https://diogopinto.org Diogo Pinto Wed, 27 Dec 2023 23:49:47 +0000 https://diogopinto.org en https://diogopinto.org/Main Fri, 10 Sep 2021 13:25:19 +0000 Diogo Pinto https://diogopinto.org/Main Diogo Pinto solo exhibitions&nbsp;“Agenzia”, MONITOR Gallery, Roma, 2025&nbsp;“Agência”, MONITOR Gallery, Lisboa, 2025&nbsp;“Diplomacia”, Belo Campo – Galeria Francisco Fino, Lisboa, 2025&nbsp;“Cherrypickers”, curated by Roman Kurzmeyer at der TANK, Basel, 2024 “Decaf Ballad”, Dietikon Projektraum, Dietikon, 2023 “Verão - Été - Summer - Sommer”, Faltpavillon, Pavilhão Branco and Praia da Salema, 2022 “Joie de Vivre”, Spirit Shop, Lisboa, 2021 “Galerie WYSIWAI”, Kiefer Hablitzel│Göhner Art Prize, Basel, 2021 selected curatorial projects“Installation View”, solo exhibition of Maria Netter at Ausstellungsraum Klingental, Basel, 2026&nbsp;“Relentless Pursuit”, solo exhibition of Mariana Tilly at KASKO, Basel, 2026“Plattform26”, group exhibition at Kunsthaus Biel Centre d’art Bienne, 2026 “Plattform25”, group exhibition at CAN Centre d’art Neuchâtel, 2025 “Museum of Gentrification” solo exhibition by Nikolai Nekh at Balcony Gallery, Lisboa, 2023 “Froggy”, group exhibition at June Art Fair, Basel, 2023 “Please Hold”, group exhibition at Ausstellungsraum Klingental, Basel, 2022 “This is a Bar... ou Praia de Banhos – Joaquim Bravo, Turismo e o Algarve”, group exhibition at Galerias Municipais, Lisboa, 2022 “Marinas”, solo exhibition by BRANA at Ascensor, Lisboa, 2020 “Roda Rusga”, solo exhibition by Z. L. Darocha at Ascensor, Lisboa, 2019 “Lâmina Olhar Animal” solo exhibition by Maria Lino at CAC-FEA, Évora, 2019selected group exhibitions“Ecstatic Trance: Artists on Rock My Religion” co-curated by Kathy Battista, marytwo, Luzern, 2025&nbsp;“Spring Equinox II” suns.works, Zürich, 2025 “Confluenze”, MONITOR Gallery, Roma, 2025“The Center Cannot Hold”, curated by Mattia Tosti, MONITOR Gallery, Roma, 2024&nbsp; https://diogopinto.org/Joie-de-Vivre Fri, 10 Sep 2021 13:25:49 +0000 Diogo Pinto https://diogopinto.org/Joie-de-Vivre ←Joie de Vivre <img width="564" height="726" width_o="564" height_o="726" data-src="https://freight.cargo.site/t/original/i/f59fbc6da133f45019312742bd4f33931222a69ab7307ec81b312d3180a3eab0/LA-JOIE-DE-VIVRE-C-EST-TANT-DES-CHOSES.jpg" data-mid="119288573" border="0" data-scale="25" src="https://freight.cargo.site/w/564/i/f59fbc6da133f45019312742bd4f33931222a69ab7307ec81b312d3180a3eab0/LA-JOIE-DE-VIVRE-C-EST-TANT-DES-CHOSES.jpg" /> Take a moment to analyse the picture above. I know, I know...: ahead of you, two beautiful spaces filled with bright, sensual paintings are calling out. But first, please consider this shady print of a Peter Stuyvesant Cigarettes poster from 1962. It states, nonchalantly, La joie de vivre, c’est tant des choses... Typewriter resting on a rock, the artist takes a break; inhaling Stuyvesant pleasure, exhaling countryside glory. He’s retired; plenty of space to enjoy the golden years. The ad makes a good point though: joy is many, many things. Here’s the scope of it: In 1960’s spring, the Turmac Tobacco Factory (located in Zevenaar, Netherlands) became the setting of a happy and peculiar event. Paintings were commissioned to emerging European artists within the framework of an experimental cultural project, pushed by semi-public institutions working backstage, and funded by the European Foundation for Culture. The commissioned paintings were to be made specifically to be installed within the factory, and created under the theme Joy of Living. The idea had come from the factory president, Alexander Orlow, who leaded and gave face to the experiment, becoming somewhat of an art-lover socialist hero (imprinting the mythical status ascribed to corporate founders – more on that later – and closely advised by Willem Sandberg, then director of the Stedelijk Museum). The point was not only to bring contemporary art closer to the factory workers, but to improve the environment within the post-war, severe, noisy and industrial production halls where hundreds of workers produced the Peter Stuyvesant Cigarettes. Absolute requirements for the artworks were a considerable size and powerful colouring, in order to “raise spirits of people engaged in monotonous factory work”1. Indeed, Orlow did an amazing job, and the