Gonçalo Barreiros / Works

Gonçalo Barreiros, Untitled, 2020. Painted zincor
Gonçalo Barreiros, Untitled, 2020. Painted zincor
Exhibition view: Gonçalo Barreiros + John Wood and Paul Harrison. 9-15 July 2020.
Exhibition view: Gonçalo Barreiros + John Wood and Paul Harrison. 9-15 July 2020.
Exhibition view: Gonçalo Barreiros, então aquilo que. Galeria Vera Cortês, 2021
Exhibition view: Gonçalo Barreiros, então aquilo que. Galeria Vera Cortês, 2021
Exhibition view: Gonçalo Barreiros, então aquilo que. Galeria Vera Cortês, 2021
Exhibition view: Gonçalo Barreiros, então aquilo que. Galeria Vera Cortês, 2021
Gonçalo Barreiros, Untitled, 2021. Painted and polished Zincor. 254 x 347 x 2,5 (approx) cm
Gonçalo Barreiros, Untitled, 2021. Painted and polished Zincor. 254 x 347 x 2,5 (approx) cm
Gonçalo Barreiros, Grains of space, 2020. Aluminium and painted iron. 100 x 620 x 830 cm
Exhibition view: O pequeno mundo, a partir da Coleção da Caixa Geral de Depósitos, curated by Sérgio Mah, Museu de Arte Contemporânea Nadir Afonso, Chaves, Portugal. (Photo: João Delmar)
Gonçalo Barreiros, Grains of space, 2020. Aluminium and painted iron. 100 x 620 x 830 cm
Exhibition view: O pequeno mundo, a partir da Coleção da Caixa Geral de Depósitos, curated by Sérgio Mah, Museu de Arte Contemporânea Nadir Afonso, Chaves, Portugal. (Photo: João Delmar)
Gonçalo Barreiros. Untitled, 2020. Painted metallic iron. 155 x 190 x 240 cm approx.
Exhibition view: O pequeno mundo, a partir da Coleção da Caixa Geral de Depósitos, curated by Sérgio Mah, Museu de Arte Contemporânea Nadir Afonso, Chaves, Portugal. (Photo: João Delmar)
Gonçalo Barreiros. Untitled, 2020. Painted metallic iron. 155 x 190 x 240 cm approx.
Exhibition view: O pequeno mundo, a partir da Coleção da Caixa Geral de Depósitos, curated by Sérgio Mah, Museu de Arte Contemporânea Nadir Afonso, Chaves, Portugal. (Photo: João Delmar)
Gonçalo Barreiros. Untitled, 2019. Painted stainless steel. 190 x 280 x 110 cm
Gonçalo Barreiros. Untitled, 2019. Painted stainless steel. 190 x 280 x 110 cm
Gonçalo Barreiros, Recomeço do Mundo, 2018 (detail). Painted stainless steel. Installation view
Gonçalo Barreiros, Recomeço do Mundo, 2018 (detail). Painted stainless steel. Installation view
Gonçalo Barreiros, Recomeço do Mundo, 2018 (detail). Painted stainless steel. Installation view
Gonçalo Barreiros, Recomeço do Mundo, 2018 (detail). Painted stainless steel. Installation view
Gonçalo Barreiros, Atacador / Shoe lace, 2015. Bronze, shoe lace and nails. 212 x 522 x 2,3 cm.Exhibition view: Canal Caveira, Cordoaria Nacional, Lisbon, 2015
Gonçalo Barreiros, Atacador / Shoe lace, 2015. Bronze, shoe lace and nails. 212 x 522 x 2,3 cm.Exhibition view: Canal Caveira, Cordoaria Nacional, Lisbon, 2015
Gonçalo Barreiros, Atacador / Shoe lace, 2015 (detail). Bronze, shoe lace and nails. 212 x 522 x 2,3 cm. Exhibition view: Canal Caveira, Cordoaria Nacional, Lisbon, 2015
Gonçalo Barreiros, Atacador / Shoe lace, 2015 (detail). Bronze, shoe lace and nails. 212 x 522 x 2,3 cm. Exhibition view: Canal Caveira, Cordoaria Nacional, Lisbon, 2015
Gonçalo Barreiros, Untitled, 2015. Painted iron, hose holder. 102 x 140 x 1100,5 cm
Gonçalo Barreiros, Untitled, 2015. Painted iron, hose holder. 102 x 140 x 1100,5 cm
Gonçalo Barreiros. Untitled, 2019. Painted iron. 10 x 120 x 13 cm
Gonçalo Barreiros. Untitled, 2019. Painted iron. 10 x 120 x 13 cm
Gonçalo Barreiros. Untitled, 2017. Painted iron. 2 × (43 × 14 cm)
Gonçalo Barreiros. Untitled, 2017. Painted iron. 2 × (43 × 14 cm)
Gonçalo Barreiros, Untitled, 2016. Glass, PVC, brass and plastic. 19 x 24 x 7 cm. Exhibition view: Sala dos Gessos, EDP Foundation, Lisbon, Portugal
Gonçalo Barreiros, Untitled, 2016. Glass, PVC, brass and plastic. 19 x 24 x 7 cm. Exhibition view: Sala dos Gessos, EDP Foundation, Lisbon, Portugal
Gonçalo Barreiros, Untitled, 2015. Plastic bags and lead. 45 x 40 x 40 cm
 
