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<title>Inauguração/Opening: Thierry Simões "maqueiros II–IX; Traveller C", quinta/thursday 28 Jan 22:00</title>
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<span style=""><span style="font-family:georgia,times,times new roman,serif">Sismógrafo:<br>
Thierry Simões: "maqueiros II–IX; Traveller C"</span></span><br>
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<div style="text-align: left;"><br>
<br>
<span style="font-size:30px"><span style="font-family:courier new,courier,lucida sans typewriter,lucida typewriter,monospace">Thierry Simões<br>
<br>
maqueiros II–IX; Traveller C</span></span></div>
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<div style="text-align: left;"> </div>
<div style="text-align: left;"><p style="margin: 0px 0px 1em; font-size: 15px; line-height: 22px; letter-spacing: 1px; text-align: left; padding: 0px;"><br>
<span style="font-family:courier new,courier,lucida sans typewriter,lucida typewriter,monospace"><span style="font-size:16px">Inauguração/Opening: qui/thu 28 Jan 22:00<br>
até/until: 6 Fev/Feb 2016,<br>
qui–sáb/thu–sat 15:00–19:00</span></span><br>
<br>
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<div style="text-align: center;"><span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style=""><span style="letter-spacing:1px">[português]</span></span></span></span></div>
<div style="text-align: left;"><p style="margin: 0px 0px 1em; font-size: 18px; line-height: 19px; font-family: helvetica, arial, 'sans serif'; padding: 0px; text-align: left;"><span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px">O Sismógrafo abre o seu programa de exposições para 2016 com o regresso de Thierry Simões (Paris, 1968), que em 2014 apresentou a exposição </span></span></span>“<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px">Merci</span></span></span>”<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px"> e agora propõe três obras inéditas: as caixas de gravuras <em>maqueiros II-VI</em> e <em>maqueiros VI-IX</em> e a escultura portátil <a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=ddfd207efb&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;"><em>Traveller C</em></a>. Os dois volumes incluem, cada um, cinco provas de estado de uma mesma placa, em cobre, que tem sido riscada desde 2001 – o desenho nela inscrito, neste caso o fixado em 2007, foi também usado na publicação <em>Naevus,</em> com textos de Rui Baião, editado pela Abysmo em 2013.<br>
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Em <a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=d54f03c77d&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;"><em>maqueiros</em></a> interessa sobretudo sublinhar as variações que a prova original vai sofrendo ao longo do tempo, observando-se nessa duração um progressivo enegrecer das gravuras. Essa crescente <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=1fc74e71de&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">escuridão</a> é sobretudo obtida através da </span></span></span>“<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px">maneira negra</span></span></span>”<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px">, uma técnica de gravação a partir do qual se conseguem produzir nuances muito difíceis de obter com outros procedimentos, como um maior contraste entre as zonas de sombra e de luz. Os personagens que dão título às obras podem ser lidos como uma alegoria da interdependência dos humanos: os </span></span></span>“<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px">maqueiros</span></span></span>”<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px"> seguem, tal como os escaladores, uma mesma direcção, mas, tal como estes, sempre ligados por uma corda, os condutores de macas necessitam um do outro para transportarem os corpos ao seu destino.<br>
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No caso das gravuras de Thierry Simões, o longo caminho percorrido parece não ter fim– a série não é dada como acabada pelo artista – e a paisagem envolvente vai-se também alterando de uma forma perceptível, que é estabelecida em cada gravura. Se observarmos com atenção vêem-se não só pedras, ramos, teias de aranha, mãos e pés, sexos, mas também o crescer da noite, da <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=4edc5f10e1&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">vertigem</a>, do diálogo entre o homem-árvore e o seu par, vindo de uma antiguidade próxima de <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=7f9b069b7c&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">Bruegel, o Velho</a>. Há pois, um tempo indefinido, seja ele meteorológico, seja ele cronológico, que atravessa estes trabalhos, os quais, devido a essa condição parecem situar-se num limbo: parecem estar a acordar, sem ainda terem a consciência do mundo que os rodeia.<br>
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<em>Traveller C</em> é uma escultura portátil que tem a sua origem numa obra apresentada em 2011, no Centro Comercial das Amoreiras em Lisboa, onde, a espaços, se ouvia uma voz a pedir às pessoas para depositarem, numa mesa situada diante de uma livraria, uma <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=ef720b2e93&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">luva</a> supostamente perdida. O trabalho foi entretanto desenvolvido por Thierry Simões, que se tornou ele próprio um recolector dessa <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=8118b4a999&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">peça de roupa</a>, reunindo os seus achados num objecto portátil – uma mala de transportar uma <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=ac250ca7c0&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">máquina de escrever</a>. Objecto poético, este depósito de ausências – <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=abed73b7ab&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">a das mãos e a do aparelho</a> –, acrescenta outros sentidos às gravuras <em>maqueiros</em>, que também podem ser lidas enquanto imagens de um tempo perdido, ao qual tentamos sempre regressar. </span></span></span><br>
