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<span style="color:#0066cc"><span style="font-family:times new roman,times,baskerville,georgia,serif">Sismógrafo:<br>
Diana Carvalho "Flor de Sal"</span></span>
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<span style="color:#0066cc"><span style="font-size:50px"><span style="font-family:helvetica,arial,sans serif"><span style="letter-spacing:1px;line-height:70px">DIANA CARVALHO<br>
<br>
FLOR DE SAL</span></span></span></span></div>
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</p><p style="margin: 0px 0px 1em; font-size: 15px; line-height: 22px; font-family: 'Helvetica Neue', helvetica, arial, sans-serif; letter-spacing: 1px; text-align: left; padding: 0px;"><span style="color:#0066cc"><strong><span style="font-size:16px">Inauguração/Opening:<br>
sex/fri 14 Out/Oct 22:00<br>
<br>
Até/Until:<br>
12 Nov 2016, qui–sáb/thu–sat 15:00–19:00</span></strong></span></p><div style="margin: 0px 0px 1em; font-size: 15px; line-height: 22px; font-family: 'Helvetica Neue', helvetica, arial, sans-serif; letter-spacing: 1px; text-align: center; padding: 0px;"> <br class="webkit-block-placeholder"></div>
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<div style="text-align:center"><span style="color:#0066cc"><span style="font-size:15px"><span style="font-family:helvetica,arial,sans serif"><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="color:#0066cc"><span style="font-size:18px"><span style="letter-spacing:1px"><strong>Enganar os olhos</strong></span></span><br>
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<span style="font-size:15px"><span style="letter-spacing:1px">Todos conhecem a história, mas não é demais recordá-la: segundo Plínio, o velho, um dia, no século IV a.C., <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=be81757f31&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">Zeuxis</span></a>, artista grego, pintou com tanta perfeição um cacho de uvas que chegou mesmo a ludibriar um bando de pássaros, os quais se lançaram contra a imagem julgando ter diante de si os verdadeiros frutos. Sabendo disto, Parrásio convidou Zeuxis a ir ao seu ateliê, tendo-o convidado a retirar a cortina que cobria a sua obra-prima. Ao tentar realizar essa acção, Zeuxis percebeu ter caído numa armadilha: a cortina era ela própria uma pintura. Nessa história de enganos, diz-se que a vitória coube a Parrásio – conhecido como o Pornógrafo, por não só pintar quadros para prostíbulos, mas também realizar nus da sua amante –, pois conseguiu iludir um colega de ofício.<br>
<br>
O “trompe-l’oeil”, expressão cunhada no período barroco, tem portanto origens mais remotas. Há outros exemplos que podem ser citados, como o relatado no século XVI por Vasari, que pretendia assim provar a precocidade de Giotto (1266-1337). O artista italiano terá pintado, por cima de um nariz de uma obra de Cimabue, uma mosca. Quando este último regressou ao ateliê para continuar esse trabalho “tentou várias vezes espantá-la com a mão, pensando que fosse real, antes de perceber o seu engano”.<br>
<br>
É, contudo, o exemplo de Fra Angelico, tal como estudado por Georges Didi-Huberman em “Dissemblance et Figuration”, que nos aproxima mais da exposição “Flor de Sal”, de Diana Carvalho. Trata-se, aquele, de um texto que se organiza à volta de um enigma, os pãs de pintura – “pans de peinture” – que o artista executou sob o fresco da “Virgem das Sombras” (circa 1450), no convento de São Marcos, em Florença. Nesses quatro pedaços, que imitam o mármore, e nada representam, vê o historiador francês dissemelhanças, no sentido da teologia medieval: “(…) figurar alguma coisa já não é mais procurar a semelhança. É mais encontrar uma dinâmica do deslocamento, um desvio fora da aparência – por exemplo, significar ‘o Cristo’ figurando uma simples rocha, segundo uma exegese cristã de uma passagem do Antigo Testamento… E compreendemos agora que ‘figurar’ volta a ‘significar uma coisa sem tornar a sua semelhança visível’ – é portanto um princípio – semiótico, estético – de dissemelhança.”<br>
<br>
Em “Flor de Sal”, Diana Carvalho revela um conjunto de fotografias, que, em si, nascem de uma proximidade com a pintura. As imagens não enganam, não iludem, mas contêm elementos que procuram esse ludíbrio. Vêem-se azulejos e persianas, paredes e uma superfíce líquida. Vêem-se sobretudo referências à arte abstracta, ao “tromp-l’oeil”, a uma ideia da pintura enquanto objecto físico e não metáfora de uma outra coisa qualquer. Podem evocar-se nomes, referências, algumas próximas, outras nunca pensadas pela artista: <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=534471f548&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">Wade Guyton</span></a>, <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=e593047730&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">Cory Arcangel</span></a>, <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=e467a5afb2&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">Frank Stella</span></a>, <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=2ef49cf755&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">Fra