In the IN FRONT-WITHIN exhibition, it is the interstitial image – the result of the parallax effect, the repositioning of bodies and the superposition of perceptual fields – that intuits the future, conceptualizing the so-called “image with relief” and the relationship between air (image) and stone (object-sculpture). In a first section of the exhibition, based on private collections, a set of stereoscopic cards, positives in albumin and viewers from the 19th century will be presented, in the constitution of an antechamber developed in partnership with the researcher Ana David Mendes. The exhibition includes, alongside, projects by contemporary artists that reflect the historical relationships between the photographic and the sculptural at the intersection of “sculpted” images and the device.
Photography crosses the body and introduces itself between the gaze and the world. By introducing himself between the gaze and the world, he subtracts images, adds and produces new objects. Removed from the world, bodies and objects, the images are added again, in a kind of second skin, followed by others in a permanent renewal. Everything flows. Like the river of Heraclitus. In a loop.
Nota: Os textos que se seguem, e que acompanham as obras de cada artista, são objectos que se afastam do tradicional texto explicativo, articulando um conjunto de referências abertas e auto-citações que funcionam como pedaços de um caleidoscópio próprio em constante mutação (absorção e variação), como uma tradução ou nota de rodapé, aplanando um certo horizonte especulativo e poético.
Note: The texts that follow, and that accompany the works of each artist, are objects that depart from the traditional explanatory text, articulating a set of open references and self-citations that function as pieces of a kaleidoscope of its own in constant mutation (absorption and variation), as a translation or footnote, flattening a certain speculative and poetic horizon.
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Rampas, elevadores, piso podotátil, sinalética acessível, instalações sanitárias.