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Raad, Walid
Walid Raad (Chbanieh, Líbano, 1967)Preface to the Seventh Edition _ I - VI, 2012- Archival inkjet print mounted on aluminium Dibond (6 elements). Ed. 4/5 + 2 A.P.
- 73.7 x 110.5 cm (each)
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2013
- In 'Preface to the Seventh Edition _ I - VI', Walid Raad imports terms from Western art history into the context of the Middle East, speculating on a hypothetical Arab form of abstraction. To accompany the presentation of these photographs, Raad also wrote a short story that describes how six paintings on display in an Emirati museum, and considered to be canonical examples of early twentieth-century Arab abstraction, were removed from view. In the story, the painter’s recently discovered journals reveal that the works, hitherto known as 'Untitled', were in fact titled 'Painting of a Painting’s Shadow I-VI'. Raad confronts us with a reflection on the supposed universal validity of the lexicon used in the Western world to define artistic production.'Preface to the Seventh Edition _ I - VI' is part of an ongoing body of work by Raad under the title 'Scratching On Things I Could Disavow'. It includes sculptures, videos, photographs and stories which translate his fascination with the emergence of new museums, art galleries, schools and foundations in cities such as Abu Dhabi, Beirut, Cairo, Ramallah and Sharjah. Regardless of the reasons behind these regions’ investment in art, Raad is interested in the possibility of rethinking art history within the context of the new artistic institutions that currently proliferate in the Arab world. More specifically, he is interested in reflecting on the material and immaterial influence of armed conflicts on culture and tradition. Walid Raad is a Lebanese essay-writer, lecturer and artist, founder of the fictional foundation The Atlas Group, dedicated to researching the contemporary history of Lebanon. The Atlas Group collected, produced and presented documents attributed to several characters. The compilation of supposed facts explores forgotten dimensions of the Lebanese civil wars. As a project producing false historical documentation, the work of The Atlas Group proposed a reflection on the authorship of history and questioned the idea of a definitive historical account.
Rego, Paula
Paula Rego (Lisboa, Portugal, 1935)A Cinta, 1995- Pastel on paper mounted on aluminium
- 160 x 120 cm
- Private collection, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 2004
- Untitled depicts women’s submission to social conventions of feminity, evident in the figure’s apparent expression of discomfort while putting on a girdle. The painting was produced between the great thematic series that Paula Rego is perhaps best known for, and reflects two decisive shifts in her work: the introduction of pastel, and the use of a life model, both of which introduce an immediacy of gesture into her work. These two shifts brought about substantial changes in her painting, which were stripped of her well-known gallery of props and characters (people and animals), as well of her suggestive scale-play, to now depict isolated figures (almost always female) with great dramatic density.Rego’s work encompasses various media such as painting, drawing and collage. Her interest often focuses on visual imagination inspired by the literature of Charlotte Brontë, Franz Kafka, and Eça de Queiroz; the paintings of William Hogarth; Portuguese popular tales; and biblical narrative or nursery rhymes, from which she has created a vast iconography of figures and situations. Her work accentuates the psychological and sexual mechanisms underlying human behaviours and destabilizes commonly held notions on social, political, religious and feminine themes, especially concerning women’s role in the intimate and domestic sphere of human relations.
Rehberger, Tobias
Mutter 81%, 2002- Mother 81%, 2002
- Metal, plastified paper, fabric, Plexiglas, wood, tape
- 280 x 700 x 570 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2006
- ‘Mutter 81%’ [Mother 81%] is one of a series of works conceived by Rehberger as architectural models - houses ('Mutter 53%', shown at the Serralves Park in 2002) or garages ('Mutter 93%') - and made to the scale indicated in the titles. It is a penetrable structure composed of two parts: an opaque, multi-coloured element made of fabric and Tetra Pak containers, and a transparent element in blue acrylic. The visual impact of this large installation is due not only to the spectrum of bright colours, intended to provoke a sense of optimism and well-being, but also to the contrast between materials and their textures: opaque and translucent, rigid and soft. The geometric block exposing the space’s interior represents a form of public space, to which the artist annexed a soft, almost organic shelter that is sensual and pleasant to the touch and protects the visitor from outside view. Rehberger’s intention is not for the viewers to dwell in profound reflections around the concept of the artwork, but for them to enter into the work, to have fun and relax. For the artist, there is a liberation of the artistic object and a dissolution of the traditional boundaries between author and spectator.Tobias Rehberger makes reference to the worlds of art, design, architecture and cinema as elements of a collective heritage that can be used in the construction of new works. The artist considers these references as filters to his sculptures and constructed environments.
