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Varejão, Adriana
Adriana Varejão (Rio de Janeiro, Brasil, 1964)O obsessivo, 2004- The Obsessive, 2004
- Oil on canvas
- 280 x 225 cm Profundidade 4 cm
- Coll. P. O. P., long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 2012
- Adriana Varejão works in a variety of media, including painting, photography, sculpture, and installation. Her visual and conceptual language is inspired by art history and architecture, and her country’s colonial past.Varejão came into prominence in the 1990s with her provocative large-scale paintings featuring Portuguese ceramic tiles.The dramatic titles of these works are in stark contrast to the seemingly minimalist nature of her paintings.
Vieira, Pires
(Des)Construções, 1973 - 1974- (De)Constructions, 1973 - 1974
- Enamel on raw cotton, sisal rope, cotton canvas (4 elements)
- Dimensions variable
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- The simple geometric forms of '(Des)Construções' [(De)Constructions] reveal the artist’s interest in the study of the essential structures of painting in order to deconstruct its constitutive elements: colour, forms, perspective, the figure-background relationship, seriality and repetition. The cotton canvases, on which a small, enamel painted square crossed by sisal rope is repeated, are shown unframed, simply hanging or placed on the floor. Pires Vieira separates the painting from the wall and gives it a three-dimensional quality, a condition that questions the boundaries between painting and sculpture. After studying architecture and urbanism in Paris and Vincennes, Pires Vieira’s early work was produced under the influence of American minimalism and the French Support-Surface movement, as the artist researched painting as an objective and material thing. From the 1990s onwards the researching of issues linked to subjectivity, to lived experience and to memory took on an importance that nevertheless includes a rigorous, analytical approach based on the surveying of forms, the simplifying of the figure and the systematic fragmentation of the body.
Vieira, Ana
Ana Vieira (Coimbra, Portugal, 1940 - Lisboa, Portugal, 2016)Ambiente, 1972- Environment, 1972
- Tubular metalic structure, nylon wesh with spray painting, carpet, furniture, lamp, personal objects, cotton, earth, artificial plant, flowers and fruits
- 250 x 900 x 340 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2002
- Ana Vieira belongs to the first generation of Portuguese artists who, during the 1960s, challenged the central place of traditional media of painting and sculpture. Early in her career, the artist began to focus on domestic space, and the permeability between inside and outside that is inherent to it, as the main theme of her work. Vieira’s objects and installations question concepts and stereotypes around the role of the house. In order to be fully experienced, they coax the viewer to move in the museum and gallery space, thus countering his/her traditionally passive attitude.'Ambiente' belongs to a series of three environments that the artist showed between 1971 and 1973. The first, titled 'Sala de jantar (Ambiente)' [Dining Room (Environment)] was exhibited at Galeria Quadrante, in Lisbon; the second' (Ambiente)' was presented in 1972 at Sociedade Nacional de Belas-Artes, also in Lisbon; and the third - the one at hand - was shown for the first time in 1972, at Galeria Ogiva, in Óbidos, having been modified in the following year for an exhibition at Ar.Co, in Lisbon. The large scale, the use of translucent materials (curtains and mesh) and the interdiction of physical access into the objects they guard - namely furniture, and pieces from the heavy tradition of the fine-arts, such as a Venus de Milo and still lifes functioning as signs of domesticity - are some of the features shared by the group of works in this series. According to Vieira, large scale was essential to also involve the body of the viewer, to make him/her see with the whole body.Curtains, on which are painted partitions, a door and a window, delimit an interior space, which a few pieces of furniture (a writing desk, a chaise-longue, a column for plants, a hanger and a lamp) and decorative and personal objects configure as a dwelling space. Cotton clouds hanging from the ceiling, apples scattered on the ground, flowers and a small pile of earth sharing the space with them create a transfusion between inside and outside, which the simulated character of the door and window counters. If, as stated by fellow artist Salette Tavares, ‘the real house in which we live has windows, which bring the outside inside, and doors, which allow us in laden with the outside, and let us out laden with the inside laced with pieces of the outside’, in this one the umbrella on the hanger, a sign of traffic between outside and inside, is as prevented from leaving as the viewer is from entering.Only the curtains-walls allow viewers to glimpse the domestic interior, from which they are excluded, as the object-environment can only be penetrated visually and, even then, not fully. In the space of the museum or gallery viewers are permanently exposed to other viewers, all of them voyeurs, in vain trying to see in. As justly remarked by Portuguese author Maria Filomena Molder, one cannot play, one is not asked to participate. Ambiente excludes the gaze; if it is a house, it is an impertinent house.
