7 MAR. | 03 MAI. 2015

Sala de Exposições Temporárias | Temporary Exhibitions Room

Sala de Exposições Temporárias | Temporary Exhibitions Room

The memory of the drawing relates to an intrinsic notion, the primordial attitude, the perishable intention before the symbolic order, the ephemeral, fluid moment in which with a short or long gesture we sketch an impulse, a detail which suddenly surprises us. It is the translation of subconscious signs which, like dreams, we do not identify in their formal integrity or vacuity. It is a sort of flow, timeless, silent, anonymous, which without warning opens paths and awakens curiosity.
I am not referring to «speculative automatisms».
The drawing of the memory concerns the same substance but suggests a more conscious, temporal and sequential material, determining another category of action which seems to refer to patterns, phenomena of repetition, of integration and even «accentuations of style», embodied by beliefs and obsessions we must not repress but methodically schedule. The drawing of the memory is the reserve which organizes itself into «Work», which animates the senses, draws illations and urges us to the «method», to processes of arrangement and combination which will consolidate a previously hidden emotional content to which this form of expression, by embodying, and structuring, adds an imaginary projection, sometimes poetic and ludic.
I must say that it is in the ambivalence of these propositions that this exhibition assumes an anthological nature, since it refers to a large period of analytical reflection covering five decades of choices, speculations, affections that contain some nostalgia, naivety, vices and idiocies1, mixed or alternated signs, evoking at a first fundamental moment figurations, ambiguous images, suggestions, and subsequently developments based on plastic experimentation, on the mobility of both themes and technical means.
Mário Américo, 2015


1 Mário Perniola, the Italian philosopher, in the first chapter of Art and its Shadow, "Idiocy and Splendour in Current Art", evokes the French philosopher Clement Rosset, who "introduces the notion of idiocy to point to the accidental and determined character of the real. [...] To Schopenhauer's and to the Romantic tradition's notion of the artist as genius follows the artist as idiot. What these two figures, which at first appear antithetical, have in common is the claim to grasping the essence of the real beyond all deceitful mediation of language and thought." And quoting Lacan, Perniola considers that "Art can never be dissolved in communication because it contains an incommunicable nucleus which is the source of an infinity of interpretations."

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