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<big><big><font color="#ffffff" face="Helvetica, Arial, sans-serif">Altermodern</font><font
color="#ffffff" face="Helvetica, Arial, sans-serif"> Manifesto</font></big></big><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif"><br>
<font color="#cc0000"><big><big><big><big><big><big>POSTMODERNISM IS
DEAD</big></big></big></big></big></big></font></font><font
face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">A new
modernity is emerging, reconfigured to an age of globalisation –
understood in its economic, political and cultural aspects: an
altermodern culture</font><font face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">Increased
communication,
travel and migration are affecting the way we live</font><font
face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">Our
daily lives consist of journeys in a chaotic and teeming universe</font><font
face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">Multiculturalism
and
identity is being overtaken by creolisation: Artists are now
starting from a globalised state of culture</font><font
face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">This
new universalism is based on translations, subtitling and generalised
dubbing</font><font face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">Today's
art
explores the bonds that text and image, time and space, weave
between themselves</font><font face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">Artists
are
responding to a new globalised perception. They traverse a cultural
landscape saturated with signs and create new pathways between multiple
formats of expression and communication.</font><font
face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">The
Tate Triennial 2009 at Tate Britain presents a collective discussion
around this premise that postmodernism is coming to an end, and we are
experiencing the emergence of a global altermodernity.</font><font
face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">Extended
text</font><font face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">Extended...</font><font
face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">Travel,
cultural
exchanges and examination of history are not merely
fashionable themes, but markers of a profound evolution in our vision
of the world and our way of inhabiting it.</font><font
face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">More
generally, our globalised perception calls for new types of
representation: our daily lives are played out against a more enormous
backdrop than ever before, and depend now on trans-national entities,
short or long-distance journeys in a chaotic and teeming universe.</font><font
face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">Many
signs suggest that the historical period defined by postmodernism is
coming to an end: multiculturalism and the discourse of identity is
being overtaken by a planetary movement of creolisation; cultural
relativism and deconstruction, substituted for modernist universalism,
give us no weapons against the twofold threat of uniformity and mass
culture and traditionalist, far-right, withdrawal.</font><font
face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">The
times seem propitious for the recomposition of a modernity in the
present, reconfigured according to the specific context within which we
live – crucially in the age of globalisation – understood in its
economic, political and cultural aspects: an altermodernity.</font><font
face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">If
twentieth-century modernism was above all a western cultural
phenomenon, altermodernity arises out of planetary negotiations,
discussions between agents from different cultures. Stripped of a
centre, it can only be polyglot. Altermodernity is characterised by
translation, unlike the modernism of the twentieth century which spoke
the abstract language of the colonial west, and postmodernism, which
encloses artistic phenomena in origins and identities.</font><font
face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">We are
entering the era of universal subtitling, of generalised dubbing.
Today's art explores the bonds that text and image weave between
themselves. Artists traverse a cultural landscape saturated with signs,
creating new pathways between multiple formats of expression and
communication.</font><font face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">The
artist becomes 'homo viator', the prototype of the contemporary
traveller whose passage through signs and formats refers to a
contemporary experience of mobility, travel and transpassing. This
evolution can be seen in the way works are made: a new type of form is
appearing, the journey-form, made of lines drawn both in space and
time, materialising trajectories rather than destinations. The form of
the work expresses a course, a wandering, rather than a fixed
space-time.</font><font face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">Altermodern
art
is thus read as a hypertext; artists translate and transcode
information from one format to another, and wander in geography as well
as in history. This gives rise to practices which might be referred to
as 'time-specific', in response to the 'site-specific' work of the
1960s. Flight-lines, translation programmes and chains of heterogeneous
elements articulate each other. Our universe becomes a territory all
dimensions of which may be travelled both in time and space.</font><font
face="Helvetica, Arial, sans-serif"><font color="#ffffff">*</font><br>
<br>
</font><font face="Helvetica, Arial, sans-serif"><br>
<br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">Nicolas
Bourriaud</font><font face="Helvetica, Arial, sans-serif"> <font