experiment proved a success - the paintings were dramatically hung in panels from the ceiling of the halls overnight, surprising workers the next morning. Over the following decades, the collection grew into the famed Peter Stuyvesant Collection.José Escada (1934-1980) was one of the artists commissioned for the Joy of Living project. At 26 years old, he had recently moved to Paris with a Gulbenkian scholarship after being prosecuted by the Portuguese regime over distributing anti-regime hand-outs and signing a rebellious petition. Escada was a proliferous, generous and promising artist; he visited the factory grounds and wrote Gulbenkian a report, dated April 1960. It reads: «(...) [THE EUROPEAN FOUNDATION FOR CULTURE] INVITED SOME THIRTY PAINTERS TO STAY IN AMSTERDAM FOR THREE DAYS, WHICH WAS NECESSARY TO SHOW THEM THE FACTORY AND THE SPACE WHERE THE PAINTINGS WERE GOING TO (...) RIGHT AT THAT TIME ALL THE PAINTERS WERE INVITED TO BEGIN THEIR WORK THAT HAD “THE JOY OF LIVING”AS A THEME WHICH BY ITS NATURE OBVIOUSLY ALLOWS FOR VERY DIFFERENT INTERPRETATIONS. IT’S NECESSARY TO SAY THAT MOST OF THE INVITED ARTISTS ARE QUITE YOUNG AND THERE- FORE OF TENDENCIES GENERALLY ASCRIBED TO THE NAMED MODERN ARTS.»Escada went on to paint a watery, lush depiction of colourful flowers in yellow, orange, green and purple in what feels like a magical pollinating paradise. Bridging between figuration and non-figuration, Escada’s oeuvre exempts such definitions, as there are many more fascinating aspects to consider in his lifelong artistic search and experimentation. In conversation with Urbano Tavares Rodrigues for an article in Jornal de Letras e Artes, in 1963, Escada explains that painting always mirrors – and depends on – the social; and “it does so not only through anecdote and allegory but mainly through style and style isn’t planned or predictable. Style is like a day that dawns, it appears almost without us realizing it. We can only check, experimenting and living as intensely as we can, paying attention to everything, because art is made of everything and the style of our painting is also the style of our own life”.The precise moment in time in which Escada and Stuyvesant crossed paths, under the sign of Joie de Vivre, marked the departure of two long loose lines rolling through out time, both delicately blossoming from Escada’s painterly interpretation of the commission and heading into opposing sides on a symbolic spectrum.To the Peter Stuyvesant Brand, a possible grasp on the Joy of LivingTM was appropriated for a advertisement identity and image construction, attempting to commercialise pleasure and joy as something that, despite ephemeral, can be repeated and achieved continuously with a gesture as banal as pulling out a cigarette — complemented by skiing in the Alps, fine-dining or travelling to exotic locations. The use of the notion of JoyTM in the cool, sexy and care-free identity of the Peter Stuyvesant cigarettes brand highly contrasts with the socialist mystique of the initial Turmac endeavour; however, it remains intriguing that such a concept stayed on the tip of the Stuyvesant marketing team’s tongue for so long. To José Escada, clues to possible interpretation of the feeling are blatantly exposed - his painting for Turmac is not coy in its kindness and devotion. What Escada does, specifically in style, is the complete opposite of Stuyvesant’s decade-long attempt to commercialise a fleeting indescribable feeling, or to reproduce it. Instead of bottling it up, Escada lays it out, not attempting to prison the feeling, but to make fireworks; like true Joy, the particular appreciation of fireworks comes from its fugitive quality, its imminent disappearance. Those are the things of baffling, crazy beauty.José Escada returned to Portugal in 1971, struggling constantly with financial instability and becoming sick with tuberculosis in the final years of his life, spending some time in a sanatorium in Caramulo for treatment (beautiful line drawings from this time portray fellow male patients and friends; Escada’s lack of establishment as a queer artist is up for debate). He only enjoyed six years of Portuguese democracy. He worked from his bedroom/studio in his mother’s house, in Alto de Santo Amaro, and turned the window into a