Gonçalo Barreiros, Untitled, 2015. Plastic bags and lead. 45 x 40 x 40 cm
 
Gonçalo Barreiros, Untitled, 2015. Silicon, crystal resin. Variable dimensions.
Gonçalo Barreiros, Untitled, 2015. Silicon, crystal resin. Variable dimensions.
Gonçalo Barreiros, Hiperhidrose, 2016. Painted iron. 1,2 x 14 x 0,5 m
Gonçalo Barreiros, Hiperhidrose, 2016. Painted iron. 1,2 x 14 x 0,5 m
Gonçalo Barreiros, Declaração Amigável, 2017. Painted iron, tire valves and text on the wall.
Exhibition view: Declaração Amigável, Galeria Vera Cortês, Lisbon, 2017
Gonçalo Barreiros, Declaração Amigável, 2017. Painted iron, tire valves and text on the wall.
Exhibition view: Declaração Amigável, Galeria Vera Cortês, Lisbon, 2017
Gonçalo Barreiros, Declaração Amigável, 2017 (detail). Painted iron, tire valves and text on the wall.
Exhibition view: Declaração Amigável, Galeria Vera Cortês, Lisbon, 2017
Gonçalo Barreiros, Declaração Amigável, 2017 (detail). Painted iron, tire valves and text on the wall.
Exhibition view: Declaração Amigável, Galeria Vera Cortês, Lisbon, 2017
Gonçalo Barreiros, Untitled, 2012. Painted iron. 430 x 364 x 0,04 cm
Gonçalo Barreiros, Untitled, 2012. Painted iron. 430 x 364 x 0,04 cm
Gonçalo Barreiros, Um boneco de neve não pertence a ninguém (a snowman belongs to no one), 2014. Painted iron, fresh carrot. 200 × 95 × 95 cm
Gonçalo Barreiros, Um boneco de neve não pertence a ninguém (a snowman belongs to no one), 2014. Painted iron, fresh carrot. 200 × 95 × 95 cm
Gonçalo Barreiros, Plof plof, 2014. Painted iron. 93 × 410 × 52 cm
Gonçalo Barreiros, Plof plof, 2014. Painted iron. 93 × 410 × 52 cm
Exhibition view: Gonçalo Barreiros, nosey parker, Vera Cortês Art Agency, 2014
Exhibition view: Gonçalo Barreiros, nosey parker, Vera Cortês Art Agency, 2014

Zoom 1 / 26 Gonçalo Barreiros, Untitled, 2020. Painted zincor

Exhibitions

Bio

Since the beginning of his career, Barreiros has committed himself to sculpture. In his pieces, the dimensions of chance, time, disappointment, imperfection and imponderability shape a conception of sculpture as an unstable, uncertain realm. Sculpture is a possibility, a pause, an accident. Each piece is the outcome of a long process of creation and research, they are about time, they define a condition. Perhaps the most determining feature of his practice is the tendency to take the exhibition space as a stage and to make the pieces agents that are often disturbing, sarcastic, comic or exasperating. Using a wide variety of expedients and technical resources, the artist has produced a very diverse body of works, sometimes presenting extremely simple pieces, using a drawing, a sound, a noise, a word, a hum, or a metallic trill, but also the instability of a balance, a difference in scale or proportion, the absence of colour. Much of the singularity of Gonçalo Barreiros’ work seems to lie in the way in which he prepares the double movement that his works set in motion. Revealing a sophisticated domain of the mechanics of subversion, irony and incongruity, his works confront the spectator with his most intimate and inescapable reactions, and at the same time with the prejudices, censures and violence that govern many of our common values. The work triggers a set of much more discreet reflections that focus on the spectator himself, his convictions and his idiosyncrasies, but also on this space of supposed consensus where the friendly rules and protocols exist and where the processes of identity construction of the communities take place. Inevitably, these are spaces of loss and erosion, places of leveling and compromise where deviation, exception, and free will do not rage.

 

 

Gonçalo Barreiros lives and works in Lisbon. Graduated in Sculpture from the Ar.Co school (Lisbon) and then he obtained a Master Degree in Fine Arts at the Slade School of Fine Art in London, with a full scholarship from the Calouste Gulbenkian Foundation.

