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Pires Vieira (Porto, 1950) studied at the National School of Fine Arts in Paris and at the University of Paris VIII in the early 1970s and lives and works in Estoril. He exhibited individually on around 45 occasions and participated in around 75 group exhibitions. Among his solo exhibitions stand out Pires Vieira Antológica, 'From painting to painting, at MNAC/Chiado and at the Carmona e Costa Foundation; 'Faites vos jeux, Rien va Plus' at Sala do Veado at MNHN; 'Like a Painting - Up Close... It is a Big Mess', at Appleton Square, Lisbon; Pires Vieira, in the White Pavilion of the City Museum; 'Talk to Me', at CAM-Fundação Calouste Gulbenkian, 'Geometries' at the Foundation (Communications Museum. Of the collectives in which he participated, the following stand out: 'Stories: Works from the Serralves Collection', Serralves Museum; 'Permanent Exhibition (1969/2010), Berardo Museum, CCB; 'One Path, Two Directions', at MNAC/CHiado; 'Language and Experience', at the Palácio do Egipto Cultural Centre, at the Grão Vasco Museum and at the Aveiro Museum; 'Alternativa Zero', at the National Gallery of Modern Art, organized by Ernesto de Sousa. In addition to his work as a visual artist, he collaborates in the editorial production of several works linked to contemporary art collecting and curated, in co-authorship with Lúcia Marques, the exhibition 'Outras Zonas de Contacto' at the Pavilhão Preto of the Museu da Cidade and at the Carmona e Costa Foundation. He is represented in numerous collections such as: CAM-Fundação Calouste Gulbenkian, MNAC/Chiado, Culturgest/CGD, Colecção/Museu Berardo, Fundação/Museu de Serralves.

A Construção da Pintura, 2019
Vídeo
From the series 'motivos de queixa', 2020/21
Oil on canvas, with frost acrylic, laser cutting lettering, 56 x 51 cm
From the series 'motivos de queixa', 2020/21
Oil on canvas, with frost acrylic, laser cutting lettering, 56 x 51 cm

While painting constitutes Pires Vieira’s main body of reference, his art integrates the joint potential of other disciplines, inserting itself into an area of exploration open to the premises of the materiality and three-dimensionality of sculpture and the spatialisation of installation. These coordinates are particularly visible in the first section of the exhibition, composed of a set of pieces that reinforce the physical, objectual presence of the painting and that, instead of presenting a single object, constitute a community of elements. Using processes of accumulation and overlapping of paintings and readymade objects, the pieces are combinatory interventions whose parts establish dialogical relationships. Series of works such as Sem título (2018–19) demonstrate how painting is liberated from its natural space of suspension, placed on the floor or propped up against the wall, arranged in an interactive way with other works and various objects of an extraartistic nature. A thick, textured oil painting of expressionist plasticity is reconciled with industrially produced materials, which refer both to the domestic sphere and civil construction, and to various aesthetic values and uses: household appliances, industrial palettes, stepladders, shovels, and bags of charcoal. They are concrete signs of an as yet undefined universe, a speculative complement to the work, that deny it the conclusion of the process and definition of meaning. Pires Vieira collects, selects, accumulates, arranges, and combines objects on the floor, forming a non-hierarchical compositional game of elements of a diverse nature, exploring possibilities of articulation of meaning based on the physical characteristics of the materials used—their volumes and scales—and on the dialogue with the surrounding space. In this sense, his work involves the concept of display as a way of highlighting the objects, increasing awareness of the act of presentation. The result of this exercise of assembly is the creation of organic, informal, provisional, precarious compositions of elements that evoke processes of storage—in which the exhibited paintings, standing out from the wall, do not obey a conventional or solemn presentation. Hence, what is highlighted in these works is neither the act of painting nor the objectual presence of painting. Rather, its mode of action and operation incorporates a dimension of performativity in the artistic practice of the author. This dimension, inherent to the artist’s processes of assembly and installation in the space, is also—together with the conceptualisation and appropriation of references—an expansion of the effect of the work that prolongs its appreciation: it proves to never just be a passing visit and conference, as it also is an enduring projection and resonance, thus contributing to the sensation of an experience of long linkages rather than a trajectory of successive hermetic revelations.

As inúmeras possibilidades da pintura, Sandra Vieira Jürgens

 

 

From the series "who is afraid. of..", 2013/14
Oil on canvas, 70 x 100 cm
From the series "un image peut en cacher un autre", 2011
Oil on paper, 70 x 100 cm
From the series "geometrias III", 2021
Oil on canvs glued on wood, 70 x 70 cm
From the series "geometrias III", 2021
Oil on canvs glued on wood, 70 x 70 cm
From the series "geometrias III", 2021
Oil on canvs glued on wood, 70 x 70 cm
From the series 'geometrias II', 2017/22
oil on canvas, 180 x 152 cm 
From the series 'geometrias II', 2017/22
Oil on canvas, 180 x 152 cm 
Series  'une image peut en cacher une autre', 2011
Oil on paper, 70 x 100 cm
Series 'une image peut en cacher une autre', 2011
Oil on paper, 70 x 100 cm
Series 'irregular polygons over a monet painting', 2009/11
Oil on paper, 70 x 84 cm
Series 'irregular polygons over a monet painting', 2009/11
Oil on paper, 70 x 84 cm
Series who is afraid of', 2013
Oil and acrylic on paper, 70 x 100 cm

Pires Vieira began exhibiting at the end of the 1960s, and has since developed an artistic practice focused on the expansion of the pictorial field. Pursuing the movement of Conceptual art that emerged at the beginning of his career, the artist continued to experiment with a bold questioning of the canonical characteristics of the field of painting, proposing the reinvention of its philosophy as a discipline and the continuous construction and deconstruction of the norms and conventions established around the practice. In this way, he altered and re-established the limits of the art he created, finding new meanings, in addition to conceptual and formal possibilities, to develop his work.
As inúmeras possibilidades da pintura, Sandra Vieira Jürgens

From the series 'faites vos jeux rien va plus, '2009/00
Oil and silkscreen on canvas and acrylic box
52 x 122 cm
From the series 'faites vos jeux rien va plus, '2009/00
Oil and silkscreen on canvas and acrylic box
52 x 122 cm
From the series 'faites vos jeux rien va plus, '2009/00
Oil and silkscreen on canvas and acrylic box
52 x 122 cm
From the series 'faites vos jeux rien va plus, '2009/00
Oil and silkscreen on canvas and acrylic box
52 x 122 cm
From the series 'faites vos jeux rien va plus, '2009/00
Oil and silkscreen on canvas and acrylic box
52 x 122 cm
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