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<div style="text-align: center;"><span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style=""><span style="letter-spacing:1px">[english]</span></span></span></span></div>
<div style="text-align: left;"><p style="margin: 0px 0px 1em; font-size: 18px; line-height: 19px; font-family: helvetica, arial, 'sans serif'; padding: 0px; text-align: left;"><span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px">Sismógrafo starts its exhibition program for 2016 with the return of Thierry Simões (Paris, 1968), who in 2014 presented the exhibition entitled </span></span></span>“<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px">Merci</span></span></span>”<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px"> and now proposes three new works: the etching boxes <em>maqueiros II-VI</em> and <em>maqueiros VI-IX</em> and the portable sculpture <em><a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=ff5253ed62&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">Traveller C</a>. </em>The two volumes each include five proofs of state from the same plate of copper, which has been scratched since 2001 – the drawing therein inscribed, in this case the one fixed in 2007, was also used in the publication <em>Naevus</em> with texts by Rui Baião, published by Abysmo in 2013.<br>
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In <em>maqueiros</em> [<a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=d6ade8851d&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">stretcher bearers</a>] its important to highlight the variations that the original proof undergoes over time, a duration in which can be observed a progressive blackening of the etchings. This increasing<a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=1b81e3942f&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;"><u> </u>darkness</a> is mostly obtained by the </span></span></span>“<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px">black way</span></span></span>”<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px">, an engraving technique from which is possible to produce shades very difficult to obtain with other procedures, such as a greater contrast between areas of light and shadow. The characters that give title to the works can be read as an allegory of human interdependence: the </span></span></span>“<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px">stretcher bearers</span></span></span>”<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px"><span style=""> follow, as climbers, a same direction, but like these, always connected by a rope, the stretcher drivers need each other to transport the bodies to their destination.<br>
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In the case of the etchings by Thierry Simões, the road seems endless – the series is not considered as finished by the artist – and the surrounding landscape is also changing in a perceivable form, which is established in each proof. If we look carefully, we can see not only rocks, branches, cobwebs, hands and feet, sexes, but also the growing of the night, of the <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=cf2c49f367&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">vertigo</a>, of the dialogue between a man-tree and its partner, coming from an antiquity close to <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=84b87cb9e6&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">Bruegel, the Elder</a>. There is, therefore, an indefinite time, an indefinite weather, running through these works, which, because of this condition appear to be located in a limbo: they seem to be waking up, without even having the awareness of the world around them.<br>
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<em>Traveller C</em> is a portable sculpture that has its origin in a work presented in 2011, in the Amoreiras shopping center in Lisbon, where, now and then, we would hear a voice asking people to deposit, in a table located in front of a bookstore, a <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=f08ec5d1e6&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">glove</a> supposedly lost. The work has since been developed by Thierry Simões, who became himself a collector of this <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=1f1461a76d&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">garment</a>, bringing together his findings in a portable object – a suitcase to carry a <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=39efc8191e&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">typewriter</a>. Poetic object, this deposit of absences – <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=819952dd95&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #e60202;font-weight: bold;text-decoration: underline;">the hand and the machine</a> – adds other meanings to the <em>maqueiros </em>etchings<em>, </em>which can also be read as images of a lost time, to where we always try to return. </span></span></span><br>
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<div style="text-align: center;"><span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style=""><span style="letter-spacing:1px">[brevemente/upcoming]</span></span></span></span></div>
<div style="text-align: left;"><p style="margin: 0px 0px 1em; font-size: 18px; line-height: 19px; font-family: helvetica, arial, 'sans serif'; padding: 0px; text-align: left;"><span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px">Pedro Huet: </span></span></span>“<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px">Walled</span></span></span>”<span style="font-size:15px"><span style="font-family:georgia,times,times new roman,serif"><span style="letter-spacing:1px"> (exposição individual / solo exhibition)<br>
Inauguração/Opening 12 Fevereiro/February 2016</span></span></span><br>
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