Angelico</span></a>… O plano pictórico enquanto uma <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=c7767ec4e4&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">janela aberta para o mundo</span></a>, teorizado na renascença, é aqui deslocado, pelo fotográfico – analógico ou digital –, para uma dimensão conceptual: a repetição de um padrão que sugere nuvens numa obra, encontra correspondência numa salina num outro trabalho. Enganar os olhos, parece ser o objectivo da autora, que entre interiores domésticos e fragmentos da rua e da paisagem, nos convida a decifrar esse enigma diante de nós: o da solidão do acto criativo, essa travessia do mundo sempre à procura de um tempo perdido, <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=1f6361c276&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">reencontrado</span></a> nos mínimo dos detalhes. </span></span></span></p><p style="margin: 0px 0px 1em; font-size: 18px; line-height: 19px; font-family: helvetica, arial, 'sans serif'; text-align: center; padding: 0px;"><span style="color:#0066cc">*</span></p><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="color:#0066cc"><span style="font-size:15px"><span style="letter-spacing:1px"><strong>Diana Carvalho </strong>(Lisboa, 1986) é licenciada em Pintura (2005-2009) e mestre em Práticas Artísticas Contemporâneas (2010-2012) pela Faculdade de Belas Artes da Universidade do Porto. Em 2008, durante o período de licenciatura, foi aluna na Hochschule für Bildende Künste Dresden, Alemanha, ao abrigo do programa Erasmus e, em 2011, durante o período de mestrado, frequentou um semestre como aluna de intercâmbio na Escola de Comunicações e Artes da Universidade de São Paulo, Brasil, ao abrigo da bolsa Santander. Realizou as seguintes exposições individuais: em 2015, "Ruh!", Rua do Sol, Porto e "Pertences", Mupi Gallery, Maus Hábitos, Porto; em 2013, "Colónia de Férias", Boutique – Raum für temporäre Kunst (integrada na programação de The ocean and the river – Karat), Colónia, Alemanha. Das exposições colectivas em que participou, destacam-se: em 2016, "Tarmacadame", Porto e "A meio de qualquer coisa", Galeria Graça Brandão, Lisboa; em 2015, "Geração Y", Paços do Concelho, Porto e "Ontem como Hoje", Bienal da Maia; em 2014, "Sem Quartel", Sismógrafo, Porto e "A riqueza múltipla e multiplicadora da ambiguidade”, Espaço Mira, Porto; em 2013, "Grandes Férias", Rua do sol 172, Porto; "Copi Copi", Galeria 111, Porto e "BES Revelação 2012", BES Arte e Finança, Lisboa; em 2012, "BES Revelação", Museu de Serralves, Porto e "Qualquer coisa", Museu da Faculdade de Belas Artes da Universidade do Porto.</span></span></span></p>
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<div style="text-align:center"><span style="color:#0066cc"><span style="font-size:15px"><span style="font-family:helvetica,arial,sans serif"><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="color:#0066cc"><span style="font-size:18px"><span style="letter-spacing:1px"><strong>Deceiving the eyes</strong></span></span><br>
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<span style="font-size:15px"><span style="letter-spacing:1px"></span></span></span></p><div><div class="h5">Everyone knows the story, but it’s never too much to remember it: according to Pliny the Elder, one day, in the fourth century BC, <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=17c62b6dd2&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">Zeuxis</span></a>, a Greek artist, painted so perfectly a bunch of grapes that he has even mislead a group of birds, which fell upon the image taking that they had before them the real fruits. Knowing this, Parrasio invited Zeuxis to go to his studio, inviting him to remove the curtain that covered his masterpiece. When attempting to perform this action, Zeuxis realised he had fallen into a trap: the curtain was itself a painting. In this story of deception, it is said that the victory went to Parrasio – known as the Pornographer, not only for painting pictures for brothels, but also for painting nudes of his lover –, as he managed to deceive a colleague.<br>
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The “trompe-l’oeil”, an expression coined in the Baroque period, has therefore remote origins. There are other examples that can be cited, for example the one reported in the sixteen century by Vasari, who wanted to prove the precocity of Giotto (1266-1337). The Italian artist had painted on top of a nose of a work by Cimabue, a fly. When the latter returned to the studio to continue his work, "he tried several times to scare the fly with his hand, thinking it was real, before acknowledging his mistake."<br>
