short film in a phantasmagorical tribute to Ludwig II of Bavaria (1845–86). Known for his extravagant artistic commissions, such as the Neuschwanstein Castle in Bavaria, and his admiration for Richard Wagner, the king appeared to have strong repressed homosexual desires, and, unmarried, died mysteriously in Lake Starnberg. For the show, Lázaro Matos has painted a lavish double portrait of the King with one arm as a moray eel, in blue pastels (all variations of Persian blue). Besides the diptych, a painting of a landscape at night, and a film staging a Moray eel telling a fable of sorts, complements the gallery’s downstairs space.

Upstairs, Jean Cocteau-inspired drawings stage a character (the king? the artist?) naked, physically communing with nature and architectural elements in a sexual but tender way. The walls are painted with underwater scenes that include an octopus entangled in seaweed and tagged ‘schwuchtel’ (German slang for ‘faggot’). If the whole narration seems absurd, it is also touching, whimsical and dramatic, as if untethered from the reality at its core.

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Critic’s Guide to the Best Shows in Lisbon - 评论家在Lisbon最佳节目指南

Fernanda Fragateiro, Community Structure, 2018, stainless steel and handmade notebook with fabric cover, 55 x 150 x 16 cm. Courtesy: Galeria Baginski, Lisbon

Fernanda Fragateiro, ‘For us a book is a small building’
Galeria Baginski

‘For us a book is a small building’, takes its title from a quote by British architect Alison Smithson who has come back to prominence following the recent demolition of Robin Hood Gardens, a housing estate in east London designed by Smithson together with her partner Peter Smithson that was built in 1972. Emblematic of new brutalism, the housing estate’s demolition was fervently resisted by heritage activists and architects – a fragment of it, salvaged by the Victoria & Albert museum will be on display at the upcoming Venice Architecture Biennale – yet relatively ignored by public opinion. In Ordinariness and Light, after Alison and Peter Smithson (all works 2018), Fragateiro presents a stainless steel replica placed on the wall like a shelf, made of the cover of the eponymous book, written by the Smithsons in 1970, which studies a city's urban spaces as a living organism. Drawing from the socio-political implications of modern housing and the conceptual research of the Smithsons, Fragateiro implies parallels with Lisbon’s current urban transformations. On show, As found is a long suspended fragment of wall crossing the gallery main space, that comes from the debris of the so-called informal dwellings of the May 6 neighbourhood of Lisbon’s Amadora district, destroyed to give way to the urbanization of the Portuguese capital’s periphery. Minimalist, the exhibition points, through its select fragments, at the lack of consideration political decisions have on the lives of a city’s more vulnerable communities.

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Critic’s Guide to the Best Shows in Lisbon - 评论家在Lisbon最佳节目指南

Kevin Brennan, Sp1ra, 2017, film still. Courtesy: the artist and Galeria Graça Brandão, Lisbon

‘Coded Encounters’
Galeria Graça Brandão

‘Coded Encounters’ is a homoerotic-inflected group show including video, drawings, and photography by Kevin Brennan, Cabello/Carceller, David Lieske, Hannah Quinlan & Rosie Hastings, Paul Mpagi Sepuya, Abri de Swardt and Jaime Welsh, who also is also the curator. In Sp1ra (2017), an 18-minute film by Kevin Brennan, several male youths, naked or in their underwear, play around in a Las Vegas hotel room, applying blue face masks and filming each other splashing in the bathtub. They run around in the Nevada desert, half cat-walking, half performing some improvized shamanic rituals, the whole creating a non-sensical yet liberating experience. In Hannah Quinlan and Rosie Hastings’ cartoonish series of drawings ‘Fuck me on the Middle walk 12’ (2017), which are said to question the existence of safe areas of queer sociability, frumpy characters hang out in urban settings, waiting for something while eyeing each other or awkwardly going somewhere. In Casting: James Deran (Rebelde sin causa) (2004), by Cabello/ Carceller, several women, one after the other repeat a movie scene, as if applying for a role, offering the viewer a series of nuanced and vulnerable interpretations of clichéd masculinity. Overall this is a show that, while angled on the politics of minorities, addresses issues of gender perception with a titillating finesse and universal humanity.

