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José Bechara

José Bechara (Rio de Janeiro, Brazil, 1957) works on a wide field of research such as space, volumetry, surface, composition showing the result of his investigation through a series of work using painting, drawing, sculpture, photography and installation. The artist often reuses truck canvas tarps, manipulates oxides of carbon, copper and steel to produce diptychs, triptychs or polyptics with different intensities exploring cores, lines and patterns.

The artist had shown his work in various institutions such as: Eva Klabin Foundation, Brazil; Culturgest, Portugal, MEIAC, Spain; Valencian Institute of Modern Art, Spain; MAM Rio de Janeiro, Brazil; Tomie Ohtake Institute, Brazil; Ludwig Museum, Germany, Haus der Kulturen der Welt, Germany; Ludwig Forum Fur Intl Kunst, Germany, and Calouste Gulbenkian Foundation, Portugal, among others. He is represented in several collections such as MAM RJ, Gilberto Chateaubriand Collection, Brazil, Center Pompidou, France, Pinacoteca do Estado de São Paulo, Museu Brasil or Ludwig (Koblenz), Germany.

Operações Mínimas, 2018
Acrylic, carbon and steel oxidation on tarp, 50 x 35 cm
Operações Mínimas, 2018
Acrylic, carbon and steel oxidation on tarp, 50 x 35 cm
Operações Mínimas, 2018
Acrylic, carbon and steel oxidation on tarp, 50 x 35 cm
Untitled, 2018
Acrylic, carbon and steel oxidation on tarp, 140 x 125 cm

Carla Cabanas

Carla Cabanas’s (Lisboa, 1979) work revolves around the methodologies of stretching the defined borders of the photography medium while dwelling on the issues of collective and cultural memory. She has presented her work in numerous solo and group exhibitions including MAAT Museu de Arte, Arquitectura e Tecnologia, Lisbon (2020); Balcony Contemporary Art Gallery, Lisbon (2020); Museu Coleção Berardo, Lisbon (2020); Aa Collections Gallery, Vienna (2019); Sternstudio Gallery, Vienna (2019); Arquipélago – Centro de Artes Contemporâneas, Ribeira Grande, Açores (2019); Museu Coleção Berardo, Lisboa (2019); Biennale de l’Image Tangible, Paris (2018); Grimmmuseum, Berlin (2018); Centre D’art Contemporain, Meymac, France (2018); GlogauAIR, Berlin (2018); Fundação Eugénio de Almeida, Évora (2017); Gallery Carlos Carvalho – Arte Contemporânea, Lisbon (2017); Castello Visconteo Di Legnano, Milan, Italy (2017); Panal 361, Buenos Aires, Argentina (2017); Ox Warehouse, Macau, China (2016); Carpe Diem Arte e Pesquisa, Lisboa (2015); Lisbon Municipal Photographic Archive, Lisbon (2014); City Museum, Lisbon (2014); 7ª Biennial São Tomé e Príncipe (2013); National Museum of Natural History and Science, Lisbon (2012); Círculo de Bellas Artes, Madrid (2012) and CCCB – Centre de Cultura Contemporània de Barcelona (2009).

Her work is held in prominent collections, including the National Gallery of Art Washington, DC; Luso-American Development Foundation (FLAD), Lisbon; LPS Collection (Stanislas y Leticia Poniatowski), Colección Kells, Santander; PLMJ Foundation Collection, Lisbon; Novo Banco Art Collection, Lisbon; Banque Privée Edmond de Rothschild Europe, Lisbon; Lisbon City Hall, Lisbon; Figueiredo Ribeiro Collection, Lisbon; Marín Gaspar Collection, Lisbon; José Carlos Santana Pinto Collection, Lisbon; and other private collections.

“I don’t trust myself when I’m sleeping II”, in addition to scratching the images with the scalpel, Cabanas experiments with gold leaf, inspired by the Japanese restoration technique Kintsugi, about which she acquired practical knowledge in 2017.

I Don't Trust Myself When I'm Sleeping II - Sometimes it's so hard to see, 2018-2020
Gold leaf (22k) and intervention
on color photographs, 20 x 24 cm (70 x 60 cm [framed])
I Don't Trust Myself When I'm Sleeping II - You
haven't been lucky at all, 2018-2020
Gold leaf (22k) and intervention
on color photographs, 20 x 24 cm (70 x 60 cm [framed])

The project “I don’t trust myself when I’m sleeping”, currently with two parts, gives continuity to the artist’s enquiries about the places of memory and photography in the construction of identity narratives. Using photographs from family albums bought at flea markets, as is already customary in her practice, the artist finds in them the ideal support to mould the images and characters of her personal history, images that cross the barriers of sleep and wakefulness, experience and memory. In addition to the usual affection with which Carla Cabanas treats the anonymous photographs that she uses in her work, this time she also introduces irony and satire, in the way she stripes and obliterates parts of the original image, populating them with new characters and new senses.