projection frame of all emotions, colours and moments he could paint. His later works (1975-1980) are, stylistically, quite different from the multiple moods of his previous work — Diogo told me Escada described it as a “return to the concrete”, which sounds like an urgent matter: what are the graspable images and symbols remaining from a life fully lived?He was frequently portraying his immediate surroundings, mainly his studio, close people, his two dogs - Strof and Gitano - and the nearby Alto de Santo Amaro viewpoint. He died in 1980, the same year which marks the simmering down of the ever-growing Stuyvesant collection, which had just been agglomerated to the giant British American Tobacco company and was soon to be renamed the BAT Artventure – a mandatory rebranding after European laws prohibited tobacco advertisement.Corporate initiatives to collect and exhibit art soared in the U.S. and Europe after the 1960s, taking cue from David Rockefeller’s (Chase Manhattan Bank) Art at Work program (1959) and the Turmac project. Usually, the sophisticated, visionary and generous public image of these initiatives and subsequent success narratives relied on the characterisation of the corporate founders as visionary and generous themselves - heroes.Art is not just for the upper-floor offices, it’s also for the people who make the corporate machine move, who carry the bigger weight of underpaid and unexciting labour. Setting aside the strong will to give a critical perspective on centuries-old heroic narratives surrounding white businessmen, the initial Turmac case study offers a glimpse into what I earlier called a happy event, and it certainly wasn’t solely due to the genius of Orlow; it is, instead, the result of close collaboration between private companies and public institutions aligned with Dutch policies of cultural dissemination. And the thing is, factory presidents should absolutely do whatever is in their power to improve employee’s working conditions - which Orlow did, since the workers appreciated the initiative and the production halls became less gloomy.However, the Stuyvesant Collection and corporate image development is, as we know, a whole other story, reminiscent of a Millennium television ad aired fifteen years ago praising an alternative type of “life worth living” and embodying the worst kind of corporate art collecting and “inspired collector” myth à la Portuguese. In this specific case, the *private* collection is exhibited through a public institution, guarded by dozens of young artists freelancing precariously.I was one of the unhappy freelancers, and so was Diogo - hence the love for corporate art collections.Diogo painted the ultimate brochures of Joie. Creases divide them three-way, like the one you’re holding. Considering the two introduced simultaneous narratives, one can now face the spoils and profits of each approach to the chase of a fleeting feeling, as Diogo proposes a confrontation of symbolic imagery both from Escada’s beautiful depictions of “concrete” intimate life and Stuyvesant’s publicity, beginning at the first moment of the story in April of 1960.Mariana TillyJune 2021 1 – Quoted from an article on the Wall Street Journal - Colourful Art, from Factory to Auction, 19-2-2010 <img width="1500" height="1046" width_o="1500" height_o="1046" data-src="https://freight.cargo.site/t/original/i/8391d1c26b0d817868f78579528c2ddb795b37529705e6e56cb6fa38fedb36f7/2_Pinto_Diogo.jpg" data-mid="118540992" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/8391d1c26b0d817868f78579528c2ddb795b37529705e6e56cb6fa38fedb36f7/2_Pinto_Diogo.jpg" /> <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/0cf64117b0df1ae76795e9fa575927380a2f21d21d7bca89499bc637cfb443e6/1_Pinto_Diogo.jpg" data-mid="118540991" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/0cf64117b0df1ae76795e9fa575927380a2f21d21d7bca89499bc637cfb443e6/1_Pinto_Diogo.jpg" /> Diogo Pinto, “Joie de Vivre”, oil on canvas, 190 x 270 cm (3 parts with 190 x 90 cm