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<title>Inauguração/Opening: Fernando José Pereira "Do tempo exilado ou a emergência da utopia" – sáb/sat 21 Out/Oct 17:00</title>
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<span style="font-family:times new roman,times,baskerville,georgia,serif">Sismógrafo: Fernando José Pereira<br>
"Do tempo exilado ou a emergência da utopia"</span>
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<span style="font-family:times new roman,times,baskerville,georgia,serif"><a href="http://mailchi.mp/f11b4d7e956c/sismografo-3104825?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:40px"><span style="font-family:arial,helvetica neue,helvetica,sans-serif"><span style="line-height: 50px;">Fernando José Pereira<br>
<br>
"Do tempo exilado ou a emergência da utopia"<br>
<br>
"From the exiled time or the emergence of utopia" </span></span></span><br>
<br>
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<div style="text-align: left;"> </div>
<div style="text-align: center;"><span style="font-family:arial,helvetica neue,helvetica,sans-serif"><span style=""><span style="font-size:20px">Curadoria de / Curated by Óscar Faria</span></span></span></div>
<div style="text-align: left;"><br>
<br>
<span style="font-family:arial,helvetica neue,helvetica,sans-serif"><span style="font-size:20px"><u>Exposição/Exhibition</u><br>
Inauguração/Opening:<br>
Sábado/Saturday, 21 Outubro/October, 17:00<br>
Até/Until: 25 November 2017</span><br>
<br>
<span style="font-size:20px"><u>Conversa com o artista/<br>
Talk with the artist</u><br>
Sábado/Saturday, 25 November, 17:00</span><br>
<br>
<span style="font-size:20px"><u>Horário/Visiting hours</u><br>
Qui–Sáb / Thu–Sat, 15:00–19:00</span></span><br>
<br>
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<div style="text-align: left;"><span style="font-family:arial,helvetica neue,helvetica,sans-serif"><span style="font-size:16px"><u>Arrancar alegria ao futuro</u><br>
Óscar Faria<br>
<br>
A questão da vanguarda é um dos assuntos centrais da exposição de Fernando José Pereira. Esse assunto surgiu recorrentemente não só durante o processo de selecção dos trabalhos, mas também na montagem das obras no Sismógrafo. O artista pretende inscrever a sua prática numa linhagem na qual a questão das relações entre a arte e a política assumiu sempre um papel determinante. Trata-se de um debate pertinente, sobretudo no ano em que se comemoram os 100 anos da Revolução Russa, sublinhando-se aqui a coincidência entre esta mostra e a subida ao poder do Partido Bolchevique, liderado por Lenine. É esse instante histórico que marca o princípio e o fim de uma série de movimentos artísticos que procuram transformar o mundo e mudar a vida: construtivismo, suprematismo, raionismo, cubofuturismo, etc.<br>
<br>
Ao reclamar-se dessa tradição, Fernando José Pereira coloca a sua obra perante um paradoxo, pois se as vanguardas tiveram os seus momentos históricos bem definidos, quer no início do século XX, quer no pós-segunda Guerra Mundial, sobretudo a década de sessenta até à V documenta de Kassel, as condições da possibilidade sua afirmação mudaram radicalmente. O que não significa abandonar a necessidade de se discutir o que fazer quando também as práticas mais resilientes se confrontam com um panorama onde tudo se reduz a um permanente espectáculo.<br>
<br>
É possível existirem hoje vanguardas? Seja a réplica positiva ou negativa, a margem de erro é muito grande para se arriscar uma resposta definitiva. Há uma hipótese de trabalho que pode servir de ponto de partida para esta problemática: a célebre frase de Marcel Duchamp, “O grande artista de amanhã será clandestino”, a qual encerra o ensaio “Para onde vamos a partir daqui?” (Philadelphia Museum College of Art, Março de 1961). Assim, olhando para o contexto da arte contemporânea, essa premonição do artista francês parece fazer todo o sentido: é nas zonas limítrofes do meio artístico que se pode ainda detectar uma certa fricção relativa aos discursos dominantes, tutelados sobretudo pela economia.<br>
<br>
Talvez por isso seja mais produtivo, pelo menos por agora, deslocar a questão da vanguarda, ela própria afectada por inúmeras contradições, para uma outra formulação, um outro plano. A obra de Fernando José Pereira é moderna, absolutamente actual e coloca no seu centro problemas relacionadas não só com o fazer artístico, mas também com a forma como a arte e a política podem confluir em trabalhos com uma cuidada componente estética - e neste caso temos também o legado das práticas vanguardistas do século XX. É essa relação com um presente em crise que surge como uma força maior desta obra: existe nela a colisão entre a intimidade do artista e a sua visão de um mundo devastado.<br>
<br>