“I don’t trust myself when I’m sleeping II”, in addition to scratching the images with the scalpel, Cabanas experiments with gold leaf, inspired by the Japanese restoration technique Kintsugi, about which she acquired practical knowledge in 2017. Kintsugi is a century-old method of ceramic repair, which consists of gluing the broken piece with Urushi natural lacquer and covering the cracks resulting from the gluing with gold. The aim, in making these cracks evident, is to give value to faults and physical changes in objects, caused by time or accidents.Carla Cabanas’ artistic work is permeated by her wonderings about how we come to build our own identity; how experiences, even the more prosaic ones, are inscribed in the fabric of our existence and how memory consolidates our personal narratives.

I Don't Trust Myself When I'm Sleeping II - Our lips
are sealed, 2018-2020
Gold leaf (22k) and intervention
on color photographs, 43,5 x 48,5 cm [framed]
I Don't Trust Myself When I'm Sleeping II - We are
all hunters, 2018-2020
Gold leaf (22k) and intervention
on color photographs, 43,5 x 48,5 cm [framed]
I Don't Trust Myself When I'm Sleeping II - Games
that she likes to play, 2018-2020
Gold leaf (22k) and intervention
on color photographs, 43,5 x 48,5 cm [framed]
I Don't Trust Myself When I'm Sleeping II - Don't
take that path, 2018-2020
Gold leaf (22k) and intervention
on color photographs, 43,5 x 48,5 cm [framed]

For Maria Condado (Lisboa, Portugal, 1981) landscape is not only a pictorial field of research but also a political and a social one. The artist freewheeling painting style, with its different layers of abstract fluid and vibrant colors, pretends to understand landscape as a cultural construction, a product of cultures, experiences that reveal ways of seeing the world. The artist has exhibited widely in group and in solo exhibitions throughout the country namely A Play of Boundaries (Carlos Carvalho, Lisbon, 2018), Uma loja, cinco casas, uma escola (Casa Bernardo, Caldas da Rainha, 2016), Ensaios sobre a (in)flexibilidade do natural – parte 2 (Ministério do Ambiente, Lisboa, 2014), Onde é a China?, (Museu do Oriente, Lisboa, 2016), 16º Programa de Exposições (Carpe Diem Arte e Pesquisa 2009), Hangart 7, (Salzburg, Áustria, 2009), Vestígio (Pavilhão 28, Hospital Júlio de Matos, Lisboa, 2005) and II Rothschild Bank Painting Prize Finalists Exhibition – Palácio das Galveias, Lisbon. Her works are held in numerous public and private collections such as PLMJ Foundation, Lisbon, Grupo RAR, Porto.“Hortus” is the name of her artist book edited in 2016 by Stollen Books, Lisbon.

Folha, 2020/2022
Acrylic and oil on canvas, 120 x 180 cm
Mar alto, 2021
Acrylic and oil over canvas, 150 x 115 cm

For Maria Condado (Lisboa, Portugal, 1981) landscape is not only a pictorial field of research but also political and social. The artist freewheeling painting style, with its different layers of abstract fluid and vibrant colors, pretends to understand landscape as a cultural construction, a product of cultures, experiences that reveal ways of seeing the world. The artist has exhibited widely in group and in solo exhibitions throughout the country namely A Play of Boundaries (Carlos Carvalho, Lisbon, 2018), Uma loja, cinco casas, uma escola (Casa Bernardo, Caldas da Rainha, 2016), Ensaios sobre a (in)flexibilidade do natural – parte 2 (Ministério do Ambiente, Lisboa, 2014), Onde é a China?, (Museu do Oriente, Lisboa, 2016), 16º Programa de Exposições (Carpe Diem Arte e Pesquisa 2009), Hangart 7, (Salzburg, Áustria, 2009), Vestígio (Pavilhão 28, Hospital Júlio de Matos, Lisboa, 2005) and II Rothschild Bank Painting Prize Finalists Exhibition – Palácio das Galveias, Lisbon. Her works are held in numerous public and private collections such as PLMJ Foundation, Lisbon, Grupo RAR, Porto.“Hortus” is the name of her artist book edited in 2016 by Stollen Books, Lisbon.

Espiral, 2022
acrylic and oil on canvas, 120 x 150 cm
Sol 1, 2022
Watercolor, acrylic, crayon and ink on paper, 70 x 100 cm
Sol 2, 2022
Watercolor, acrylic, crayon and ink on paper, 70 x 100 cm
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