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Critic’s Guide to the Best Shows in Lisbon - 评论家在Lisbon最佳节目指南

Setefan Sagmeister, ‘The Happy Show’, 2018, installation view, MAAT, Lisbon. Courtesy: EDP Foundation; photograph © Paulo Alexandre Coelho

Stefan Sagmeister, ‘The Happy Show’
MAAT

Centred around the eccentric personality of New York-based graphic designer Stefan Sagmeister, ‘The Happy Show’ at MAAT offers a series of ‘experiences’ through an abundance of wall text, videos of Sagmeister’s ad campaigns or experiments (see one film where he tries to offer a rose to a complete stranger in a New York crowd, forcing against his natural discomfort at soliciting strangers). Viewers are offered a card at the entrance with directions; one such reads: ‘Walk around the exhibit and pretend to be Stefan Sagmeister. Tell people about the work’, and bubble gum at the end. Mainly, Sagmeister’s wall writing illustrates the impossibility of pleasing everyone; the importance of remaining flexible when working on a project, or in making assumptions. MAAT tackles graver subject matters too in ‘Eco-Visionaries: Art and Architecture after the Anthropocene’, a show which hones in on the environmental transformations that are affecting our planet. Including 35 artists and architects, the exhibition is dense but colourful.

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Critic’s Guide to the Best Shows in Lisbon - 评论家在Lisbon最佳节目指南

Sol Calero, ‘Tente en el aire’, 2018, installation view Kunsthalle Lissabon. Courtesy: the artist and Kunsthalle Lissabon

Sol Calero, ‘Tente en el aire’
Kunsthalle Lissabon

In ‘Tente en el aire’ (hold yourself in midair), Berlin-based Venezuelan artist Sol Calero references the Cusco School of painting in using handmade wood-carved frames that she acquired on a recent research trip in Peru. Painting the frames, Calero has assembled them on the gallery wall against different gradient of browns, as if classifying them or recreating hierarchies. Referencing issues of identity, specifically mediated via skin colour, and castes, this exhibition marks a new departure for the artist where she reconsiders the use of colour and of abstraction. The title references the taxonomy established during the colonial period in Latin America, that still has a multitude of subtle but obvious repercussions in today’s society. The process also underlines the muddy understanding about the roots of those who are of in-between identities and races. Calero explores new avenues in her pictorial language, while continuing to draw from her research on how clichés affect her and our perception of Latin America. The site-specific installation she created in Kunsthalle Lissabon allows her a certain degree of experimentation via blurry perceptions, and reflections on her own affections: the weight of memory; exotic souvenirs; colour as identity, and the idea of portraiture as a vehicle of one’s individuality.

For more shows to see in Lisbon, head over to On View.

Main image: Mariele Neudecker, Less Far and Further (detail), 2018. Courtesy: Pedro Cera, Lisbon; photograph: © Bruno Lopes

Cristina Sanchez-Kozyreva

Cristina Sanchez-Kozyreva is an art writer based in Hong Kong. She is co-founder and editor-in-chief of Pipeline magazine.