color="#ffffff">*</font><br>
<font color="#ffffff"><br>
<small>*for<br>
<a moz-do-not-send="true" class="moz-txt-link-freetext"
href="http://www.tate.org.uk/britain/exhibitions/altermodern/manifesto.shtm">http://www.tate.org.uk/britain/exhibitions/altermodern/manifesto.shtm</a><br>
<br>
<br>
</small></font></font>
<blockquote>
<ul>
<li><small><font face="Helvetica, Arial, sans-serif"><font
color="#ffffff"><small><big><big><big>Ivo Moreira invites us to his
show at Jorge Shirley Gallery (Part I) and Sala do Veado (Part II)-
conveniently located nearby- to visit the manners of abstraction
trough figurative time-specific actions by someone who find their
practice in the words of Nicolas Bourriaud for the alter-modern
Manifesto as a" <i>This is now</i>" statement.</big></big></big></small></font></font></small></li>
<li><small><font face="Helvetica, Arial, sans-serif"><font
color="#ffffff"><small><big><big><big>In his paintings he brings
together figures and the disfigured, drawing and painting, spontaneous
impulses and well thought-out ideas. They follow a specific method of
immersion / Subversion. It's our time. </big></big></big></small></font></font></small></li>
<li><small><font face="Helvetica, Arial, sans-serif"><font
color="#ffffff"><small><big><big><big>Ivo's paintings reveal the
entire gamut of his techniques. In his murals, large format paintings
(Saloons Series06-) - seen at Sala do Veado, MNHN in <i>part II</i> of
<i>Gifts
from where I've been</i>, we see the the artist labouring places from
the 30's and 40's, that he projects on canvas and creates a new place
in
this time. <br>
</big></big></big></small></font></font></small></li>
<li><small><font face="Helvetica, Arial, sans-serif"><font
color="#ffffff"><small><big><big><big>We visit by this strategy
site-specific places in a
time-specifc period of the action, just like a scene or still. He know
he is the method and messes around the conformity of that reason,
making
tangible a display of vintage daily life for the bourgeois. <br>
</big></big></big></small></font></font></small></li>
<li><small><font face="Helvetica, Arial, sans-serif"><font
color="#ffffff"><small><big><big><big>The
curious case of how the human trace is meaningless expression when
visiting the perfection of a more graphical approach. Both this
gestures, are seen in <i>Part I</i> where we can see stretched canvas
horizontally aligned in the walls of the gallery. The lines in
his paintings become form once they brush out the meaning. The show <i>Gifts
>From where I've been </i>are seen<i> </i>by the artist as "<i>a
double
feature being both shows, sequentially ordered to make both Part I at
Jorge Shirley Gallery a naked story, more like erotic 70's motion
pictures and Life Magazine and Part II at Sala do Veado". </i>So,
naked against
the walls different events to start with. Both events assemble together
an especially compelling part from Ivo dueling the canvas, the actors
and props assembling ideal compositions, now, placed on equal footing
with
his canvases. </big></big></big></small></font></font></small></li>
</ul>
<small><font color="#c0c0c0" face="Helvetica, Arial, sans-serif">Pedro
Furtado</font></small>09<br>
<font color="#999999"><a class="moz-txt-link-freetext" href="http://apintofblood.blogspot.com/">http://apintofblood.blogspot.com/</a></font><br>
<br>
</blockquote>
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<font color="#ffffff"> <br>
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<br>
<br>
<br>
</font><big><big><big><font color="#ffcccc"
face="Helvetica, Arial, sans-serif">Ivo Moreira</font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#cc0000" face="Helvetica, Arial, sans-serif">GIFTS
FROM WHERE I’VE BEEN Part I / Part II</font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif"> </font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif"> </font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif"> </font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">INAUGURAÇÃO/OPENING</font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif"> </font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">06.08.2009
a
30.08.09</font><font face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">21h30
<font color="#cc0000">Galeria Jorge ShirleyPart I</font></font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif"> </font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">12.08.09
a
30.08.09</font><font face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">21h30
<font color="#cc0000">Sala do Veado–Museu Nacional de História
NaturalPart II</font></font><font color="#cc0000"
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#cc0000" face="Helvetica, Arial, sans-serif"> </font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif"> </font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif"> </font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif">LANÇAMENTO
LIVRO/
<font color="#990000">BOOK LAUNCH 20.08.2009</font></font><font
color="#990000" face="Helvetica, Arial, sans-serif"><br>
</font><font color="#990000" face="Helvetica, Arial, sans-serif">21h30
<font color="#666666">Galeria Jorge Shirley /MNHN–Sala do Veado</font></font><font
color="#990000" face="Helvetica, Arial, sans-serif"><br>
</font><font color="#990000" face="Helvetica, Arial, sans-serif"> </font><font
face="Helvetica, Arial, sans-serif"><br>
</font><font color="#ffffff" face="Helvetica, Arial, sans-serif"> </font></big></big></big><br>
<font color="#ffffff"> <br>
<br>
<br>
Galeria J o r g e S h i r l e y<br>
Espaço Príncipe Real<br>
Rua da Escola Politécnica 21/23, Lisboa +351 21 386 8496<br>
<br>
Sala do Veado<br>
Rua da Escola Politécnica 56/58, Lisboa +351 21 392 1879<br>
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