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It is, however, the example of Fra Angelico, as studied by Georges Didi-Huberman in "Dissemblance et Figuration", which brings us closer to the exhibition "Flor de Sal" [Flower of Salt], by Diana Carvalho. It is a text organized around an enigma, the pans of painting – “pans de peinture” – that the artist executed under the fresco panel “Ognissanti Madonna” (circa 1450), in the convent of San Marco, Florence. In these four pieces that imitate marble, and represent nothing, the French historian sees dissimilarities in the sense of medieval theology: "(...) to figure something is no longer to seek the resemblance. It is more to find a dynamic shift, a shift out of appearance – for example, signify 'the Christ' figuring a simple rock, according to a Christian exegesis of a passage from the Old Testament... And we now understand that 'figuring' again 'means a thing without making its visible likeness' – so it is a principle – semiotic, aesthetic – of dissimilarity."<br>
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In "Flor de Sal", Diana Carvalho reveals a set of photographs, which were, in themselves, born of a proximity to painting. The pictures do not lie, do not deceive, but contain elements looking for deception. We can see tiles and blinds, walls and a liquid surface. One can find, mostly, references to Abstract Art, to the “tromp-l’oeil”, to the idea of a painting as a physical object and not a metaphor for something else. It can evoke names, references, some of them close, other ones never thought by the artist: <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=51ce9a6c08&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">Wade Guyton</span></a>, <a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=26b2dd7752&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">Cory Arcangel</span></a>, <a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=de3712769b&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">Frank Stella</span></a>, <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=5f56ee51ba&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">Fra Angelico</span></a>… The pictorial plane as an <a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=b3f7aae060&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">open window to the world</span></a>, theorized in the Renaissance, is here displaced, by the photographic – analog or digital –, to a conceptual dimension: the repetition of a pattern that suggests clouds in one work finds correspondence in a salt mine of another work. Deceiving the eyes, seems to be the aim of the artist, that between domestic interiors and street and landscape fragments, invites us to decode the riddle before us: the loneliness of the creative act, that crossing of the world always looking for a lost time, which is <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=ebf70746e2&e=e94a5868c4" style="word-wrap:break-word;color:#0066cc;font-weight:bold;text-decoration:none" target="_blank"><span style="background-color:#ffccff">found again</span></a> in the minimum details. <div><br class="webkit-block-placeholder"></div><span class=""><p style="margin: 0px 0px 1em; font-size: 18px; line-height: 19px; font-family: helvetica, arial, 'sans serif'; text-align: center; padding: 0px;"><span style="color:#0066cc">*</span></p><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="color:#0066cc"><span style="font-size:15px"><span style="letter-spacing:1px"><strong>Diana Carvalho</strong> (Lisbon, 1986) has a degree in Painting (2005-2009) and a master in Contemporary Artistic Practices (2010-2012) by teh Faculty of Fine Arts University of Porto. In 2008, during her degree, she was a student at Hochschule für Bildende Künste Dresden, Germany, under Erasmus Programme and, in 2011, during her master, she attended one semestre as an exchange student at the School of Communications and Arts of UNiversity of São Paulo, Brazil, under a Santander scholarship. Diana Carvalho realised the following solo exhibitions: in 2015, "Ruh!", Rua do Sol, Porto and "Pertences", Mupi Gallery, Maus Hábitos, Porto; in 2013, "Colónia de Férias", Boutique – Raum für temporäre Kunst (integrated in the programme of The ocean and the river – Karat), Cologne, Germany. Recent group shows include: in 2016, "Tarmacadame", Porto and "A meio de qualquer coisa", Galeria Graça Brandão, Lisbon; in 2015, "Geração Y", Paços do Concelho, Porto and "Ontem como Hoje", Bienal da Maia; in 2014, "Sem Quartel", Sismógrafo, Porto and "A riqueza múltipla e multiplicadora da ambiguidade”, Espaço Mira, Porto; in 2013, "Grandes Férias", Rua do sol 172, Porto; "Copi Copi", Galeria 111, Porto and "BES Revelação 2012", BES Arte e Finança, Lisbon; in 2012, "BES Revelação", Museu de Serralves, Porto and "Qualquer coisa", Museu da Faculdade de Belas Artes da Universidade do Porto.</span></span></span></p>
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</div><br><br clear="all"><div><br></div>-- <br><div class="gmail_signature" data-smartmail="gmail_signature"><div dir="ltr">Diana Carvalho<div><span style="font-size:x-small">+351 967465418</span><br><div><font color="#0000ee" size="1"><u><a href="http://cargocollective.com/dianacarvalho" target="_blank">http://cargocollective.com/dianacarvalho</a></u></font><br></div></div><div><span style="font-size:x-small"><br></span></div><div><span style="font-size:x-small"><br></span></div><div><span style="font-size:x-small"><br></span></div></div></div>
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