《批评家》和《039》的导读——2018年5月15日《评论家指南》中的《斯里兰卡》中的最佳节目《从拉丁美洲美国的顽皮咒》到克里斯蒂娜·桑切斯·科济耶娃对英国现代派建筑师艾丽森史密森的敬意图4.JPG WPA6021602IMG Mariele Neudecker,总是有一些更重要的(细节),2012,安装视图,Pedro Cera,Lisbon,2018。礼貌:佩德罗塞拉,Lisbon;照片:布鲁诺LoopeMiele NeDeCKE,“回声室”WPAP60300 3BR Pedro Cera引用十九世纪德国浪漫主义画家Caspar David Friedrich的穆迪气氛,他用上帝的精神,Mieleln升华了他的风景。EdEeCKE通过MISE EN ScEnne提升自然世界的切片。然而,在她的装置、录像和摄影中,上帝的存在可能被技术和科学观察所取代。最早的作品来自2000,另一天(同时记录太阳升起和设置在两个相反的位置上的全球-东南澳大利亚和西阿兹尔),是一个双通道视频的日出和日落,创造了一个美妙的明信片,如黄道异常,丰富的TWI。浅色。在画廊的后房间里,Neudecker竖起了三棵玻璃纤维树干,隐约地落在所有的活人和死者身上(2009),还有一个小小的3D油箱,触碰了世俗岁月(2018),神秘地捕捉了一片森林。Neudecker在2012和2015年间去了格陵兰岛,在那里她第一次看到了现实生活中的冰川,这里有一个人类大小的玻璃纤维的例子,总是有一些更重要的东西(2012)提醒观众她去这些自然奇观的旅程。在与陈词滥调调情的同时,纽达克的作品也带有一定的科学性,它把浪漫的大部分从崇高中解放出来,同时也帮助我们考虑自然对人类的影响。监视器-MiRANA Calo-Frimist-KuimaDela-5-Cuffi-BrunoLop.jPG-WPA6022602IMG Mariana Cal和Francisco Queimadela,“Alfabeto Analfabeto”,2018,安装视图,监视器,Lisbon。礼貌:“监视器,Lisbon;照片:”布鲁诺LoopeMialaCal& & Francisco Queimadela,“Alpabeto ANalabeto”WPAP60300 3BR监控波尔图艺术家玛丽安娜卡尔和Francisco Queimadela自2010以来一直在一起工作,经常是基于研究的项目。在他们的特定地点安装在监视器,Alfabeto Analfabeto(2018),我们欢迎几个水粉和丙烯酸绘画类似的内容。画布背景是蓝色、绿色和黑色,主题类似于关节骨的集合。在画廊的小地下室,他们画了一个身临其境的所有绿色环境,突出的石膏角从地面伸出,并包括更多的关节骨类型的绘画,和视频。这段视频看起来像是从一个目录中传开的:在屏幕的左边,你看到了一个中国死亡面具,从国际艺术中心Joede de Guimar Ces(CiAJG)的集合中,艺术家们已经居住在那里,右边是模仿面具组件的石头。当一只手移动每一块石头,一个接一个地,面具的形状反映了左边的变化,所有的都是无形的,但煞费苦心地做了停止运动。在这场展览中,卡尔和奎马德拉似乎深深地陷入了Cijg的收藏中——这是一个由艺术家Joeséde Guimar Ces在1967开始的趋势——寻找其最小的粒子,这似乎是一个试图对其神秘历史进行交互和解密的尝试。Luasro MatasoMataOAA900.JPG WPAP6023 602IMG Luyras-ZaZro MaOS,TunBER DANS Lac(落入湖心岛),2015,纸上柔和的粉彩,每一个:1.5×2米礼貌:艺术家和GaleiaMaRaGaOa,LISBON Lui'LaZalo MaOS,“TunBER DANS LE Lac”WPAP6033BR GaleiaMaRaGa Lui'LaZalo MaOS在马德拉戈的独奏节目展示了绘画、绘画和在巴伐利亚Ludwig II(1845—86)的幻影颂歌中的短片。他因其奢侈的艺术委员会而闻名于世,比如巴伐利亚的纽斯旺斯坦城堡,以及他对Richard Wagner的崇拜,国王似乎有强烈的压抑的同性恋欲望,未婚,神秘地死在斯塔恩贝格湖。在这场演出中,拉扎罗-马托斯用一只胳膊画了一张豪华的双国王肖像,一条海鳗,蓝色的粉彩(波斯蓝的各种变体)。除了夜景,一幅夜景画,和一部上演海鳗的电影,讲述了一个寓言的种类,补充了画廊楼下的空间。楼上,让·谷克多灵感画的舞台人物(国王)?艺术家?)裸体,与性和温柔的身体和建筑元素进行物理交流。墙壁上绘有水下场景,包括章鱼缠绕在海藻中并贴上“SuuChChelt”标签(德国俚语为“FaGGOT”)。