Mário Pedrosa, 2003- Mario Pedrosa, 2003
- 77 glass lamps, brightness controlled via internet
- Dimensions variable
- Private collection, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 2003
- At the time of his 2002 exhibition at the Serralves Museum, Tobias Rehberger became aware of the Museum’s interest in the critique of modernism in the Brazilian context, pioneered from the 1950s to the 1970s by, among others, Mário Pedrosa, Lygia Clark, Hélio Oiticica and Lygia Pape. It was then that Rehberger decided to establish a connection between the Serralves Library and the Centro de Documentação do Movimento Operário Mário Pedrosa in São Paulo.This piece is made of 77 suspended artisanal glass globes and a software that, once shared on the Internet, makes the light intensity inside the Serralves Library change according to the light variations occurring at the archives in São Paulo. This literal and metaphoric use of light - one of the artist’s materials of choice - characterizes a whole family of monumental scale works by Rehberger, such as Anderer (ZKM Collection, Karlsruhe) and Outsiderin et Arroyo grande 30.04.02?11.08.02 (Centre Pompidou Collection, Paris), both from 2002. The first, made of 89 blown glass lamps at the time of its first installation in the museum that would eventually acquire the piece was shown at the Yokohama Triennial of 2011 in a version with only 59 globes, which were connected via the internet to a switch in the bedroom of a child somewhere in that Japanese city and turned on or off at the same time as the bedroom light. The second piece, made of 66 yellow glass globes and 22 Velcro lamps, is connected to an external light sensor and a dimmer that modifies internal light according to external light intensity.A distinctive feature of Rehberger’s body of work, all these pieces are integrated environments, existing at once as artworks and as objects with their own intrinsic functionality. Construed around the notion of ‘elsewhere’, they question the relationship between identity and context.
Reis, Pedro Cabrita
Um quarto dentro da parede, 1989- A Room Within the Wall, 1989
- Painted wood
- 200 x 240 x 3.5 cm
- Coll. Peter Meeker, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 1999
- Pedro Cabrita Reis started his artistic route in the early 1980s. Composed of elements or fragments of daily life organized in more or less abstract structures of a human scale, Cabrita Reis’ works, often coming close to the concept of installation, denote a special sensibility for the occupation of space. The use of a wide range of materials of great simplicity and banality (wood, glass, plastic, acrylic, rubber, plaster, metal, linen, canvas and felt), the constant dialogue with the history of art and the combination of memories, gestures and actions of daily life accentuate the marked metaphorical impulse of his creations. In 'Um quarto dentro da parede', a minuscule and delicate chair seems to complete and fill the space of a room that had so far been empty.
Inferno, 1989- Hell, 1989
- Paint on wood, ceramics, synthetic resins
- 107 x 65.5 x 201 cm
- Coll. Fundação Luso-Americana para o Desenvolvimento, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Deposit 2000
- Since the 1980s, Pedro Cabrita Reis has worked in a variety of media ? drawing, painting, sculpture, installation and photography ? as part of a broader and poetic reflection on images and memory. 'Inferno' [Hell] reflects the importance of the metaphoric dimension in the artist’s oeuvre. Cabrita Reis explores the semantic and metaphoric potential through his use of abstract and figurative elements, and his choice of materials, such as ceramic and synthetic resin. Cabrita Reis suggests ideas of occupancy and ritual at the same time as expressing an intriguing scenographic sensibility that calls upon subjective memory.
