...

NEW YEAR NEW SITE

2007-12-29T01:25:00.001Z

Em Dezembro de 2006 o blog DR.MABUSE iniciou a sua actividade.
Passado um ano e muitas noticias e comentários depois, esta coluna noticiosa vai agora passar para o site www.paulomendes.org entretanto colocado em Setembro de 2007 online.

A coluna de noticias actualizadas daquele site vai-se manter com o mesmo nome
DR.MABUSE _ CONFIDENTIAL NEWS REPORT.
Agora ainda com mais informação disponível continuamos à vossa espera!

Now the news are in _
www.paulomendes.org

HAPPY NEW YEAR 2008

2007-12-29T01:23:00.001Z

ULTRA VIOLET _ BIG YEAR _ BIG PROJECTS 08

PAULO MENDES _ 2007 _ REGISTO DE TRABALHO

2007-12-29T01:23:00.000Z

PROJECTOS REALIZADOS EM 2007

exposições individuais
S DE SAUDADE, RETRATOS DA VIDA PORTUGUESA, Galeria Reflexus, Porto
NUMA CIDADE TALVEZ, Projecto IN.TRANSIT, CC Bombarda, Porto
>
exposições colectivas
PROJECTO XXS, ESPAÇOS EM CONSTRUÇÃO ENTRE ARTISTAS E CRIANÇAS, Praça da Estação de Metro da Trindade, Porto
EXPOSIÇÃO INAUGURAL, Galeria Reflexus, Porto
ANTIMONUMENTOS, Galeria António Henriques, Viseu
PROJECTO FÁBRICA IMPORT / EXPORT, Laboratório das Artes, Guimarães
WHY DO YOU RESIST? FORMS OF RESISTANCE IN CONTEMPORARY ART AND SOCIETY, Forum Stadtpark, Graz, Austria
DESLOCAÇÕES OPEN SPACE PROJECT, Shopping BRAGA PARQUE, Braga
>
projecto comissariado
IN.TRANSIT
Edifício Artes em Partes e CC Bombarda, Porto
IN.TRANSIT #28. COISA, CONTROLADA PELO MEDO DE IDENTIFICAÇÃO OU ELMO _ ANDRÉ ALVES
IN.TRANSIT #29. PESQUISA NO CAMPO, DESERTAR, ANTES QUE GANHE UM CANCRO _ CARLA FILIPE
IN.TRANSIT #30. UNDERCOVER _ VITOR REIS
IN.TRANSIT #32. PRIMEIRA LIÇÃO DE VÔO, POBRE NÃO TEM METAFÍSICA _ GUSTAVO SUMPTA
IN.TRANSIT #33. IMPRECISO _ NUNO RAMALHO + RENATO FERRÃO
>

BOM NATAL 2007

2007-12-24T17:27:00.000Z

MERRY CHRISTMAS _
www.paulomendes.org

IN.TRANSIT apresenta IMPRECISO de NUNO RAMALHO + RENATO FERRÃO

2007-11-22T01:00:00.002Z

NUNO RAMALHO + RENATO FERRÃO expo IN.TRANSIT

2007-11-17T10:04:00.002Z

IN.TRANSIT #33
projecto comissariado por PAULO MENDES
IMPRECISO uma exposição de _
NUNO RAMALHO + RENATO FERRÃO
inauguração. 17 novembro. sábado_16.00h.
edifício artes em partes
rua miguel bombarda 457 4050-379 PORTO
terça a sábado. 14.30h. às 19.30h até 22 de dezembro 07
contactos. +351.936396964_ paulomendes@plano21.net
www.paulomendes.org
>
Apresentação de um novo trabalho conjunto de vídeo / instalação de NUNO RAMALHO e RENATO FERRÃO.
Estes dois artistas, embora mantendo cada um o seu próprio trabalho individual, têm produzido durante os últimos anos vários trabalhos e exposições em colaboração.
Ambos já apresentaram o seu trabalho individualmente em galerias – Renato Ferrão na Galeria Quadrado Azul e Nuno Ramalho na Galeria Graça Brandão. Nuno Ramalho foi nomeado para o prémio Jovens Artistas da EDP em 2004 tendo participado na exposição que se realizou no Centro Cultural de Belém.
Ambos participaram na exposição Salão Olímpico realizada em 2006 a propósito do espaço independente com o mesmo nome que existiu na Rua Miguel Bombarda entre 2003 e 2005. Essa exposição que aconteceu em duas partes, no Centro Cultural Vila Flor em Guimarães e no Pavilhão Centro de Portugal em Coimbra, juntou grande parte de uma nova geração de criadores que surgiu na cidade do Porto e que marcou fortemente o contexto da criação contemporânea portuguesa mais recente neste inicio de século.
>
projecto IN.TRANSIT
produção_PLANO 21.associação cultural
apoio_DIRECÇÃO GERAL DAS ARTES / Ministério da Cultura
apoio_ARQUITRAVE.arquitectos associados lda.

PAULO MENDES EXPO _ galeria Arte Reflexus _ Porto

2007-10-12T11:51:00.004Z

S DE SAUDADE, RETRATOS DA VIDA PORTUGUESA
Exposição individual de Paulo Mendes na galeria Reflexus Arte Contemporânea
Rua D.Manuel II, 130 2º fr 4050-343 PORTO

de 22 de Setembro a 3 de Novembro de 2007.
Terça a Sábado das 15h às 19h ou
por marcação pelo telefone 936866492
www.paulomendes.org

«Só temos o passado à nossa disposição.
É com ele que imaginamos o futuro.»
Eduardo Lourenço, 1997

GUSTAVO SUMPTA expo no IN.TRANSIT

2007-10-12T11:51:00.003Z

IN.TRANSIT #32. Projecto comissariado por Paulo Mendes

Performance / instalação de GUSTAVO SUMPTA
PRIMEIRA LIÇÃO DE VÔO, POBRE NÃO TEM METAFÍSICA

Gustavo Sumpta realizou no dia da inauguração uma performance que foi registada em vídeo posteriormente exibido na sala do projecto IN.TRANSIT, permanecendo ali os materiais que foram utilizados na sua realização.

Edifício Artes em Partes, Rua Miguel Bombarda, 457.
Terça a sábado. 14.30h. às 19.30h
de 22 de Setembro a 3 de Novembro 07

www.paulomendes.org

2007-09-24T22:58:00.000Z

www.paulomendes.org
online now

ANTIMONUMENTOS _ expo colectiva em VISEU

2007-09-13T10:02:00.002Z

ANTIMONUMENTOS
expo comissariada por MIGUEL VON HAFE PÉREZ
GALERIA ANTÓNIO HENRIQUES _ Viseu
INAUGURAÇÃO _ dia 15 setembro_ sábado
TEATRO VIRIATO _ 18.00h
GALERIA ANTÓNIO HENRIQUES _ 22.30h com Dj Set _ DJ CLAXON
NB CLUB _ 02.00h DJ set _ Mário Roque

trabalho apresentado nesta exposição por PAULO MENDES _
PRAÇA DE LISBOA / PORTO JANEIRO 2007
Tríptico de fotografias impressas digitalmente / 83x120 cm (cada)
Trabalho inserido no work in progress TRÁFICO / TRÁFEGO (FREEZE FRAME) série de trabalhos em suporte fotográfico e vídeo desenvolvidos desde 1991.
>
Exposição até 20 de Outubro.
com a participação de _ ALICE GEIRINHAS _ ANDRÉ CEPEDA _ ÂNGELO FERREIRA DE SOUSA _ ANTÓNIO OLAIO _ ARLINDO SILVA _ AVELINO SÁ _ BALTAZAR TORRES _ CARLA CRUZ _ CARLA FILIPE _ CARLOS CORREIA _ CARLOS LOBO _ CARLOS ROQUE _ CRISTINA MATEUS _ EDUARDO MATOS _ FERNANDO JOSÉ PEREIRA _ FRANCISCO QUEIRÓS _ HUGO CANOILAS _ ISABEL CARVALHO _ ISABEL RIBEIRO _ JOÃO FONTE SANTA _ JOÃO MARÇAL _ JOÃO SERRA _ JOÃO TABARRA _ JOSÉ MAÇÃS DE CARVALHO _ LUÍS PALMA _ MANUEL SANTOS MAIA _ MIGUEL LEAL MIGUEL PALMA _ NUNO CERA _ PAULO CATRICA _ PAULO MENDES _ PEDRO BARATEIRO _ PEDRO CABRAL SANTO _ PEDRO DINIZ REIS _ PEDRO POUSADA _ PEDRO TUDELA _ VERA MOTA
>
A exposição reúne um segmento significativo de artistas plásticos a reflectir sobre o conceito de antimonumento.

Segundo o comissário: Antimonumentos, porquê?
Porque a reflexão sobre o passado ou sobre o presente nem sempre se produz nas grandes narrativas, nem nos objectos simbolicamente saturados. Porque à inquietação sobre o real os artistas respondem melhor com dúvidas do que com certezas. Porque os olhares desviantes nos centram nas franjas do previsível. Porque em oposição a uma estratégia curatorial rígida e assertiva se privilegiou a incerteza de respostas inéditas. Porque a energia que um evento desta natureza – um híbrido paradoxal, já que promovido por uma galeria comercial, mas que ultrapassou qualquer quesito economicista -, pode constituir-se como discurso complementar à estratificação dicotómica da arte actual, empurrada para extremos ditos alternativos ou demasiado institucionais. Porque a decisão sobre o que é ou não arte, sobre o que deve ou não ser exposto e sobre o que vincula uma obra ao seu contexto é, em primeira instância, uma decisão individual dos artistas; assim, numa exposição que dá liberdade criativa aos seus protagonistas, esta questão poderá ganhar uma relevância suplementar. Porque a arte tem uma tendência para se levar demasiado a sério, e é nos momentos de dúvida, experimentação e derisão que frequentemente melhor se expressa. Porque a cumplicidade é aqui assumida, reiterada e exposta. E, finalmente, porque tal como alguém que teimosamente se dedica à divulgação da arte contemporânea numa cidade do interior deste país, é na persistência de pequenos gestos que se consegue tornar a realidade mais habitável, na construção de comunidades que consigam olhar criticamente o que produzem e, quando possível, alargando o seu espectro de acção para comunidades que lhe serão, à partida, alheias.

2007-09-13T10:02:00.001Z

www.paulomendes.org
brevemente online

S DE SAUDADE, RETRATOS DA VIDA PORTUGUESA _ EXPO de PAULO MENDES em setembro

2007-08-31T19:32:00.002Z

Na galeria REFLEXUS ARTE CONTEMPORÂNEA, situada na cidade do Porto, inaugura dia 21 de Setembro (sexta) às 21.30h a nova exposição individual de PAULO MENDES_

> fotos de trabalho no estúdio > PM07

PAULO MENDES _ NEWS _ SETEMBRO _ 07

2007-08-06T08:42:00.000Z

S DE SAUDADE, RETRATOS DA VIDA PORTUGUESA
é a nova exposição individual de PAULO MENDES que vai inaugurar a 22 de Setembro na Galeria Reflexus no Porto.
>
Ainda com inauguração a 15 de Setembro, participação numa exposição colectiva em Viseu na Galeria António Henriques comissariada por MIGUEL VON HAFE PÉREZ.
>
O projecto IN.TRANSIT depois de na primeira parte do ano ter apresentado quatro exposições individuais _ ANDRÉ ALVES _ CARLA FILIPE _ VITOR REIS _ PAULO MENDES _ vai continuar a sua programação depois do encerramento em Agosto com a inauguração a 22 de Setembro da performance / instalação "PRIMEIRA LIÇÃO DE VÔO - POBRE NÃO TEM METAFISICA" de GUSTAVO SUMPTA.

A programação continua a 17 de Novembro com a apresentação de uma nova instalação de NUNO RAMALHO + RENATO FERRÃO.

2007-08-06T08:41:00.001Z

BERGMAN & ANTONIONI

2007-07-31T22:48:00.000Z

> aos seus filmes nunca poderemos dar férias!

TINTIN NO CONGO _ livro para crianças ou para adultos _ nova polémica no Reino Unido

2007-07-31T22:08:00.002Z

Polémica com a nova edição em língua inglesa do livro TINTIN NO CONGO (1931) de Hergé.
>
"On en est là : Borders, un groupe américain qui possède de nombreuses librairies en Grande-Bretagne, vient de demander à ses responsables de déplacer Tintin au Congo du rayon BD “Jeunesse” au rayon BD “Adultes”. Quelle mouche les a donc piqués ? La CRE, une association britannique dite “Commission for Racial Equality”(commission pour l’égalite raciale), a fait pression et exigé cette transhumance d’un rayon à l’autre, à défaut de son expulsion, en raison du caractère “raciste” de l’album d’Hergé. Elle a précisé qu’à ses yeux, le fait même que cet ouvrage soit proposé à la vente “dépasse l’entendement” car il contient des images et des dialogues porteurs de” préjugés racistes abominables où les indigènes sauvages ressemblent à des singes et parlent comme des imbéciles”. Il a suffi d’une plainte d’un lecteur auprès du CRE pour que la machine se mette en branle et pour qu’en vertu du principe de précaution, Borders s’exécute.

