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Tavares, Salette
Salette Tavares (Maputo, Moçambique, 1922 - Lisboa, Portugal, 1994)Alquerubim, 1979- Etching on aluminium
- 100 x 100 cm
- Coll. Portuguese State Secretariat of Culture, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 1990
- ‘Alquerubim’ consists of an aluminium sheet engraved with a poem, in which the word ‘alquerubim’ can be read vertically and horizontally in a succession of eleven lines. Its anagrammatic, combinatory construction and the line breaks in the repetition of the word potentiate the poetical charge of this text-object, opening it up to multiple readings as a dynamic and relational structure.Salette Tavares was a central figure in the Portuguese Experimental Poetry of the 1960s and 70s, a movement that explored the potential of the poetic text as a visual body. Her oeuvre departs from literary activity towards an intersection with visual practice in the exploration of three-dimensionality in poetry, that translates into the production of objects which appeal to a whole semantic and aesthetical field in their relationship with the viewer.
Thek, Paul
Paul Thek (Brooklin, EUA, 1933 - Nova Iorque, EUA, 1988)Golden Web, 1975- Acrylic paint on newspaper
- 58 x 84.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1998
- Paul Thek’s paintings clearly reflect the intention of imposing artistic production as the expression of the transitory nature of life, an intention here particularly reinforced by the use of newsprint paper as surface. Thek started painting on newspaper in 1969, a method that he continued to use, with occasional pauses, until the end of his life. On these two pieces of newspaper, the artist has painted elements that we associate with fragility and natural degradation: a spider web, sketched over a monochrome background, and a potato, a humble and unusual object as the protagonist of painting, whose protuberances suggest that it is already rotting.
Tillim, Guy
Guy Tillim (Pretória, África do Sul, 1962)City Hall, Lubumbashi, DR Congo, 2007- Archival pigment ink on cotton paper. Ed. 6/9
- 91.5 x 131.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2009
- Guy Tillim is one of the most important artists working with photography in South Africa today. His documentary projects are of visual and historical strength, and create testimonies to the social conflict and inequalities prevailing in South Africa. This group of photographs is part of a series entitled Avenue Patrice Lumumba. Taken by the artist in five African countries ?, Angola, Benin, Congo, Ghana, Mozambique ?, two of them are former Portuguese colonies. The artist states: ‘How strange that modernism, which eschewed monument and past for nature and future, should carry such memory so well. [?] In the frail of this strange and beautiful hybrid landscape struggling to contain the calamities of the past fifty years, there is an indisputably African identity. This is my embrace of it.’
Guy Tillim (Pretória, África do Sul, 1962)Library, sports club, Kolwezi, DR Congo, 2007- Archival pigment ink on cotton paper. Ed. 6/9
- 91.5 x 131.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2009
- Guy Tillim is one of the most important artists working with photography in South Africa today. His documentary projects are of visual and historical strength, and create testimonies to the social conflict and inequalities prevailing in South Africa. This group of photographs is part of a series entitled Avenue Patrice Lumumba. Taken by the artist in five African countries ?, Angola, Benin, Congo, Ghana, Mozambique ?, two of them are former Portuguese colonies. The artist states: ‘How strange that modernism, which eschewed monument and past for nature and future, should carry such memory so well. [?] In the frail of this strange and beautiful hybrid landscape struggling to contain the calamities of the past fifty years, there is an indisputably African identity. This is my embrace of it.’
Guy Tillim (Pretória, África do Sul, 1962)Typists, Likasi, DR Congo, 2007- Archival pigment ink on cotton paper. Ed. 6/9
- 91.5 x 131.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2009
- Guy Tillim is one of the most important artists working with photography in South Africa today. His documentary projects are of visual and historical strength, and create testimonies to the social conflict and inequalities prevailing in South Africa. This group of photographs is part of a series entitled Avenue Patrice Lumumba. Taken by the artist in five African countries ?, Angola, Benin, Congo, Ghana, Mozambique ?, two of them are former Portuguese colonies. The artist states: ‘How strange that modernism, which eschewed monument and past for nature and future, should carry such memory so well. [?] In the frail of this strange and beautiful hybrid landscape struggling to contain the calamities of the past fifty years, there is an indisputably African identity. This is my embrace of it.’
