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anavelezmoreira · 4 years ago

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March 10 - March 14 | EGO SELFIE HOTEL WITH SOUND BATH at Moda Lisboa Metaphysical [Lisbon, Portugal], curated by Antonio Lettieri.

May 14 - September 4 | BATTLE ROYALE, at BAG - Banco das artes galeria [Leiria, Portugal], curated by Jorge André Catarino.

June 2 - September 18 | NÁRKISSOS, at CABANAmad [Lisbon, Portugal].

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anavelezmoreira · 4 years ago

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A ARTE CHEGOU AO COLOMBO | SOPRO

SOPRO [2021]

MUSEU COLECÇÃO BERARDO [Lisbon, Portugal], art project winner of A Arte Chegou ao Colombo Award Ana Velez | Joana Gomes | Maria Sassetti | Xana Sousa

#sopro

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anavelezmoreira · 4 years ago

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SUFOCO

SUFOCO [2020 | 2021]

CISTERNA [Lisbon, Portugal] Ana Velez | Joana Gomes | Maria Sassetti | Xana Sousa

The work by these four artists from Atelier Contencioso [in existence since 2015] has emerged from the lockdown and is an engagement with the idea of the unheimlich, a proposal based on Sigmund Freud’s 1919 text [furthermore published towards the end of the pandemic of his day]: what is simultaneously not familiar or familiar, triggering our own sense of uneasiness. The setting for our discomfort is within our own home - the limit [in all senses of the word] of where we have tried to re-exist in recent times.

[...]

The repetitive act of taking 45 Polaroids from the same angle has the assumed intent of guiding viewers towards finding something they recognise in them, not intended by the artist [in other words, as opposed to showing a single, dictatorial image from the same perspective]. Which leads us inevitably, to the following paradox: the chosen perspective was obviously at the artist’s behest, what’s more [yet another paradox] conceived to reflect its domestic setting: we have here a view from a window of her home, taken during the first confinement. In a certain sense, it is a means of confining the confinement [as did much of the population by undertaking similar acts]. It is impossible however to control everything [notwithstanding the fact that, as was already said, the ulterior motive is to condition the process of looking].

Each photographic object, even if captured on a rigorous daily basis, is subject to different light [whether night or day]; which a Polaroid will pick up - even if black and white was chosen as the best means of capturing the Moment [as opposed to a more mundane colour image]. Before it, or in spite of it, is a drawing made up of extensive layers of indian ink and graphite. As science has told us, graphite is a mineral that has the potential to become a diamond, and the artist [who usually produces work in series] seeks to find out which is the halfway point for attaining “diamond quality”.

João Macdonald, 2021

#sufoco

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anavelezmoreira · 4 years ago

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DAMASCO PRATEADO

DAMASCO PRATEADO [2020]

A commissioned urban art project by the SONAE SIERRA Public Art Program at Livensa Living Lisboa Cidade Universitária a Temprano Capital Partners building [Lisbon, Portugal] Ana Velez | Joana Gomes | Maria Sassetti | Xana Sousa

#damascoprateado

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anavelezmoreira · 4 years ago

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0°20'7"NORTE 6°43'5"ESTE

0°20'7"NORTE 6°43'5"ESTE [2020]

ESPAÇO ESPELHO D’ÁGUA [Lisbon, Portugal], curated by Inês Valle Ana Velez | Joana Gomes | Paulo Pascoal

I remember, as a child, feeling an enormous peace when, in the North, I spent the summers at my grandparents' beach house, always with my feet as sand croquets running throughout the house, collecting shells and butterflies among the puddles and dunes. I remember, at the end of the day in the living room, when the sunset is coming down, a colour of fire filled with warm streaks the entire room. I particularly remember loving to hear my dear grandmother sharing the stories and adventures of my great-grandfather in São Tomé and Príncipe – "that island is a paradise on earth!" [And there was a day when she confided in me that perhaps this was the only place that she really wanted to know in all of Africa...].

