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<span style="color:rgb(255,255,255)"><span style="font-family:'times new roman',times,baskerville,georgia,serif">Sismógrafo:<br>
Hernâni Reis Baptista "Dog Eat Dog"</span></span><br>
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<span style="color:rgb(255,0,0)"><span style="font-size:40px"><span style="font-family:helvetica,arial,'sans serif'"><span style="letter-spacing:1px">Hernâni Reis Baptista<br>
<br>
DOG EAT DOG</span></span></span></span></div>
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<div style="color:rgb(0,0,0);font-size:15px;text-align:left"> </div><div style="color:rgb(0,0,0);font-size:15px;text-align:left"><strong style="font-family:'helvetica neue',helvetica,arial,sans-serif;letter-spacing:1px;line-height:22px;color:rgb(255,0,0);font-size:16px">Curadoria de / Curated by Óscar Faria</strong></div><div style="text-align:left"><p style="margin:0px 0px 1em;line-height:22px;font-family:'helvetica neue',helvetica,arial,sans-serif;letter-spacing:1px;text-align:left;padding:0px"><font color="#ff0000"><span style="font-size:16px"><b><br></b></span></font>
<span style="color:rgb(255,0,0);font-size:15px"><span style="font-size:16px"><strong>Inauguração/Opening:</strong><br>
sex/fri 9 Set/Sep 22:00<br>
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<strong>Até/Until:</strong><br>
8 Out/Oct 2016, qui–sáb/thu–sat 15:00–19:00<br>
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<strong>Conversa com o artista / Talk with the artist:</strong><br>
sáb/sat 8 Out/Oct 2016, 17:00 </span></span><br>
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<div style="text-align:center"><span style="color:rgb(255,0,0)"><span style="font-size:15px"><span style="font-family:helvetica,arial,'sans serif'"><span style="letter-spacing:1px">[português]</span></span></span></span></div>
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<p style="margin:0px 0px 1em;font-size:18px;line-height:19px;color:rgb(0,0,0);font-family:helvetica,arial,'sans serif';padding:0px;text-align:left"><span style="color:rgb(255,0,0)"><span style="font-size:18px"><span style="letter-spacing:1px"><strong>Ringo Star</strong></span></span><br>
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<span style="font-size:15px"><span style="letter-spacing:1px">Há um <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=b312d77e8f&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">devir</a> cor na exposição “Dog Eat Dog”, de Hernâni Reis Baptista. Melhor, há um devir cores: vermelho e azul, sobretudo. São esses tons que unem os diferentes planos da mostra: o chão, as esculturas, as pinturas. Os matizes escolhidos pelo artista definem também aquilo que de abstracto, minimal, se encontra nas salas do Sismógrafo. Os objectos como que se querem <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=1459afc5da&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">confundir</a> com o seu suporte: o vinil que cobre o pavimento não só sublinha e agarra um território, mas também aponta para uma série de tradições: neo-plasticismo, suprematismo, neo-concretismo. É um artifício, porque se trata de um material industrial, produzido em massa, sem qualquer intervenção do autor. Pode assim dizer-se que aqui o monocromo funciona contra a <a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=d1b01a30ae&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">estética</a>, como se fosse uma disputa entre Adorno e Greenberg: sim, a autonomia da <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=0ed11c03b7&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">arte moderna</a> também inclui <a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=130964a892&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">“factos sociais”</a>, os quais não devem ser separados dos elementos formais de uma obra.<br>
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Um segundo dado a ter em conta na análise da exposição de Hernâni Reis Baptista é essa espécie de <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=a30fce66c1&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">“agilidade”</a> que, de algum modo, procura definir um percurso sobre o território monocromático. “Agility” é o nome dado a um dos <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=e597c4c166&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">desportos caninos</a> mais populares, uma espécie de hipismo para cães. Esta prova serviu de inspiração para uma nova série de <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=21552b52bd&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">esculturas</a>, que procuram estabelecer linhas de fuga a essa herança, constantemente recuperada pelo capitalismo: a da arte abstracta – o suicídio de Rothko é o caso mais trágico dessa apropriação dos valores intrínsecos de uma obra, como é exemplo a encomenda feita pelo restaurante Four Seasons, em Nova Iorque, abandonada durante o processo da realização das pinturas. Há, pois, que tentar uma vez mais: pôr à prova esta aporia. Fazer de novo, para falhar de novo.<br>