Echo der Welt I, 1993- Echo of the World I, 1993
- Wood, plasterboard, bricks, burlap, wooden chair and table, radiator, water jug, oil on cardboard, drawing on tracing paper, book, copper tubes, rubber hose, electric wiring, light bulbs
- 304 x 500 x 133 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1998
- Part of a set of three works created between 1993 and 1994,' Echo der Welt I' [Echo of the World I] is an example of Pedro Cabrita Reis’ approach to his work as a means to explore of speculative and philosophical concepts. According to the artist, this work is a ‘listening post’ morphologically akin to the house, a device within which the subject virtually becomes a ‘prototype of the world’. The house, a theme predating his more recent interest for the city, recurs in Cabrita Reis’ work as an archetype that gives physical form to humankind’s estrangement from nature. Water tanks, watchtowers, bridges, walkways, conduits and reference to water and electricity related to the production, accumulation and distribution of energies associated with life. 'Echo der Welt I' reflects Cabrita Reis’ a practice of collecting elements and objects from construction and everyday life, such as bricks, hoses, plywood, jugs and pieces of furniture. The artist interprets them as ‘the refusal of memory’ subjected to adjustments of their original semantic values, thus intensifying, complexifying and rendering ambiguous their meanings. This emphasis on the poetic and subjective dimension of objects is characteristic of sculptural practice in Portugal in the mid-1980s. Featuring traces of primordial human concerns for food and shelter, 'Echo der Welt I' resembles a technical cabin in which the long-drawn-out processes of measuring and reconfiguring the world take place. The absence of external walls, and the fact that the whole structure is raised from the ground, express, as art critic and curator Germano Celant wrote, ‘a suspended theatricality’. The rubber hoses and copper tubes that wind through the sculpture are evocative of human organs and vital flows, suggesting a convergence between the house and the self. Ultimately, 'Echo der Welt I' embodies a romantic urge to establish a relationship between humankind and the world, an aspect reinforced by the inclusion of the small (now lost) self-portrait that was at one time part of the work. In the artist’s words in 1996, ‘as the place of the human, the house will then become the true model of the world’s perfection’.
One Floor, One Floor Plan, 2004- Metallic beam, wood, aluminium, polyester rug
- 82 x 441.5 x 280 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2012
- Since the early 1980s, Pedro Cabrita Reis’ oeuvre has developed a distinctive sensibility that involves space as construction. Created on a scale that attends to the monumental, fragments of daily life appear in his more or less abstract structures. The use of a wide range of materials of great simplicity and banality (wood, glass, plastic, acrylic, rubber, plaster, metal, linen, canvas and felt), and the constant dialogue with the history of art, and the combination of memories, gestures and actions of daily life, accentuate the marked metaphoric impulse with which his sculptures are imbued.
Rocha, Arlindo
Arlindo Rocha (Porto, Portugal, 1921 - Porto, Portugal, 1999)Homenagem a Fernando Pessoa - Aos Homens, 1970- Tribute to Fernando Pessoa - To Mens, 1970
- Bronze
- 27 x 58 x 17.5 cm
- Coll. Portuguese State Secretariat of Culture, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 1990
- Arlindo Rocha was one of the pioneers of abstract sculpture in Portugal. This work is part of a set of sculptures created as ‘tributes’ that pay homage to cultural figures who have produced progressive and modernist works in Portugal. Drawing on the geometric and constructivist language that he began to develop at the time, Arlindo Rocha builds a spatiality based on the sculpture’s inner core, from which dynamic and tense planes erupt in multiple directions.
Rodrigo, Joaquim
Joaquim Rodrigo (Lisboa, Portugal, 1912 - Lisboa, Portugal, 1997)Paris - Orio, 1975- Acrylic paint on chipboard
- 98.5 x 147.5 cm
- Coll. Portuguese State Secretariat of Culture, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 1990
- 'Paris - Orio' is an example of the numerous itinerary-paintings in which Rodrigo establishes a mnemonic, subjective map through a grammar of signs that represent the trajectory of that journey. The diagrammatic composition, made of pictograms and words rendered in a simplistic, childlike manner points to his interest in primitive, aboriginal art and is accentuated by a chromatic range (including ochre, white and black) that is reminiscent of his studies in agronomy.It is impossible to speak about modernity in Portuguese painting without mentioning the oeuvre of Joaquim Rodrigo. From 1960 onwards, thanks to an intense pictorial and conceptual eclecticism, the artists rapidly transited from abstraction and geometry to a neo-figurative exploration that he coherently developed in the following decades.