The letters that were exchanged described the daily life on that island full of kind people, with a blessed natural abundance... I keep in my memory, and with a smile on my lips, the image of my great-grandfather in his full bathing suit, when, at dawn in São Tomé, he was going for a swim in that sea, where the sky is mirrored and the horizon merges into the landscape.

I have not yet visited this insŭla, but the memories that have been passed on to me have left me with a special affection for this land surrounded by the Atlantic waters. It is in this context that this curatorship of mine arises and inspires me. What better way, could be than challenge people who have been in this unique place and ask them to share their collective special experience with us? Over 80 years ago, this dawn, had made my great-grandfather feel a great caress, so how would be felt today this same island by Ana, Joana and Paulo?

Yes, this exhibition is a memory.

Paulo had decided to move from a continent to an island, and live in a place where his creativity could flow and share it with those who lived there. More than a year he lived there, and today his ‘stay’ still impacts the lives of those who live there. Ana and Joana, experienced this magical place for three months, when they did an art residency as part of the BIS 7th Biennial of São Tomé and Príncipe.

The three of them met on the island and a friendship has been forged since then. Together they shared the "Casa Verde" and travelled for miles, documenting and experiencing flavours, colours and other experiences of this archipelago.

Paulo, actor and performer, recorded it with his camera, keeping the sounds of the voices and the noisy silences of that nature. Joana, a visual artist, travelled through it in search of the places that her father Carlos had photographed twenty years before her, on coloured film during the nineties, but also searching for the flavours of the exotic fruits that her father brought her in a small basket in that same time - memories that she will never forgot. Ana, also a visual artist, went to discover the memories of Portugal on this island, which are the heritage of São Tomé and Príncipe.

On this journey, the sea was always the horizon, accompanying them on each trail and when they sat admiring the light of the sunset, a feeling of fullness and strength of colours flaunted their gaze. In Lisbon, among the hills, a golden light with shades of lilac, blue and yellow baths us. But in São Tomé, in the centre of this African paradise, we contemplate the exuberant shades of green with the terracotta colour that merges with warm blues of the horizon, in a combination of ochre, oranges and silvers.

The memories we share in this exhibition are not only ours, but also the melancholic voices of young São Tomé poets, that make us travel through these islands by the shade of their words that join ours in this art installation at Espaço Espelho D'Água in Lisbon - where the words of "calema", "calcinante", "burning", "rusty hillsides" and "tanned sand" express themselves making us feel the radiant light and the warm sand under our feet…

Yes, this is an exhibition made of memories by us all.

Creating a sensorial dialogue between our translucent memories and the luminosities that surround the landscape of this island–art gallery, hangs in the middle of the space a site-specific artwork created by Ana and Joana. A work composed by two suspended raw linen cloth paintings, with more than three meters, in which one holds the colours of the dawn and the other of the sunset, alongside a soundtrack where we hear Paulo's voice dyed with the sounds of the island echoing through the exhibition space, so you can hear and see the colours of São Tomé and Príncipe...

It's as if we wanted to go back there. We brought to Lisbon some of the poetry we found on this African island. 0°20'7" North 6°43'5"East, is shown in a island-building in front of our river Tagus, with winds that blew into the southern hemisphere through the same ocean that bathes the Place that we honour today...

Inês Valle, 2020

#0207norte6435este

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anavelezmoreira · 6 years ago

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VALE DE FLORES

VALE DE FLORES [2019]

GALERIA MUNICIPAL DO CASTELO DE PIRESCOUXE [Santa Iria de Azóia - Loures, Portugal] Ana Velez | Irene Felizardo | Lurdes Caramelo

#valedeflores

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anavelezmoreira · 6 years ago

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CONTRASTS & CONNECTIONS | ANA VELEZ & RUBÉN RODRIGO

CONTRASTS & CONNECTIONS | ANA VELEZ & RUBÉN RODRIGO [2018 | 2019]