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Existe, portanto, algo que se insinua entre as franjas de uma cor pura, sem mácula, mas ainda assim a cor do sangue, vermelho ou azul, conforme o estatuto social de quem o possui, nobre ou proletário. Se o hipismo é um desporto geralmente associado aos estratos mais favorecidos, o “agility” é, sem dúvida, um entretenimento popular – nesta modalidade qualquer animal, seja <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=bd4416f4bc&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">rafeiro</a>, <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=163347bc1e&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">arraçado</a> ou <a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=bb65ccea8b&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">com raça</a>, pode ser inscrito. O desejo de sair destes condicionalismos – sejam eles históricos ou sociais –, é uma das propostas de Hernâni Reis Baptista com esta exposição. Consciente desta realidade – a da luta de classes –, o artista propõe mais um plano de evasão: uns <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=e730e8a879&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">olhos azuis</a> de um cão, que surge entre as imagens do vídeo apresentado na exposição. A aparição deste animal entre a natureza, ele próprio em fuga da sua <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=e6545d54d1&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">domesticidade</a>, constitui esse convite à aventura, que apenas se experimenta quando se está atento ao mundo. No filme existem outros elementos vegetais e minerais. Planos alquímicos também: nada se perde, tudo se transforma.<br>
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A uma estética cómoda opõe-se um <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=dc47114f30&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">atrito</a>, um incómodo: o chão que pisamos, os <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=8352af79b8&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">obstáculos</a> que superamos, o entretenimento que fruímos constituem outras tantas metáforas para definir o contexto artístico actual. Uma variação da expressão idiomática “Dog Eat Dog”, título da exposição, foi usada, em 43 a.c., pelo estudioso romano Marcus Tarentius Varro, num sentido contrário ao actual – na sua <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=f8ce22e7c2&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">origem</a> ela serviu ao escritor para dizer, em sentido metafórico, que, ao contrário dos humanos, um cão não comeria um seu semelhante. Hoje, esta frase é usada para descrever “uma situação na qual as pessoas farão tudo para terem <a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=3da7439ce3&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">sucesso</a>, mesmo que aquilo que façam magoe terceiros”.
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Entre o <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=9f6d53e84e&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">doméstico</a> e o <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=2f1d1f21d5&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">selvagem</a>, entre a abstracção e a figuração, entre o luxo e o desperdício, a exposição de Hernâni Reis Baptista traduz essa dificuldade de fazer acontecer uma mostra enquanto cor pura, que uiva, ladra, rosna, mostra os dentes e, espera-se, <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=42cab5bdaa&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">morda onde mais doer</a>. Talvez por isso, a imagem de um cão, deitado na relva, com a língua de fora, seja a que sintetiza esta mostra: cansado, mas feliz. É preciso continuar.</span></span></span></p>
<p style="margin:0px 0px 1em;font-size:18px;line-height:19px;color:rgb(0,0,0);font-family:helvetica,arial,'sans serif';text-align:center;padding:0px"><span style="color:rgb(255,0,0)">*</span></p>
<p style="margin:0px 0px 1em;font-size:18px;line-height:19px;color:rgb(0,0,0);font-family:helvetica,arial,'sans serif';padding:0px;text-align:left"><span style="color:rgb(255,0,0)"><span style="font-size:15px"><span style="letter-spacing:1px"><strong>Hernâni Reis Baptista</strong> (Vila do Conde, 1986) vive e trabalha no Porto. É licenciado em Artes Plásticas – Multimédia, pela Faculdade de Belas Artes da Universidade do Porto, onde foi selecionado com o prémio de aquisição da exposição de finalistas em 2013. Começou a expor em 2011, de onde se destacam as exposições colectivas “CAVE”, na SOLAR, Galeria de Arte Cinemática (Vila do Conde, 2012), “Sem Quartel”, no Sismógrafo (Porto, 2014), “SVEART” Saint Vincent European Art (Itália, 2012), “Terreno”, na Kubik Gallery (Porto, 2013) e “Tarmacadame” (Porto, 2016), entre outras. Apresentou individualmente “Mesa” e “Falha” no Espaço Campanhã (Porto, 2011 e 2013), “Tropismos”, no Espaço Vésta (Porto, 2015), “T-1000”, na Floating Islands, Maus hábitos (Porto, 2015) e "Intraduzibilidade, Untranslatability, Unübersetzbarkeit”, no Klub Genau, a par do festival de arte “KARAT, the ocean and the river” (Colónia, Alemanha, 2013). Participou também em residências artísticas na qual se destaca a “360o Context and Process”, pela Triangle Network no espaço Hangar (Lisboa, 2015). Trabalha maioritariamente com instalação, escultura, video, e diversos processos digitais.</span></span></span></p>
