Pedro Cabral Santo

Pedro Cabral Santo featuring Lula Pena
Sem Dó, com Ré (homage to Sá de Miranda), 2011
Projected image, drinking glasses, sound
Variable dimensions

Sound: Projecto Fuzível
Technical support/image and sound recording: Pedro Rosa and Pedro Davim
Production and assembly support: António Rasteiro and Isabel Forjó
Courtesy of: Vítor Pinto da Fonseca

Sem Dó, com Ré (homage to Sá de Miranda) consists of a video installation in which the face of the artist Lula Pena appears under a cobalt blue filter. The artist keeps on “trying” to interpret Sá de Miranda’s poem Comigo me desavim. It is a poem dating from the time of Nuno Gonçalves that transports us, in the first person, to a state of permanent disquiet. It is this analogy which the piece aims to establish with the panels in question – a painting in a permanent state of disquiet which neither is nor ceases to be the beginning and the end of something. The “mysterious” seems to have taken hold not only of the painting but also of what it evokes and the artist himself.

I am at odds with myself

I am at odds with myself
I am in all kinds of danger;
I can neither live with myself
Nor flee from myself.

In pain I fled from others,
Before my pain could grow:
And now I would flee
From myself if I could.
What means or ends do I expect
From the vain work I pursue,
When I carry within me
My own great enemy?

Sá de Miranda

___________________________________________________________

Hugo Canoilas
Painéis sem título (podemos ficar todos juntos) - detail, 2011.
235 x 600 x 800 cm
Wood, iron, undercoat and found objects.

Technical support and installation: Pedro Canoilas, António Rasteiro
Production Support: Galeria Quadrado Azul
Production:Emília Tavares
Courtesy Hugo Canoilas and Galeria Quadrado Azul

The installation is made up of six plywood panels, suspended on a metal grid placed at a distance from the back wall of the room, redefining the limits of the space to bring it closer to the scale of the work.
The six planes are of exactly the same dimensions as the São Vicente panels and use their formal language as a net from which the painting cannot fall, with the clear aim of establishing this work as a diving board.

Using a series of materials and found objects, the work has developed from the impulse arising from the need to respond to technical or material contingencies. The plates were placed on the ground and the various elements placed on top of them. The movement and gaze around the horizontal plane suggest the work of Pollock only to distance themselves from it later through the marking out of specific shapes, the realisation of the drawing and, at the end, the return of the panels to the vertical position.

Hugo Canoilas

February 2011