WADSTRÖM TÖNNHEIM GALLERY [Marbella, Spain] Ana Velez | Rubén Rodrigo

#contrasts&connections

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anavelezmoreira · 6 years ago

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OFF-SITE

OFF-SITE [2018 | 2019]

UNDERDOGS GALLERY | PRÍNCIPE REAL [Lisbon, Portugal], co-produced by Atelier Contencioso and Underdogs Gallery Ana Velez | Joana Gomes | Maria Sassetti | Xana Sousa

Atelier Contencioso is the work space of four women artists: Ana Velez, Joana Gomes, Maria Sassetti, and Xana Sousa. Founded in 2015, it emerged from the common need to find a viable work space, as well as from the closeness and parallelism that exists between the artists' pictorial production.

The works they have been creating, both as collective art interventions and as group exhibitions, set from a site-specific line of thought, considering the place with its specificities. However, this idea of “place” as the centre of production does not comprise in its totality the complexity of the work that has been developed. Contributing with four distinct bodies of work, each common project is loaned a multiplicity of concepts and references which, sometimes, also respond to specific commissions.

In its collective production, Atelier Contencioso also explores continuously the notion of impossibility and multiplication. In the Off-site project, the intention was to occupy this temporary exhibition space with works specifically related to the place. Each of the artists presents objects removed or replicated from a real context – off-site –, here installed and elevated to other readings. The process of creation of the works implies, in itself, the repetition of movements, shapes, and media, the idea of excess thus remaining subjacent.

Ana Velez and Maria Sassetti reflect on an infinite path, be it a line that is cyclically prolonged or a silver road. The rugged surface of Ana Velez's tiles and Maria Sassetti's perforated paper allude to tactile sensations in the viewers, aiming at transporting them to other situations.

Xana Sousa and Joana Gomes, through the rhythmic demarcation of vertical lines, either pleated in paper or white on canvas, respectively, play with the contradiction of an “inwards overflow” and the impossibility of “playing” / “manipulating” or “observing” an object-image. Xana Sousa presents jigsaw puzzles that are [un]playable and closed through the artistic intervention, while Joana Gomes, using the colours that exist in the space and in the surrounding landscape, captures the place in painting.

Both Maria Sassetti and Xana Sousa make use of the game, the play, and the revelry that exist in our collective memory, in this house-palace. However, they do so in an unexpected way, attributing aesthetic character and as objects decontextualised from their common use.

Ana Velez and Joana Gomes mount their paintings and drawings in the “frames” of the stately rooms, pretending the natural pertinence.

The co-production of the Off-site project with Underdogs – a project that rests on three fields, with an art gallery, a public art programme, and the production of editions – emerges from a mutual sharing and identifying of ideals in the contemporary artistic approach and in the relevance of art's role in society and the community. Namely, in the urban efervescence and the visual and creative stimuli provided to the viewer outside the more institutional and conventional cultural circuit.

Atelier Contencioso&Underdogs Gallery, 2019

#offsite

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anavelezmoreira · 6 years ago

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MANO-A-MANO

MANO-A-MANO [2018 | 2019]

ÁGUAS-LIVRES 8 [Lisbon, Portugal], curated by Jorge André Catarino Ana Velez | Joana Gomes | Maria Sassetti | Xana Sousa

Mano-a-mano is an expression that designates a melee combat, where opponents face each other using their own hands.

The History of Art tends towards war-like analogies. The word chosen to describe the set of processes through which art has freed itself from external constraints and internal conventions is a war-like term, "avant-garde". The gestural action is subjective, ambiguous, emotional, imperfect, inaccurate, irregular and impure. As it compromises the autonomy and self-sufficiency of the artistic object, the craft is eliminated. Art dehumanizes itself. Its perfect shape, geometric and enclosed on itself, the square becomes the emblem of Abstraction. In 1918, Malevich painted a white square on a white background. In the future, the white cube completes the process of self-reliance and self-referentiality as the work of art. The work of art is not only autonomous, but also conceives an autonomous space to present itself, separated from any worldly influence that compromises its purity. A white square on a white background in a white cube.

