“Splitting, cutting, writing, drawing, eating… Gordon Matta-Clark” exhibition at Culturgest Lisboa

The exhibition  surveys the constructive and destructive verbs that defined his relation to art and architecture, featuring correspondence, drawings, photographs, notebooks, and films related to the artist’s key projects, drawn from the archive of the Canadian Centre for Architecture, in Montréal.  

Conical Intersect, 1975. © Gordon Matta-Clark y David Zwirner, New York

Conical Intersect, 1975. © Gordon Matta-Clark y David Zwirner, New York

 

Gordon Matta-Clark (1943-1978) is one of the most influential artists of the 1970s, whose work has continued to be a noted influence of both architects and visual artists since. Along with his major building cuts from 1973 to 1978, in which laboriously cut holes into floors of abandoned or disused buildings, including A W-Hole House, Conical Intersect, Day’s End, and Splitting (1974), the exhibition also explores his interest in metabolic and cooking processes, including his restaurant Food (1971); his play with language and the syntax of voids, gaps, and abandoned spaces;  and the use of drawing as a mode of thinking through space.The exhibition will focus on these social and creative aspects of Matta-Clark´s conception of architecture, or as he put it, “making space without building it”. (more…)

“Splitting, cutting, writing, drawing, eating… Gordon Matta-Clark” exhibition at Serralves Museum

The exhibition  surveys the constructive and destructive verbs that defined his relation to art and architecture, featuring correspondence, drawings, photographs, notebooks, and films related to the artist’s key projects, drawn from the archive of the Canadian Centre for Architecture, in Montréal.  

 

Conical Intersect, 1975. © Gordon Matta-Clark y David Zwirner, New York

 

Gordon Matta-Clark (1943-1978) is one of the most influential artists of the 1970s, whose work has continued to be a noted influence of both architects and visual artists since. Along with his major building cuts from 1973 to 1978, in which laboriously cut holes into floors of abandoned or disused buildings, including A W-Hole House, Conical Intersect, Day’s End, and Splitting (1974), the exhibition also explores his interest in metabolic and cooking processes, including his restaurant Food (1971); his play with language and the syntax of voids, gaps, and abandoned spaces;  and the use of drawing as a mode of thinking through space.The exhibition will focus on these social and creative aspects of Matta-Clark´s conception of architecture, or as he put it, “making space without building it,”. (more…)

“Raw Material: A View of the Archive of Álvaro Siza” at Serralves Museum

The exhibition, curated by André Tavares, brings together working materials produced in order to design and build 27 works of the Pritzker-Prize-winning architect in Portugal. One of them being the Museum itself, designed by Siza in 1990.

 

Álvaro Siza, Serralves Museum, Porto, 1991-1999. First sketches for the projetc, [1991] 29,7 x 42,0 cm

Álvaro Siza, Serralves Museum, Porto, 1991-1999. First sketches for the projetc, [1991] 29,7 x 42,0 cm

 

The first of a developing programme at the Serralves Museum of Contemporary Art of exhibitions talks and events dedicated to contemporary architecture, ‘Raw Material’ presents plans, sketches, correspondence and photographs that offer a fuller understanding of the process of architectural design, beyond the self-sufficiency of the realized project.

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“Wolfgang Tillmans: On the Verge of Visibility” at Serralves

The exhibition space is presented as a laboratory in which to test out the experiential possibilities of the pictures, particularly his “Vertical Landscapes”: visual phenomena, threshold moments associated with borders, between different states of matter and their distribution, concretely within the area of the image, and politically in the world of people and goods.

 

La Palma, 2014 © Wolfgang Tillmans

La Palma, 2014 © Wolfgang Tillmans

 

For his first exhibition in Portugal, Wolfgang Tillmans (1968, Remscheid, Germany) continues to expand the possibilities for the reception of his oeuvre through a radical repositioning of its multiple dimensions. At Serralves, he pays particular attention to what he describes as his “Vertical Landscapes” and the visual phenomena of light when day meets night, sky meets earth, cloud meets sky and threshold moments associated with borders.

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“Serralves Villa: The client as architect” exhibition at Serralves Library

Who is the author of the Serralves Villa? Unlike other art forms, architecture is a result of collective processes and shared decisions. In the case of Serralves the following is true: Marques da Silva coordinated the project and took responsibility for the completed work.

 

Serralves Villa © Serralves Foundation

Serralves Villa © Serralves Foundation

 

Charles Siclis may have sketched the image of the façades, Jacques Émile Ruhlmann may have suggested the scale and the nature of the main rooms in the house, Alfred Porteneuve may have detailed the design, Jacques Gréber may have defined the form of the gardens, but the decisive character that brought everything together was Carlos Alberto Cabral, the client of Marques da Silva. Cabral had the vision, the taste, the desire and the necessary resources to conceive his house. The archive documents in this exhibition illustrate the adventure of realizing this dream, under Cabral’s command and the patient and efficient coordination of architect Marques da Silva. (more…)