Interstitial: Space Dialogues between Events I and II
With works by Portuguese artists that cover a period from the sixties to the present, Interstitial: dialogues in the space between events proposes a re-reading of the Norlinda and José Lima Collection. The exhibition develops in two moments that allow to work in greater depth the great nucleus of Portuguese art of the collection. To think of the artistic object as an event refers not only to a philosophical plan (where the readings of art as an event inHeidegger or Deleuze are determining), but as a possibility to look at artistic proposals as complex signifying structures. The purely visual event is confronted with a series of events-others that may prove to be relevant, both at the level of social and political history, the circumstances of coeval representation systems, institutional articulation systems, and systems of critical reception. As floating entities in this mutant quadrant, the juxtaposition of complementary or contradictory energies that the simple placement side by side of works of different times and authors represents, points to an interpretative space that these emptinesses complain as strongly as sometimes the concentrated look of the work itself seems to sue. It is in the continuous dialogue of these passages that sometimes more effectively the singularity in the diversity is perceived. This will be one of the designs and greater challenges in the concretization of a collective exhibition: the possibility of a discursive articulation that is established through the voids, the spaces-between, so that the look is permeable to the thought.
With works by Portuguese artists that cover a period from the sixties to the present, Interstitial: dialogues in the space between events proposes a re-reading of the Norlinda and José Lima Collection. The exhibition develops in two moments that allow to work in greater depth the great nucleus of Portuguese art of the collection. To think of the artistic object as an event refers not only to a philosophical plan (where the readings of art as an event inHeidegger or Deleuze are determining), but as a possibility to look at artistic proposals as complex signifying structures. The purely visual event is confronted with a series of events-others that may prove to be relevant, both at the level of social and political history, the circumstances of coeval representation systems, institutional articulation systems, and systems of critical reception. As floating entities in this mutant quadrant, the juxtaposition of complementary or contradictory energies that the simple placement side by side of works of different times and authors represents, points to an interpretative space that these emptinesses complain as strongly as sometimes the concentrated look of the work itself seems to sue. It is in the continuous dialogue of these passages that sometimes more effectively the singularity in the diversity is perceived. This will be one of the designs and greater challenges in the concretization of a collective exhibition: the possibility of a discursive articulation that is established through the voids, the spaces-between, so that the look is permeable to the thought.
