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<title>Inauguração/Opening: Augusto Alves da Silva "Paradise City" – sex/fri 26 Maio/May 22:00</title>
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<span style="font-family:times new roman,times,baskerville,georgia,serif">Sismógrafo: Augusto Alves da Silva "Paradise City"</span>
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<span style="font-family:times new roman,times,baskerville,georgia,serif"><a href="http://mailchi.mp/ee3aefd32e8e/augustoalvesdasilva-paradise-city?e=0046895fa6" style="color: #662d91;word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;font-weight: normal;text-decoration: underline;" target="_blank"><span style="color:#FFFFFF">View this email in your browser</span></a></span>
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<div style="text-align: left;"> </div>
<div style="text-align: center;"><br>
<span style="font-size:50px"><strong><span style="font-family:lato,helvetica neue,helvetica,arial,sans-serif">Paradise City<br>
<br>
Augusto Alves da Silva</span></strong></span><br>
<br>
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<div style="text-align: left;"><br>
<span style=""><span style="font-family:lato,helvetica neue,helvetica,arial,sans-serif"><span style="font-size:20px"><strong><u>Inauguração/Opening</u>:<br>
Sexta-feira, 26 de Maio, 22h<br>
Friday, May 26th, 10pm</strong></span><br>
<br>
<span style="font-size:20px"><strong><u>Até/Until</u>:<br>
Sábado, 17 Junho 2017<br>
Saturday, June 17th 2017<br>
<br>
<u>Horário/Visiting hours</u>:<br>
Quinta a Sábado, 15–19h<br>
Thursday to Saturday, 3–7pm</strong></span></span></span><br>
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<div style="text-align: left;"><span style="font-family:lato,helvetica neue,helvetica,arial,sans-serif"><strong><span style="font-size:20px">Paraísos Artificiais</span></strong></span></div>
<div style="text-align: left;"><br>
<span style="font-family:lato,helvetica neue,helvetica,arial,sans-serif"><strong><span style="font-size:16px">por Óscar Faria</span></strong></span></div>
<div style="text-align: left;"><span style="font-family:lato,helvetica neue,helvetica,arial,sans-serif"><strong><span style="font-size:16px"><span style=""> <br>
<em><u>My silly old body is here alone with the snow and the crows and the exercise-book that opens like a door and lets me far down into the now friendly dark.</u><br>
Carta de Samuel Beckett para Ethna MacCarthy, 10 de Janeiro de 1959</em><br>
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As cidades podem ser vistas como um paraíso. Há contudo, cada vez mais, quem as olhe como o próprio inferno. Talvez Dante nos ajude, ao colocar, entre os dois extremos, um estádio intermédio: o purgatório. Nesse lugar situado entre o nascimento e morte, encontramos a solidão. Se, para uns, esse estado os aproxima do céu, como é o caso dos místicos, para outros, essa experiência coloca-os à beira do abismo. Na paisagem urbana dos nossos dias, onde tudo é passível de ser trocado, rareiam os lugares solitários, mas vêem-se cada vez mais exilados de si mesmos e do mundo que os rodeia.<br>
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<a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=015d347ffe&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #fa0032;font-weight: bold;text-decoration: underline;">“Paradise City”</a> é o título da exposição de Augusto Alves da Silva. São três fotografias inéditas, recentes. Imagens cruas, reais, sem artifícios, que nos dão conta da erosão quer dos afectos, quer da natureza. A cidade, vista à distância, surge como um cenário desabitado, apenas identificada pelas suas torres Eiffell e Montparnasse. É uma paisagem desoladora e em permanente construção. Pressente-se que uma via de circulação automóvel demarca uma fronteira cada vez menos definida. Os guindastes são os nossos guias: quase tocamos o céu, mas essa ascensão afasta-nos da terra. No purgatório, ficamos: “O sol flameja atrás em roxo raio/ e se me quebra diante na figura,/ que a linha de seus dardos lhe distraio./ E temendo abandono, em tal agrura/ ao lado me voltei: foi quando vi/ na minha frente apenas terra escura; (...)”.<br>
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A exposição funciona como um todo, é um tríptico: paisagem urbana, natureza e nudez. A inocência perdida e os paraísos artificiais. A ilusão da fotografia, que tudo parece mostrar, mas, afinal, nada deixa a ver. Rasas como o chão, as imagens de Augusto Alves da Silva aparentam não ter qualidades, contudo, elas definem, como poucas, este nosso tempo: banal, violento, desumano. Pode-se encontrar aqui uma estratégia próxima da montagem cinematográfica ou da cesura poética. A cada instante que observamos uma obra temos de a relacionar com as outras presentes no espaço, constituir uma narrativa, traçar uma história. E para essa construção não nos podemos esquecer de convocar a restante produção do artista.<br>
<br>
Augusto Alves da Silva é um fotógrafo de solidões, da sua e da dos outros. É também um autor de imagens com uma acentuada dimensão política. Podemos estabelecer assim uma outra definição para a sua prática artística: ensaios acerca da condição humana. Tudo aquilo que atravessa uma fotografia captada por si – um abrigo ou um sem-abrigo, o detalhe de um corpo ou de uma arquitectura, um acontecimento público ou a nudez feminina – define com precisão esse lugar onde hoje todos nos movemos sem nos darmos conta: de imagem em imagem, a viver outras vidas, que não a nossa.<br>