Le Congo était la deuxième aventure de Tintin reporter, après le séjour en bolchévie. Hergé, qui n’avait jamais quitté sa Belgique natale, avait puisé sa documentation au Musée colonial de Tervueren et dans Les silences du colonel Bramble, roman à succès d’André Maurois dans lequel il avait carrément transposé toute une scène de chasse. C’est à peu près tout même si plus tard, dans un essai remarqué, Roger Nimier établira un rapprochement avec Les vertes collines d’Afrique d’Hemingway. Je ne vous ferais pas l’injure de vous raconter l’histoire de Tintin au Congo qui parut d’abord dans les pages du catholique et réactionnaire journal de l’abbé Wallez Le Petit vingtième puis en album. C’était en 1931, époque à laquelle la Belgique était coloniale avec bonne conscience. Il n’y eut aucune controverse. Ce n’était pas percu comme raciste mais comme paternaliste. Même si trois ans avant Gide avait publié son Voyage au Congo où perçait l’indignation contre les abus, et si un an avant, Albert Londres avait lancé une série d’articles dénonçant l’exploitation criminelle des Noirs dans la construction du chemin de fer Congo-Océan. Gide et Londres étaient français ? Soit mais Georges Simenon était bien belge et dès 1932, dans Voilà, il publiait un reportage accablant qui s’achevait par ces mots :”Oui, l’Afrique nous dit merde et c’est bien fait !” Hergé, qui évoluait dans un milieu très conservateur d’où jaillira l’extrême-droite rexiste, n’eut aucun cas de conscience. Il reflètait la Belgique et sa mission civilisatrice. Les enfants adoraient et l’album fut un succès.

Après guerre, quand il entreprendra un travail de refonte (mise au format, mise en couleurs) avec Edgar Jacobs, Hergé transformera sensiblement le voyage d’un Belge au Congo en séjour d’un Européen en Afrique afin de lui donner une dimension plus universelle. Dans le même élan, non seulement il le dénationalisera mais il le laïcisera : Tintin cessera de recommander son âme à Dieu. Il n’en demeure pas moins que dans les années 60, Tintin au Congo de même qu’Au pays des Soviets, étaient introuvables en librairie alors que 800 000 exemplaires du Congo avaient été écoulés. Casterman ne les rééditait pas, moins par peur des Africains eux-mêmes que par crainte d’une campagne d’opinion de l’intelligensia tiers-mondiste. Dans une lettre du 26 juin 1963, Hergé implorait son éditeur de ressortir Tintin au Congo au moins en Europe. Pour lui, la cause était entendue : ses personnages étaient “des noirs de fantaisie”, caricaturaux comme tous les personnages de son oeuvre. Il en voulait pour preuve les lettres admiratives de ses jeunes lecteurs africains et un article laudateur paru dans le No 73 de la revue Zaïre (2.12.1969) :” Si certaines images caricaturales du peuple congolais données par Tintin au Congo font sourire les Blancs, elles font rire franchement les Congolais, parce que les Congolais y trouvent matière à se moquer de l’homme blanc qui les voyait comme cela” . Au moment où cet article paraissait, Hergé n’en demandait pas moins à Casterman de remplacer “nègre” par”noir” à la case 8 de la page 31…"

> 12 Julho _ Le Monde _ fr

TINTIN IN THE CONGO _ parte 2

2007-07-31T22:08:00.001Z

OPORTO _ expo de REYNOLD REYNOLDS & PATRICK JOLLEY

2007-07-25T10:32:00.002Z

OPORTO em Lisboa, segunda exposição de um espaço programado por Alexandre Estrela, cujo nome é também um tributo ao trabalho desenvolvido pelos espaços independentes da cidade do Porto.
Apresentação do vídeo BURN de 2002 - Filme 16mm transferido para DVD.
Patrick Jolley (Irlanda) e Reynold Reynolds (USA) colaboram desde 1998 na criação de pequenos filmes densos e dramáticos.

2007-07-25T10:32:00.001Z

GOOD NEWS _ EXPOS

2007-07-21T23:00:00.000Z

O projecto IN.TRANSIT vai continuar a sua programação depois do encerramento em Agosto com a inauguração a 22 de Setembro da performance / instalação "primeira lição de vôo - pobre não tem metafisica" de GUSTAVO SUMPTA.

A programação continua a 17 de Novembro com a apresentação de uma nova instalação de NUNO RAMALHO + RENATO FERRÃO.

S DE SAUDADE, RETRATOS DA VIDA PORTUGUESA é a nova exposição individual de PAULO MENDES que vai inaugurar a 22 de Setembro na Galeria Reflexus no Porto.

MARK WALLINGER _ STATE BRITAIN EXPO

2007-07-21T22:59:00.003Z

Mark Wallinger has recreated peace campaigner Brian Haw’s Parliament Square protest for a dramatic new installation at Tate Britain. Running along the full length of the Duveen Galleries, State Britain consists of a meticulous reconstruction of over 600 weather-beaten banners, photographs, peace flags and messages from well-wishers that have been amassed by Haw over the past five years.

Faithful in every detail, each section of Brian Haw’s peace camp from the makeshift tarpaulin shelter and tea-making area to the profusion of hand-painted placards and teddy bears wearing peace-slogan t-shirts has been painstakingly sourced and replicated for the display.

Brian Haw began his protest against the economic sanction in Iraq in June 2001, and has remained opposite the Palace of Westminster ever since. On 23 May 2006, following the passing by Parliament of the ‘Serious Organised Crime and Police Act’ prohibiting unauthorised demonstrations within a one kilometre radius of Parliament Square, the majority of Haw’s protest was removed. Taken literally, the edge of this exclusion zone bisects Tate Britain. Wallinger has marked a line on the floor of the galleries throughout the building, positioning State Britain half inside and half outside the border.

In bringing a reconstruction of Haw’s protest before curtailment back into the public domain, Wallinger raises challenging questions about issues of freedom of expression and the erosion of civil liberties in Britain today.

MARK WILLINGER _ STATE BRITAIN > TATE BRITAIN até 27 de Agosto 2007

APÊNDICE _ EXPOS FIM DE TEMPORADA

2007-07-16T16:17:00.000Z

Projecto Apêndice apresenta
para o fim do 4º Módulo _ Óleo S/Tela

exposição de João Nora

Perfection in her handsperformance
de Vera Mota

Feira de Fanzines pelos A Mula
>
INAUGURA _ dia 17 (Terça-feira) de Julho às 18h00

(a exposição ficará patente até 30 de Julho)
no Projecto Apêndice.

UNDER HITCHCOCK EXPO

2007-07-13T18:18:00.000Z

www.paulomendes.org _ brevemente online

2007-07-12T23:59:00.000Z

www.paulomendes.org

> brevemente online

2007-07-12T23:57:00.000Z

IN.TRANSIT _ GUSTAVO SUMPTA _ expo brevemente

2007-07-12T23:46:00.000Z

2007-07-12T23:40:00.000Z

2007-07-11T23:56:00.000Z

INÊS MOREIRA _ conferência e lançamento de catálogo

2007-07-10T12:05:00.000Z

Conferência de INÊS MOREIRA _ Arquitectura e produção da exposição Depósito - O projecto e a montagem de uma exposição na Universidade do Porto
Nesta conferência, a autora do espaço arquitectónico da referida exposição irá demontrar os métodos de trabalho, na concepção e produção desse projecto.
ESAP _ EG / Escola Superior Artística do Porto - Extensão de Guimarães
Quarta-feira _ 11 Julho _ 22.00h
>
Organização: José Maia e ESAP_EG
Rua Francisco Agra 92 _ 4800 -157 Guimarães

Com o encerramento da exposição patente na Reitoria da Universidade do Porto acontece o lançamento do catálogo "Depósito: anotações sobre densidade e conhecimento"
> 10 de Julho Reitoria da U.Porto
Às 16h30 do dia 10 de Julho, terça-feira, realiza-se no edifício da Reitoria da U.Porto (Praça Gomes Teixeira) a sessão de lançamento do catálogo da exposição "DEPÓSITO, ANOTAÇÕES SOBRE DENSIDADE E CONHECIMENTO", comissariada por Paulo Cunha e Silva.
Nesta exposição participam 15 artistas e 18 Museus da Universidade do Porto.
O programa da sessão inclui uma visita guiada à exposição pelo seu comissário, Paulo Cunha e Silva, e a apresentação do catálogo pelo crítico de arte Miguel von Hafe Pérez.
Esta sessão marca o encerramento da exposição, que está patente ao público no edifício da Reitoria da Universidade do Porto desde 27 de Janeiro.

2007-07-04T23:01:00.000Z

UNDER HITCHCOCK _ expo na SOLAR

2007-07-02T23:37:00.002Z

UNDER HITCHCOCK

uma exposição na SOLAR galeria de arte cinemática com _ Jean Breschand, Christoph Girardet, Johan Grimonprez, Laurent Fiévet, Carlos Lobo, Matthias Müller e Salla Tykkä.

" Uma exposição de arte contemporânea onde o fio condutor é a obra de Alfred Hitchcock.
É também um projecto sobre a atracção das imagens. A atracção entre a arte contemporânea e o cinema. Nos filmes de Alfred Hitchcoock não existe um tempo preciso mas um vórtice de pulsões. São filmes de suspense, ou seja, vivem em paragem, em suspensão de tempo ; Os sonhos não têm tempo. A sua silhueta, como uma presença conhecida, passa discretamente, nas sequências dos seus filmes. Pode olhar-nos pela câmara. Alfred é real dentro dos seus sonhos. (...)

Para diversas gerações, estes filmes ficaram gravados no inconsciente colectivo, sendo re-interpretados por cada artista europeu ou de outros continentes a partir da sua própria herança cultural. Para a minha geração e a dos artistas que fazem parte desta exposição, entre 30 e 40 anos, Hitchcock entrou no nosso universo intimo pela televisão, com a familiaridade de um tio, foi o inicio de uma cultura das imagens cinematográficas em pequeno formato que contribuiu para o desenvolvimento da arte video.
Esta exposição pretende criar um percurso em torno das diversas obras, em torno de atracções entre imagens e o seu corpo sonoro e fisico, dentro de uma casa – galeria que permite estar dentro e fora de um décor. Não pretende fazer uma exegese da obra cinematografica de Alfred Hitchcock, nem das suas relações com a arte, mas promover encontros que permitem criar uma nova ficção artistica, gerada por este confronto de imaginarios, e o renovar desta descoberta com novos publicos, nomeadamente os mais jovens. Como dizia Michael Tarantino 3, nos filmes de Alfred Hitchcock vivemos um eterno déjà-vu, e cada vez que os revemos, descobrimos novos elementos que ja existiam mas que nos pareciam estar escondidos no nevoeiro dos nossos sonhos, como as luvas pretas de Cary Grant em Notorious. Vivemos a experiência de um infinito remake da ficção e é essa re-criação que seduziu inumeros criadores desde os anos 70 : Douglas Gordon, Gus Van Sant, Mathias Müller e Christoph Girardet, Pierre Huyghe, Atom Agoyan entre outros. Na realidade surrealistica de Frenzy , de Psycho ou de North by Northwest os seus assassinos e criminosos são monstros na acepção que lhes confere José Gil 4 : Pecam por um excesso de realidade, eu poderia acrescentar - e estruturam a nossa realidade no mundo do desejo e dos sonhos. "
“ O meu amor pelo cinema é mais forte do que qualquer moral.” _ Alfred Hitchcock
>

Silvia Guerra _ comissária da exposição

UNDER HITCHCOCK de 7 de Julho a 23 de Setembro 07

INAUGURAÇÃO _ sábado dia 7 Julho _ 18.00h
Solar de S. Roque
Rua do Lidador 4480-715 Vila do Conde
Horário galeria

de Terça a Sexta, 14.30 : 18.00H (Sextas até 00:00H)

Sábado 09.30 : 12.30H / 14.30 : 00:00H Domingo 09.30 : 12.30H / 14.30 : 18.00H

ANDRÉ LEMOS _ expo

2007-07-02T23:37:00.001Z

PêSSEGOpráSEMANA apresenta THE GLOWING RECTIFIER de ANDRÉ LEMOS INAUGURAÇÃO _ 6 julho (sexta) _ 22.ooh

PêSSEGOpráSEMANA é um espaço independente gerido por Mafalda Santos, André Sousa e Miguel Carneiro, situado numa antiga casa no centro do Porto.
PêSSEGOpráSEMANA Rua Antero de Quental, n.133, 4050-056 Porto
www.opuntia-syndrome.blogspot.com (André Lemos)

UX _ expo e concerto neste novo espaço

2007-07-02T23:36:00.001Z

ESPAÇO UX _ exposição colectiva de _
AMÉLIA ALEXANDRE _ ANA ULISSES _ SUSANA CHIOCCA
INAUGURAÇÃO NO DIA 070707 PELAS 21.30H

BALLA PROP!!!!!
Concerto_performance _ dia 7 de julho pelas 21h30
>

UX – [Espaço de Intervenção Artística!]

