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António Aleixo, poeta, nasceu em Vila Real de Santo António em 18 de Fevereiro de 1889, e faleceu em Loulé no dia 16 de Novembro de 1949.

Art does not duplicate, it heralds

«Loris Gréaud's exhibition is a neuronal fantasy (Cellar Door, according to urban myth, is the most beautiful phonetic combination in the world). It is organized as a series of "mixed-up stories," fitting together various scales and methods of prodution, between the cosmos and nano-sculptures, ballitics and sound design, populated by magnetic currents carried by noise - borrowing its methods of proliferation from the collective intelligence of global communication networks. After the manner of Lewis Carroll and in the form of a tale ("Once upon a door..."), Gréaud plays fast and loose with the interferences between times and spaces (ubiquity, acceleration), between explanatory systems and levels of reality (cause/effect, real/virtual, image/cloning). The exhibition can tip into a different one, matute into a vocal score, fade out or wake up, implode or sample illusion. This issue of Palais/ accompanies these mental migrations into geodesic utopia and forms of thought, the impression of "déjà vu" and presentiment, travel in the "noosphere" and somnambulist journeys. Art does not duplicate, it heralds.» Pascal Rousseau, «Editorial», in Palais /Magazine 05, Paris, Palais de Tokio, spring 2008, p. 3.

Je ne possède pas le Musée d'art moderne ni l'étoile noire

Pierre Huygue

(né en 1962)

Disclairmer «Je ne possède pas le Musée d'art moderne ni l'étoile noire», 2006

Néon blanc

Signalétique conçue par M/M (Paris)

Achat, 2006

Installation réalisée grâce ou soutien de la Société des Amis du Musée d'art moderne de la Ville de Paris et Generale Decors.

As metodologias da produção artistica

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Depois da transmissão do saber-fazer pela relação entre mestre e aprendiz, depois da utilização dos tratados como meio para a publicação dos mais particulares conhecimentos sobre uma determinada área, depois da definição de princípio e objectivos através da constituição de movimentos e grupos que muitas vezes transcreviam os seus ideais em manifestos e outras vezes lhes bastava uma transmissão oral em tertúlia, consideramos que a produção artística é um processo de descoberta individual. A diversidade dos meios, a diversidade das intenções e dos contextos assim o exige uma vez que muitos saberes estão acumulados na actividade artística não sendo possível individualmente abarcarmos todos eles.
Cada um de nós antes de iniciar o processo construtivo para a divulgação das ideias tem de descobrir dentro de si próprio o método. É a descoberta do método que se constitui como o saber inicial e essencial.
A descodificação deste método individual é a fonte do saber que irá ser a referência que possibilitará o crescimento dos outros....

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If the world was homogeneous, there would be no need of art

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«Si le monde était homogène, on n'aurait pas bessoin de l'art», Goerg Lukács.

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Loris Gréaud, Cellar Door, Palais de Tokio, 2008 (fot. I. Salt)

documenta 13

The preparations for documenta 13 have already begun.

Bernd Leifeld, CEO of documenta und Museum Fridericianum Veranstaltungs-GmbH, introduced the international finding committee in Kassel. The committee of nine members has the aim of finding an artistic director for documenta 13. The members are :

Mr. Joseph Backstein
Director Institute of Contemporary Art Moscow, Artistic Director State Centre for Museums and Exhibitions « Rosizo », Moscow Biennial 2007

Mr. Manuel J. Borja-Villel
Director Museo Nacional Centro de Arte Reina Sofia Madrid (formerly Director MACBA Barcelona)

Ms. Kathy Halbreich
Associate Director Museum of Modern Art New York (formerly Director Walker Art Center, Minneapolis, Minnesota)

Mr. Paulo Herkenhoff
Freelance Curator (formerly Director Museu Nacional Belas Artes Rio, Adjunct Curator MoMa New York, Director Sao Paulo Biennial 1998)

Mr. Oscar Ho
Director MA Programme in Cultural Management, Chinese University of
Hong Kong (formerly Exhibition Director of the Hong Kong Arts Centre and Founding Director of Museum of Contemporary Art Shanghai)

Mr. Udo Kittelmann
Director Museum fuer Moderne Kunst Frankfurt / Main (formerly Director Koelnischer Kunstverein and 2001 Commissioner German Pavillion Biennal Venice)