Guy Tillim (Pretória, África do Sul, 1962)Administration office, Kolwezi, DR Congo, 2007- Archival pigment ink on cotton paper. Ed. 6/9
- 91.5 x 131.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2009
- Guy Tillim is one of the most important artists working with photography in South Africa today. His documentary projects are of visual and historical strength, and create testimonies to the social conflict and inequalities prevailing in South Africa. This group of photographs is part of a series entitled Avenue Patrice Lumumba. Taken by the artist in five African countries ?, Angola, Benin, Congo, Ghana, Mozambique ?, two of them are former Portuguese colonies. The artist states: ‘How strange that modernism, which eschewed monument and past for nature and future, should carry such memory so well. [?] In the frail of this strange and beautiful hybrid landscape struggling to contain the calamities of the past fifty years, there is an indisputably African identity. This is my embrace of it.’
Guy Tillim (Pretória, África do Sul, 1962)Grande Hotel, Beira, Mozambique, 2008- Archival pigment ink on cotton paper (diptych). Ed. 6/9
- 91.5 x 131.5 cm (each)
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2009
- Guy Tillim is one of the most important artists working with photography in South Africa today. His documentary projects are of visual and historical strength, and create testimonies to the social conflict and inequalities prevailing in South Africa. This group of photographs is part of a series entitled Avenue Patrice Lumumba. Taken by the artist in five African countries ?, Angola, Benin, Congo, Ghana, Mozambique ?, two of them are former Portuguese colonies. The artist states: ‘How strange that modernism, which eschewed monument and past for nature and future, should carry such memory so well. [?] In the frail of this strange and beautiful hybrid landscape struggling to contain the calamities of the past fifty years, there is an indisputably African identity. This is my embrace of it.’
Toscano, Rui
Rui Toscano (Lisboa, Portugal, 1970)São Paulo 24/Set/2001, 2002- Video, colour, silent, 30’26’’ (loop)
- Coll. Fundação Luso-Americana para o Desenvolvimento, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Deposit 2005
- As the title indicates, São Paulo 24/Set/2001 is a video showing the Brazilian city of São Paulo on 24 September 2001. Shot from a single, fixed view, and shown on a flat screen, at first sight the video resembles a static photographic image. Closer viewing reveals the linear movement of automobiles moving amidst the dense cityscape. The video is played on a loop, as if to make the fragment of time captured by the artist eternal. Playing with the apparent static aspect of the image and the subtle movement it records, Toscano addresses with the theme of landscape inherited from the tradition of painting. In Toscano’s case, his representation is common to his time and reality.
Tropa, Francisco
Degraus, 2006- Step, 2006
- Moulding box, plaster cast, pressed soil
- Dimensions variable
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2009
- Despite the diversity of media that he has used, Francisco Tropa has refused to abandon the territory that is conventionally called ‘sculpture’. He has employed the conventions of sculpture, in particular casting and moulding systems, as a possible translation of the relations between the positive and negative, between male and female, and the tensions between mathematical objectivity and random occurrences. This work, as with several of his other recent projects, clearly combines an idea of sculpture ? the techniques, materials and objects that we immediately associate with that discipline (casting, bronze, plaster, mould) ? with a timeless dimension, that includes analysis of the relationship between man and death and his objective to leave a mark during his time on Earth. These dimensions of production and process are inherent to 'Degrau' [Step]. First shown in 2006 at the Galeria Quadrado Azul, the work relies on the know-how of a local craftsman who produced the piece using a locally-sourced fine earth, according to the artist´s instructions in the gallery at Serralves,. The remnants of this production, evidenced by the surrounding traces of dirt and the bucket of earth, contribute to an overall sense of interruption and incompleteness.