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<p style="margin:0px 0px 1em;font-size:18px;line-height:19px;color:rgb(0,0,0);font-family:helvetica,arial,'sans serif';padding:0px;text-align:left"><span style="color:rgb(255,0,0)"><strong><span style="font-size:18px"><span style="letter-spacing:1px">Ringo Star</span></span></strong><br>
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<span style="font-size:15px"><span style="letter-spacing:1px">There is a <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=93121a1b9a&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">becoming</a> colour in the exhibition "Dog Eat Dog", by Hernâni Reis Baptista. Rather, there is a becoming colours: red and blue, mainly. These are hues that unite the different plans in the show: the ground, the sculptures, the paintings. The shades chosen by the artist also define what of abstract, minimal, can be found in the rooms of Sismógrafo. The objects are as if they wish to be <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=b4ce321ee3&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">confused</a> with their standing place: the vinyl covering the floor not only emphasizes and holds a territory, but also points to a number of traditions: neo-plasticism, suprematism, neo-concretism. It's an artifice, because it is an industrial material, mass produced, without any intervention of the author. It can thus be said that here the monochrome works against the <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=592797ccd4&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">aesthetics</a>, like a dispute between Adorno and Greenberg: yes, the autonomy of <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=55f809d3a4&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">modern art</a> also includes <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=165585acfb&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">"social facts"</a>, which should not be separated from the formal elements of a piece.<br>
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A second thing to take into account in the analysis of Hernâni Reis Baptista’s exhibition is that kind of <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=a6daa81761&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">"agility"</a> which, somehow, seeks to define a route on the monochrome territory. “Agility” is the name given to one of the most popular <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=7185cfc44a&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">canine sports</a>, a sort of equestrianism for dogs. This competition was the inspiration for a new series of <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=6d0f5c6071&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">sculptures</a>, trying to establish escape routes to that heritage, constantly recovered by capitalism: the abstract art – Rothko’s suicide is the most tragic event regarding that appropriation of the intrinsic value of a work, as exemplified by the commission made by the Four Seasons restaurant in New York, abandoned during the process of realization of the paintings. So, it must be tried again: testing this aporia. Do it again, to fail again.<br>
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There is, afterall, something that insinuates itself between the fringes of a pure colour, unblemished, yet the colour of blood, red or blue, depending on the social status of the one it belongs to, noble or proletarian. If equestrianism is a sport usually associated with the more favored social strata, agility is undoubtedly a popular entertainment – in this one, any animal, whether <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=ffa01daa85&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">mutt</a>, <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=4f3473000c&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">crossed</a> or <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=201718724a&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">breed</a>, can be admitted. The desire to get out of these constraints – whether historical or social – is one of the proposals of Hernâni Reis Baptista with this exhibition. Aware of this reality – of the class struggles –, the artist proposes another escape plan: the <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=0aabe78c3e&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">blue eyes</a> of a dog, which show up between the images of the video displayed in the exhibition. The appearance of this animal among nature, fleeing from its <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=ab2b98a63e&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">domesticity</a>, makes an invitation to adventure, which can only be experimented when one is attentive to the world. In the film, there are other vegetable and mineral elements. Alchemical shots also: nothing is lost, everything is transformed.<br>
