4pm - Galeria Avenida da Índia
Ernesto de Sousa (1921–1988) was a major and multifaceted figure from the Portuguese avant-garde, artist, poet, critic, essayist, curator, editor, filmmaker and a promoter of experimental ideas and artistic expressions. The exhibition Ernesto de Sousa, Exercises of Poetic Communication with Other Aesthetic Operators organized on the centenary of his birth, seeks to pay tribute to his kaleidoscopic vision of art through an intergenerational, transhistorical dialogic approach with his work and his archives. The exhibition continues on view through February 27. On Sunday, February 20, the curator Lilou Vidal will lead two tours to the exhibition at Galerias Municipais – Galeria Quadrum and Galeria Avenida da Índia.
Galeria Quadrum, 11am
On the occasion of the tour to the revisited exhibition of Ernesto’s de “A Tradição como Aventura” [Tradition as Adventure], originally held at Galeria Quadrum in 1978, and now revisited at the same place forty-three years later, the curator Lilou Vidal invites Mariana Pinto dos Santos for an experimental duo reading, reflecting on the literary appropriation and alteration of a text through a linguistic gender approach. Saint Augustine´s “The Confessions” text, newly titled and corrected “Changement de genre” by Ernesto de Sousa, has undergone a visible textual transformation and semantic modification and is conjugated in the feminine while the word “God” is replaced by “Revolution”.
Mariana Pinto dos Santos is a writer and Art Historian from the Art History institute at Nova University
Galeria Avenida da Índia, 4pm
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Exhibition tour led by the curator Lilou Vidal and followed by a reading around the photographic and poetic work “Olympia” (1979), in dialogue with Tobi Maier. “Olympia” consists of a series of fragments – of body parts, of nature images, and of texts that can be read like a multilingual poem – with no hierarchy between language and punctuation. Composed from a sequence of words, this visual poem seems to stem just as much from note taking as from a contamination of languages and from the slips and slides of a genre in the process of becoming. Ernesto de Sousa had no real interest in the autonomy or the unicity of the photographic image. The image follows the same rule than the construction of language and can repeat itself. Like the words in a sentence, the process of reading (looking at) the image amplifies its meaning. The enigmatic narrative depends on every combination of images and can reappear in other works and with other texts.
4pm - Galeria Avenida da Índia