é um projecto que pretende lançar uma plataforma eficaz de divulgação da arte contemporânea numa região com bastante necessidade de projectos nesta área. De facto, no distrito de Viana do Castelo, não estão presentes muitos espaços que apresentem com regularidade exposições de arte contemporânea de valor reconhecido.
Por outro lado, faltam ainda estruturas com uma visão informal e independente sobre a produção artística nacional e galega fora dos circuitos institucionalizados.

A aposta recairá, numa primeira fase, sobre jovens artistas nacionais – alguns com um percurso já significativo e meritoriamente confirmado – com o intuito de lhes proporcionar um "project room / project space" que acolha as suas novas propostas no âmbito das artes plásticas, vídeo, fotografia, instalação, performance, música ou BD / ilustração. Garantir-se-á, desta forma, um ponto intermédio no eixo de interacção ainda incipiente Porto – Galiza, absolutamente fundamental no desenvolvimento cultural do norte litoral do país, tentando com que convirjam a meio caminho alguns grupos de importante dinâmica artística. Define-se ainda como um projecto inovador na sua orientação orçamental fundamentalmente "low-budget", levando os artistas a adaptarem-se ao espaço expositivo e que levará, numa segunda fase, a criações site-specific.
Durante um período de cerca de um ano, a programação será assegurada por um grupo de jovens artistas fixados sobretudo no norte do país, sendo percorridas todas as áreas acima mencionadas, estando também prevista a publicação de um catálogo, no segundo semestre de 2008, que incluirá textos de críticos de arte, artistas e programadores.

MANUEL SANTOS MAIA

Viana do Castelo_Espaço UX

DE 07072007 A 08082007

Rua prior do crato_34

2007-07-01T11:52:00.002Z

HAPPY WEEK-END!

CÉSAR FIGUEIREDO _ EXPO APÊNDICE

2007-06-29T23:52:00.000Z

PROJECTO APÊNDICE apresenta TRANSITAR / 1954-2007 de CÉSAR FIGUEIREDO

inauguração _ 03(terça) de Julho pelas 18.00h.

César Figueiredo nasceu em Cedofeita em 1954 e actualmente vive entre a Torrinha e o resto do mundo.
Artista transeunte, depois do Génesis tornou-se num traumatizado de longa duração.
Continua a dar atenção à rotina diária...aos From the Bag, From the Office, From the Street, From the Kitchen, From the Desk, etc.
Link para trabalhos (poesia visual):

http://www.po-ex.net/galeria/thumbnails.php?album=64
Blog: holeart-arthole

Projecto Apêndice

Projecto temporário, situado na loja n.º 100, no Centro Comercial de Cedofeita no Porto, gerido por Carla Filipe e Isabel Ribeiro.

Centro Comercial de Cedofeita, Loja nº 100

Rua de Cedofeita - Porto

o.apendice@gmail.com

2007-06-29T23:51:00.000Z

BEAGLES & RAMSAY _ GLITTER DESERT

IN.TRANSIT _ 3 EXPOSIÇÕES

2007-06-29T11:11:00.001Z

o Projecto IN.TRANSIT apresenta 3 exposições individuais que ainda podem ser visitadas na Rua Miguel Bombarda no Porto.

CARLA FILIPE _ VITOR REIS _ PAULO MENDES

WHAT ?

2007-06-28T12:25:00.000Z

PAULO MENDES _ CONFERÊNCIA em GUIMARÃES

2007-06-25T23:45:00.000Z

RETRATO DO ARTISTA ENQUANTO COMISSÁRIO

Conferência na ESAP _ EG Escola Superior Artística do Porto_Extensão de Guimarães

Quarta-feira, 27 de Junho de 2007 _ 22.00h

rua francisco agra 92

Nesta conferência P.M. vai apresentar alguns dos seus projectos comissariados, equacionando a questão do artista-comissário no contexto nacional e internacional.

S DE SAUDADE _ RETRATOS DA VIDA PORTUGUESA

2007-06-25T23:42:00.000Z

S DE SAUDADE _ RETRATOS DA VIDA PORTUGUESA

uma exposição de PAULO MENDES _ brevemente

LUÍS ALEGRE EXPO _ TOTAL EQUILIBRIUM

2007-06-25T23:41:00.000Z

TOTAL EQUILIBRIUM, é o título emprestado de Jeff Koons que dá nome à exposição que _ LUÍS ALEGRE apresenta até 31 de Julho na VPFCream Arte.

> INAUGURAÇÃO_ 28 JUNHO (quinta) _ 22.00h

Reúne um conjunto de obras nominal e conceptualmente devedoras dessa referência incontornável da arte contemporânea internacional, geradas a partir de premissas transversais e recorrentes no trabalho de Luís Alegre, aqui diferentemente formuladas em vídeo, fotografias e instalação. A provocatória sabotagem dos ícones materialistas da sociedade de consumo aqui fundada numa crítica da imagem mediática, estratégica e subversivamente operada no cruzamento e esbatimento de fronteiras entre design e arte contemporânea.

VPFCREAM ARTE

Rua da Boavista 84 _ 2 andar _ sala 2

terça a sábado das 14.00h ás 19.30 h

2007-06-21T01:26:00.000Z

VAZIOS URBANOS _ 6

2007-06-21T01:11:00.000Z

BRAGA _ ESTÁDIO PROJECTADO POR EDUARDO SOUTO DE MOURA

ANTÓNIO CARAMELO _ expo no APÊNDICE

2007-06-18T22:00:00.001Z

Projecto Apêndice apresenta _
Não vejo nada de ANTÓNIO CARAMELO
>

inaugura a 19_terça-feira_ de Junho pelas 18.00h
até 30 de Junho.

>
Projecto Apêndice é gerido por Carla Filipe e Isabel Ribeiro.
Centro Comercial de Cedofeita _ loja nº 100
Rua de Cedofeita - Porto

RODRIGO OLIVEIRA _ expo Galeria Filomena Soares

2007-06-15T19:28:00.004Z

RODRIGO OLIVEIRA

: - )

Inauguração 21 de Junho às 21h30

na GALERIA FILOMENA SOARES
21 de Junho a 8 de Setembro 2007
>
" (...) Após a sua estadia de um ano no Chelsea College of Art & Design em Londres, Rodrigo Oliveira reúne na presente exposição um conjunto de novos trabalhos que, realizados em diversos suportes e materiais, surgem na sequência de um estudo em torno, por um lado, das funções e características de espaços arquitectónicos e, por outro, dos mecanismos de produção, apresentação e recepção da arte, tomando como pontos de partida os conceitos de desmaterialização, vazio (emptiness) e ciclos de transformação.(...)"

instalação de Rodrigo Oliveira no Projecto TERMINAL

na Fundição de Oeiras em 2005

STEPHEN SHORE _ novo livro A ROAD TRIP JOURNAL

2007-06-15T19:28:00.003Z

A facsimile edition of Stephen Shore’s travel diary will be published by Phaidon next spring, with the title A Road Trip Journal.
>
(...) Blogs are, oxymoronically, public diaries, where bloggers play with exposure, others’ and their own. Some use handles for anonymity, but with fingerprints in cyberspace and with erasure near impossible, nothing’s lost and everyone can be found. Billions of disclosures light up the Internet with electric abandon. While “private” and “public” have for years been theorized as permeable spaces, even illusory divisions, people once lived those separate realities. Now they have actually blurred, and privacy and secrecy are becoming quaint ideas. IDs and personal information are hacked and jacked constantly, and individuals adjust their desires, needs, and aims in sync with technology’s capabilities. In this electronic revolution, as written and filmed self-reportage and confessions choke the virtual highways, voyeurism and exhibitionism are just normal.

Stephen Shore wanted his travel diary, compiled in six weeks in the summer of 1973, to be a document of documents, one without commentary. He hoped to make a collection of facts, an objective account of his time on the road. He recorded the car mileage every day, and, in envelopes, kept motel bills, gas bills (12 gallons, $5), and receipts for meals, which he pasted into his sketchbook later. He wrote down what he ate for breakfast (pancakes usually), lunch, and dinner (steak often). He took photographs and listed how many exposures he shot and of what. He distributed postcards of Amarillo, Texas, in drugstore card displays, surreptitiously marking his drive-by visits.
Shore’s diary also included picture postcards of towns and buildings he visited, and of some he didn’t; two news clippings; and hotel stationery. At night he watched TV and then noted the programs: CBS Evening News, The Mary Tyler Moore Show, The Bob Newhart Show, Mission: Impossible, the Watergate hearings—shows that instantly evoke the 1970s. His log, then, serves as a cultural artifact, registering more than just his American life.

Shore and I had a conversation a few years ago for his reissued book Uncommon Places: The Complete Works, which includes his seminal American road trip photographs. My first question was about Warhol’s influence on his early work. At seventeen, in the mid-’60s, Shore hung around the Factory and observed Warhol working. Not only did Warhol tape, film, photograph, and silk-screen as many things as he could, he also accounted for every dollar he spent for the Factory. Shore also told me (the anecdote wasn’t published) that Warhol once gave Shore’s father his account books, because he wanted Mr. Shore to invest in the Velvet Underground. Shore’s father noticed an odd entry: “$10 for H for John’s toothache.” Mr. Shore found it very funny that Warhol noted even the cost of heroin, especially in such a transparent manner. The willed objectivity in Stephen Shore’s early work takes a page from Warhol’s approach.

The sheets of Shore’s fourteen-by-eleven-inch sketchbook have yellowed some with age and appear brittle. Unlike a blog, which lacks materiality, his diary is a unique, tactile object. The idea of deathlessness in cyberspace can be reassuring, especially during a time of extreme transition: Wait six months, the technology will be better; but wait six months, the world will be worse. Shore’s diary is not virtual, it is indexical, presenting the things themselves, which, like people, react to time. Now everything would be scanned and digitized, and it would never color, fade, or crack. (...)

> Lynne Tillman's in ARTFORUM

HERGÉ _ 100 anos do criador de TINTIN

2007-06-09T10:21:00.001Z

HERGÉ _ apesar de alguns erros de percurso, como racismo e simpatias políticas pouco recomendáveis, devemos saudar os 100 anos do nascimento do autor de TINTIN _ Georges Remi (1907-1983) que assinou com o pseudónimo Hergé fantásticas aventuras deste jornalista aventureiro. Depois dos desinteressantes resultados de transposição deste personagem para cinema de animação e de imagem real, talvez tenha agora chegado o momento certo para a adaptação definitiva. Usando a mais recente tecnologia _ Steven Spielberg e Peter Jackson estão a preparar uma triologia de longas metragens.
>

Tintin to Film: Superdirectors Steven Spielberg and Peter Jackson will join forces to produce and direct three films back-to-back starring French comics character Tintin. Hergé wrote 23 books starring cub reporter Tintin between 1929 and 1976; the pair of filmmakers have selected three to adapt. Each will direct one film with a director to be named later for the third, all using WETA's motion capture technology to create lifelike but not live-action characters.

TRIENAL DE ARQUITECTURA DE LISBOA _ concertos

2007-06-08T23:58:00.000Z

RICHARD WILSON _ projecto em Liverpool

2007-06-08T23:43:00.000Z

In a project that "will astonish the commuters of Liverpool," sculptor Richard Wilson has turned part of a building's facade inside-out.
As if learning from Gordon Matta-Clark, Wilson sliced an "egg-shaped section" out of the building's facade – "fixing the eight metre diameter piece on a pivot" so it can spin.