如果整个叙述看似荒谬,它也是感人、异想天开、戏剧性的,仿佛脱离现实的核心。JPG Critic’s Guide to the Best Shows in Lisbon - 评论家在Lisbon最佳节目指南 Fernanda Fragateiro,社区结构,2018,不锈钢和手工笔记本与织物封面,55×150×16厘米。礼貌:GaleiaBaignSky',Lisbon Fernanda Fragateiro,'对我们来说,一本书是一个小建筑' WPAP60300 3BR Galeria Baginski '为我们一本书是一个小建筑',它的标题来自英国建筑师Alison Smithson的一句话,它在RE之后又重新崭露头角。史密森在东伦敦设计的罗宾汉花园和她的合伙人Peter Smithson在1972建造了一个住宅区。新的野蛮主义的象征,房地产的拆除受到遗产活动家和建筑师的强烈抵制,这是维多利亚和艾伯特博物馆抢救的一部分,将在即将到来的威尼斯建筑双年展上展出,但却被公众的意见所忽视。在《平凡与光明》中,艾丽森和彼得·史密森(所有作品2018)之后,Fragateiro在墙上放置了一个不锈钢复制品,像一个架子,由同名书的封面制成,由1970的史密森父子撰写,研究城市的城市空间,作为一个活的有机体。从现代住宅的社会政治含义和史密森父子的概念研究中,拉加蒂罗暗示了里斯本当前的城市转型。在展览中,“发现”是一个长长的悬空碎片,穿过画廊的主空间,来自于Lisbon阿马多拉地区5月6日所谓的非正式住宅的废墟,被摧毁,使葡萄牙首都外围城市化。极简主义,展览点,通过其选择片段,在缺乏考虑政治决策有一个城市的更脆弱的社区的生活。GPB JPG Critic’s Guide to the Best Shows in Lisbon - 评论家在Lisbon最佳节目指南 Kevin Brennan,SP1RA,2017,胶片静止。礼貌:艺术家和Galeia Grasa A品牌,O,里斯本的编码遭遇“WPA60603BR GaleiaGrasa A品牌的编码遭遇”是一个包括Kevin Brennan、卡佩罗/卡塞尔、David Lieske、Hannah Qui的视频、绘画和摄影的同性恋屈折组表演。NLAN和Rosie Hastings,Paul Mpagi Sepuya,Abri de Swardt和Jime威尔士,谁也是策展人。在SP1RA(2017)中,一部18分钟的电影由Kevin Brennan,几个男青年,裸体或穿着内衣,在拉斯维加斯的一个酒店房间里玩,用蓝色的口罩和拍摄对方在浴缸中泼溅。他们在内华达沙漠跑来跑去,半猫行走,一半表演一些即兴的萨满仪式,整个创造了一种无感觉却又解放的体验。在Hannah Quinlan和Rosie Hastings的卡通画系列中,我在中间走12路(2017),这是在质疑奇怪的社交性安全区域的存在,邋遢的人物在城市环境中闲逛,在注视对方或尴尬的GOI时等待着什么。某处某地在演员阵容中:James Deran(叛逆罪起因)(2004),由卡佩洛/卡塞尔,几个女人,一个接一个重复一个电影场景,好像申请一个角色,为观众提供了一系列微妙和脆弱的陈词滥调的阳刚之气。总的来说,这是一个关于少数民族政治的展示,用一种巧妙的技巧和普遍的人性来解决性别观念的问题。SeFeFAN-SAGMESTISTRION SaJYMeSTEL的EDP基础,Cabaul-Alxand,CelelHO-4.JPG WPA6026602IMG SeFEFAN SGMEMESTER,“快乐秀”,2018,安装视图,MAAT,Lisbon。礼貌:EDP基金会,照片{保罗亚历山大科埃略斯特凡SaGeMister,“幸福秀”WPAP60300 3BR MAAT围绕着纽约的图形设计师Stefan Sagmeister的古怪个性,MaAT的“快乐秀”提供了一系列的“体验”。通过大量的墙面文本,Sagmeister的广告活动或实验视频(看一部电影,他试图在纽约的人群中给一个完全陌生的人提供玫瑰花,迫使他在招揽陌生人时自然不舒服)。观众在入口处有一张卡片,上面有一张卡片,上面写着:“走遍展览馆,假装是Stefan Sagmeister。”告诉人们关于工作,最后泡泡糖。主要是,SaMeistor的墙写说明了取悦每个人的不可能;在做一个项目或做出假设时保持灵活性的重要性。玛特在《生态幻想家:Anthropocene之后的艺术与建筑》中也提出了严肃的主题,这是一个影响环境变化的节目,它正在影响着我们的星球。包括35位艺术家和建筑师


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