Conferência de INÊS MOREIRA _ Arquitectura e produção da exposição Depósito - O projecto e a montagem de uma exposição na Universidade do Porto
Nesta conferência, a autora do espaço arquitectónico da referida exposição irá demontrar os métodos de trabalho, na concepção e produção desse projecto.
ESAP _ EG / Escola Superior Artística do Porto - Extensão de Guimarães
Quarta-feira _ 11 Julho _ 22.00h
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Organização: José Maia e ESAP_EG
Rua Francisco Agra 92 _ 4800 -157 Guimarães
Com o encerramento da exposição patente na Reitoria da Universidade do Porto acontece o lançamento do catálogo "Depósito: anotações sobre densidade e conhecimento"
> 10 de Julho Reitoria da U.Porto
Às 16h30 do dia 10 de Julho, terça-feira, realiza-se no edifício da Reitoria da U.Porto (Praça Gomes Teixeira) a sessão de lançamento do catálogo da exposição "DEPÓSITO, ANOTAÇÕES SOBRE DENSIDADE E CONHECIMENTO", comissariada por Paulo Cunha e Silva.
Nesta exposição participam 15 artistas e 18 Museus da Universidade do Porto.
O programa da sessão inclui uma visita guiada à exposição pelo seu comissário, Paulo Cunha e Silva, e a apresentação do catálogo pelo crítico de arte Miguel von Hafe Pérez.
Esta sessão marca o encerramento da exposição, que está patente ao público no edifício da Reitoria da Universidade do Porto desde 27 de Janeiro.
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PêSSEGOpráSEMANA é um espaço independente gerido por Mafalda Santos, André Sousa e Miguel Carneiro, situado numa antiga casa no centro do Porto.
PêSSEGOpráSEMANA Rua Antero de Quental, n.133, 4050-056 Porto
www.opuntia-syndrome.blogspot.com (André Lemos)
RODRIGO OLIVEIRA
: - )
Inauguração 21 de Junho às 21h30
na GALERIA FILOMENA SOARES
21 de Junho a 8 de Setembro 2007
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" (...) Após a sua estadia de um ano no Chelsea College of Art & Design em Londres, Rodrigo Oliveira reúne na presente exposição um conjunto de novos trabalhos que, realizados em diversos suportes e materiais, surgem na sequência de um estudo em torno, por um lado, das funções e características de espaços arquitectónicos e, por outro, dos mecanismos de produção, apresentação e recepção da arte, tomando como pontos de partida os conceitos de desmaterialização, vazio (emptiness) e ciclos de transformação.(...)"
instalação de Rodrigo Oliveira no Projecto TERMINAL
na Fundição de Oeiras em 2005
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A facsimile edition of Stephen Shore’s travel diary will be published by Phaidon next spring, with the title A Road Trip Journal.
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(...) Blogs are, oxymoronically, public diaries, where bloggers play with exposure, others’ and their own. Some use handles for anonymity, but with fingerprints in cyberspace and with erasure near impossible, nothing’s lost and everyone can be found. Billions of disclosures light up the Internet with electric abandon. While “private” and “public” have for years been theorized as permeable spaces, even illusory divisions, people once lived those separate realities. Now they have actually blurred, and privacy and secrecy are becoming quaint ideas. IDs and personal information are hacked and jacked constantly, and individuals adjust their desires, needs, and aims in sync with technology’s capabilities. In this electronic revolution, as written and filmed self-reportage and confessions choke the virtual highways, voyeurism and exhibitionism are just normal.
Stephen Shore wanted his travel diary, compiled in six weeks in the summer of 1973, to be a document of documents, one without commentary. He hoped to make a collection of facts, an objective account of his time on the road. He recorded the car mileage every day, and, in envelopes, kept motel bills, gas bills (12 gallons, $5), and receipts for meals, which he pasted into his sketchbook later. He wrote down what he ate for breakfast (pancakes usually), lunch, and dinner (steak often). He took photographs and listed how many exposures he shot and of what. He distributed postcards of Amarillo, Texas, in drugstore card displays, surreptitiously marking his drive-by visits.
Shore’s diary also included picture postcards of towns and buildings he visited, and of some he didn’t; two news clippings; and hotel stationery. At night he watched TV and then noted the programs: CBS Evening News, The Mary Tyler Moore Show, The Bob Newhart Show, Mission: Impossible, the Watergate hearings—shows that instantly evoke the 1970s. His log, then, serves as a cultural artifact, registering more than just his American life. 
Shore and I had a conversation a few years ago for his reissued book Uncommon Places: The Complete Works, which includes his seminal American road trip photographs. My first question was about Warhol’s influence on his early work. At seventeen, in the mid-’60s, Shore hung around the Factory and observed Warhol working. Not only did Warhol tape, film, photograph, and silk-screen as many things as he could, he also accounted for every dollar he spent for the Factory. Shore also told me (the anecdote wasn’t published) that Warhol once gave Shore’s father his account books, because he wanted Mr. Shore to invest in the Velvet Underground. Shore’s father noticed an odd entry: “$10 for H for John’s toothache.” Mr. Shore found it very funny that Warhol noted even the cost of heroin, especially in such a transparent manner. The willed objectivity in Stephen Shore’s early work takes a page from Warhol’s approach. 
The sheets of Shore’s fourteen-by-eleven-inch sketchbook have yellowed some with age and appear brittle. Unlike a blog, which lacks materiality, his diary is a unique, tactile object. The idea of deathlessness in cyberspace can be reassuring, especially during a time of extreme transition: Wait six months, the technology will be better; but wait six months, the world will be worse. Shore’s diary is not virtual, it is indexical, presenting the things themselves, which, like people, react to time. Now everything would be scanned and digitized, and it would never color, fade, or crack. (...)