A exposição no Sismógrafo é composta por desenhos e dois filmes. Em ambos os casos, é o tempo o assunto dos trabalhos. O tempo nos quais são realizados, o tempo nos quais são apresentados. O tempo individual e o tempo colectivo. A vida e a época na qual esta se manifesta através de obras de arte. Se nos anos dez ou sessenta do século passado esse cruzamento de tempos eram declinados em obras com uma forte componente de “originalidade”, hoje as manifestações individuais, despidas de todos os romantismos, têm tornado operativa a noção de real. Não já esse retorno do real de que nos falava Hal Foster, nem sequer um qualquer neo-realismo, mas a reabilitação do real quotidiano (Cesariny), ele mesmo, do qual emergem as experiências únicas que nos ajudam a compreender outras existências, a descobrir diferentes mundos, e a perceber que para além da estética, há uma ética da resistência essencial para que uma ideia de vanguarda possa ainda subsistir.<br>
<br>
Se o viajante é a figura que nos vídeos de Fernando José Pereira define a nossa época – e triste tempo o nosso no qual turista tomou conta da nossa paisagem, moldando-a em todos os seus aspectos mais palpáveis –, é sobretudo no corpo de desenhos que detectamos essa ligação íntima à história das vanguardas. A persistência nesta actividade, destacando-se a minúcia com a qual estas obras são realizadas, é em si um acto de protesto relativamente à forma como somos expropriados dessas horas necessárias à formação do pensamento crítico, o qual, por sua vez, irá consolidar uma prática, neste caso a artística. No Sismógrafo revelamos apenas alguns dos exemplos mais recentes deste tipo de trabalhos, contudo esta opção tem como objectivo fazer o contraponto com as imagens em movimento também apresentados nas nossas salas.<br>
<br>
Há uma qualidade formal nestes trabalhos que merece ser sublinhada. Eles propõem pensar o tempo. O nosso tempo sem tempo. O tempo de factura destas obras, que pressupõem uma prática de ateliê na qual se investem horas a fio. O tempo em que as vemos e nos damos conta das frases nelas incluídas, quer enquanto colagens - juntamente com a montagem, o grande contributo das vanguardas para a História da Arte –, quer como palavra de ordem: “stay”, fica, esse Trompe-l'oeil de um grafito, gesto que irrompe da rua para nos interpelar à acção ou melhor, como é o caso, à inacção.<br>
<br>
É necessário ouvir esta voz que repete, numa espera de aeroporto, “quantas horas ainda te faltam?”. É primordial ler estas palavras que nos dizem: “utopian emergency” (“emergência utópica”). É imprescindível dar tempo ao tempo. E assim voltar às ideias de Malevich, de Maiakovski:<br>
<br>
<br>
É preciso<br>
arrancar alegria<br>
ao futuro.<br>
Nesta vida<br>
morrer não é difícil.<br>
O difícil<br>
é a vida e seu ofício.<br>
<br>
<br>
<em><u>Fernando José Pereira</u> vive e trabalha no Porto. Possui a Licenciatura em Artes Plásticas na Universidade de Porto e o Doutoramento em Belas Artes na Universidad de Vigo (com a tese: Arte contemporânea. A utopia de uma existência exilada. Os desenvolvimentos numéricos como nova (im)posibilidade aporética, 2001). Recebeu várias bolsas de estudo e investigação da Fundação Calouste Gulbenkian (1985/1989, 1997/98, 1999/2001). É co-director do projecto virose-org e investigador no Instituto de Investigação em Arte e Design. Expõe regularmente em museus, galerias e outros espaços, sendo as mais recentes participações: “The 10th Berlin International Directors Lounge [DLX]”, Berlim, Alemanha. (2014); “Todo lo que pueda desertar | Anything that might desert”, Galeria Adhoc, Vigo, Espanha; “Region 0. The Latino Video Art Festival of New York”. King Juan Carlos I of Spain Center at NYU, New York, USA (2013); “Colección: adquisiciones e incorporaciones recientes”, Centro Galego de Arte Contemporánea, Santiago de Compostela, Espanha, (2013); "Colecção de Serralves: Obras Recentes”, Museu de Serralves, Porto, Portugal, (2013). Tem obras nas seguintes colecções públicas: Fundação de Serralves, Instituto de Arte Contemporánea, Centro Galego de Arte Contemporânea (CGAC) , Museu do Neo-Realismo, Fundação Calouste Gulbenkian, Museu da Cidade, Lisboa, Colecção Fundação PLMJ, Fundação Ilídio Pinho, Universidade do Porto. É autor de diversos textos publicados, sendo os mais recentes, “Projecto de expansão de um tripé para terminar em bico”, in Outra vez não – Eduardo Batarda, Fundação de Serralves, Porto, 2012; “A aragem da Utopia”, in História da Arte – ensaios contemporâneos, Brasil, 2011; “News of the the Desolation – Notes on Art and real”, in The International Journal of The Arts in Society, 2010, Illinois, USA. Participa com comunicações em congressos e conferências, sendo as mais recentes: na Finnish Academy of Arts em Helsínquia, 2014; no “Skaftfell Center for Visual Art”, Seyðisfjörður, Islândia, 2012 e nas “Looking North conferences”, Newcastle, UK, 2010.</em></span></span><br>