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Uma música dos Gun N’ Roses dá título à exposição. Há um verso que pode ser aqui referido como estando próximo de Augusto Alves da Silva: "Where the grass is green and the girls are pretty.” Esta será uma das imagens possíveis dessa cidade paradisíaca. Contudo, não nos podemos esquecer que a nudez foi expulsa desse lugar mítico. E, desde então, a paisagem se tornou mais árida, corrompida pelo betão, destruída pelos bombardeiros. Tal como nota Samuel Beckett, através da voz que surge do negro em “Companhia” (1978):“Acabarás tal como és”.</span></span></strong><br>
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<strong><span style="font-size:16px"><span style=""><u>Augusto Alves da Silva</u></span></span></strong><em><span style="font-size:16px"><span style=""> (Lisboa, em 1963) Vive e trabalha em Tremez, Portugal. Estudou no London College of Printing (B.A. Hons. Photography) e na Slade School of Fine Art (M.F.A. Media), com duas bolsas da Fundação Calouste Gulbenkian. Foi nomeado para o Prémio União Latina em 1997. Em 1999, foi um dos finalistas do Prémio de Fotografia do Citibank Private Bank e, em 2006, do Prémio BES Photo. Começou a expôr na década de 1990 e das suas exposições individuais destacam-se as realizadas no MUSAC – Museo Arte Contemporânea Castilla y León; no Espaço BES Arte & Finança, em Lisboa; na Galeria Pedro Oliveira, no Porto; no Museu de Serralves, no Porto; na Galeria Fonseca Macedo, em Ponta Delgada; no espaço Chiado 8, em Lisboa; no Centro Português de Fotografia, no Porto; no Museu do Chiado, em Lisboa; no Museo Nacional Centro de Arte Reina Sofia, em Madrid; na Chisenhale Gallery, em Londres; na Culturgest, entre outras instituições e galerias. Tem participado em várias exposições colectivas em reconhecidas instituições como o Centro de Artes Visuais de Coimbra; o Cultural de Belém, em Lisboa; a Fundação Carmona e Costa, em Lisboa; o Museu de Serralves, no Porto; entre outras. As suas obras estão representadas nas colecções Banco Espírito Santo, Centro Português de Fotografia, FLAD – Fundação Luso-Americana para o Desenvolvimento, Fundação PLMJ, Fundacio Foto Colectania, Helga de Alvear, MEIAC – Museo Extremeno e Iberoamericano de Arte Contemporâneo, Museu de Serralves, entre outras.</span></span></em></span></div>
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<div style="text-align: left;"><em><span style="font-family:lato,helvetica neue,helvetica,arial,sans-serif"><span style="font-size:16px"> </span></span></em></div>
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<div style="text-align: left;"><span style="font-family:lato,helvetica neue,helvetica,arial,sans-serif"><strong><span style="font-size:20px">Artificial Paradises</span></strong></span></div>
<div style="text-align: left;"><br>
<span style="font-family:lato,helvetica neue,helvetica,arial,sans-serif"><strong><span style="font-size:16px">by Óscar Faria</span></strong></span></div>
<div style="text-align: left;"><span style="font-family:lato,helvetica neue,helvetica,arial,sans-serif"><strong><span style="font-size:16px"><span style=""> <br>
<em><u>My silly old body is here alone with the snow and the crows and the exercise-book that opens like a door and lets me far down into the now friendly dark.</u><br>
Letter from Samuel Beckett to Ethna MacCarthy, January 10th 1959</em><br>
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Cities can be seen as a paradise. There are, however, those who look at them more as hell itself. Maybe Dante can help us by placing, between two extremes, an intermediate stage: the purgatory. In this place between birth and death, we find solitude. If, for some, this state brings them closer to heaven, for others, this experience puts them on the edge of the abyss. In today’s urban landscape, where everything can be changed, lonely places become rare, but they are increasingly exiled from themselves and from the world around them.<br>
<br>
<a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=dc91484324&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #fa0032;font-weight: bold;text-decoration: underline;">“Paradise City”</a> is the title of Augusto Alves da Silva’s exhibition. There are three previously unseen, recent photographs. Images that are stark, real, without any kind of artifices, that tell us about the erosion of both affections and nature. The city, seen from a distance, emerges as an uninhabited scenery that we can only recognize by its Eifell and Montparnasse towers. It is a desolate landscape in permanent construction. We sense that a road of automobile circulation marks a boundary less and less defined. The cranes are our guides: we almost touch the sky but this ascent keeps us away from the ground. In purgatory we stay: “The sun flashes behind in purple ray/ and it breaks in front of the figure,/ that the line of his darts I distract him./ And fearing the desertion, in such agony/ at the side I turned: that’s when I saw/ in front of me there’s only dark earth; (…)”<br>