HERGÉ _ apesar de alguns erros de percurso, como racismo e simpatias políticas pouco recomendáveis, devemos saudar os 100 anos do nascimento do autor de TINTIN _ Georges Remi (1907-1983) que assinou com o pseudónimo Hergé fantásticas aventuras deste jornalista aventureiro. Depois dos desinteressantes resultados de transposição deste personagem para cinema de animação e de imagem real, talvez tenha agora chegado o momento certo para a adaptação definitiva. Usando a mais recente tecnologia _ Steven Spielberg e Peter Jackson estão a preparar uma triologia de longas metragens.
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Tintin to Film: Superdirectors Steven Spielberg and Peter Jackson will join forces to produce and direct three films back-to-back starring French comics character Tintin. Hergé wrote 23 books starring cub reporter Tintin between 1929 and 1976; the pair of filmmakers have selected three to adapt. Each will direct one film with a director to be named later for the third, all using WETA's motion capture technology to create lifelike but not live-action characters.
In a project that "will astonish the commuters of Liverpool," sculptor Richard Wilson has turned part of a building's facade inside-out.
As if learning from Gordon Matta-Clark, Wilson sliced an "egg-shaped section" out of the building's facade – "fixing the eight metre diameter piece on a pivot" so it can spin.
Ninety minutes can be long or short, forgettable or memorable. Is it what happens within the time frame, or the thoughts and reflections projected onto it afterward? I hardly expected Gregor Schneider to provoke this question when I made my way last Thursday, in summer-struck Berlin, to the State Opera to attend 7:00–8:30 PM; 05.31.2007, a one-time-only performance by the artist. These are the closing days of Schneider’s heavily debated “Cube” exhibition in Hamburg, and the German art world was curious about the artist’s first theatrical work, commissioned by the Berlin State Opera and Thyssen-Bornemisza Art Contemporary, Francesca von Habsburg’s Vienna-based foundation.
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CUBE PROJECT _ um projecto de intervenção pública policamente incorrecto que criou polémica em Veneza na Bienal de 2005 e em Berlim em 2006.
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After Venice, now Berlin rejects an installation inspired by the holiest site in Islam The Hamburger Bahnhof museum has turned down Gregor Schneider’s “politically uncertain” work
The Hamburger Bahnhof museum in Berlin has scrapped plans to erect an installation by the German artist Gregor Schneider, Cube Berlin 2006, which was originally scheduled to open this March as part of the Berlin Biennale. Schneider says that the work, originally commissioned for the Venice Biennale last year but never realised, has now been pulled by the Hamburger Bahnhof for the same reason: the fear of offending Muslims.
The piece is a 50-foot cube made of scaffolding covered in black fabric. It is inspired by the Ka’ba in Mecca, the holiest site of Islam.
City authorities in Venice, backed by the Ministry of Culture in Rome, denied Schneider permission to erect his Cube Venice 2005 in the middle of St Mark’s Square to coincide with the Biennale opening last July.
The artist now says that a second attempt at showing the cube outside the Hamburger Bahnhof Museum in Berlin has been thwarted following discussions between Dr Eugen Blume, the director of the museum, and Peter-Klaus Schuster, General Director of the State Museums of Berlin.
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Dr Blume expressed interest in erecting the cube after the Venice Biennale and even wrote a text for a book accompanying the history of the project, Art in the age of global terrorism, to be published by the Italian publisher Charta in March.
Dr Blume says in the book that “Schneider’s sculpture should be able to survive in a different context not associated with political ideas but as an art work in itself. It has its own energy field. It has the strength to make a statement in Berlin as a work of art and take on a different meaning there as a contemporary work of art.”
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However, in November, Mr Blume sent Schneider an SMS text message which said that the project at the Hamburger Bahnhof had been “turned down by Mr Schuster...the cube is politically uncertain for Berlin”. Dr Blume also wrote that the situation is “getting political” in an e-mail sent to Schneider around the same time and seen by The Art Newspaper.
Speaking to The Art Newspaper, however, Dr Blume insisted that “there are no political reasons to stop this project. The political side of this sculpture is not very important for me.” He added that “in the case of Schneider’s black cube, I was in two minds. It’s true I wrote a text for the Italian book on the piece but it was a text about a fictional project. In speaking and working with Gregor Schneider about showing the work in Berlin, I became more and more doubtful. In discussions with Udo Kittelmann, the director of the Modern Art Museum in Frankfurt, and Mr Schuster, we discovered that the place in front of the Hamburger Bahnhof is not the right site for this sculpture.” Both Mr Schuster and Mr Kittelmann declined to comment.
Alternative works for the Berlin site suggested by Schneider, including a white cube and a smaller black cube in a glass case, were also rejected, according to the artist.
Gareth Harris in The Art Newspaper
MIGUEL PALMA (Portugal) – Deep Breath
Location One _ International Artists-in-Residence Exhibition
June 2nd – July 28th _ 2007
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Location One presents the second IRP group show of the 2006-2007 season, featuring new work developed by our resident artists. The exhibition represents a diverse range of artistic approaches and many are works in progress.
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This installation consists of a scale model of a city constructed on top of a platform/work bench. A dark nylon fabric encloses the city, thus making it impossible for the city to be seen from the outside. Three fans installed at the base of the device blow air into the fabric. Attached to the fabric is a micro camera that rises when the fans are activated. The images shot by the camera offer an aerial view of the cityscape and are projected onto a nearby wall. Every 70 seconds the fans are deactivated, the fabric falls, as does the camera attached to it. The image of this rising and falling process recalls a lung membrane under the scrutiny of a scan or an x-ray. The title of the work reflects this analogy.
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Miguel’s residency at Location One is supported by Instituto das Artes and Fundação Ilídio Pinho.