Tuttle, Richard
Light and Dark Green Circle, 1965- Painted wood
- 2.5 x 66 x 66 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- 'Light and Dark Green Circle' belongs to ‘Constructed Paintings’, a series of pictorial objects created by Tuttle between 1964 and 1965. Discarding the traditional form of the canvas and emphasizing sculptural form, these works are deliberately located between painting and sculpture. Mostly monochromatic, the uniform colour was obtained through an exhaustive process of juxtaposing layers of paint. In addition, Light and Dark Green Circle restructures the architectural space it is placed in to become a correlative element between the space and the viewer. The object does not represent, it occurs with a variety of possible symbolic evocations. Explicitly or implicitly, the circle is a recurring form in Tuttle’s work and, referring to Eastern philosophy, is the figuration of the dynamics that in the universe links the opposites and engenders reality. Within this dynamic, the coexistence of light and shadow is symbolized in Tuttle’s chromatic choice of light and dark green, allowing for all the declinations and vibrations of light that bring forth the rich and exuberant profusion of events and forms of reality. Characterized by modest scales and an almost fragile appearance, Tuttle’s works interact with space. By resorting to disparate and sometimes humble materials (canvas, thread, wood, wire, paper, paint, glue, fabric, etc.) in exploratory compositions, the artist carries out series and formal variations. In his exhibitions, Tuttle manipulates the architectural space in which they are displayed, breaking down the boundaries that separate the works from their surrounding area, and therefore changing the viewer’s perceptual awareness and aesthetic experience. For Richard Tuttle art is an exploratory search, capable of revealing things about life in ways that life cannot.
Tuymans, Luc
Luc Tuymans (Mortsel, Bélgica, 1958)Petrus & Paulus, 1998- Oil on canvas
- 118 x 86 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2000
- The painting 'Petrus & Paulus' is part of a group of works that refer to the Oberammergau Passion Play, a re-enactment of the crucifixion and resurrection of Christ. The play has been staged every ten years since 1634 by the inhabitants of the Bavarian village, to keep a vow for having been spared the bubonic plague. Tuymans recalls having watched the play with his parents in the 1970s. The reputation of Oberammergau was badly tarnished when Hitler attended the play and it became associated with Nazi propaganda and anti-Semitism.More than illustrating the importance of the two apostles in the life of Christ, the painting refers to their scenic attributes in the ritual story of Oberammergau, bringing theatre into painting through an idea of representation. As with most of Tuymans’ painting, Petrus & Paulus is based on pre-existing visual documentation, in this case stage images taken from the play. The apostles look at something that is happening outside the frame, something which remains beyond the viewers reach. That action, in which Peter and Paul participate only as observers, turns them into secondary characters, which contradicts the apparent protagonism conferred by their scale in the pictorial composition. The artist said that he tried to paint the two figures in the style of the old masters, thus recalling the concept of ‘authentic forgery’ and alluding implicitly to Han van Meegeren, the master forger of Vermeer’s paintings. Luc Tuymans is considered one of the most influential painters of his generation. His sparsely coloured and figurative works are usually painted from pre-existing imagery which includes photographs, films stills, and objects. The artist also often draws from contemporary history, as well as from the painterly traditions of Flemish painting.
Luc Tuymans (Mortsel, Bélgica, 1958)Oberammergau, 1999- Synthetic paint on vynil, helium
- Ø 210 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- Luc Tuymans’ work 'Oberammergau' is part of a group of works shown for the first time in the 1999 exhibition ‘The Passion’ at gallery Zeno X in Antwerp. Aside from two or three exceptions, the works in the exhibition refer to the Oberammergau Passion Play, staged every ten years since 1634 by the inhabitants of the Bavarian village, to keep a vow for having been spared the bubonic plague. Tuymans recalls having watched the play with his parents in the 1970s. The reputation of Oberammergau was badly tarnished when Hitler attended the play and it became associated with Nazi propaganda and anti-Semitism.The black rubber balloon depicts an equatorial band representing the shadowy façade of the theatre where the Passion play is enacted. Here, the spherical auditorium is represented by a convex form that excludes the viewer, as opposed to the inclusion of the audience in the original play. Taking the shape of an inflated sphere, the work is intended to create in the viewer a sense of estrangement, for it is accessible only from a distance, bringing to the painting the theatrical and ritualistic dimension that exists in the play.Tuymans is considered one of the most influential painters of his generation. His sparsely coloured and figurative works are usually painted from pre-existing imagery which includes photographs, film stills and objects. The artist also often draws from contemporary history, as well as from the painterly traditions of Flemish painting.
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