ARCOlisboa 2023
25–28 May
Stand F01, Cordoaria Nacional António Bolota | Armanda Duarte | Charbel-joseph H. Boutros | Daniel Gustav Cramer | João Louro | Susanne S. D. Themlitz
ANTÓNIO BOLOTA
António Bolota started his artistic career in the mid-90s, carrying his know-how in the field of Engineering into the artistic universe. The artist convokes this particular set of theoretical knowledge as he creates sculptures that challenge the spaces where they are built or fuse with their architecture. He completed the Advanced Course in Ar.Co – Center for Art and Visual Communication in 2008. Lives and works in Lisbon.
A selection of António Bolota’s individual exhibitions includes the following galleries and spaces: Travessa da Ermida, Lisbon (2020), Fundação Carmona e Costa, Lisbon (2019), Galeria Quadrum, Lisbon (2019), Galeria Vera Cortês, Lisbon (2016), Appleton Square, Lisbon (2016), Galeria Quadrado Azul, Lisbon and Porto (2014/2012/2010) and Pavilhão Branco, Lisbon (2010); Fórum Eugénio de Almeida, Évora (2016) and Ermida de Guadalupe, Vila do Bispo (2010).
Group shows in which he participated include: Black Box: Potlatch, curated by Julião Sarmento, Museu do Caramulo, Portugal (2019); Escala 1:1. 21 artistas contemporáneos portugueses, Tabacalera, Madrid (2018), Cosmic, Sonic, Animistic, CIAJG Centro Internacional das Artes José de Guimarães (2017), Sala dos Gessos, Electricity Museum (2016), Canal Caveira, Cordoaria Nacional (2015), Ar Sólido (2015) and António Filipe, Parkour (2013), Lisbon; LandArt, Cascais, (2014), How to Protect Oneself From the Tiger, 16th Cerveira Biennial, Vila Nova de Cerveira (2011), Estados Gerais, Artecontempo (2009) and Telhado, Interpress (2006), Lisbon.
In 2009 was nominated for the edp New Artists Award. _ More info
António Bolota, Peça #2, #3, 2023. 275 x 76 x 68 cm. European oak, European oak with burnt tannin, tung oil finish. Unique
Armanda Duarte’s work is site-specific to such a degree that her proposals are actually determined by her observation and analysis of each given space. She observes the characteristics and details of each context in search of the essence which will lead the process of creation up to the work’s final reception. Her spatial poetics, which involve drawing, sculpture, installation and architecture, provoke subtle and intimate experiences.
Armanda’s stripped down, austere and delicate stagings result from the manipulation and composition of everyday objects such as stones, cutlery or tin can lids according to precise objectives such as measurement, balancing and replication. In her work, objects and simple gestures are subjected to almost scientific processes of repetition and systematisation that imply their conceptualisation, the definition of research criteria, and the normalisation of rigorous collection and editing procedures.
Armanda Duarte’s intense activity ultimately leads to an apparently unproductive, mute, discreet, at times almost imperceptible or even microscopic result, such as the foot and knee marks in saw dust that bear witness, on the ground and far from the public’s gaze, to the slow disappearance of an object and the traces of the body that made it disappear. _ More info
Armanda Duarte, Juntos, 1996. Wood, paper, graphite and residues of gastropod molluscs (snails). 16 x 16 x 6,5 cm (each). Unique
In Charbel-joseph H. Boutros ‘s work invisibility is charged with intimate, geographical and historical layers; finding poetic lines that extend beyond the realm of existing speculations and realities. Being born in the middle of the Lebanese war, his art is not engaged in an explicit political and historical reflection, but is more accurately haunted by the said political and historical reflection.
For H. Boutros, each exhibition is a new geography that reformulates reality.
H. Boutros was a resident at Le Pavillon, Palais de Tokyo, Paris (France) and a researcher at Jan van Eyck Academie, Maastricht (The Netherlands). In 2020, the S.M.A.K. Museum in Ghent (Belgium) hosted his first institutional exhibition in Europe, “The Sun Is My Only Ally”, later presented at the contemporary art center La Criée (2022). His first monograph, jointly prepared by S.M.A.K Ghent and La Criée centre for contemporary art, published by Mousse Publishing was released in 2022.
His work has been shown internationally at: The 12th International Istanbul Biennial, Istanbul, Turkey; Palais de Tokyo, Paris, France; Punta della Dogana, Venice, Italy; Centre Pompidou – Metz, France; S.M.A.K. Museum, Gent, Belgium; Home Works 8, Ashkal Alwan, Beirut; CCS Bard College, New York, USA; 3rd Bahia Biennial, Salvador, Brazil; 1st Yinchuan Biennale, Yinchuan, China; CCA, Warsaw, Poland; Barjeel Art Foundation, Sharjah, UAE; Beirut Art Center, Beirut, Lebanon; La Criée Centre for Contemporary Art, France; Marres, Maastricht, The Netherlands. A permanent installation ‘Sueur d’étoile’, that he realized with the French étoile dancer Marie-Agnes Gillot, inaugurated in 2016 remains on view at Palais de Tokyo, Paris (France).