GREGOR SCHNEIDER _ performance em Berlim depois dos problemas com o trabalho público Cube

2007-06-08T22:46:00.000Z

Ninety minutes can be long or short, forgettable or memorable. Is it what happens within the time frame, or the thoughts and reflections projected onto it afterward? I hardly expected Gregor Schneider to provoke this question when I made my way last Thursday, in summer-struck Berlin, to the State Opera to attend 7:00–8:30 PM; 05.31.2007, a one-time-only performance by the artist. These are the closing days of Schneider’s heavily debated “Cube” exhibition in Hamburg, and the German art world was curious about the artist’s first theatrical work, commissioned by the Berlin State Opera and Thyssen-Bornemisza Art Contemporary, Francesca von Habsburg’s Vienna-based foundation.
>

CUBE PROJECT _ um projecto de intervenção pública policamente incorrecto que criou polémica em Veneza na Bienal de 2005 e em Berlim em 2006.
>
After Venice, now Berlin rejects an installation inspired by the holiest site in Islam The Hamburger Bahnhof museum has turned down Gregor Schneider’s “politically uncertain” work

The Hamburger Bahnhof museum in Berlin has scrapped plans to erect an installation by the German artist Gregor Schneider, Cube Berlin 2006, which was originally scheduled to open this March as part of the Berlin Biennale. Schneider says that the work, originally commissioned for the Venice Biennale last year but never realised, has now been pulled by the Hamburger Bahnhof for the same reason: the fear of offending Muslims.
The piece is a 50-foot cube made of scaffolding covered in black fabric. It is inspired by the Ka’ba in Mecca, the holiest site of Islam.
City authorities in Venice, backed by the Ministry of Culture in Rome, denied Schneider permission to erect his Cube Venice 2005 in the middle of St Mark’s Square to coincide with the Biennale opening last July.
The artist now says that a second attempt at showing the cube outside the Hamburger Bahnhof Museum in Berlin has been thwarted following discussions between Dr Eugen Blume, the director of the museum, and Peter-Klaus Schuster, General Director of the State Museums of Berlin.
>
Dr Blume expressed interest in erecting the cube after the Venice Biennale and even wrote a text for a book accompanying the history of the project, Art in the age of global terrorism, to be published by the Italian publisher Charta in March.
Dr Blume says in the book that “Schneider’s sculpture should be able to survive in a different context not associated with political ideas but as an art work in itself. It has its own energy field. It has the strength to make a statement in Berlin as a work of art and take on a different meaning there as a contemporary work of art.”
>
However, in November, Mr Blume sent Schneider an SMS text message which said that the project at the Hamburger Bahnhof had been “turned down by Mr Schuster...the cube is politically uncertain for Berlin”. Dr Blume also wrote that the situation is “getting political” in an e-mail sent to Schneider around the same time and seen by The Art Newspaper.
Speaking to The Art Newspaper, however, Dr Blume insisted that “there are no political reasons to stop this project. The political side of this sculpture is not very important for me.” He added that “in the case of Schneider’s black cube, I was in two minds. It’s true I wrote a text for the Italian book on the piece but it was a text about a fictional project. In speaking and working with Gregor Schneider about showing the work in Berlin, I became more and more doubtful. In discussions with Udo Kittelmann, the director of the Modern Art Museum in Frankfurt, and Mr Schuster, we discovered that the place in front of the Hamburger Bahnhof is not the right site for this sculpture.” Both Mr Schuster and Mr Kittelmann declined to comment.
Alternative works for the Berlin site suggested by Schneider, including a white cube and a smaller black cube in a glass case, were also rejected, according to the artist.
Gareth Harris in The Art Newspaper

MIGUEL PALMA _ expo em NY

2007-06-06T23:42:00.002Z

MIGUEL PALMA (Portugal) – Deep Breath
Location One _ International Artists-in-Residence Exhibition
June 2nd – July 28th _ 2007
>
Location One presents the second IRP group show of the 2006-2007 season, featuring new work developed by our resident artists. The exhibition represents a diverse range of artistic approaches and many are works in progress.
>
This installation consists of a scale model of a city constructed on top of a platform/work bench. A dark nylon fabric encloses the city, thus making it impossible for the city to be seen from the outside. Three fans installed at the base of the device blow air into the fabric. Attached to the fabric is a micro camera that rises when the fans are activated. The images shot by the camera offer an aerial view of the cityscape and are projected onto a nearby wall. Every 70 seconds the fans are deactivated, the fabric falls, as does the camera attached to it. The image of this rising and falling process recalls a lung membrane under the scrutiny of a scan or an x-ray. The title of the work reflects this analogy.
>
Miguel’s residency at Location One is supported by Instituto das Artes and Fundação Ilídio Pinho.

VAZIOS URBANOS _ 5

2007-06-05T00:04:00.000Z

Fotografias de guerra de SIMON NORFOLK
"King Amanullah’s Victory Arch built to celebrate the 1919 winning of Independence from the British.
Paghman, Kabul Province."

"Bullet-scarred outdoor cinema at the Palace of Culture in the Karte Char district of Kabul."

"Rashid Street in Central Baghdad. The buildng on the right overlooks the bridge and so was heavily damaged in the fighting."

2007-06-04T23:42:00.000Z

VAZIOS URBANOS _ 4

2007-06-04T23:02:00.001Z

2007-06-02T00:43:00.001Z

EXPOS PORTO _ inaugurações simultâneas

2007-06-01T22:47:00.000Z

Amanhã sábado, vão acontecer as inaugurações simultâneas na rua miguel bombarda no porto. Do conjunto de exposições que vão abrir pode-se destacar a forte presença da mais recente geração de artistas do Porto. Na galeria REFLEXUS arte contemporânea ISABEL RIBEIRO apresenta uma excelente mostra dos seus últimos trabalhos em pintura, na continuação de outras séries anteriores.

Na galeria Quadrado Azul são apresentados novos trabalhos de EDUARDO MATOS _ MANUEL SANTOS MAIA _ RENATO FERRÃO, certas particularidades temáticas e opções construtivas unificam este eficaz conjunto de instalações.

GUSTAVO SUMPTA demonstra, mais uma vez, como a banalidade dos materias pode ser traduzida em obras de grande tensão e singularidade _ less is more _ numa outra sala da galeria Presença MAFALDA SANTOS apresenta um conjunto de pinturas.

No Projecto IN.TRANSIT continua a exposição/instalação de desenhos que relatam algumas das viagens realizadas entre 2003 e 2005 por CARLA FILIPE.

estejam atentos...

MIGUEL PALMA _ expo CULTURGEST

2007-06-01T07:42:00.000Z

MIGUEL PALMA _ um dos mais importantes artistas da geração que se afirmou ao longo da década de noventa, inaugura uma exposição antológica na Culturgest em Lisboa.
Nesta exposição pode-se rever alguns dos seus mais marcantes trabalhos desde 1993 até a um novo trabalho concebido este ano.

CULTURGEST Lisboa

INAUGURAÇÃO _ 1 Junho (sexta) _ 22h

TRIENAL DE ARQUITECTURA DE LISBOA _ já abriu

2007-06-01T07:36:00.000Z

IN.TRANSIT _ 3 exposições em simultâneo

2007-05-28T08:07:00.000Z

VITOR REIS _ UNDERCOVER

PAULO MENDES _ NUMA CIDADE TALVEZ

CARLA FILIPE _ PESQUISA NO CAMPO, DESERTAR, ANTES QUE GANHE UM CANCRO

VAZIOS URBANOS _ 3

2007-05-27T23:50:00.000Z

ISRAEL PIMENTA _ expo no APÊNDICE

2007-05-27T23:39:00.000Z

Projecto Apêndice apresenta
Patera Travels site-specific de ISRAEL PIMENTA
inaugura a 28 (segunda-feira) de Maio pelas 18h00
até 09 de Junho.
>
Projecto Apêndice gerido por Carla Filipe e Isabel Ribeiro.

Centro Comercial de Cedofeita, Loja nº 100
Rua de Cedofeita _ Porto

GUSTAVO SUMPTA _ performance

2007-05-27T23:13:00.000Z

GUSTAVO SUMPTA apresenta
Ser artista em Portugal
performance n' a Sala
Rua do Bonjardim, 235 2º _ Porto
Dia 30 de Maio às 22h30
programação por António Lago e Susana Chiocca.

PERSEPOLIS _ prémio do júri no Festival Cinema de Cannes

2007-05-27T22:35:00.000Z

A adaptação em animação da banda desenhada auto-biográfica da iraniana Marjane Satrapi - PERSEPOLIS - foi hoje galardoada com o prémio do júri no festival de cinema de Cannes.

Marjane Satrapi est née en 1969 à Rasht, dans la région de Guilan, sur les bords de la mer caspienne. Elle grandit à Téhéran où elle étudie au lycée français, avant de partir à Vienne puis à Strasbourg en 1994 pour suivre les Arts déco. Même après ces 13 années passées en France, elle se dit très iranienne. « La France est comme ma femme et l’Iran comme ma mère. Ma mère, même si elle est folle et hystérique, n’empêche que c’est ma mère. Ma femme je l’ai certes choisi mais je peux la tromper, divorcer ou faire un enfant avec une autre femme en cachette. » C'est en arrivant à Paris qu'elle rencontre des dessinateurs qui la font entrer à l'Atelier des Vosges, repère des grands noms de la bande dessinée contemporaine. Elle leur raconte ses histoires de famille, d'ancêtres émasculés, d'oncles suicidés, de coups de fouet, bref un certain quotidien de l'Iran. En entendant ces histoires, ils lui demandent ce qu'elle attend pour les raconter en bande dessinée... Dans un premier épisode, Persepolis 1, paru à L'Association en novembre 2000, Marjane retrace une partie de l'histoire de sa famille à travers le récit de ses dix premières années, jusqu'à la chute du régime du Shah et le début de la guerre avec l'Irak. Ce livre connaît dès sa parution un énorme succès (Prix Alph'art Coup de Coeur à Angoulême 2001, Prix du Lion en Belgique, près de 20 000 ex. vendus en un an). Dans Persepolis 2, qui paraît à L'Association en octobre 2001, elle raconte la guerre Iran-Irak et son adolescence jusqu'à son départ pour Vienne à l'âge de 14 ans (Prix Alph'art du meilleur scénario à Angoulême 2002, Prix France Info 2002). Persepolis 3 et Persepolis 4, qui ont été prépubliés dans Libération, racontent son exil en Autriche et son retour en Iran. Elle a reçu, au mois d'octobre 2004, le prix de la "BD de l'année" à la foire du livre de Francfort. La vente des quatre tomes réunis dépasse aujourd'hui les 400 000 exemplaires en France et plus d'un million deux cent mille pour le monde entier. Persepolis a été traduit à ce jour en une vingtaine de langues. La série est déjà un succès aux États-Unis où Persepolis est même rangé dans les rayons politique de certaines librairies. Là-bas, le livre est au programme de plus de 160 collèges et universités. Son dernier livre, Poulet aux Prunes, a obtenu le prix du Meilleur Album à Angoulême en 2005. Depuis, elle se consacre à l'adaptation en dessin animé long métrage de Persepolis, dont elle a écrit le scénario et qu'elle met en scène avec Vincent Parronaud (auteur de bande dessinée lui aussi, plus connu sous le pseudonyme de Winshluss). Chiara Mastroianni, Catherine Deneuve, Danielle Darrieux et Simon Abkarian prêtent respectivement leur voix aux personnages de Marjane elle-même, sa mère, sa grand-mère et son père. Le film est entièrement produit et fabriqué en France.

Marjane Satrapi talk:
Why I Wrote Persepolis
From the time I came to France in 1994, I was always telling stories about life in Iran to my friends. We'd see pieces about Iran on television, but they didn't represent my experience at all. I had to keep saying, "No, it's not like that there." I've been justifying why it isn't negative to be Iranian for almost twenty years. How strange when it isn't something I did or chose to be?

After I finished university, there were nine of us, all artists and friends, working in a studio together. That group finally said, "Do something with your stories." They introduced me to graphic novelists. Spiegelman was first. And when I read him, I thought "Jesus Christ, it's possible to tell a story and make a point this way." It was amazing.

Writing a Graphic Novel is Like Making a Movie

People always ask me, "Why didn't you write a book?" But that's what Persepolis is. To me, a book is pages related to something that has a cover. Graphic novels are not traditional literature, but that does not mean they are second-rate. Images are a way of writing. When you have the talent to be able to write and to draw it seems a shame to choose one. I think it's better to do both.

We learn about the world through images all the time. In the cinema we do it, but to make a film you need sponsors and money and 10,000 people to work with you. With a graphic novel, all you need is yourself and your editor.

Of course, you have to have a very visual vision of the world. You have to perceive life with images otherwise it doesn't work. Some artists are more into sound; they make music. The point is that you have to know what you want to say, and find the best way of saying it. It's hard to say how Persepolis evolved once I started writing. I had to learn how to write it as a graphic novel by doing.