As there are four artists, I imagined a square, each artist occupying one of the four corners of the square. Like the white square and the white cube, a ring also acts as a square (and often white), physically and symbolically delimited, with rules only valid on the inner perimeter circumscribed by the square. With one difference: in the square of the box ring the hands are dirty.

The title of the exhibition plays upon the ambivalence of the expression mano-a-mano , its sense of combat and its literal reference to the direct action of manuality. This aspect introduces us to the practice of the four artists. Different nonetheless, the works of Joana Gomes, Maria Sassetti, Xana Sousa and Ana Velez are confronted with a practice of painting within an extended field. It is possible to locate in their works elements of the formal repertoire of Abstraction, which serves to autonomize and specify the pictorial medium, purifying it with grid and monochrome, shaped canvas, repetition and serial progression. In this quadrature of artists, however, the investigation into the conventional limits of painting, as well as its objectual status, is done through the deliberate search for impurity.

From the official vocabulary of Abstraction, Joana Gomes, Maria Sassetti, Xana Sousa and Ana Velez develop a practice deeply linked to manuality, by a mixture of processes, unconventional techniques and materials without previous existence, resulting in textured, humanised and impure abstraction.

Jorge André Catarino, 2019

#manoamano

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anavelezmoreira · 7 years ago

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CAMINO DE PLATA

CAMINO DE PLATA [2018]

A site-specific project for HYBRID - ART FAIR at Petit Palace Santa Bárbara [Madrid, Spain]

#caminodeplata

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anavelezmoreira · 7 years ago

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DAS DEZ AO MEIO-DIA

DAS DEZ AO MEIO-DIA [2018]

A commissioned urban art project by ÓBIDOS - VILA LITERÁRIA [Óbidos, Portugal] Ana Velez | Joana Gomes | Maria Sassetti | Xana Sousa

#dasdezaomeiodia

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anavelezmoreira · 7 years ago

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ONE IMAGE A DAY | II

ONE IMAGE A DAY | II [2018]

"Line and a body in space as transitional matter that inhabits and transforms the past in present the memory in manifestation of the lines that intersect without further interpretative delay. We are made by what we were from the places we passed of the sensation almost seismic in the further surface of the presence both in the city and the countryside in the demographic finitude coinciding with the steps recorded and saved by three hundred sixty-five keys in the open drawer of the trip of knowledge through the will to order the theory."

Mara Silvério, 2016

#oneimageaday2

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anavelezmoreira · 7 years ago

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TORRE DE MADEIRA

TORRE DE MADEIRA [2017]

GALERIA DO MUSEU DA CARRIS [Lisbon, Portugal], curated by Mara Silvério Ana Velez | Joana Gomes | Maria Sassetti | Xana Sousa

"A shared construction like a permanent verb kujenga, Swahili dialect alive from the love to build a dynamic and efficient feeling that grows and divides into four heads, four hearts, four souls ferments, leavens and rises incorporating the uncertainty of the final move. The more it grows, the easier it is to self-destruct falling by the harmonic enormity of its size fifty-four blocks three times longer in length compared to its timid width that distinguishes itself in the dry and audible fall, like a beating pulse - accelerated - when someone is missed or appears without warning when someone assumes a rationale on departure which will affect the logic of the next, the removal of the fragile part a future crisscrossed by hands and watchful eyes who are waiting for the next step. Because a game will always be the reflection of feelings and feelings will always be the consequence of a game parts of blocks that are removed in a manifestation of will by change and growth like an eternal friendship."

Mara Silvério, Torre de Madeira, 2017

#torredemadeira

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anavelezmoreira · 7 years ago

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PONTO-LINHA-PLANO | II

PONTO-LINHA-PLANO | II [2017 | 2018]

"[...]

The geometric point is an invisible thing. Therefore, it must be defined as an incorporeal thing. Considered in terms of substance, it equals zero.