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The exhibition works as a whole and is a triptych: urban landscape, nature and nudity. The lost innocence and the artificial paradises. The illusion of photography, that seems to show everything, but finally shows nothing. Shallow as the ground, the images of Augusto Alves da Silva appear to have no qualities, yet they define, like few, our time: banal, violent, inhuman. Here, you may find an approach similar to film editing or to a poetic caesura. Every time we look at one picture, we have to be aware of the other ones and relate them with each other, in order to compose a narrative, to draw a story. For this, we must not forget to recall all the other artist’s production.<br>
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Augusto Alves da Silva is a photographer of solitude, his own and the others’ aswell. He’s also an author of images with an accentuated political dimension. Thus, we can settle another definition for his artistic practice: essays about the human condition. Everything that goes through a photograph captured by him – a shelter or a homeless man, the detail of a body or of an architecture, a public event or the female nudity – defines accurately that place where, today, we all wander without realizing it: from image to image, living other lives, not ours.<br>
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A Guns N’Roses song gives title to this exhibition. There’s a verse that can be referred as being close to Augusto Alves da Silva: “Where the grass is green and the girls are pretty.” This is one of the possible images of that paradise city. Nevertheless, we should not forget that nudity was banned from that mythical place. And since then, the landscape has become more arid, corrupted by concrete, destroyed by bombers. As Samuel Beckett notes, through the voice that comes from the dark in “Company” (1978): “You will end as you now are.” </span></span></strong><br>
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<br>
<strong><span style="font-size:16px"><span style=""><u>Augusto Alves da Silva</u></span></span></strong><em><span style="font-size:16px"><span style=""> (Lisbon, 1963) lives and Works in Tremez, Portugal. He studied at London College of Printing (B.A. Hons. Photography) and at Slade School of Fine Art (M.F.A. Media), with two grants awarded by Calouste Gulbenkian Foundation. In 1996 and 1998, Augusto Alves da Silva was nominated for the União Latina award. In 1999 he was one of the finalists for the photography award of Citibank Private Bank and, in 2006, for the BES Photo award. He started to exhibit his work in the decade of 1990. He has held a number of individual exhibitions in several institutions, including at: MUSAC - Museo Arte Contemporânea Castilla y León (ES); BES Arte & Finança, Lisbon (PT); Pedro Oliveira Gallery, Porto (PT); Museu de Serralves, Porto (PT); Fonseca Macedo Gallery, Ponta Delgada (PT); Chiado 8, Lisbon (PT); Centro Português de Fotografia, Porto (PT); Museu do Chiado, Lisboa (PT); Museo Nacional Centro de Arte Reina Sofia, Madrid (ES); Chisenhale Gallery, London (GB); Culturgest (PT); among others institutions and art galleries. His work is represented at the following collections: Banco Espírito Santo (PT), Centro Português de Fotografia (PT), FLAD – Fundação Luso-Americana para o Desenvolvimento (PT), PLMJ Fundation (PT), Fundación Foto Colectania (SP), Helga de Alvear Gallery (SP), MEIAC - Museo Extremeno e Iberoamericano de Arte Contemporâneo (SP), Museu de Serralves (PT), etc.</span></span></em></span></div>
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<span style=""><span style="font-family:lato,helvetica neue,helvetica,arial,sans-serif"><span style="font-size:20px"><strong><u>A decorrer / Ongoing</u>:<br>
<br>
<a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=3294b231b4&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #fa0032;font-weight: bold;text-decoration: underline;">Campanha Amigos do Sismógrafo</a></strong></span><br>
<span style="font-size:20px"><strong><a href="http://sismografo.us3.list-manage1.com/track/click?u=ab4eb899b20a1f87e612121f6&id=ffa0e60af0&e=0046895fa6" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #fa0032;font-weight: bold;text-decoration: underline;"><em>// Campaign Friends of Sismógrafo</em></a><br>
Até/Until 1 Jul</strong></span><br>
<br>
<br>
<span style="font-size:20px"><strong><u>Brevemente / Upcoming</u>:<br>
<br>
<u>Domingo/Sunday, 18 Jun 2017</u><br>
Apresentação de "O olho divino: Beckett e o cinema"<br>
(ed. Documenta), de Tomás Maia,<br>
antecedido pela projecção de "Filme", de Samuel Beckett<br>
<em>// Book presentation "O olho divino: Beckett e o cinema"<br>
(ed. Documenta), by Tomás Maia,<br>
preceded by the screening of "Film", by Samuel Beckett</em></strong></span></span></span><br>
<br>
<span style=""><span style="font-family:lato,helvetica neue,helvetica,arial,sans-serif"><span style="font-size:20px"><strong><u>20–27 Jun 2017</u><br>
Haarvöl<br>
Concerto e instalação<br>
<em>// Concert and installation</em></strong></span></span></span><br>
<br>
<span style=""><span style="font-family:lato,helvetica neue,helvetica,arial,sans-serif"><span style="font-size:20px"><strong><u>30 Jun 2017, 22:00</u><br>
Gil Heitor Cortesão, "If I had a magic carpet"<br>
Inauguração da exposição individual <br>
<em>// Solo exhibition opening</em></strong></span></span></span><br>
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escreva para: <a href="mailto:mail@sismografo.org">mail@sismografo.org</a> ou<br>
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