2007-05-27T00:15:00.001Z

SERRALVES EM FESTA 2007
2 e 3 JUNHO > FUNDAÇÃO DE SERRALVES
Das 08h de Sábado às 24h de Domingo_
Entrada gratuita

IN.TRANSIT _ inaugurações _ SÁBADO 26 maio _ 3 EXPOSIÇÕES EM SIMULTÂNEO

2007-05-25T22:50:00.001Z

IN.TRANSIT # 29 / 30 /31
3 exposições individuais em simultâneo em 3 salas _ na Rua Miguel Bombarda _ Porto
> CARLA FILIPE _ VITOR REIS _ PAULO MENDES
>>>
em exibição_
CARLA FILIPE
PESQUISA NO CAMPO, DESERTAR, ANTES QUE GANHE UM CANCRO
edifício artes em partes
rua miguel bombarda 457
4050-379 PORTO
terça a sábado. 14.30h. às 19.30h até 26 maio
inaugurou a 21.abril e vai estar em exibição até 30 junho.
>
Instalação site-specific para a sala IN.TRANSIT. Apresentação se uma série de aproximadamente 100 desenhos que relatam viagens realizadas pela artista entre 2002 - 2005. Esta é a primeira apresentação pública deste conjunto de trabalhos.
>
inauguram_
No dia 26.maio.07 abre na Rua Miguel Bombarda um novo e amplo espaço dedicado a actividades culturais e comerciais - C.C.BOMBARDA - o projecto IN.TRANSIT associa-se inaugurando duas exposições em duas salas deste novo complexo.

VITOR REIS
UNDERCOVER
centro comercial bombarda
rua miguel bombarda 285
4050-379 PORTO
terça a sábado. 12.00h. às 20.00h até 23 junho
inauguração. 26.maio.sábado. 16h.
>
Apresentação de novos trabalhos em escultura e instalação deste artista que estudou nas Caldas da Rainha.

PAULO MENDES
NUMA CIDADE TALVEZ
centro comercial bombarda
rua miguel bombarda 285
4050-379 PORTO
terça a sábado. 12.00h. às 20.00h até 23 junho
inauguração. 26.maio.sábado. 16h.
>
Apresentação inédita no Porto do trabalho em vídeo ABANDONADO - TRÁFICO / TRÁFEGO (ENTRE IMAGENS) PORTO MARÇO 2006, a sua primeira exibição ocorreu na SOLAR galeria de arte cinemática em 2006 durante a exposição individual que ali realizou designada THE ART OF FICTION - PLAYTIME RESEARCH COMPLEX.
Numa segunda fase da exposição será apresentado um novo trabalho em vídeo - CINEMA - PORTO ABRIL 2007, já realizado este ano.
>
contactos. 936396964_ paulomendes@plano21.net
http://www.paulomendes.blogspot.com
www.plano21.net
>
projecto IN.TRANSIT
produção_PLANO 21.associação cultural
apoio_ARQUITRAVE.arquitectos associados lda.

ARLINDO & SONIA _ work in progress

2007-05-25T22:49:00.003Z

ALL THE BEST!

WONDER _ na cidade do Porto

2007-05-25T22:48:00.000Z

WONDER é um projecto concebido por LUIS ALEGRE actualmente já com uma loja em Lisboa e que agora abre no Porto no novo espaço C.C.BOMBARDA.
É um espaço comercial em que objectos diversos, t-shirts e outras criações deste designer e artista podem ser vistas.
Na loja que agora vai inaugurar no Porto pretende-se também alargar o conceito existente á divulgação e venda de múltiplos de artistas, sejam livros, serigrafias ou objectos.
Já nessa lógica foi convidado ANDRÉ LEMOS para intervir com um mural original que abrange todas as paredes da loja, estabelecendo o ambiente visual do lugar.
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INAUGURAÇÃO_ 26 maio.07 _ 16h_ Rua Miguel Bombarda 285 _ Porto

IN.TRANSIT _ no próximo sábado 3 exposições em simultâneo

2007-05-20T23:47:00.001Z

O projecto IN.TRANSIT apresenta 3 exposições em simultâneo.
CARLA FILIPE já em exibição
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VITOR REIS e PAULO MENDES _ duas exposições individuais que vão inaugurar no próximo sábado também na rua Miguel Bombarda no Porto.

2007-05-20T23:39:00.001Z

2007-05-20T23:15:00.000Z

CANNES 2007 _ talvez brevemente em portugal

2007-05-20T21:08:00.000Z

DEATH PROOF directed by Quentin TARANTINO

ALEXANDRA directed by Alexander SOKUROV

MISTER LONELY directed by Harmony KORINE

MY BLUEBERRY NIGHTS directed by WONG Kar Wai

THE MAN FROM LONDON directed by Béla TARR

INTRO _ artistas portugueses em Bruxelas

2007-05-16T23:55:00.000Z

INTRO é uma exposição em Bruxelas de um conjunto de artistas plásticos portugueses _ PEDRO BARATEIRO _ ANDRÉ CEPEDA _ CARLA FILIPE _ EDUARDO MATOS _ JOÃO MARIA GUSMÃO e PEDRO PAIVA _ MANUEL SANTOS MAIA.
Projecto organizado por Eduardo Matos e André Cepeda para o ESPACE PHOTOGRAPHIQUE CONTRETYPE e sem apoios institucionais por parte do Estado português.
Acontecerá ainda uma conferência para discutir o contexto da arte portuguesa contemporânea.

VITOR REIS _ brevemente no IN.TRANSIT

2007-05-16T23:06:00.000Z

CARLA FILIPE no IN.TRANSIT _ texto crítico na ARTE CAPITAL

2007-05-16T22:42:00.004Z

Na publicação on-line sobre arte contemporânea ARTE CAPITAL foi publicado um texto - Da emergência do desenho no Porto - da autoria de AIDA CASTRO sobre a importância do desenho na criação plástica contemporânea na cidade do Porto, onde entre outras exposições destaca a de CARLA FILIPE em exibição no Projecto IN.TRANSIT.
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(...)
No conjunto dos aproximadamente 100 desenhos a artista reconstrói uma memória, necessariamente narrativa, dessas passagens através de reconhecimentos locais, experiências pessoais, assim como, recuerdos visuais de jornais, flyers de todo o tipo, cartazes, revistas, excluindo o acto de fotografar como auxiliar de memória subjectiva. A apreciação, e a transformação dos conteúdos no desenho reside na experiência pessoal real e na experiência visual local que trouxe consigo, e não na experiência visual subjectiva retida na memória fotográfica. Aqui a subjectividade e a memória são apenas da responsabilidade do desenho, sem ser uma exposição de um “caderno de bordo” mas antes uma reorganização pós-viagem. E por isso aqueles desenhos tanto se assemelham a páginas web, uma das plataformas favoritas actuais para a reorganização, a difusão e selecção autoral de informação. Não se sabe, ou não interessa saber, se de facto as viagens foram reais ou fictícias, existem alguns elementos que vão conferindo ora a veracidade, ora a falsidade dos factos. Sabe-se de uma necessidade de desertar, de eleger um lugar possível em contrapartida ao presente.
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Aida Castro in Arte Capital

CALDAS LATE NIGHT _ 2007

2007-05-16T22:42:00.003Z

HOMEM SELVAGEM _ expo de ilustração na FBAUP

2007-05-16T22:42:00.001Z

Partindo de um texto acerca "Do Mito do Homem Selvagem" e das suas diversas representações na História de Arte, de Maria José Goulão, foi proposta a um conjunto de ilustradores nacionais e estrangeiros a realização de uma ilustração.
Esta exposição será o ponto de partida para uma série de eventos futuros dedicados à Ilustração e os seus processos de actuação. Pretende-se que este evento inicie uma série de plataformas que possibilitem a exposição, reflexão e divulgação do trabalho dos ilustradores, tornando visível uma área em desenvolvimento, não só no seio da instituição, mas também no contexto nacional e internacional.

Organização do projecto _ Julio Dolbeth

"Homem Selvagem" na Galeria Cozinha da Faculdade de Belas Artes da Universidade do Porto entre os dias 7 e 31 de Maio 07

TRIENAL DE ARQUITECTURA DE LISBOA _ vazios urbanos 2

2007-05-14T11:34:00.000Z

ISRAEL WALL _ urban voids

2007-05-14T11:28:00.000Z

APICHATPONG WEERASETHAKUL foi censurado na Tailândia e apresenta primeira exposição individual nos Estados Unidos

2007-05-12T09:43:00.000Z

WEERASETHAKUL FILM CENSORED IN THAILAND
Apichatpong Weerasethakul's latest film has been censored in the director's native Thailand. As the Frankfurter Allgemeine Zeitung's Michael Althen reports, Sang Satawat (Syndromes and a Century)—which premiered at last fall's Venice Film Festival—did not please Thai censors, who requested four cuts to the film before its commercial release in the country. Instead of complying, Weerasethakul decided to cancel the release and raise questions about Thai film policies via an online petition. The censor board offered its own form of resistance by refusing to return its viewing copy to the director.
In an open letter to the National Legislative Assembly and the Thai government, Weerasethakul writes, "I, a filmmaker, treat my works as my own sons or my daughters. When I conceived them, they have their own lives to live. I don't mind if people are fond of them, or despise them, as long as I created them with my best intentions and efforts. If these offspring of mine cannot live in their own country for whatever reasons, let them be free. Since there are other places that warmly welcome them as who they are, there is no reason to mutilate them from the fear of the system, or from greed. Otherwise there is no reason for one to continue making art." (Jennifer Allen in Artforum)

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Unknown Forces: Apichatpong Weerasethakul

Internationally recognized for his work in experimental and narrative cinema such as Mysterious Object at Noon (2000), Blissfully Yours (2002), Tropical Malady (2004) and Syndromes and A Century (2006), Apichatpong Weerasethakul presents his first solo exhibition in the United States. Weerasethakul’s films explore perception, impermanence and the imaginary, cultivating fanciful potential within the mundane. His abstract interchanges interrogate conventions of cinematic narrative while exploring desire, reality and a kind of melancholy perhaps peculiar to our times.
Weerasethakul’s exhibition at REDCAT features a newly commissioned video installation that expands upon characters developed in his previous feature films, shorts and video installations through comedy. Born in Bangkok in 1970, Weerasethakul holds a degree in architecture from Khon Kaen University and an MFA in filmmaking from The School of the Art Institute of Chicago. He has worked outside the Thai studio system for a decade and, since 1999, has actively promoted and distributed experimental and independent films through his company Kick the Machine.
“The Thai filmmaker and installation artist Apichatpong Weerasethakul uses indeterminacy and incoherence as his aces in the hole. He frequently consults a fortune-teller for suggestions for key elements of his movies; he conceived a whole feature (Mysterious Object at Noon [2000]) around the Surrealists’ Exquisite Corpse game of chain writing; and even his more deliberately authored works are organized around puzzling narratives that offer few clues to their decryption. In a movie theater, Weerasethakul’s passing of the work of interpretation on to the audience can be maddening or paralyzing, but in an installation context it can have the giddy feel of a free-for-all. His leviathan UNKNOWN FORCES, 2007, boxes the viewer between four giant video screens that open out onto urban Thai landscapes shimmering with pleasure and freedom. On one side of the room, a young man and an elegant, sixty-ish woman—she looks like a Thai Charlotte Rampling—sit on the back of a pickup truck, the wind tousling their hair as they recount anecdotes we can’t remotely hear (but which seem, from the look of the speakers, sweetly nostalgic). On another, a shaggy-haired guy does a pop-'n'-lock number on the back of the same truck, mostly keeping his face from view. On a third, a giant, mysterious object is swaddled in fabric and lit with cheesy carnival lights while cheesier Thai techno pop, evocative of a small-town carnival ca. 1986, blasts this cryptic but oddly good-natured site. In interviews, Weerasethakul claims UNKNOWN FORCES is an allegory of the situation after last year’s political upheaval in Thailand. To Los Angeles viewers deprived of the author’s private Da Vinci Code, it feels like something even better: A quintessentially Weerasethakul space of obscene bliss.” (Matthew Wilder in Arforum)
In anticipation of the Los Angeles Film Festival premiere of Syndromes and a Century, REDCAT will present a selection of Weerasethakul’s films. Screenings include Mysterious Object at Noon, Blissfully Yours, Tropical Malady, and Worldly Desires and other shorts selected by the artist.
Weerasethakul has exhibited and screened his films widely and has been presented numerous awards for his art projects and feature films including the Prix Un Certain Regard, Cannes Film Festival, 2002; the Prix du Jury, Cannes Film Festival, 2004; Age d’or Prize, Cine de’couvertes, 2004; and Grand Prize, Tokyo Filmex, 2004. In 2005, he received the Silpatorn Award from Thailand Ministry of Culture’s Office of Contemporary Arts.

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CalArts Theater / REDCAT GALLERY

April 18 _ June 17, 2007 Los Angeles US

ANDRÉ LEMOS novo mural _ parte 2

2007-05-12T09:18:00.000Z

André Lemos continua atrabalhar no seu novo mural na cidade do Porto.

Mais informações e imagens brevemente.