His works are in the collections of S.M.A.K. Museum, Gent; CNAP, Paris, France; Barjeel Art Foundation, Sharjah, UAE. _ More info
Charbel-joseph H. Boutros, If Close to the Sun a Drop May Fall #3, 2019-2023. Album tape not listened to for years, music album, votive candle wax, metallic structure, dreams. 68 x 14 x 27 cm. Unique
Charbel-joseph H. Boutros, Divine, 2019-2023. Engraved marble slab, gallerist’s T-shirt (Vera Cortês), hopes, labor. 54 x 59 x 2 cm. Unique (in a series)
Daniel Gustav Cramer lives and works in Berlin. A selection of his solo shows and projects includes: Empty Room II (Nagano, 2020); Two Works, Musée d’art et d’archéologie Aurillac (2020); The Infinite Library, Fabra I Coats, Barcelona (2020); Four Works, Tongewölbe T25 (Ingoldstadt, 2018); Five Days, Entrée (Bergen, 2017); Five Works, Verksmijan á Hjalteyri (Iceland, 2017); Fourteen Works, Galeria Vera Cortês (Lisbon, 2017); Rainbow, E-Werk (Freiburg,2016); Nineteen, CAC Contemporary Art Centre (Vilnius, 2016); Sixteen Works, BolteLang Galerie (Zurich, 2015); Kunstverein Nürnberg (2015); The Infinite Library, Vila du parc, Centre d’art contemporain (Annemasse, 2015); Three, Kunstsaele (Berlin, 2015); Tales, Vera Cortês Art Agency (Lisbon, 2014); Fifteen Works, Sies & Höke (Düsseldorf, 2014); 01-72, SALTS (Basel, 2014); Kunsthalle Mulhouse (2013); Kunsthalle Lissabon (Lisbon, 2012); The Infinite Library, Museo di Palazzo Poggi (Bologna, 2010). Some of the collective exhibitions in which he has participated include When in doubt, go to a museum, City Museum of Ljubjana (2021); Constellations: A choreography of minor gestures, Berardo Museum (Lisbon, 2019); Strange Days, FRAC Ile de France (Paris, 2017); The Arcades: Contemporary Art and Walter Benjamin, The Jewish Museum (New York, 2017); Viaja y no lo escribas, La Casa Encendida (Madrid, 2016); N(v)otre H(h)istoire, Centre d’Art Bastille (Grenoble, 2016); Eppur si muove – Art et technique, un space partagé, Mudam (Luxembourg, 2015); Phenomenon, organised by Collection Kerenidis Pepe (Anafi, 2015); Accadra Domani, Museo Marino Marini (Florence, 2015); Terra Incognita, KIT/ Kunsthalle (Düsseldorf, 2015); Construire une Collection, Villa Paloma, Nouveau Musée Le National (Monaco, 2015); An Infinite Conversation, Museu Coleção Berardo (Lisbon, 2014); Dreams That Money Can’t Buy, Maxxi (Rome, 2014) and dOCUMENTA(13), Kassel (2012). A selection of Daniel Gustav Cramer recent publications includes the series Tales (photographic works accompanied by publications, 2011 – ongoing); Call of the Wild, 2021 (published by Christophe Daviet Thery); Light of the Day, 2021 (published by Yvon Lambert and Galerie Allen); 01–72 ( a two-part publication on the occasion of the exhibition at SALTS, Basel, published by Christophe Daviet-Thery and Samuel Leuenberger, 2014); Daniel Gustav Cramer and Haris Epaminonda: Early Summer/ The End of Summer/ Late Autumn (Kunsthalle Lissabon and Mousse, 2014); XVI (Kunsthalle Lissabon, documenta 13 and Samsa, 2014) and Thirty-Six (The Green Box, 2010). The Infinite Library Book 01-50 (published by New Documents, Los Angeles) and Untitled (published by Dumont Gallery) are coming soon. _ More info
Daniel Gustav Cramer, Untitled (Termite Mound) II, 2022. C-print, framed. 158 x 124 cm. Edition 1/3 + AP
João Louro’s work descends from minimal and conceptual art, with special attention to avant-garde movements of the early twentieth century. It draws out a topography of time, with references that are personal but mainly they are generational. With regular recourse to language as a source, as well as the written word, he seeks a review of the image in contemporary culture, starting out from a set of representations and symbols from the collective visual universe. Minimalism, conceptualism, Pop culture, structuralism and post-structuralism, authors such as Walter Benjamin, Guy Debord, Georges Bataille and Blanchot as well as artists like Donald Judd and the ever-present Duchamp, form the reference lexical universe of the artist. _ More info
João Louro, Denny, 2022. Acrylic on plexiglass. 140 x 180 cm. Unique
In Susanne S. D. Themlitz’s work, drawing is a practice intimately connected to the development of idiosyncratic mechanisms between thought and imagination, therefore, a medium that allows her to explore and feed processes of oddity. Each drawing assumes a cut with the exterior. The off-field doesn’t exist. Everything is inside, in this inner world, with its singular meteorology and with the unique capacity of gathering forces, energies and vibrations that distinguish it as a peculiar reality. _ More info
Susanne S. D. Themlitz, Os fantasmas também são ervas daninhas (after the Ghosts of the Anthropocene), 2023. Oil on canvas, engraving on glass, wood. 56 x 39 x 3 cm. Unique
Susanne S. D. Themlitz, Corais, fungos, florestas e muitos micróbios (after the Ghosts of the Anthropocene), 2023. Oil on canvas, engraving on glass, wood. 81 x 60,5 x 3 cm. Unique
Susanne S. D. Themlitz,Paisagem tentacular (after the Ghosts of the Anthropocene), 2023. Oil on canvas, engraving on glass, wood. 75 x 56, x 3 cm. Unique
Susanne S. D. Themlitz, Não acredito em fantasmas, mas (after the Ghosts of the Anthropocene), 2023. Oil on canvas, engraving on glass, wood. 136 x 91,5 x 3 cm. Unique
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