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<div style="text-align: left;"><span style="font-family:arial,helvetica neue,helvetica,sans-serif"><span style="font-size:16px"><u>Snatch gladness from the days that are</u><br>
Óscar Faria<br>
<br>
The question of the avant-garde is one of the central topics of Fernando José Pereira’s exhibition. This subject appeared recurrently not only during the process of selecting the works, but also whilst installing the pieces at Sismógrafo. The artist intends to inscribe his practice in a lineage where the question of relations between art and politics always assumed an important role. This is a pertinent debate, especially in the year we commemorate the 100 years of the Russian Revolution, underlying here the coincidence between this show and the rise to power of the Bolchevique Party led by Lenin. It is this historical moment that marks the beginning and the end of a series of artistic movements that aim to transform the world and change life: constructivism, suprematism, raionism, cubofuturism, etc.<br>
<br>
By claiming that tradition, Fernando José Pereira places his work before a paradox, for if the avant-gardes had its historic moments well defined, both in the beginning of the XX century and in the post World War II, specially in the sixties up until documenta 5 of Kassel, the conditions for the possibility of its affirmation have changed drastically. Which doesn’t mean to abandon the necessity to discuss what to do when even the most resilient practices encounter a scene where all this is reduced to constant entertainment.<br>
<br>
Is it possible for avant-garde to exist nowadays? Being its replica positive or negative, the margin of error is too big for us to risk a definitive answer. There is a hypothesis of work that may serve as a starting point for this question: the famous sentence by Marcel Duchamp “The great artist of tomorrow will go underground” which closes the essay “Where do we go from here?” (Philadelphia Museum College of Art, March 1961). Thus, looking at the context of contemporary art, this premonition by the French artist seems to make total sense: it is in these borderline zones of the artistic world that we can still detect a certain friction related to the dominant discourses, governed mostly by the economy.<br>
<br>
Maybe that is why it may be more productive, at least for now, to displace the question of the avant-garde, it too affected by numerous contradictions, for another formulation, another level. The work of Fernando José Pereira is modern, it is absolutely current and lays at its center problems related not only to the artistic making, but also with the way through which art and politics can merge in works with an accurate aesthetic component – and in this case we also have the legacy of the avant-garde practices of the XX century. It is this relation with a present at crisis that emerges as a major force in this work: the collision between the intimacy of the artist and his vision of a devastated world.<br>
<br>
The exhibition at Sismógrafo is composed of drawings and two videos. In both cases, time itself is the works’ subject. The time in which the works are produced, the time in which they are shown. The individual time and the collective time. The life and the epoch manifested through works of art. If in the 1910s or 1960s this intersection of times was turned into works with a strong component of “originality”, today the individual manifestations, stripped of all romanticisms, have made the notion of the real operative. Not anymore that return to the real that Hal Foster spoke about, not even some neo- realism, but the rehabilitation of real quotidian (Mário Cesariny), precisely this, from where unique experiences emerge that help us to understand other existences, to discover different worlds and to understand that beyond aesthetics, there is an ethic of the essential resistance so that an idea of avant-garde is still able to subsist.<br>
<br>
If the traveller is the figure that in the videos of Fernando José Pereira defines our era – and sad time, ours, in which the tourist has taken over our landscape, shaping it in all its most palpable aspects –, it is mainly in the body of drawings that we detect this intimate connection to the history of avant-garde. The persistence in this activity, standing out the detail in which these works are created, is in itself an act of protest towards the way in which we are expropriated of those needed hours for the development of critical thinking, which, in its turn, will consolidate a practice, in this case, artistic. At Sismógrafo we reveal only some of the most recent examples of this type of works, however, this option has as a goal to make a counterpoint with the moving images also present in the rooms.<br>
<br>