Condolezza Rice meets Iranian Artists

2007-05-12T08:56:00.000Z

Unease As Rice Meets Iranian Artists
Secretary of State Condoleezza Rice was all smiles Thursday (10 may) as she met Iranian artists at an event intended to promote cultural links with Iran. Still, there were currents of unease.
Ten of the 14 Iranians who received special visas for the exhibition refused to be photographed with Rice, and two would not even accompany her through the gallery because they were ``uncomfortable,'' two organizers said.
``Art moves above politics and I didn't want to be a part of politics,'' said Behnam Kamrani, a 39-year-old digital artist from Tehran.
Bahar Behbahni, a 33-year-old mixed media artist from Tehran, added, ``It doesn't mean that the artists aren't political or don't (care) about politics. Artists don't want to make political gestures. Our language is our art, we express ourselves through art.''
What was billed as a unique and open expression of culture bridging vast political differences between the U.S. and Iran became an exercise in crowd control as the State Department scrambled to prevent reporters from even glimpsing Rice's tour.
All journalists, including those without cameras, were kept in the final room of the exhibit behind two immense wooden doors that opened only when Rice finished and appeared with four of the Iranian artists to say how much she enjoyed the show.
``This is really a great day,'' she said in brief remarks. ``I have so enjoyed seeing the work of these great artists.
``They are representing so well the great culture that Iran has, the great culture that goes back for so many centuries but that is being brought here today so that the American people can see another side of Iran.''
Rice's visit was announced Wednesday by State Department spokesman Sean McCormack. He said its importance was ``the symbolism of the American secretary of state reaching out and demonstrating for the Iranian people an appreciation for products of Iranian culture.''
The United States broke diplomatic ties with Iran after the 1979 Islamic Revolution and hostage crisis at the U.S. Embassy in Tehran.
Relations have remained frozen amid mutual recriminations and animosity, notably over Iran's nuclear program, which Washington claims is a cover for atomic weapons development, and alleged Iranian support for insurgents in Iraq and anti-Israel groups.
The cases of three Iranian-American dual citizens detained in Iran and that of a retired FBI agent who has been missing in Iran since early March have further strained the situation.
Still, the State Department has placed great emphasis on cultural, educational and sports exchanges with Iran. The ``Wishes and Dreams'' exhibition that was to open to the public Friday is just the latest in a series that has already involved doctors, wrestlers and teachers.
Many of the artists whose work is on display at Washington's Meridian International Center said they hoped its presence in the United States would have a positive impact among people in the U.S.
``I am just an artist, I am not an Iranian terrorist and if I can do anything for the peace of the world, that is something I would be proud of,'' said Mitra Kavian, 43. She was less certain when asked if she thought the exhibit was a step toward better U.S.-Iran ties.
``I don't know,'' she said. ``Maybe, I hope. I don't like war, I like peace everywhere.''

By MATTHEW LEE Associated Press in GUARDIAN

o que significa ser artista em portugal ?

2007-05-10T23:57:00.000Z

(...) a propósito de alguns comentários que aconteceram durante a conferência de lançamento em Serralves do livro Propostas da Arte Portuguesa. Posição: 2007 editado por Miguel von Hafe Pérez está a acontecer uma discussão em lume brando na blogosfera artística portuense, partindo da pergunta colocada pelo autor do livro como mote para a conversa na noite do lançamento - O que significa ser artista hoje em Portugal?
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Para já deixo uma sugestão para a banda sonora que deveria acompanhar o trabalho de reflexão de boa parte dos participantes da discussão.

ANDRÉ LEMOS novo mural na cidade do Porto

2007-05-09T23:06:00.000Z

ANDRÉ LEMOS encontra-se actualmente no Porto a desenhar e a pintar um novo mural de grandes dimensões, do qual apresentamos aqui uma imagem parcial do inicio dos trabalhos, a execução deste trabalho surge no contexto de um projecto cultural e comercial que irá abrir no final de Maio.

Brevemente mais desenvolvimentos sobre este mural e este projecto.

RENATO FERRÃO expo no APÊNDICE

2007-05-09T23:04:00.000Z

Projecto Apêndice apresenta
17. 38' 51''
instalação de Renato Ferrão
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inaugura dia 10 de Maio (quinta-feira) pelas 18.00h até 16 de Abril.
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Projecto Apêndice _ gerido por Carla Filipe e Isabel Ribeiro.
Centro Comercial de Cedofeita _ Loja nº 100
Rua de Cedofeita _ Porto

CARLA FILIPE expo no IN.TRANSIT

2007-05-08T12:17:00.000Z

IN.TRANSIT # 29.

apresenta uma exposição de
CARLA FILIPE >

PESQUISA NO CAMPO_ DESERTAR_ ANTES QUE GANHE UM CANCRO

edifício artes em partes na rua miguel bombarda 457 no Porto.

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Instalação site-specific para a sala IN.TRANSIT. Apresentação se uma série de aproximadamente 100 desenhos que relatam viagens realizadas pela artista entre 2002 - 2005. Esta é a primeira apresentação pública deste conjuntode trabalhos.

fichas técnicas.

ROTERDÃO 04 2004 – 200749 desenhos a tinta da china, esferográfica, com colagens e decalques sobre papel + materiais diversos como postais, fotografias, disco de vinil e recortes de imprensa.

LONDRES 05 2005 – 200745 desenhos a tinta da china, esferográfica, com colagens e decalques sobre papel + materiais diversos.

PORTO – PARIS - BERLIM – KASSEL – FRANKFURT 03 2003 – 200712 desenhos a tinta da china, esferográfica e colagens sobre papel.

SARKO FRANCE > Soigne ta droite

2007-05-06T20:45:00.000Z

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hoje Sarkozy, o candidato da direita, foi eleito o novo presidente da França.
Sarkozy 52% _ Ségolène Royal (47%)

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FIN (?)

IN GIRUM IMUS NOCTE ET CONSUMIMUR IGNI

2007-05-05T23:36:00.000Z

In Girum Imus Nocte Et Consumimur Igni /Cerith Wyn Evans (1997)

CRUMB expo in Yerba Buena Center for the Arts _ US

2007-05-05T23:33:00.000Z

R. Crumb’s Underground é a exposição que este importante criador ligado aos movimentos da contra-cultura americana dos anos 60 apresenta em San Francisco no Yerba Buena Center for the Arts (YBCA).
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YBCA salutes local treasure R. Crumb with an eclectic exhibit of early work, collaborations old and new, and the world premiere of his “spool” drawings. Universally acknowledged as the founder of the underground comic scene, Crumb gained cult popularity for his pioneering Zap Comix and stardom with the Terry Zwigoff documentary Crumb. Extending far beyond comics, the YBCA exhibit shows how his work has grown in philosophical complexity, and highlights his collaborative work, including intimate confessions produced with wife Aline Kominsky-Crumb.
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Yerba Buena Center for the Arts (YBCA) _ San Francisco _ US
Mar 17–Jul 8 _ 2007

prémio de arquitectura MIES VAN DER ROHE 2007 para MUSAC

2007-05-05T23:27:00.000Z

O prémio para arquitectura contemporânea Mies van der Rohe 2007 foi atribuido ao MUSAC - Museo de arte contemporáneo de Castilla y León em Espanha com arquitectura de Luis M. Mansilla e Emilio Tuñón.
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In contrast to other types of museums that focus on the exhibition of frozen historic collections, MUSAC is a living space that opens its doors to the wide-ranging manifestations of contemporary art. This is an art centre that constructs a set of chessboards on which the action is the protagonist of the space; a structure that develops from an open system, formed by a fabric of squares and rhombi, and permitting the construction of a secret geography of memory.MUSAC is a new space for culture, regarded as something that visualises the connections between man and nature.
(...)
In its size, as a single-storey building with white concrete walls and large coloured glazing seen from the outside, MUSAC strives to be a space where art is at ease and helps to erase the boundaries between private and public; between work and leisure; and between art and life.
(excertos do texto de apresentação do prémio)

Entre os finalista estava o projecto português do Centro de Artes de Sines de Francisco Aires Mateus e Manuel Aires Mateus e também um projecto de Zaha Hadid o Phaeno Science Centre em Wolfsburg na Alemanha, na imagem.

SERPENTINE GALLERY pavilhão 2007 de OLAFUR ELIASSON e KJECTIL THORSEN

2007-05-05T22:31:00.000Z

The Serpentine Gallery has invited the world-famous artist Olafur Eliasson and the distinguished Norwegian architect Kjetil Thorsen, of the architectural practice Snøhetta, to collaborate on the 2007 Pavilion.
The Serpentine Gallery architectural commission is taking a step into the future by expanding the design team to include a visual artist. This will bring an extra dimension to the project that already holds a unique place in the innovation of architectural practice.
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Danish-Icelandic artist Olafur Eliasson’s work explores the relationship between individual people and their surroundings, as experienced in his awe-inspiring large-scale installation The weather project, 2003, at Tate Modern. Eliasson is currently involved in numerous architectural projects internationally, including the Icelandic National Concert and Conference Centre in Reykjavik (design of the building envelope).
Kjetil Thorsen is co-founder of Snøhetta, one of Scandinavia’s leading architectural practices. Thorsen is responsible for the design of award-winning public buildings globally and has collaborated with Eliasson several times, including on the New National Opera House, Oslo, currently under construction. He is a founder of Galleri Rom, Oslo, and is also Professor at the Institute for Experimental Studies in Architecture at the University of Innsbruck, Austria. As in previous years Cecil Balmond, Deputy Chairman, Arup, and the Advanced Geometry Unit, led by Daniel Bosia, will lend invaluable assistance to the structural engineering and design of the Pavilion.

GORDON MATTA-CLARK expo Whitney Museum N.Y.

2007-05-05T22:20:00.000Z

Exposição de Gordon Matta-Clark: ‘You Are the Measure’ no Whitney Museum of American Art em New York até 3 de Junho 07.
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Gordon Matta-Clark (1943–1978) has attracted increasing interest over the past ten years. Thanks to monographic studies by Pamela M. Lee and Corinne Diserens, published in 2000 and 2003, respectively, and several recent exhibitions in San Diego and New York, Matta-Clark’s ten years of frenetic productivity are becoming known to a larger public. The show currently on view at the Whitney Museum of American Art in New York is, however, the first retrospective of Matta-Clark’s work since that held at the Museum of Contemporary Art, Chicago, in 1985. The many objects on display include fragments from his celebrated cuttings and splittings of condemned buildings; photographs and photomontages of the results of these cuttings; drawings and sketches; notebook pages; index cards; and, of course, films of the more important actions.
(...)
A number of significant revelations emerge from such a comprehensive collection of material, particularly after so many partial glimpses of Matta-Clark’s work in previous shows. Among the most noteworthy of the items on display, especially given the difficulty of reconstructing the spatial nature of the buildings before and after cutting, are several large photomontages, which provide an almost filmic vision of Matta-Clark’s process. Particularly striking are the photomontages of the “Core” and “Datum” cuts of A W-Hole House, 1973, itself a beautiful exemplar of the complex geometrical nature of Matta-Clark’s actions, as he sliced horizontally and vertically through the square studio with its pyramidal roof. In an incisive catalogue essay exploring Matta-Clark’s relation to his father (the quasi-Surrealist artist Roberto Matta), as well as to architectural history and the “origins” of architecture in particular, Princeton professor of architecture Spyros Papapetros posits a parallel between a consideration of the conceptual nature of the Egyptian pyramids in the second volume of Sigfried Giedion’s Eternal Present (1964) and Matta-Clark’s use of the pyramid as “a median plane to invert his previous architectural education.” Papapetros’s argument is especially persuasive because the influence of Giedion’s earlier book, Space, Time and Architecture: The Growth of a New Tradition (1941)—the central “set book” of the 1960s that saw the Baroque as the progenitor of the Modern Movement, the dramatic spatial geometries of the former transformed by the collapsing of space-time in the latter—can be felt in the cuttings Conical Intersect, 1975, and Office Baroque, 1977. The large color Cibachrome photocollages documenting the creation of Office Baroque might well be playful elaborations of Giedion’s premise, taking it literally but reversing the historical movement by returning the modern to its Baroque roots.
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The works on view have frequently been adduced as evidence of his strong reaction against the architectural training he received at Cornell University, where he graduated with a professional degree in 1968. After all, cutting houses open with a Sawzall, shooting through windows with a BB gun (as he did at the Institute of Architecture and Urban Studies in New York for Window Blow-Out, 1976), and hammering conical holes through the party walls of Parisian apartment buildings have never been part of the orthodox practice of architecture. Nor were such actions in tune with the prevailing neo-avant-garde works of the time, whether the populist imagery of Robert Venturi and Denise Scott Brown, or the rationalist and post-Surrealist work of the New York Five, who represented the dominant tendency at Cornell in the ’60s.
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Behind each of Matta-Clark’s architectural interventions lies a similar impulse: to seek the most fundamental transformation of architecture, one that would respond to the conditions of life rather than art, and certainly not one that followed the already static conventions of the neo-avant-garde. The action of bringing light into the house (in Splitting) might itself be the best metaphor for Matta-Clark’s “anarchitecture”: In the end, like his beloved alchemists, systems theorists, and psychologists, and together with the theorists, if not the practitioners, of modern architecture, Matta-Clark was an apostle of light—an “enlightener” in practice and in theory.
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Anthony Vidler in ARTFORUM

JOÃO TABARRA conferência no IPF

2007-05-02T01:29:00.000Z

ENCONTROS DO OLHAR_Fotografia e Arte
A obra de João Tabarra por João Tabarra

As imagens / trabalhos que João Tabarra produz, planeando-as até ao mais ínfimo detalhe, estão repletas de ícones, símbolos e outros elementos que, apesar de nos serem familiares, têm o seu potencial de significação minado pela forma como são alterados, reformulados, organizados e relacionados. A ambiguidade que daí resulta, para além do humor ou do burlesco que são evidentes num primeiro olhar, se enfatiza a impossibilidade da condição humana, também sublinha a essencialidade da sua vontade.
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03 Maio _ 21h30
Instituto Português de Fotografia _ Porto
Rua da Vitória, nº 129

PETER SLOTERDIJK em SERRALVES

2007-05-02T01:20:00.000Z

Peter Sloterdijk conferência "A técnica na sua relação com o humano".