Rosa, Manuel
Manuel Rosa (Beja, Portugal, 1953)Sem título, 1986- Untitled, 1986
- Limestone and oil paint
- 220 x 53 x 50 cm
- Coll. Portuguese State Secretariat of Culture, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 1990
- From the series of human figures created during the first part of the 1980s by Manuel Rosa, ‘Untitled’ is perhaps the most disturbing one. Depicting a position that stands somewhere in the confines of pleasure and pain, the movement suggested by the raised arm is, however, neutralized by the containment and solemnity that emanates from the sculpture. Several premises of archaic and classic sculpture, such as representation, monumentality, the resource to allegory and the practice of polychromy to increase their realism, are explored in Untitled as if they were the remnants of distant memories. Rosa, who participated in the revival of stone sculpting which occurred in Portugal in the 1980s, introduced in this work decidedly modern processes such as using an electric saw, sectioning and juxtaposing the different parts and using a quasi-schematic rudimentary modelling of the surfaces that deprive the piece of any naturalist intentions.
Rosa, Artur
Artur Rosa (Lisboa, Portugal, 1926 - Lisboa, Portugal, 2020)Sem título, 1973- Untitled, 1973
- Acrylic, collage and silver paper on chipboard
- 50 x 50 x 3.1 cm
- Coll. Portuguese State Secretariat of Culture, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 1990
- From 1965 onwards, the artistic practice of architect and artist Artur Rosa was defined by geometric abstraction and an exploration of the aesthetics of optical effect. Based on the decomposition of movement through the use of painting and collage, this untitled work is structured by geometric shapes that move within the field of the painting, creating dynamic compositional grids and luminous folds, as well as a game of balance between fullness and the void, interior and exterior, colour and deletion.
Rosado, António Campos
Sem título, 1986- Untitled, 1986
- Limestone
- 160 x 100 x 100 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 1989
- In this untitled work, António Campos Rosado has sculpted six heads out of six different stone blocks combining them with the remaining fragments. Piled up in a corner in a way reminiscent of 'Fat Corner' (1968) by Joseph Beuys, who was Rosado’s teacher in the 1970s, their random accumulation, resembles the remains of a memorial whose meaning has been lost in its current condition of ruin. Part of the renewal of Portuguese sculpture in the first half of the 1980s, this work marks a critical and unapologetic response to the legacy of Portuguese celebratory statuary promoted during the long years of the dictatorship (1933-74) through a return to and revision of the tradition of carved sculpture.
Rosler, Martha
Semiotics of the Kitchen, 1975- Video (VHS), b/w, sound, 4:3, 6’25", PAL
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- In ‘Semiotics of the Kitchen’, Martha Rosler resorts to satire to introduce a harsh criticism of the mercantilized version of the traditional role of women in modern societies. Appearing as the host of a culinary TV show, the artist introduces each utensil in the domestic space of the kitchen through an alphabetical progression, replacing their domestic meaning with a lexicon of rage and frustration in her violent and abrupt way of interacting with them.Martha Rosler’s work focuses mostly on media as video, installation or performance, through which she explores concerns linked to the public sphere, to everyday life or to media-mythified narratives from a feminist perspective.
Roth, Dieter
Dieter Roth (Hannover, Alemanha, 1930 - Basileia, Suíça, 1998)P.O.T.A.A. VFB, 1969- Chocolate, birdseed, wood. Ed. 3/30
- 22.5 x 24.9 x 23.1 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- The use of chocolate in Dieter Roth’s works was so frequent, complex and varied that the Swiss artist may be credited with transforming that substance into a new artistic medium. Indeed, no other material is as associated with his name as this one. Roth liked chocolate because of its aroma and the childhood memories it brought back. He also liked the constant changes seen on its surface almost immediately after being in contact with the air, which for him was an eloquent sign of the transitory character of matter. Made in a mix of chocolate and birdseed, and offered together with a broom handle and a wooden plaque, the busts were meant to be installed in gardens and eaten by birds until they vanished. Photographs of the time show a bust that has already been partly eaten standing on a pedestal improvised with those materials in the garden of a collector.The work’s polyglot title is the acronym for ‘Portrait of the Artist as a Vogelfutterbüste’ [birdseed bust]. It is possible to read in it a double allusion to James Joyce’s famous novel 'Portrait of the Artist as a Young Man', which Roth considered sentimentalist, and to Marcel Duchamp’s famous assisted readymade that associates a reproduction of Leonardo da Vinci’s Mona Lisa (adorned with a goatee and a moustache) with the caption L.H.O.O.Q. (which in French phonetics is equivalent to the phrase ‘elle a chaud au cul’ [she has a hot ass]).The perishable nature of the material out of which this work is made raises problems for conservation, which Roth anticipated. While the artist instructed collectors and museum curators that under no circumstances should they restore the work to its original state, he encouraged the efforts to preserve it and even proposed concrete solutions.Influenced by concrete poetry, Nouveau Réalisme and Fluxus, Dieter Roth’s practice resists any classification. The extensive variety of media and materials used throughout his career demonstrates a clear rejection of the traditional values and categories of art. Very often he included food in his sculptures: cheese, chocolate, bread. His intention was to allow organic objects to decompose, making time visible, but he was also interested in the factor of chance: works should develop according to the conditions under which they were kept.
