5 DECEMBER 2017 - 4 FEBRUARY 2018
Museu Nacional de Arte Contemporânea do Chiado
Representative of Temps d‘Images Lisboa’s ambitious line of programming, and an integral part of the effective diversity of viewpoints provided by this interdisciplinary festival of visual and performing arts, Loops.Lisboa presents this year three completely different approaches to the myriad meanings that surround the loop. Is this a philosophy? A belief? An inner / outer flow, composed of single / multiple parts? Or simply a language tool?
The three selected video loops, among the 236 submissions by Portuguese artists or artists residing in Portugal, present singular paths - but unified by an invisible thread, which traverses the paths of each work. “The Falls,” by Nuno Cera, suggests an interpretation of landscape to establish an inner loop; “2017 Personaloop_01”, by Tomaz Hipólito, creates a staged and edited performance to recreate the formality of the loop in real and virtual space; and “Delphine Aprisionada”, by Ricardo Pinto de Magalhães, creates a three-dimensional video-essay, distributed by layers of interpretation and literally simultaneous narratives.
The protagonists, at the service of the works intersected by this invisible idea, are also different. From the monolithic nature and its relation to form; the artist who performs and edits himself into the loop he created for himself; and the iconic feminist actress Delphine Seyrig, paradoxically struggling with imprisonment.
The works in this exhibition at the National Museum of Contemporary Art - Museu do Chiado (MNAC) were selected by a pre-selection jury composed of Irit Batsry, Alisson Avila and António Câmara Manuel. The Loops.Lisboa Award in the amount of € 2,000 will be announced in January by an award jury composed of Emília Tavares, Curator of Photography and New Media at the MNAC; Jesse James, Director of the Festival Walk & Talk Azores; and Jorge La Ferla, Curator and Professor at the University of Buenos Aires.
Text: Alisson Avila e Irit Batsry
by Ricardo Pinto de Magalhães
I can’t help but having the feeling that Delphine Seyrig was constantly trapped in her films. Trapped in time, space, memory, routine, to a certain place and many others types of prisons. This experimental/ film essay tries to prove this while at the same time, trapping her once again, perhaps forever, in this film, which can also work as a loop.
Ricardo Pinto de Magalhães was born in Switzerland, September the 1st of 1989. He completed all his studies in Portugal, and went to college to study Management. However, he easily understood this didn’t interest him, and his true passion was Cinema. In 2010 he started studying Cinema at the University of Beira Interior, having obtained his bachelor’s degree in 2013, directing his final project 19 27, which he also wrote and edited. He continued his studies at the same University for the master’s degree, again in Cinema. He directed, wrote and edited the project Cantei a Saudade, in 2015. Having finished his studies, he did an internship with portuguese director Edgar Pêra, with whom he worked closely for about 2 months. He then went to London, for an internship at Central Film School, which lasted 4 months. Early this year, he did a free course/workshop about film-essays and writing about Cinema, at Nova University in Lisbon. The film essay he did in this course was Delphine Imprisoned, which was selected to 25th Curtas de Vila do Conde Festival, where it won the Best Director award in the competition of school films (Take One!). After that, he was 2nd A.D. at the feature film Cargo, by Bruno Gascon. The film will premiere in theatres next year. He also did a one day workshop about Expanded Cinema, with Luis Macías and Adriana Vila.
Currently, he is doing a Motion Graphics post-graduation, at World Academy, and also a Video Installation Workshop with Ana Rito, at Maat.
Film entirely made by Ricardo Pinto de Magalhães
by Nuno Cera
The Falls is an recent video that explores the passage of time and the illusion of the falls. Divided into three moments, one exterior (view of the body of water) and two interior (within the wall of the cataract), in a progression of scenes and velocities the unit of the drop of water is reached. From macro to micro, in a continuous cycle of time, displacement and scales.
The Falls as a symbolic piece, as flow of energy and life, from the organized to the chaotic. The pictorial characteristics of movement, slow motion shooting and color reinforce the retinal and formal stimulus of the video. The vertical format reaffirms the force of gravity and its energy that attracts everything.
The Falls without beginning or end.
He graduated in advertising at IADE, Lisbon, 1995 and attended the Maumaus – School of Art and Photography, Lisbon from 1995 to 1997. He was awarded in 2001 with the João Hogan Scholarship by the Calouste Gulbenkian Foundation for resident artists at the Künstlerhaus Bethanien in Berlin. In 2003 he published, with Architect Diogo Seixas Lopes, Cimêncio, a work about the suburban landscape. In 2004, he was shortlisted for the first edition of Besphoto – Photo Award. In 2006 he
was awarded a residency at the ISCP - International Studios and Curatorial Program, NYC, USA. In 2007 and 2008 he received grants from the DGARTES – Ministry of Culture, Portugal, for his video project Sans, Souci, and for his artistic investigation on 9 mega cities Futureland, 2008 - 2010. He was the invited artist of the Portuguese Pavilion at the World Expo Zaragoza, 2008, Spain. In 2012 he undertook two video projects, II and Suspensão, in response to a commission by the OLIVA Creative Factory, São João da Madeira, Portugal. He was awarded by the Foundación Botin Grant for his project The Symphony of the Unknown in 2012 and the International Artist Residency Récollets in Paris in 2013. Participation with the arquitect Paulo David in the Biennale di Venezia de
Architettura – Reporting from the Front, 2016. Photographic project for the Architectural guide – Álvaro Siza - Built projects, 2017.