Professor na Universidade de Karlsruhe, Alemanha, e um dos mais importantes pensadores da Razão política, social e cultural contemporânea, indispensável na análise das questões da técnica, na sua relação com o humano. Sloterdijk é o filósofo alemão mais conhecido depois de Habermas. Heterodoxo e provocador, o livro que o tornou famoso fora da Alemanha foi "Crítica da Razão Cínica", um tratado sobre a razão política, cultural e social contemporâneos. A questão da coexistência dos indivíduos nas sociedades modernas e o modo como operam a cultura e a civilização na construção social e na "domesticação do ser humano" ocuparam Sloterdijk na sua obra em vários volumes intitulada "Esferas". Um pequeno livro intitulado "Regras para o Parque Humano" valeu-lhe uma violenta polémica com Habermas que depois se alargou. O que causou escândalo nesse livro foi a utilização de um vocabulário que trazia pelo menos a memória da genética nazi. De qualquer modo (e é preciso ressalvar que Sloterdijk jamais se identificou com a ideologia nazi) esse livro é um dos contributos mais importantes do nosso tempo para discutir as questões da técnica, na sua relação com o humano.

CRÍTICA DO CONTEMPORÂNEO, CONFERÊNCIAS INTERNACIONAIS

Fundação de Serralves

dia 3 Maio _ 21:30 _ Auditório de Serralves

2007-05-02T00:21:00.000Z

2007-05-02T00:18:00.000Z

COCTEAU e EL TOPO em DVD

2007-05-01T00:19:00.000Z

EL TOPO o filme realizado por Alejandro Jodorowsky em 1970 e que deu origem nos Estados Unidos aos filmes da meia noite foi finalmente editado em DVD.
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(...)
During the 1960s, Jodorowsky travelled back and forth between Mexico and Paris. Greatly inspired by surrealism and determined to reinvigorate its artistic movement, Jodorowsky contacted André Breton in Paris, but was dismayed to find that Breton had become very conservative in his old age as surrealism became accepted and incorporated into high culture. While Breton still envisioned a poetic and fantastic movement, Jodorowsky was more influenced by elements of popular youth culture that Breton did not appreciate – such as rock music, science fiction, pornography and comic books – which would all factor into Jodorowsky's later work. Together with absurdist playwright (and later filmmaker) Fernando Arrabal and writer/artist/animator Roland Topor, Jodorowsky founded the “Panic Movement” in 1962 as a way to go beyond surrealism by embracing irrationality, the mysterious and the absurd, emphasising an explosive sexuality, a fearless sense of rebellion, and a collapsing of all time into the present moment. Named after the god Pan (meaning “totality”), the concept of a “Panic” artist also meant someone whose output was “polyvalent”, traversing many different media in order to avoid simple categorisation; artists like Cocteau, Leonardo da Vinci and Pier Paolo Pasolini were inspirations in this sense. Despite their general aesthetic, Jodorowsky maintains that the idea of a “Panic Movement” was largely a tongue-in-cheek joke for its three founders; each person created independently, labelling their own work as “Panic”, while they secretly laughed at serious attempts made by critics and other artists to theorise or follow the invented “movement”.
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Speaking of El Topo (“The Mole”), he famously announced that “I ask of film what most North Americans ask of psychedelic drugs. The difference being that when one creates a psychedelic film, he need not create a film that shows the visions of a person who has taken a pill; rather, he needs to manufacture the pill.” El Topo is thus intended to be read as less a product of Jodorowsky's own mind than a process of spiritual illumination akin to the religious sensations experienced by many countercultural drug users; of course, this was helped by the film's eventual reputation as a “head film” during which many audience members did partake of such substances. Nevertheless, El Topo is in many ways Jodorowsky's personal quest toward an enlightened identity that can transcend death. The film opens with the titular gunfighter and his nude son (played by Jodorowsky and his son Brontis, respectively) riding across the desert, where the son is instructed to bury his first toy and his mother's picture now to become a man. Over the opening credits, we are told that the mole lives underground and searches for the sun; sometimes its journey brings it to the surface where it is blinded. After this central metaphor, the film is divided into four biblical sections: Genesis, Prophets, Psalms and Apocalypse. El Topo and his son ride into a blood-drenched town where bandits have raped and massacred hundreds. He kills these lascivious bandits, then finds their Colonel and his men in a Franciscan mission. El Topo announces “I am God” before castrating the Colonel (who then kills himself) and killing the rest of the motley junta. He then abandons his son to the care of the mission's surviving monks and rides off with a young woman named Mara who he has rescued. El Topo can live in the desert by miraculously summoning food and water from the ground, but Mara cannot – at least until El Topo rapes her to unleash her first orgasm. Mara then makes El Topo prove his love for her by killing the four Masters of the desert and becoming the best gunfighter. El Topo cheats his way into killing the first three Masters, who are all far more spiritually enlightened than him and have progressively fewer worldly possessions. According to one of the Masters, El Topo is full of self-righteous hate instead of self-effacing love, and should be trying to disappear entirely rather than find himself through violence. The Fourth Master possesses only his own life and chooses to kill himself to prove to El Topo how little life means. Humiliated by his dishonorable victory, El Topo rushes through the desert, smashes his gun, and assumes a Christ-like pose of self-sacrifice as he is gunned down by a Woman in Black (representing El Topo's Jungian alter-ego) who has previously joined their journey and sadistically lusts after Mara. Unable to accept this emasculated man, Mara chooses to ride away with the Woman in Black while El Topo's body is hauled away by a group of deformed people.
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Jodorowsky brought El Topo to New York, where it played for over a year as allegedly the first “midnight movie”, garnering large profits and a considerable cult audience. (Still scandalised by Fando y Lis, Mexico refused to let El Topo represent them at the Cannes Film Festival). John Lennon was so impressed by the film that Beatles manager Allen Klein purchased the distribution rights and would finance much of the budget for Jodorowsky's next film. While some critics in the alternative press proclaimed El Topo as one of the greatest films ever made, more mainstream critics complained that it was an overly violent, pretentious, nonsensical mess of crude surreal imagery with little to say and no goal but exploiting the counterculture. Pauline Kael, for example, accused the film of being “commercialised surrealism” that is ultimately “sanctimonious” and reinforcing of “conventional pieties” in a way that Buñuel's films are not. However, while Buñuel's attacks on religion are primarily confined to Catholicism, Jodorowsky not only violates but de-centres Western religious traditions by creating a hybrid amalgamation of Western, non-Western and occult beliefs. A self-described “atheist mystic”, he has claimed to hate religion (for it “is killing the planet”), but he loves mysticism and occult practices like alchemy. What is important in Jodorowsky's films is not just that (organised) religion's discourses of political power and tradition are attacked and subverted – but also that a hybrid mysticism is elevated in their place, drawing upon a more universal sense of spirituality that underlies all religious and occult beliefs, evading issues of specific nationality and political culture. Interviews with him suggest that he mixes belief systems with a subversively playful attitude, as if constructing his own mythology from so much spiritual raw material.
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Although beyond the scope of this profile, Jodorowsky's work is deserving of further study within the context of Third Cinema, surrealism, magical realism and post-colonial studies. As is the case with many cult/counterculture/underground films, his works have been treated as the foreign/exotic and indefinable “Other” of both commercial and art cinema. While filmmakers of the same era – such as Glauber Rocha, whose Antonio das Mortes (1969) was praised by Jodorowsky and could be seen as an influence on El Topo – were championed by critics, others have remained largely neglected by generations of cultural tastemakers. The truly transgressive and politically viable qualities of Jodorowsky's films have been contained as carnivalesque and exploitative curiosities, almost dismissively relegated to midnight movie circuits and cult film catalogues. Only by re-evaluating these films both within and beyond their place in the cult tradition can we see them as a cohesive body of work evoking a continual spiritual journey and a sustained challenge to the political/religious climate of the Americas.
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by David Church in SENSES OF CINEMA
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Jean Cocteau edição de dois filmes fundamentais LE SANG D'UN POÈTE (1930) e ORPHÉE (1950).

(...) In 1929, at the age of 40, Cocteau made his first film. The Vicomte de Noailles, a frequenter of avant-garde salons, asked Cocteau and composer George Auric if they would be interested in collaborating on an animation. Cocteau suggested they make a live-action piece instead. The news that he was making a film must, at the time, have seemed like further evidence of Cocteau's dilettantism. In fact, the result was an avant-garde landmark.
Le Sang d'un poète (Blood of a Poet) is divided into episodes, some connected, some discrete. Perhaps the most famous of these features the eponymous poet moving along a corridor in a hotel, looking through the keyholes of bedroom doors. Through these keyholes, he spies a range of tableaux vivants. These include a bedroom in which a child annoys a governess by crawling up a wall, a Mexican firing squad in which the victim falls to the ground and then bounces back to life, and a dark space in which a couple write observations about each other while they embrace. The work is strongly indebted to (though in no way derivative of) Un Chien Andalou (1929). Its distinct similarity to Buñuel and Dali's film led mainstream commentators to label it as 'surrealistic'. This was of particular annoyance to André Breton, who was now running the Surrealists as if they were Communist cell. Cocteau himself pretended also to take offence at being labelled a Surrealist, though he probably quite enjoyed Breton's irritation. Le Sang d'un poète caused mild controversy, though this was as nothing compared to the controversy that was soon to be caused by Buñuel's L'Age d'or, the second and final film to benefit from the Vicomte de Noaille's artistic philanthropy. Le Sang d'un poète is both a recapitulation and a new beginning. Viewed in the context of Cocteau's previous work, it can be seen as an anthology of his favourite images and themes. These include: mirrors (narcissism), eyes (voyeurism), statues (classicism), doors (the borders between different worlds) and blood (the sufferings of the artist). It also contains numerous elements of autobiography and references to previous works, both overt (for example, the snowball fight from Les Enfants terribles) and coded (for example, the magical 'transportation' of the poet into parallel worlds). Viewed in the context of Cocteau's subsequent career, it can be seen as a sketchbook for future films. Many of the techniques that would later become Cocteau's trademarks were first tried out in Le Sang d'un poète. These include the use of slow and reverse motion, voice-over narration, and the film's most famous trick of building the walls of certain sets on the studio floor. By filming them from above and getting his actors to lie on the ground, Cocteau creates the impression that the walls in his fantasy world emanate a magnetic pull. This last is a startling effect, but Cocteau's liking for it gets the better of him, and he uses it too often. In the end, it is difficult not to agree with Cocteau's own judgement of the film as a theme “clumsily played with one finger” which he would later orchestrate in Orphée. However, despite the film's clumsiness, the child-like delight that Cocteau takes in the possibilities of the medium gives Le Sang d'un poète an energy and playfulness that at the time only Buñuel and Dali surpassed. Cocteau did not direct another film for the next sixteen years. By way of explanation, he later wrote:

The fact that I let twenty years [a typically casual ]exaggeration] elapse between that film, my first, and the others, shows that I regarded it as something rather like a drawing or a poem – a drawing or a poem so expensive that I couldn't contemplate making more than one.

