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Nauman, Bruce
Wall-Floor Positions, 1968- Video, b/w, sound, 4:3, PAL 60'
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2011
- Bruce Nauman is considered one of the most influential artists of the generation of American post-minimalism who pioneered the use of film in the second half of the 1960s and the 1970s. His films, sculptures, installations and performances express dimensions of the human condition: life and death, time, absurdity, cruelty, spirituality, politics, violence and sex. Gestures and language are supports to explore the meanings of things and behaviours. Based on a public performance that the artist had presented three years before, 'Wall-Floor Positions' is one of Nauman’s first video experiments, made soon after his famous 'Studio Pieces'. For these works, Nauman executed a repetitive series of movements across the space of his studio, such as walking around or bouncing a ball against the floor and the walls. In 'Wall-Floor Positions', the artist stretches and folds his arms, legs and trunk against the wall and the floor, looking for constantly different positions to test the limits of his own body in its appropriating of the space it is confined to.In contrast to the earlier films, video allowed Nauman to work the temporal dilation of his actions, creating the idea of a perpetual continuum without beginning or end. This video is an exemplary illustration of how Nauman was influenced by the experimental music and dance of the time (such as John Cage’s and Merce Cunningham’s), with their attention to the sounds and movements of everyday life. The video also relates to sculptures from the same period the artist created from moulds of his own body.Part of the first generation of American artists to use video as a tool integrated in the performance, Bruce Nauman developed a multiform artistic practice in a variety of supports and media and dealing with different themes, such as issues pertaining to the tradition of sculpture, the use of the body as material or the complex sign relations between image and language, work and viewer.
Walking in an Exaggerated Manner Around the Perimeter of a Square, 1967 - 1968- Walking in an Exaggerared Manner Around the Perimeter of a Square, 1967 - 1968
- 16 mm film transfered to video, b/w, silent, 4:3, PAL, 10'31"
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- Conceiving the studio as a space for the creative process and for the presentation of the work, this video is part of a series of performances from the 1970s and 80s in which Bruce Nauman filmed himself in his studio while executing predetermined actions. The name of the piece defines Nauman’s action, an exaggerated, circular and repetitive movement which follows the lines of a square drawn on the floor and is only interrupted when the body of the artist leaves the frame.Part of the first generation of American artists to use video as a tool integrated in the performance, Bruce Nauman developed a multiform artistic practice in a variety of supports and media and dealing with different themes, such as issues pertaining to the tradition of sculpture, the use of the body as material or the complex sign relations between image and language, work and viewer.
Nery, Eduardo
Eduardo Nery (Figueira da Foz, Portugal, 1938 - Lisboa, Portugal, 2013)Estrutura Ambígua II, 1969- Ambiguous Structure 2, 1969
- Vinyl on chipboard
- 150 x 200 cm
- Coll. Portuguese State Secretariat of Culture, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 1990
- Whether in the field of painting or murals integrated in architecture, Eduardo Nery’s oeuvre was decisively influenced by geometric, abstract and Op Art languages, as evident in 'Ambiguous Structure II', in which optical interaction between two-dimensionality and three-dimensionality is projected via various cubes and geometric shapes organised over modular and kinetic grids.Based on systematic research into geometric visual art, Eduardo Nery’s oeuvre developed across a multiplicity of forms - drawing, collage, engraving, tapestry, stained glass, photography, mosaic and tiles. This made him one of the Portuguese artists with the greatest intervention in the realm of public art. His initial career was marked by abstract works, followed by gestural art. Later in his career he explored a vocabulary linked to Op Art, becoming one of the pioneers of this artistic current in Portugal.
Nogueira, Lucia
Lucia Nogueira (Goiania, Brasil, 1950 - Londres, Reino Unido, 1998)Sem título, 1995- Untitled, 1995
- Watercolour and pencil on paper
- 28 x 38 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2008
- Lucia Nogueira’s drawings often contain banal, familiar forms in an exploration of the quotidian that highlights their vulnerable and delicate character. In this drawing, the repetition of the objects, whose depiction almost turns them into veritable characters, suggests the process of fruit ripening and decaying.Lucia Nogueira is one of the most singular Brazilian artists of the 1990s. Based in London from 1975 until her premature death, the artist worked mostly with objects found on the city’s streets, transforming art into a poetic recycling of the discarded and the forgotten.