[...]

The geometric line is an invisible thing. It is the track made by the moving point; that is, its product. It is created by movement - specifically through the destruction of the intense self-contained repose of the point. Here, the leap out of the static into the dynamic occurs.

The line is, therefore, the greatest antithesis to the pictorial proto - element - the point. Viewed in the strictest sense, it can be designated as a secondary element.

[...]

The term "basic plane" is understood to mean the material plane which concept is called upon to receive the content of the work of art.

[...]"

Vasili Kandinsky, Point and line to plane, 1926

#pontolinhaplano2

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anavelezmoreira · 7 years ago

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TUDO O QUE SE IMAGINA

TUDO O QUE SE IMAGINA [2016]

"How beautiful, the sweat. The dust loosened from the earth, almost hidden, and scaled the air In search of resignation, or where to land.

[...]

Who saw her thought it to be a disease on the side of the mountain. No more than a fault between rocks. But entering, where barely fit the shoulders of a small woman, the throat widened in proportion to the descent. Thirty meters ahead, the shoulders of a man, forty meters, the shoulders of a woman and a man side by side, fifty meters, this woman and this man hugging themselfs with space for more. A hundred meters from the entrance, the cave died in a ditch with no light where bats darned the air with their wings.

[...]"

Afonso Reis Cabral, Tudo o que se imagina, 2016

#tudooqueseimagina

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anavelezmoreira · 7 years ago

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ONE IMAGE A DAY | I

ONE IMAGE A DAY | I  [2014 | 2016]

GALERIA PINTOR FERNANDO DE AZEVEDO – SOCIEDADE NACIONAL DE BELAS-ARTES [Lisbon, Portugal], curated by Mara Silvério

"Walk as an aesthetic practice", said the Italian architect Francesco Careri [Rome, 1966-].

The beginning of this journey took place in Los Angeles [CA, U.S.A.], at the end of 2014, a city that has became an object of reflection and artistic practice and, consequently, the heart of a personal change. An intimate and documentary account of the act of walking as an aesthetic mean of knowledge, from which space and time are reinterpreted and built memories of a certain place revisited. This project corresponds to the rediscovery of the remains of the largest network of private transports in Southern California from the 1920s: the 'Pacific Electric Railway', also known as the 'Red Car' system. A rail system which was a major center of commercial and cultural attraction, organized from the big cities, Los Angeles and San Bernardino, connecting them with Orange and Riverside.

By using the body and the movement of her steps as a tool of thinking and knowledge, the artist ventures, in a initially strange city for her, through streets, canals, trails and hidden spaces, seeking to read this past and convert it in a contemporary interpretation. From the daily explorations performed were recorded in documentary mode marks of this same reality, having been found from parts of dismantled rails, wires of old electric systems, rusty iron plates, technical operating areas, among other details, that makes these fragments the necessary evidence that the memories of a place are still printed and alive, since we are ready to revive them.

This is a trip designed by Ana Velez, where herself creates an utopian interpretation, of how it would be easier to live and "navigate" through the streets of Los Angeles if a public transport network continued to exist that links all regions of this US state. Through two large and distinct rooms, located in the Galeria Pintor Fernando de Azevedo, her artworks are presented through a single view of what every human can absorb when «exists», which is, «is present» in a place with History and, simultaneously, future. The construction of the individual’s identity is supported by the reality that each one conceives when it merges with the environment which they’re surrounded by, is therefore the formulation of memories from places we [re]visited the true way to access the 'I' of each one, that is, the being from what it once was.

Mara Silvério, 2016

#oneimageaday1

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anavelezmoreira · 7 years ago

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MAMBA-DE-JAMESON

MAMBA-DE-JAMESON [2016]

A commissioned urban art project by JAMESON IRISH WHISKEY at Pensão Amor [Lisbon, Portugal] Ana Velez | Joana Gomes | Maria Sassetti | Xana Sousa

#mambadejameson

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