Cocteau's implication that it did not occur to him to make another film is inadequate. Was he scared off by the controversy that his film generated? Did he consider another project but find himself unable to secure funding? Did he feel that he'd used up all his cinematic invention? Or was he still not that interested in film? In the absence of any clear evidence, one can only conjecture. Le Sang d'un poète was Cocteau's last 'controversial' work. As the diplomatic climate darkened in the 1930s and the avant-garde became ever more politicised, Cocteau moved inexorably towards the French literary establishment. He became a prolific columnist and wrote a number of classical stage melodramas including La Machine infernale, L'Aigle à deux têtes and the immensely successful Les Parents terribles.

By the end of the decade, Cocteau the avant-garde provocateur had become Cocteau the celebrity playwright. (...)

Richard Misek in SENSES OF CINEMA

ALLAN DWAN in IWO JIMA

2007-05-01T00:13:00.000Z

Sands of Iwo Jima (1949) de Allan Dwan
SANDS OF IWO JIMA _ John Wayne catapulted from Hollywood leading man to All-American hero with his Oscar-nominated performance as Sgt. Sryker, a hard-nosed Marine sergeant who must mold a company of raw recruits into a combat-ready fighting machine. Feared by many and hated by all, Stryker's training is soon put to the test in a full-scale assault against the Japanese on Iwo Jima - an infamous battle that will live forever in one of cinema's most famous scenes, the flag-raising on Mt. Suribachi.

Excelente filme para rever agora que Clint Eastwood filmou a revisão deste mito americano nos recentes Letters from Iwo Jima e Flags of Our Fathers.

HERZOG & de MEURON _ Beijing Olympic Stadium

2007-04-30T14:41:00.000Z

Beijing Olympic Stadium by Herzog & de Meuron
13 designs were on showcase to the public of beijing, which could vote for their favorite design. 3 designs entered the final. the swiss office of herzog and de meuron captured the hearts of the public with their "nest-like" architecture. the beijing architecture design institute and japanese studio axs were the other two finalists. the exterior “nest-like” appearance is caused by curved steel-net walls. which enclose the stadium. the immense structure of the stadium will hold 80,000 seats and construction works will begin by the end of 2003 and be finished before the beginning of the 2008 beijing olympic games where it will have a leading role as national stadium.
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architects: jacques herzog and pierre de meuron
location: beijing, china

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SARKOZY SHOW

2007-04-30T14:38:00.000Z

Entretien avec Nicolas SARKOZY in LIBÉRATION.fr 12.04.2007
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Partagez-vous cette conviction chiraquienne qu'une présidentielle se gagne dans les quinze derniers jours ?
Non. Elle peut se perdre dans les quinze derniers jours. C'est très différent. Depuis des années, on répète que je suis parti trop vite, que je vais exploser. La vérité, c'est que ma stratégie est simple : j'ai commencé à fond et je n'ai cessé d'accélérer.
Vous vous droitisez pour rassembler votre camp au premier tour ?
Vous vous trompez sur la situation de la France. Un électeur de gauche a autant besoin qu'on lui parle de la nation qu'un électeur de droite. Dire que les ouvriers se droitisent est une absurdité. Quelle est la vraie caractéristique de cette campagne ?
C'est que les gens ne se mobilisent pas sur des mesures mais sur des valeurs, sur le sens. Mais si je veux être tout à fait honnête, Ségolène est plus à droite que Jospin, je suis plus à droite que Chirac, Bayrou est plus à droite que Lecanuet. Finalement, celui qui est moins à droite qu'avant, c'est Le Pen !
Le «ministère de l'immigration et de l'identité nationale» a choqué à gauche, mais aussi à droite...
Cela n'a rien d'une provocation. Il faut parler de l'immigration et de l'intégration en même temps. Lévi-Strauss, le plus grand anthropologue français, a dit que «l'identité n'est pas une pathologie». Si vous ne mettez pas la question de l'identité dans la question de l'immigration, alors qu'est-ce que vous dites aux immigrés qui veulent devenir français sur ce qu'est la France ?
Cette revendication d'un ministère figure dans le seul programme du Front National.
Ce n'est pas parce que Le Pen touche quelque chose que cela devient interdit. Les gens se demandent ce que c'est qu'être français ? Ceux qui arrivent viennent avec leur identité ; on ne leur parle pas de l'identité de la France. Je propose de leur parler de l'identité de la France et de rassembler les deux concepts. Il y a un problème d'immigration, avec un système d'intégration qui ne marche plus.
Mais la plupart des immigrés s'intègrent...
Le voile, les «grands frères», les mariages forcés, la communauté turque dont certaines femmes ne parlent pas un mot de français, les nouveaux venus qui vivent entre eux, les quartiers difficiles avec des ghettos, tout cela, c'est une invention de ma part ?
Vous voulez récupérer l'électorat de Le Pen ?
Quand je dis : «Je veux convaincre les ouvriers de voter pour moi», personne ne m'attaque. Quand on dit : «Attention ! Il veut récupérer l'électeur du Front national», alors là, on tremble ! Au nom de quoi récupérer les électeurs du FN, c'est mal ?
Cela dépend des moyens que l'on emploie...
Il n'y a aucun moyen que j'emploie qui n'est pas républicain. Je me présente à des élections, je fais des discours importants. Je vais chercher ces électeurs en leur disant : «Vous êtes libres de voter pour qui vous voulez mais le vote FN est inutile.»
Pourquoi avoir abandonné votre idée d'accorder le droit de vote aux élections locales aux immigrés ? Ce serait un facteur d'intégration...
A titre personnel, je suis pour. Mais c'est une idée qui, aujourd'hui, cristallise les passions, raidit les positions.
Vous inquiétez un électorat de centre droit séduit par Bayrou...
François Bayrou est devenu un candidat de gauche. Il le dit lui-même. Je ne sais pas si je suis un candidat de droite qui inquiète, mais depuis Pompidou pas un candidat de droite n'a fait de tels résultats dans les études d'opinion. A la même époque en 2002, Jacques Chirac était à 21 %. La démocratie a besoin d'un vrai débat gauche-droite. C'est la dangerosité de Bayrou. A partir du moment où on nie le débat gauche-droite, on ouvre un champ béant aux extrêmes.
La position de Bayrou entre les deux tours vous inquiète ?
Il prendra les positions qu'il veut. Je rappelle qu'il y a les législatives après. Il faut bien qu'il fasse une alliance, soit avec la gauche, soit avec la droite. Sinon, comment sont élus ses députés ?
Si vous gagnez, Bayrou peut-il être un de vos ministres ?
François Bayrou a beaucoup pratiqué l'insulte, pas moi. Je sais bien qu'il faudra rassembler. J'attends les résultats du premier tour pour décider la stratégie du second. Reconnaissez que c'est curieux, un candidat qui dit : «Si je suis face à Royal, je rassemblerai la droite, si je suis face à Sarkozy, je rassemblerai la gauche.» C'est même la caricature du cynisme et de l'opportunisme !
Au second tour, serait-il plus redoutable que Ségolène Royal ?
Le second tour est redoutable quoi qu'il arrive. Pendant six mois, on m'a expliqué que Ségolène Royal était imbattable parce que c'était une femme, qu'elle souriait, qu'elle était moderne. Les mêmes expliquent aujourd'hui qu'elle ne peut pas gagner. Ils avaient tort hier, ils ont tort aujourd'hui. Quant à François Bayrou, j'attends de voir, s'il est au second tour, sa capacité à rassembler l'électorat de gauche...
C'est vous le meilleur argument pour le rassembler ?
Le «tout sauf Sarkozy» ? Je sais que c'est l'idée que vous caressez, mais où en trouvez-vous l'illustration ? Où sont ces manifestations contre moi ?
Il y a eu le déplacement à la Croix-Rousse, à Lyon, que vous avez annulé...
La Croix-Rousse, c'est extraordinaire ! Il y avait quarante militants d'extrême gauche. C'est ça, le référendum anti-Sarkozy ?
S'ils n'étaient que 40, pourquoi avoir reculé ?
Vous croyez que je veux faire le 20 Heures avec des images de violence autour de moi ? Vous pensez que j'ai assez peu d'expérience pour tomber dans ce piège ?
Vous n'irez donc pas en banlieue contrairement à ce que vous aviez annoncé ?
Vous n'avez cessé d'expliquer que j'instrumentalisais la banlieue en y allant avec des caméras. Depuis quelques mois, j'y vais moins, et vous expliquez que j'ai tort ! Vous agitez la muleta mais je sais qu'il y a un mur derrière, je ne suis pas obligé de me jeter dedans !
Pourquoi avoir déclaré que la pédophilie était génétique ?
Je n'ai pas dit exactement cela. J'ai expliqué que tout ne dépendait pas de l'acquis, mais qu'une partie pouvait être de l'inné. Dans quelle proportion ? Je ne suis pas savant. Par exemple, quand j'étais enfant, j'étais choqué parce que l'on expliquait, quand un enfant était homosexuel : «Sa mère a eu tort, elle a dormi avec lui». Quand un enfant était anorexique, on disait : «Le père était absent.» Quand un enfant était autiste, on disait : «Oh là ! Les parents ont divorcé, cela a provoqué un choc.» Depuis, on sait que l'autisme, c'est génétique. Je pense aussi que la sexualité est une identité.
Vous avez dit que vous étiez né hétérosexuel...
Oui, je suis né hétérosexuel. Je ne me suis jamais posé la question du choix de ma sexualité. C'est pour cela que la position de l'Eglise consistant à dire «l'homosexualité est un péché» est choquante. On ne choisit pas son identité. Vous, à quinze ans, vous vous êtes demandé : «Au fond, suis-je homosexuel ou hétérosexuel ?»
Vous pensez qu'on exagère la part de l'acquis dans la mentalité contemporaine ?
On a l'identité qu'on a. De la même façon qu'il y a des gens qui ont tendance à grossir et d'autres pas, des chauves et des chevelus, des petits et des grands... Nous sommes six millions de migraineux. C'est totalement héréditaire. Ma mère était migraineuse, mes fils sont migraineux. C'est un patrimoine génétique.
Si on surestime l'acquis , c'est encore un méfait de cette «idéologie soixante-huitarde» que vous exécrez ?
Non. Le 68 que je dénonce, c'est le relativisme : tout se vaut. L'erreur fondamentale de 68, c'est de ne pas avoir compris que la transgression de la règle amène à la création. Si vous supprimez la règle, il n'y a plus de beau et de mal, tout se vaut.
Votre programme fiscal ne sert pas vraiment les catégories populaires. La suppression des droits de succession, c'est un beau cadeau pour les riches ?
L'égalité des chances, ce n'est pas d'aller prendre le patrimoine de celui qui a la chance de naître dans une famille où il y a un patrimoine, c'est de faire en sorte que celui qui naît dans une famille où il n'y a pas de patrimoine puisse en acquérir un. Il n'est pas illégitime que des parents qui ont travaillé toute leur vie transmettent quelque chose à leurs enfants. Que doit faire la République pour garantir l'égalité des chances ? Non pas retirer le patrimoine de celui qui a des parents qui l'ont gagné, mais donner plus à celui qui n'a pas de patrimoine. Moi, je suis pour que la République corrige les inégalités en promouvant ceux qui n'ont rien. Vous, vous êtes pour que la République corrige les inégalités en faisant reculer ceux qui ont un patrimoine.
Le «Canard enchaîné» révèle que vous avez promis à Chirac d'éteindre les poursuites à son égard après la fin de son mandat ?
C'est faux et grotesque !
Quand allez-vous rendre public votre patrimoine comme vous l'aviez promis ?
La seule chose que j'ai, c'est le produit de la vente de l'appartement que je possédais et les parts que j'ai dans mon cabinet d'avocats. Les dividendes que j'ai touchés à ce titre, très modestes, ont été également publiés. Le directeur général des Impôts a dit : «S'agissant de l'ISF de M. Sarkozy, nous pouvons certifier qu'il n'y a aucun problème.» Je suis le seul candidat dont on ait dit cela. Il n'y a rien, aucun secret. Je n'ai pas de société civile immobilière.
Cette campagne, elle est plus dure que vous le pensiez, comme le disait François Bayrou ?
Non, plutôt moins. L'affaire Clearstream était lourde pour moi. Et puis la campagne, à vrai dire, a commencé en 2002.
Cinq ans de primaires à droite ?
Oui, Chirac, Villepin, Raffarin, Alliot-Marie, c'est cinq ans de primaires ! Et il reste quinze jours...

MICHAEL SNOW _ prize

2007-04-29T23:48:00.000Z

Canadian experimental filmmaker and contemporary artist Michael Snow will be honored with the first MoCCA Award in Contemporary Art. The ten-thousand-dollar MoCCA Award, from the Museum of Contemporary Canadian Art in Toronto, is being awarded to Snow for lifetime achievement in innovative contemporary art. Toronto-based Snow, seventy-eight years old, works in painting, sculpture, video, films, photography, holography, drawing, books, and music.