Nordman, Maria
For a New City (Serralves Museum & a Working Farm), 2000 - 2001- Trees (Gingko Biloba and Cupressus Semprevirens), slate, metal, water, grass
- Variable height x 260 x 180 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2001
- The work of Maria Nordman (Görlitz, Germany, 1943) involves the participation of others in public space. For this reason the concept of site-specific is not sufficient to define her oeuvre. It is, rather, notion of time that is a mandatory reference in the construction of a wider concept, which the artist calls time-specific. The site for 'For a New City (Serralves Museum & A Working Farm)' was chosen in dialogue with people involved in the daily life of the institution, with people from different generations living in Porto, and with the characteristics of the space itself. In the artist’s own words the agents of the sculpture are also ‘the sun, the moon, the rain, the earth, the grass, the people, the Gingko Biloba and Cuperssus Sempervirens trees, a bath for birds and humans, and the slate’. The work consists of a table with a fountain, four slate benches and ninety-four trees forming two contiguous walkways, the space between each tree being wide enough for a person to go through. The changes resulting from climate conditions and daytime variations, immediately perceived by someone inside the piece, are overlapped by changes occurring from the growth of trees, which will happen over a much longer period and will naturally and systematically redesign the profile and structure of the sculpture. This notion of change is reflected in the artist’ dating of the work as open-ended. 'For a New City (Serralves Museum & A Working Farm)' was specifically conceived for the Serralves Park during Porto 2001: European Capital of Culture.
Nozolino, Paulo
Fim (Série "Macau"), 1999- End (‘Macau’ series), 1999
- Gelatine silver print mounted on aluminium (13 elements)
- 75 x 115 cm (each)
- Coll. Peter Meeker, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 2003
- The set of photographs ‘Fim (série ‘Macau’)’ is the outcome of an invitation to Paulo Nozolino by the Orient Foundation to record Macau, a territory that was at the time the last European colony in Asia before the administrative handover from Portugal to China in 1999. More than documenting the situations and places (which remain always undefined), Nozolino’s black and white photographs are an attempt at mapping the human condition, looking into work environments, lived interiors and human figures in urban contexts. Nozolino’s photographic series are almost always the result of his extended travels, in which he turns his attention to geographies that are seen as ‘other’ in relation to his Western European gaze. Convinced that historical events shape our images of the world, the artist is particularly interested in regions whose histories have been marked by recent conflict and in understanding how these inhabitants return to their everyday normality. He only uses analogue film, and waits for several months between shooting the original images and developing them in the laboratory, in order to introduce a distancing effect in relation to what he saw and experienced. He develops the film in a way that endows the photos with photographic grain, a characteristic of his work, and create expressive and intense zones of penumbra (the title of one of his most acclaimed books) that obliterate light in a medium (photography) which depends upon light for its existence.
Obs. 3, 2008 - 2009- Silver gelatine print on aluminium (diptych). Ed. 2/3
- 120 x 80 cm (each)
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2012
- Paulo Nozolino is one of the most important Portuguese photographers of his generation. His work exhibits certain characteristics that we may associate with photojournalism, however he never succumbs to the fascination for the exotic or the distant, nor to any supposed documental value, moral assumptions or political pamphleteering. Even during trips to places such as Bosnia, or the Arab world, where he has recorded sites that pertain to our collective memory in war zones or places where ethnic minorities survive, the intention for his photographs is not to inform. One only has to think about Nozolino’s singular use of black and white and grain in order to see how his aesthetic and ethical project is founded on the spectator’s capacity to fill in the gaps, rather than the rhetoric of the transparency of the image. His photographs ? even when they apparently move away from scenes of trauma and present us with intimate scenes ? reveal marks of decline and destruction, or the inevitability of entropy, of death.
Obs. 6, 2008 - 2009- Silver gelatine print on aluminium (diptych). Ed. 1/3
- 120 x 80 cm (each)
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2012
- Paulo Nozolino is one of the most important Portuguese photographers of his generation. His work exhibits certain characteristics that we may associate with photojournalism, however he never succumbs to the fascination for the exotic or the distant, nor to any supposed documental value, moral assumptions or political pamphleteering. Even during trips to places such as Bosnia, or the Arab world, where he has recorded sites that pertain to our collective memory in war zones or places where ethnic minorities survive, the intention for his photographs is not to inform. One only has to think about Nozolino’s singular use of black and white and grain in order to see how his aesthetic and ethical project is founded on the spectator’s capacity to fill in the gaps, rather than the rhetoric of the transparency of the image. His photographs ? even when they apparently move away from scenes of trauma and present us with intimate scenes ? reveal marks of decline and destruction, or the inevitability of entropy, of death.
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