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<span style="font-size:18px"><strong>Paulo Mendes | #ourcommonfuture</strong></span><br>
<span style="font-size:17px"><strong>17.10 — 21h30, Mupi Gallery</strong></span></div>
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<h3 style="display:block;margin:0px;padding:0px;color:rgb(32,32,32);font-family:Helvetica;font-size:20px;font-style:normal;font-weight:bold;line-height:125%;letter-spacing:normal;text-align:left"><span style="font-size:15px"><strong>Paulo Mendes | #ourcommonfuture </strong><br>
<br>
<strong>17.10 — 21h30<br>
Até <em>Until</em> 20.11</strong></span><br>
<br>
<span style="font-size:14px">Ciclo "A Política das Imagens" / Cycle "<em>The Politics of Images"</em><br>
Curadoria de / <em>Curated by</em> João Baeta</span><br>
<br>
<span style="font-size:13px">[PT]<br>
“A arte não é só talento mas sobretudo coragem.”<br>
Glauber Rocha<br>
<br>
«Anos 90, a discussão das questões de género e da normatividade dos
comportamentos sociais não é uma originalidade dos tempos recentes. Nos
anos 90 quando iniciei o meu trabalho, vivi a década da ressaca do
triunfo dos mercados livres e da instauração do capitalismo global, da
Perestroika e da queda do Muro de Berlim, de Ronald Reagan e de Margaret
Thatcher, do Cavaquistão lusitano, da Guerra da Bósnia e da Guerra do
Golfo, da massificação da World Wide Web, da Cimeira da Terra no Rio de
Janeiro, eram os anos da SIDA.<br>
<br>
A série de trabalhos L’ART DE VIVRE (PORTRAIT) <br>
KEN C’EST MOI, <br>
BARBIE C’EST MOI, <br>
ACTION MAN C’EST MOI, <br>
foi produzida originalmente em 1997, na sequência de outros trabalhos
realizados anos antes em que justamente manipulei brinquedos que
representavam estas personagens, estes invólucros de estereótipos. <br>
Nestas fotografias o autor/produtor confunde-se com o produto, o meu
corpo é matéria, para se metamorfosear naqueles modelos sociais.
Seguindo o princípio de Gustave Flaubert, que terá afirmado “Madame
Bovary, c’est moi.”<br>
O meu corpo-sujeito incorpora o corpo político e o corpo-social,
debatendo-se com a dimensão grotesca da gestão estratégica das
competências comportamentais. Em 1997, em 2019, eles formalizam, através
da sua sexualidade e da sua violência latente, os manuais de instruções
que recebemos para representar na sociedade do espectáculo.<br>
<br>
Enquanto discutimos a viabilidade do Estado Social nesta sociedade da
tecno-sociabilidade, observamos os sintomas da precariedade de um
sistema globalizado, a precariedade de um quotidiano que se pretende
uniformizado, sem atritos, sem pensamento crítico a interferir com o bom
funcionamento da grande máquina neoliberal de produção de lucro.<br>
Estamos num período de inovação disruptiva que causou polarizações
social e alterações do conceito de trabalho; um período em que
presenciamos uma vigilância massiva e somos confrontados com os
algoritmos.<br>
Um projecto de trabalho é um mecanismo/processo de pensamento que se
materializa temporariamente. Uma exposição não é para descansar os olhos
mas sim para exercitar o cérebro. <br>
____________________________________________________________________________<br>
<br>
Produzir ARTE continua a ser um acto de resistência.<br>
A questão não é produzir arte política, mas sim produzir politicamente o nosso trabalho.»<br>
<br>
P.M. 2019</span><br>
<br>
<span style="font-size:12px"><em>[EN]<br>
<br>
“Art is not only talent but above all courage”<br>
Glauber Rocha<br>
<br>
«90s, the discussion of gender normativity and social behavior is not an
originality of recent times. In the 90s when I began my work, I
experienced the decade of the hangover of the triumph of free markets
and the establishment of global capitalism, Perestroika and the fall of
the Berlin Wall, Ronald Reagan and Margaret Thatcher, Lusitanian
Cavakistan, the Bosnia and the Gulf War, the massification of the World
Wide Web, the Earth Summit in Rio de Janeiro, were the years of AIDS.<br>
The series of works L’ART DE VIVRE (PORTRAIT)<br>
KEN C’EST MOI,<br>
BARBIE C’EST MOI,<br>
ACTION MAN C’EST MOI,<br>
It was originally produced in 1997, following other work done years
before in which I just manipulated toys that represented these
characters, these stereotype wrappers.<br>
In these photographs the author/producer is confused with the product,
my body is matter, to metamorphose into those social models. Following
the principle of Gustave Flaubert, who said “Madame Bovary, c’est moi.”<br>
My subject body incorporates the political body and the social body,
struggling with the grotesque dimension of strategic management of
behavioral competencies. In 1997, in 2019, they formalized through their
sexuality and their latent violence, the operating instructions we
received to represent the society of the spectacle.<br>
While discussing the viability of the welfare state in this techno
sociability society, we observe the symptoms of the precariousness of a
globalized system, the precariousness of a daily life that intended
standardized, without friction, without critical thinking interfering
with the proper functioning of the great neoliberal machine of profit
production.<br>
We are in a period of disruptive innovation that has caused social
polarization and changes in the concept of work; a period in which we
witness massive surveillance and are confronted with algorithms.<br>
A work project is a thinking mechanism/process that materializes temporarily.<br>
An exposure is not for resting the eyes but for exercising the brain.<br>
______________________________________________________<br>
<br>
Producing ART remains an act of resistance.<br>
The question is not to produce political art, but to produce our work politically.»<br>
P.M. 2019<br>
//<br>
Artist, curator and producer of cultural projects, has presented his work individually and collectively since the early 1990s.<br>
Over the years and as a visual artist he has presented his work at the
Serralves Museum, Círculo de Artes Plásticas de Coimbra (CAPC), Museu do
Neo-Realismo, Solar Galeria de Arte Cinemática, Chiado Museum,
Plataforma Revólver, ZDB Gallery, Culturgest, Quadrum Gallery, Nuno
Centeno Gallery, Colégio das Artes - University of Coimbra, Centro
Cultural Vila Flor (CCVF), Berardo Museum / CCB, Appleton Square, Museu
da Electricidade / Fundação EDP / MAAT, among many other national and
international spaces. His work is represented in numerous public and
private collections such as Serralves Foundation, EDP / MAAT Foundation
Art Collection, Neo-Realism Museum, PLMJ Foundation, Ilídio Pinho
Foundation, Norlinda and José Lima<br>
Collection, Ivo Martins Collection, among others.<br>
Over thirty years, he has participated in approximately 300 exhibit and
performance projects, having curated and produced over seventy
independent and institutional exhibitions, which marked the development
of the work of a new generation of creators and provided him an
extensive knowledge of the artistic practice in Portugal</em></span></h3>
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