A selection of his solo exhibitions includes: Então aquilo que, Galeria Vera Cortês (Lisbon, 2021); Recomeço do mundo, CAPC (Coimbra, 2018); Declaração Amigável, Galeria Vera Cortês (Lisbon, 2017); Condomínio Fechado, O Armário (Lisbon, 2017); Nosey Parker, Galeria Vera Cortês (Lisbon, 2014); Vraum, Chiado 8 (Lisbon, 2013); n.17, Empty Cube in Círculo das Artes Plásticas de Coimbra (2013) and Woodpecker, Ermida de Belém (Lisbon, 2012).

His work took part in several group shows, including Ensaio para uma comunidade (take1), Curated by Paulo Mendes, MAAT (Lisbon, 2021); O PEQUENO MUNDO, a partir da Coleção da Caixa Geral de Depósitos, curated by Sérgio Mah, Museu de Arte Contemporânea Nadir Afonso (Chaves, 2020); The Invisible Show. An Aural Journey Through The 20th Century, curated by Delfim Sardo, Culturgest, (Lisbon, 2020); Toutes Les Lignes Droites Sont Courbes, curated by Yolande De Bontridder and Jennifer Plasman, Villa Carpentier, Renaix (Belgium, 2020); Wait, Centro Cultural de Belém (Lisbon, 2019); Trabalho Capital, Fundação Oliva (São João da Madeira, 2019); Passeios, Museu do Caramulo (2018); Involuntary Memory, Luis Adentado Gallery (Valencia, 2017); Sala dos Gessos, Museu da Eletricidade (Lisbon, 2016 ); Sem título é um bom título, Ar Sólido (Lisbon, 2016 ); Materiais Transitórios, Sociedade Nacional de Belas Artes (Lisbon, 2016 ); Canal Caveira, Cordoaria Nacional (Lisbon, 2015); O Riso, Museu da Eletricidade (Lisbon, 2012); Plus 1, Perry Rubenstein Gallery (New York, 2010); Triangle Room (Curatorial Program of the Chelsea College of Art and Design, 2008) and EDP Art Prize – New Artists, Museu de Serralves (Oporto, 2003).

Gonçalo Barreiros vive e trabalha em Lisboa. Formado em Escultura pela escola Ar.Co (Lisboa) e Mestre em Belas Artes pela Slade School of Fine Art de Londres, com bolsa integral da Fundação Calouste Gulbenkian.

Uma selecção das suas exposições individuais inclui Então aquilo que, Galeria Vera Cortês (Lisbon, 2021); Recomeço do mundo, CAPC (Coimbra, 2018); Declaração Amigável, Galeria Vera Cortês (Lisboa, 2017); Condomínio Fechado, O Armário (Lisboa, 2017); Nosey Parker, Galeria Vera Cortês (Lisboa, 2014); Vraum, Chiado 8 (Lisboa, 2013); n.17, Empty Cube in Círculo das Artes Plásticas de Coimbra (2013) e  Woodpecker, Ermida de Belém (Lisboa, 2012).

O seu trabalho integrou também várias exposições colectivas, nomeadamente Ensaio para uma comunidade (take1), curadoria de Paulo Mendes, MAAT (Lisboa, 2021); O PEQUENO MUNDO, a partir da Coleção da Caixa Geral de Depósitos, cur. Sérgio Mah, Museu de Arte Contemporânea Nadir Afonso (Chaves, 2020); The Invisible Show. An Aural Journey Through The 20th Century, cur. Delfim Sardo, Culturgest, (Lisboa, 2020); Toutes Les Lignes Droites Sont Courbes, cur. Yolande De Bontridder e Jennifer Plasman, Villa Carpentier, Renaix (Bélgica, 2020); Wait, Centro Cultural de Belém (Lisboa, 2019); Trabalho Capital, Fundação Oliva (São João da Madeira, 2019); Passeios, Museu do Caramulo (2018); Involuntary Memory, Luis Adentado Gallery (Valencia, 2017); Sala dos Gessos, Museu da Eletricidade (Lisboa, 2016 ); Sem título é um bom título, Ar Sólido (Lisboa, 2016 ); Materiais Transitórios, Sociedade Nacional de Belas Artes (Lisboa, 2016 ); Canal Caveira, Cordoaria Nacional (Lisboa, 2015); O Riso, Museu da Eletricidade (Lisboa, 2012); Plus 1, Perry Rubenstein Gallery (New York, 2010); Triangle Room (Curatorial Program of the Chelsea College of Art and Design, 2008) e EDP Art Prize – New Artists, Museu de Serralves (Porto, 2003).

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