Dieter Roth (Hannover, Alemanha, 1930 - Basileia, Suíça, 1998)Über Meer, 1969- Over the sea, 1969
- Metal, plaster, soft cheese. Ed. 1/10
- 18.5 x 32.5 x 32.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2007
- 'Über Meer' [Over the Sea] resembles a ‘pyramid’ made of several square pieces of cheese stacked up in increasingly smaller layers. Its form is reminiscent of the Sumerian temples of antiquity found in the territory and adjacent areas of today’s Iraq, of which the biblical Tower of Babel is the most renowned example. Dieter Roth often used materials that are unusual in an artistic context, such as foodstuffs, whose organic nature and perishability defied the boundaries of sculpture and the concepts traditionally associated with it, such as permanence and immutability. With time, 'Über Meer' transformed: subject to temperature, the soft cheese melted and eventually bound together the different layers of the pyramid whereas the growth of mould ended up solidifying in a state of decomposition. Both situations confer an unexpected and ironic firmness on the fluid and changeable material chosen by the artist.Influenced by concrete poetry, Nouveau Réalisme and Fluxus, Dieter Roth’s practice resists any classification. The extensive variety of media and materials used throughout his career demonstrates a clear rejection of the traditional values and categories of art. Very often he included food in his sculptures: cheese, chocolate, bread. His intention was to allow organic objects to decompose, making time visible, but he was also interested in the factor of chance: works should develop according to the conditions under which they were kept.
Dieter Roth (Hannover, Alemanha, 1930 - Basileia, Suíça, 1998)Selbstbild als Topfblume, 1971- Self-Portrait as Flower Pot, 1971
- Planographic print, 24 colours, 11 different printing techniques, hand-made paper and Dieter Roth’s watermark. Ed. 70/110
- 76 x 98.4 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2002
- In 'Selbstild als Topfblume' [Self-portrait as a Flower Pot] Roth establishes an exemplary opposition to the clichés linked to the mechanical techniques of image production. Playing with the idea of the multiple, the artist resorts to a succession of printing techniques whose end result he is unable to foresee and which question his role as the author. However, ironically, he also resorts to manual means - the paper is homemade - and to powerful authorial signs - the work bears his watermark and is announced as a self-portrait. Dieter Roth is known for his use of non-conventional materials, such as chocolate, cheese and salami, among other degradable substances. Such variety of supports, accentuated by the profusion of his artistic media of choice - painting, sculpture, drawing and print - represents a constant challenge to and demonstrates an outright refusal of the traditional values and categories of art, namely its supposedly timeless and eternal nature. Printing, with which Roth worked exhaustively, was the ideal medium to let randomness express itself thus imposing the artwork as a sign of transitoriness and undermining all notions of authorship.
Ruscha, Ed
Ed Ruscha (Omaha, EUA, 1937)Acting Silly, 1974- Blueberry on moiré silk
- 91.4 x 101.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- Working on the metaphorical interaction between the shape of words and their linguistic meaning, 'Acting Silly' displays a series of letters, arranged in parallel diagonals painted in blueberry extract. This painting showcases two essential features of Ruscha’s work: the use of uncommon materials as pictorial matter and the mediation between word and image, the letters apparently following the playful suggestion of the work’s title.Resorting to painting, photography or artist books, Edward Ruscha explores the banality of modern life and the torrent of images and information confronting us every day. After experimenting with abstract expressionism, his subsequent work dealt mainly with the combination of the verbal and the visual - a result of his initial interest in the graphic arts -, finding inspiration in American vernacular culture, its landscapes and the imagery of popular culture.
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