Võ, Danh
Danh Võ (Bà Ria, Vietname, 1975)We the people (detail), 2011- Copper
- 202 x 300 x 80 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2013
- The circulation of ideas and ideologies and the questioning of authorship and authenticity are features of Danh Võ’s subtle yet eloquent work, where migration and cultural displacement are recurring themes.We the People (detail) - whose title quotes the first three words of the Constitution of the United States - is part of a project about the Statue of Liberty that began in 2010. Impressed by the fragility of the copper sheet surface covering the monument’s steel structure, Võ commissioned a 1:1 scale replica of the cladding. The purpose was not to build a new statue but, in a gesture of appropriation, to reconstruct its more than 250 individual elements and to disperse them across different collections throughout the world. Võ’s fragments underscore the abstract nature of the universal symbolism of the statue and invite us to experience this world famous icon on a human scale, and to reflect on the meaning of liberty from multiple perspectives.
Danh Võ (Bà Ria, Vietname, 1975)Fabulous Muscles, 2013- Cardboard, gold leaf, ink
- 35 x 33.5 x 52 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2013
- 'Fabulous Muscles' draws on contemporary forms of commodity production and circulation. On what appears to be a simple cardboard box of worldwide-distributed Budweiser beer, the artist had the name of the brand printed in gold leaf by a Thai workshop. The calligraphic text ? an excerpt of the lyrics of a song featured on the album Fabulous Muscles by North American group Xiu Xiu ? was written by Danh Võ’s father, Phung Võ. Formally recalling Andy Warhol’s famous Brillo Boxes, the work addresses the displacement and precariousness that defines labour conditions in our time through strictly personal references. Frequently comprised of documents, photographs, found objects or appropriated works by other artists, Võ’s oeuvre sets out a radical inquiry on the protocols of legitimation, authorship and authenticity, and the circulation of ideas and ideologies in a compelling fusion of personal experience and collective history.
!VON CALHAU!
Avesso, 2011- Reverse, 2011
- Film 16 mm transferred to video, colour, sound, 19'15''
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto. Work comissioned for the 2011 edition of the Sonae|Serralves Project. Acquisition 2012
- !Von Calhau! is an artist duo composed of Marta Baptista and João Alves. Baptista and Alves produce music, perform at galleries, and conceive and make silent 16 mm films for which they often provide live musical accompaniment. Their films narrate stories of paranormal and esoteric activities related to the psychedelic, the occult and mysticism. In 'Avesso' [Reverse], the artists present themselves as second-rate professionals, dressed in animal-print suits, emphasizing the position of the amateur, and the deliberately improvised. This concern with energy liberation is visible in the artists’ interest in volcanoes and quarry blasts. In this film, !Von Calhau! confront the viewer with melodramatic and delirious acts, trances, and expressions of esotericism. For this pair, realism is tiresome.
Vostell, Wolf
Wolf Vostell (Leverkusen, Alemanha, 1932 - Berlim, Alemanha, 1998)Erdbeeren, s.d.- Strawberries, s.d.
- Cut-out lead plate stitched to b/w photograph framed in painted plywood mounted in a lead box
- 56.5 x 79.8 x 12.5 cm
- Coll. Portuguese State Secretariat of Culture, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 1990
- 'Erdbeeren' [Strawberries] originated in one of the series of street actions that Wolf Vostell started in 1958 aiming at tearing down the barriers between art and life. The happening consisted of a bus circulating on the streets of Berlin for three days; the vehicle was completely clad in lead and communication with the outside was only possible by television monitors mounted on the sides of the bus showing a live transmission of what happened inside it: a strawberry plantation trying to survive in an environment deprived of natural light or air. In the street, Vostell interviewed Berliners about what pleased them most in the city. 'Erdbeeren' is a metaphor for Berlin life in those years: conditioned, isolated and divided by a wall that constituted the most visible manifestation of the political-ideological iron curtain that separated the West and the East from the end of the war until 1989.
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