There is a formal quality to these works that deserves being underlined. They suggest the thinking of time. Our time without time. The time of the making of these works, that presuppose a studio practice in which endless hours are invested. The time in which we see them and in which we realize the sentences included in them, either as collages – together with the assemblage, the great contribution of the avant-garde to the History of Art –, or as a word of order: “stay”, that Trompe-l’oeil of a graffito, a gesture that bursts from the street to challenge us to act or, better, as is this case, not to act.<br>
<br>
It is necessary to listen to this voice that repeats, amidst waiting at an airport, “how many hours do you have left?” It is primordial to read these words that tell us: “utopian emergency”. It is indispensable to give time to time. And in this way return to the ideas of Malevich, of Maiakovski:<br>
<br>
<br>
One must snatch gladness<br>
from the days that are.<br>
In this life<br>
it's not difficult to die.<br>
To make life<br>
is more difficult by far.<br>
<br>
<br>
<em><u>Fernando José Pereira</u> lives and works in Porto. He holds a Degree in Fine Arts from the University of Porto and a PhD in Fine Arts at the University of Vigo (with the thesis: Contemporary art. The utopia of an exiled existence. The numerical developments as a new aporetic (im)possibility, 2001). He received several research scholarships from the Calouste Gulbenkian Foundation (1985/1989, 1997/98, 1999/2001). He is co-director of the <a href="http://virose.org">virose.org</a> project and researcher at the Institute of Research in Art and Design. He regularly exhibits in museums, galleries and other venues, the most recent being: "The 10th Berlin International Directors Lounge [DLX]", Berlin, Germany. (2014); “Todo lo que pueda desertar | Anything that might desert”,, Adhoc Gallery, Vigo, Spain; "Region 0. The Latino Video Art Festival of New York". King Juan Carlos of Spain Center at NYU, New York, USA (2013); “Colección: adquisiciones e incorporaciones recientes”, Galician Center for Contemporary Art, Santiago de Compostela, Spain, (2013); "Serralves Collection: Recent Works", Serralves Museum, Porto, Portugal, (2013). He has also works in the following public collections: Serralves Foundation, Contemporary Art Institute, Centro Galego de Arte Contemporânea (CGAC) Neo-Realism Museum, Calouste Gulbenkian Foundation, Lisbon City Museum, PLMJ Foundation Collection, Ilídio Pinho Foundation, University of Porto. He is the author of several published texts, the most recent being “Projecto de expansão de um tripé para terminar em bico”, in Outra vez não - Eduardo Batarda, Foundation of Serralves, Porto, 2012; “A aragem da Utopia”, in History of Art - contemporary essays, Brazil, 2011; "News of the Desolation - Notes on Art and real ", in The International Journal of The Arts in Society, 2010, Illinois, USA. He participates in congresses and conferences, most recently at the Finnish Academy of Arts in Helsinki, 2014; at the “Skaftfell Center for Visual Art”, Seyðisfjörður, Iceland, 2012 and in "Looking North conferences", Newcastle, UK, 2010.</em></span></span><br>
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<span style="font-family:arial,helvetica neue,helvetica,sans-serif"><span style=""><span style="font-size:20px"><u>Brevemente / Upcoming</u>:<br>
<br>
<u>29 Nov</u><br>
“wild poetry” com/with Amy Hollowell<br>
sessão de poesia<br>
<br>
<u>15 Dez/Dec</u><br>
“quando alguém morria perguntavam apenas: tinha paixão?"<br>
"when someone died, they just asked: did he have passion?"<br>
exposição colectiva / group exhibition<br>
curadoria de / curated by Óscar Faria<br>
<br>
<u>27 Jan</u><br>
Jorge Queiroz<br>
exposição individual / solo exhibition </span></span></span><br>
<br>
<br>
<br>
<span style=""><span style="font-family:arial,helvetica neue,helvetica,sans-serif">O Programa do Sismógrafo para 2017 é apoiado pelo /<br>
Sismógrafo's Programme for 2017 is supported by:<br>
Programa Criatório / Câmara Municipal do Porto </span></span><br>
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<span style=""><span style="letter-spacing:0px">se acredita ter génio<br>
ou se estima possuir apenas uma inteligência brilhante, <br>
escreva para: <a href="mailto:mail@sismografo.org">mail@sismografo.org</a> ou<br>
<br>
Salto no Vazio<br>
Praça dos Poveiros nº56,<br>
1º andar, salas 1&2<br>
4000-303 Porto </span></span></span></span><br><p style="line-height: 1.6em; margin: 1em 0px; padding: 0px; font-family: 'Open Sans', 'Helvetica Neue', Helvetica, Arial, sans-serif; font-size: 11px; text-align: left;"><span style=""><span style="font-size:14px"><span style="font-family:arial,helvetica neue,helvetica,sans-serif"><span style="letter-spacing:0px"><span style="font-family:arial; letter-spacing:1px">
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