Mr. Kasper Koenig
Director Museum Ludwig, Koeln (formerly Director Portikus and Professor Staedelschule Frankfurt/Main)

Ms. Elizabeth Ann Macgregor
Director Museum of Contemporary Art Sydney (formerly Director Ikon Gallery Birmingham)

Mr. Rein Wolfs
Artistic Director of the Kunsthalle Fridericianum Kassel (formerly Museum Boijmans Van Beuningen Rotterdam)


The international committee proposes the artistic director of the documenta 13 to the supervisory board of documenta und Museum Fridericianum Veranstaltungs-GmbH, who will then be officially confirmed by the board. The supervisory board consists of 5 representatives of the city of Kassel, 5 representatives of the State of Hessia and 2 representatives of the Federal Cultural Foundation.

documenta 13 will take place from 09. 06. until 16. 09. 2012 in Kassel.

Bertram Hilgen, Lord Mayor of Kassel and Chairman of the supervisory board commented the work of the finding committee as follows:

?Already four years before the opening of the exhibition the course will be set for documenta 13 with this meeting of the finding committee. The finding committee which consists of top-class experts from home and abroad submits a proposal for an artistic director to the supervisory board of documenta und Museum Fridericianum Veranstaltungs-GmbH. In the past the supervisory board was always well advised to follow the proposal of the committee, as you could see with the appointment of the artistic director of documenta 12, Roger M. Buergel.?

Loris Gréaud, Cellar Door, Palais de Tokio, 2008

Loris Gréaud, Cellar Door - Hyperreality substitute paintings, 2007

Óleo sobre tela, 87,5 cm x 117,5 cm.

Palais de Tokio [6 de Abril de 2008]

Hyperreality substitute paintings

Art is a guarantee of sanity

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Louise Bourgeois, Precious Liquids, 1992

Cette oeuvre s’inscrit dans la série de «Cellules» que réalise Louise Bourgeois dans les années 1990. Métaphores du corps e de la maison, les «Cellules» sont comme des chambres magiques, des lieux de mémoire exorcisant les souvenirs enfouis de l’artiste. Ainsi, Precious Liquids, espace clos reconstituant un ancien réservoir de toit new yorkais, est destiné à la circulation de liquides, liquides précieux que sont ici les humeurs émises par le corps: le sang, l’urine, le lait, le sperme, les larmes, tout ce qui s’écoule, fluide, sous le coup d’un choc émotionnel, l’amour, la peur, la plaisir ou la souffrance. Ces liquides circulent depuis une petite flaque d’eau sur un lit en fer à de multiples récipients en verre. En face, deux sphères de bois surmontées d’un manteau d’homme évoquant la relation complexe de l’artiste avec son père. La morale de cette œuvre, qui peut s’appliquer à l’ensemble de l’ouvre de Louise Bourgeois, est gravée sur le bandeau de métal qui cercle le réservoir à l’entré de l’installation : «Art is a guarantee of sanity» [L’art est une garantie de santé mentale]
Centro Pompidou, Paris, Abril 2008.

Escrever por escrever

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I.Salt., Escrever por escrever (III), óleo sobre tela, 85 cm x 100 cm

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Terra, água e ar

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I. Salt, Terra, água, ar e 2 linhas, 30", 2008

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Painting for cash

THE CONFESSIONS OF A MARKETABLE ARTIST
BY PENELOPE

«Hi. My name is Penelope. I'm an artist.
When I was in art school, I had such romantic notions about art that I never even imagined being able to make a living at it. But I’ve been lucky: I’ve had solo shows in galleries around the country, have received a number of commissions and have even on occasions been given money for work before I started painting it. The pay is decent and the hours are amazing.

There is one catch: I paint pictures that people use to decorate their homes – decor art. Some of them are actually beautiful, though, in their own way.

Right after I graduated from art school 13 years ago, I came across a classified ad in the local paper for an artist’s assistant. I bought one of those huge fake-leather portfolios, filled it with my best drawing and printmaking work, and took the bus to a dirty old warehouse on the other side of town. My interview consisted of a thin, peasant man holding up one painting after another, asking, Can you paint like this? The whole thing was pretty much a formality, as all new artists were given a two-week trial period. You were hired only if you could learn fast and prove your talent.

...»
Penelope, «Paintings for cash, the confessions of a marketable artist», in Esopus, nº 8, 2007, pp. 58-65.