Wednesday, July 26, 2006

works progressing

Tuesday, July 25, 2006

a text recovered from past research:
The Realist movement in French art flourished from about 1840 until the late nineteenth century, and sought to convey a truthful and objective vision of contemporary life. Realism emerged in the aftermath of the Revolution of 1848 that overturned the monarchy of Louis-Philippe and developed during the period of the Second Empire under Napoleon III. As French society fought for democratic reform, the Realists democratized art by depicting modern subjects drawn from the everyday lives of the working class. Rejecting the idealized classicism of academic art and the exotic themes of Romanticism, Realism was based on direct observation of the modern world. In keeping with Gustave Courbet's statement in 1861 that "painting is an essentially concrete art and can only consist in the representation of real and existing things," Realists recorded in often gritty detail the present-day existence of humble people, paralleling related trends in the naturalist literature of Émile Zola, Honoré de Balzac, and Gustave Flaubert. The elevation of the working class into the realms of high art and literature coincided with Pierre Proudhon's socialist philosophies and Karl Marx's Communist Manifesto, published in 1848, which urged a proletarian uprising.

Friday, July 21, 2006


Thursday, July 20, 2006

Tuesday, July 18, 2006

images of the first publicized encounter..

Saturday, July 15, 2006

Depósitos para a construção de um muro individual


Deposits for the building of an individual wall

Thank you

Sunday, July 09, 2006

(to connect)

photo taken inside Fabrica de Polvora's ruined ruins

Saturday, July 08, 2006

Today David took Judite and me to the 'Other'' ruins (’the counter ruins’!). the ruins that have not been restored for the public. to get there continue on the walkway behind our studios away from Lugar C. andrea

Friday, July 07, 2006

Images Alexandra and John found at the Hemeroteca Library in Lisbon reporting the explosions at the Fabrica de Polvora on November 30, 1972.

Sunday, July 02, 2006

Some curatorial aspects that I consider as fundamental:

1. The work produced should aim to engage the public/s beyond the act of looking; seeing the public as fundamental to the completion of the work, looking for a real engagement with people, as part of the process of making the work.

The main concern should be to pass the doors of the ruin, the studio is a prop to engage the outside, both in terms of the public that will pass by and as other publics--we can establish a relationship/research with groups of people outside that immediate public, for example Gabriela is probably starting a dialogue with the archeologists in the university near by, Andrea is trying to have collaboration with people at the university of Lisbon as well.

2. If the public are us, like Thierry was saying, we can provide conditions to understand more of our role and our concerns, also to understand the barriers between us and a public; we can see this proposal as a challenge to discover new aspects within our practice.

What publics?-- like David was mentioning, questioning this aspect should be one of our concerns.

3. See the Steam Shop project and our projects within it as an initiation of a discussion; to produce meaning during this time is difficult and as it is to be confined to this period of time -- things evolve in a continuous process, we can take it as a challenge and initiate a new work thinking about the group.

4. The works can and I think they will be crossed in terms of ideas, taking advantage of the differences and common references keeps the shop interesting.

5. Fundamentally, this projected it about an exploded studio. Not just it terms of a site, in the sense of site specificity, but it terms of an experimental approach to create new kinds of relations, intrinsic relations, between artist and the larger public, as Courbet provided a first precedent.