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To a comfortable aesthetic a <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=af3f6c771d&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">friction</a> is opposed, a discomfort: the ground we walk on, the <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=68c93aa113&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">obstacles</a> we overcome, the entertainment we enjoy, constitute metaphors to define the current artistic context. A variation of the idiomatic expression "Dog Eat Dog” was used in 43 a.c., by the Roman scholar Marcus Tarentius Varro, with a meaning opposite to the present one – in its <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=5e3a2fda3d&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">origin</a>, the writer wanted to say, metaphorically, that unlike humans, a dog would not eat its fellow. Today, this sentence is used to describe "a situation in which people will do everything to <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=8b81c7c467&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">succeed</a>, even if what they do will hurt the other”.<br>
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Between the <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=5f4b548e85&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">domestic</a> and the <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=877b3cb1d1&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">wild</a>, between abstraction and figuration, between luxury and waste, the exhibition by Hernâni Reis Baptista translates this difficulty to make a show happen as a pure colour, that howls, barks, snarls, bares its teeth and, hopefully, <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=6e5a9501c0&e=02a33170e1" style="word-wrap:break-word;color:rgb(0,0,205);font-weight:bold;text-decoration:underline" target="_blank">bites where it hurts the most</a>. Perhaps this is why the image of a dog lying on the grass with its tongue out, is the one that synthesizes this show: tired but happy. We must carry on.</span></span></span></p>
<p style="margin:0px 0px 1em;font-size:18px;line-height:19px;color:rgb(0,0,0);font-family:helvetica,arial,'sans serif';text-align:center;padding:0px"><span style="color:rgb(255,0,0)">*</span></p>
<p style="margin:0px 0px 1em;font-size:18px;line-height:19px;color:rgb(0,0,0);font-family:helvetica,arial,'sans serif';padding:0px;text-align:left"><span style="color:rgb(255,0,0)"><span style="font-size:15px"><span style="letter-spacing:1px"><strong>Hernâni Reis Baptista</strong> (Vila do Conde, 1986) lives and works in Porto. He graduated in Visual Arts – Multimedia, at the Faculty of Fine Arts of Porto, where he was awarded with the acquisition prize in the graduation show, in 2013. He has been showing regularly since 2011, including the group exhibitions “CAVE”, at SOLAR, Cinematic Art Gallery, (Vila do Conde, 2012), “Sem Quartel”, at Sismógrafo (Porto, 2014), “SVEART” Saint Vincent European Art (Italy, 2012), “Terreno”, at Kubik Gallery (Porto, 2013) and “Tarmacadame” (Porto, 2016), amongst others. His solo exhibitions include “Mesa” and “Falha” at Espaço Campanhã (Porto, 2011 and 2013), “Tropismos” at Espaço Vésta (Porto, 2015), “T-1000” at Floating Islands, Maus hábitos (Porto, 2015) and "Intraduzibilidade, Untranslatability, Unübersetzbarkeit” at Klub Genau, included in the art festival “KARAT, the ocean and the river” (Cologne, 2013). He also participated in artist residencies such as the "360º Context and Process", by the Triangle Network in space Hangar (Lisbon, 2015). Hernâni Reis Baptista works mainly with installation, sculpture, video, and various digital processes. </span></span></span></p>
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<strong><span style="font-size:18px"><span style="color:rgb(255,0,0)"><span style="font-family:helvetica,arial,'sans serif'"><span style="letter-spacing:1px">Brevemente/Upcoming</span></span></span></span></strong></div>
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<p style="margin:0px 0px 1em;line-height:19px;color:rgb(0,0,0);padding:0px;font-family:helvetica;font-size:14px;text-align:left"><span style="color:rgb(255,0,0)"><font face="helvetica, arial,sans serif"><span style="font-size:15px;letter-spacing:1px">Outubro/October<br>
<strong>Diana Carvalho</strong><br>
Exposição individual / solo exhibition</span></font></span><br>
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