Directed and edited by Nuno Cera
by Tomaz Hipólito
In 2017 personaloop_01 Tomaz Hipólito proposes a new look on the loop, questioning its concept and notion of repetition. In this video, it is possible to reach a set of infinite possibilities.
The series persona is recurrent in the work of Tomaz Hipólito and the relation between the artist’s body with a space confers a relational scale. This mapping structure is produced through the constitution of a lexicon of gestures that, alongside with the dressed black and impersonal uniform, depersonalizes it.
For Tomaz Hipólito the starting point of his work is the space and the experience that reveals it. Thus, in a loop system - and where loop variations are inserted - repetition exists, but the experience is different every moment.
In this proposal it is possible to observe this continuous research on the gesture mapping. If space only exists when occupied, and that is the gesture that confers reality to space, in this exercise the real experience is in comparison with a virtual experience.
It is a work of a series that challenges the definitions of the space experience and its perception. In short, a limits test.
Tomaz Hipólito (b. Lisboa 1969). Studied architecture. Lives in Lisbon.
The work addresses the issues of space, its occupation and transformation
Exhibitions and Projects (selection since 2011)
2017 reset_01 Porta 14, Lisbon
2017 object_10 Festival Walk & Talk 2017 |
ARCO8 Gallery, S. Miguel, Azores
2017 diorama_01 National Museum of Natural History and Science, Lisbon
2017 map_02 Casa-Animal Project |
BoCA - Biennial of Contemporary Arts, Lisbon
2016 draw_07 Gyeonggi Creation Center, South Korea
2016 persona_65 Gyeonggi Creation Center, South Korea
2016 map_01 Rooster Gallery, NY
2015 level_02 Arquipélago - Arts Center, Azores
2015 rebuild_02 Travessa da Ermida, Lisbon
2014 level_03 Appleton Square, Lisbon
2014 level_02 Carpe Diem Art and Research, Lisbon
2014 level_01 National Museum of Natural History and Science -
Sala do Veado, Lisbon
2013 draw_05 Architecture Triennial Lisbon, Lisbon
2013 merge_06 Rooster Gallery, NY
2013 object_09 Gallery 102-100, Castelo Branco
2013 rebuild_01 Baginski Gallery, Lisbon
2013 reset_00 Cristina Guerra Gallery, Lisbon
2012 persona_30 Cinemateca Portuguesa, Lisbon
2012 chroma_06 Death Valley Desert, California
2012 nature_01 Elastic City, NY
2012 persona_12_17 Steven Holl Studio, NY
2012 chroma_05 Central Park, NY
2012 persona_09 Sonnabend Gallery, NY
2012 home_02 Art Institute, NY
2012 chroma_04 Art fair ARCO-2012, Madrid
2011 draw_03 Appleton Square, Lisbon
2011 reflex_01 Abrons Arts Center, NY
2011 chroma_03 Abrons Art Center, NY
2011 rebuild_00 Emily Harvey Foundation, NY
2011 layer_02 Arte Institute, Union Sq. Park, NY
2011 censura_01 Hunter College NY
2011 chroma_01_02 Lumen Festival 2011, NY
2011 layer_01 Lumen Festival 2011, NY
Tomaz Hipólito, 2017
© Diego San Pedro.
SONAE Roomentry: General Conditions
Loops Lisboa 2017
Summer Nights 2018
Concerts in the Sculptures Garden
José Pedro Cortes. A Necessary Realism
Curatorship: Nuno Crespo
In A Necessary Realism, José Pedro Cortes renews his way of looking at the matter and surface of our time revealing his interest in the representation of the human body
NIKOLAI NEKH. Achilles' Heel, 2018
Curatorship: Sandra Vieira Jürgens
This project places itself in the middle of this passage from the natural to the artificial, closely observing the geographical, economic, and political boundaries implicit in this change.
PORTUGUESE ART. REASONS AND EMOTIONS
Curatorship: Maria de Aires Silveira, Emília Tavares, Emília Ferreira
Covering a sizeable part of the temporal arc of the collection, from the mid-19th century to the first decade of the XXI century, occupying the galleries in the wing located in Rua Serpa Pinto and one of the wings in Rua Capelo.
Carlos Relvas — Vistas Inéditas de Portugal
A fotografia nos salões de Lisboa, Paris e Viena (1868 -1874)
Curatorship: Victor Flores, Ana David Mendes, Denis Pellerin, Emília Tavares
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Curatorship: Emília Tavares
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FUSO - ANNUAL OF VIDEO INTERNATIONAL ART OF LISBON 28 AUG> 2 SET 2018
Curatorship: Marta Mestre
(R)EVOLUTION AND (R)E(X)SISTA(E)NCE IN THE VIDEOARTE