each) <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/fa607275b2f7ca1ce63e7c0e888dd244ccc26ef6eb1d0e344df40c92b30ba7d4/3_Pinto_Diogo.jpg" data-mid="118540993" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/fa607275b2f7ca1ce63e7c0e888dd244ccc26ef6eb1d0e344df40c92b30ba7d4/3_Pinto_Diogo.jpg" /> <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/efa7c0b426eacda41fd440fc3a002749c64c479d8d4add893a409b797b7e0a80/4_Pinto_Diogo.jpg" data-mid="118540994" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/efa7c0b426eacda41fd440fc3a002749c64c479d8d4add893a409b797b7e0a80/4_Pinto_Diogo.jpg" /> <img width="1500" height="1244" width_o="1500" height_o="1244" data-src="https://freight.cargo.site/t/original/i/e8b08721ec2f287cdbce31db4cfdda2e99a7e77d6aa8d905897e4346ea242326/5_Pinto_Diogo.jpg" data-mid="118540995" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/e8b08721ec2f287cdbce31db4cfdda2e99a7e77d6aa8d905897e4346ea242326/5_Pinto_Diogo.jpg" />Diogo Pinto, “Gulbenkian Report”, 2021, oil on canvas, 31 x 42 (3 parts with 31 x 14 cm each) <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/f160eb7d85cefb78117a20ccd7f0f1a6efd81493402fb9b5e1c26e3c5a5b6aca/6_Pinto_Diogo.jpg" data-mid="118540996" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/f160eb7d85cefb78117a20ccd7f0f1a6efd81493402fb9b5e1c26e3c5a5b6aca/6_Pinto_Diogo.jpg" /> <img width="1500" height="1231" width_o="1500" height_o="1231" data-src="https://freight.cargo.site/t/original/i/c244e894f8b32e677a75cd7ebd9b93a6dc38325495d26ab62f9c0e0b5e955e0b/7_Pinto_Diogo.jpg" data-mid="118540997" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/c244e894f8b32e677a75cd7ebd9b93a6dc38325495d26ab62f9c0e0b5e955e0b/7_Pinto_Diogo.jpg" /> Diogo Pinto, “Caramulo Sanatoriumt”, 2021, oil on canvas, 31 x 42 (3 parts with 31 x 14 cm each) <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/120f0a29b14fd1f98c3c485560df85972bda96ed95f5e16b58cf0e84566b5d71/8_Pinto_Diogo.jpg" data-mid="118540999" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/120f0a29b14fd1f98c3c485560df85972bda96ed95f5e16b58cf0e84566b5d71/8_Pinto_Diogo.jpg" /> <img width="1500" height="1225" width_o="1500" height_o="1225" data-src="https://freight.cargo.site/t/original/i/825c31205f791d9f3e71eadd617e3e489a04064f644f16cdd6e5985b8e7f4730/12_Pinto_Diogo.jpg" data-mid="118541007" border="0" src="https://freight.cargo.site/w/1000/i/825c31205f791d9f3e71eadd617e3e489a04064f644f16cdd6e5985b8e7f4730/12_Pinto_Diogo.jpg" /> Diogo Pinto, “Santo Amaro viewpoint”,&nbsp;2021, oil on canvas, 31 x 42 (3 parts with 31 x 14 cm each) <img width="1500" height="1219" width_o="1500" height_o="1219" data-src="https://freight.cargo.site/t/original/i/cfea4ae84bad2c1f8ede9c1dd75f421eef6b3c45cb2517eba9a088b56742090b/13_Pinto_Diogo.jpg" data-mid="118541008" border="0" src="https://freight.cargo.site/w/1000/i/cfea4ae84bad2c1f8ede9c1dd75f421eef6b3c45cb2517eba9a088b56742090b/13_Pinto_Diogo.jpg" /> Diogo Pinto, “Stuyvesant Joy of Living”, 2021, oil on canvas, 31 x 42 (3 parts with 31 x 14 cm each) <img width="1500" height="1001" width_o="1500" height_o="1001" data-src="https://freight.cargo.site/t/original/i/495ce0834266e082df998f9275e143c94deac0d2e2731279fc8df0d0eeba2002/9_Pinto_Diogo.jpg" data-mid="118541000" border="0" src="https://freight.cargo.site/w/1000/i/495ce0834266e082df998f9275e143c94deac0d2e2731279fc8df0d0eeba2002/9_Pinto_Diogo.jpg" /> <img width="1500" height="1240" width_o="1500" height_o="1240" data-src="https://freight.cargo.site/t/original/i/773c43cb6116f88584cc1b76d44a69c2f98f6bc03e798ed236f306d98c4633b1/10_Pinto_Diogo.jpg" data-mid="118541003" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/773c43cb6116f88584cc1b76d44a69c2f98f6bc03e798ed236f306d98c4633b1/10_Pinto_Diogo.jpg" />Diogo Pinto, “Strof”, 2021, oil on canvas, 31 x 42 (3 parts with 31 x 14 cm each) <img width="1500" height="1231" width_o="1500" height_o="1231" data-src="https://freight.cargo.site/t/original/i/8c4993bba214c691a989707011f31fe2a9e7586d625e87e0a467af61e431eb32/11_Pinto_Diogo.jpg" data-mid="118541006" border="0" src="https://freight.cargo.site/w/1000/i/8c4993bba214c691a989707011f31fe2a9e7586d625e87e0a467af61e431eb32/11_Pinto_Diogo.jpg" /> Diogo Pinto, “Strof and Gitano”, 2021, oil on canvas, 31 x 42 (3 parts with 31 x 14 cm each) <img width="3000" height="2002" width_o="3000" height_o="2002" data-src="https://freight.cargo.site/t/original/i/57bbc3ce6b3651871401bf580433e9e283c3b9d3d67be2305e32be6440fc09ae/DSC03099.jpg" data-mid="119278748" border="0" src="https://freight.cargo.site/w/1000/i/57bbc3ce6b3651871401bf580433e9e283c3b9d3d67be2305e32be6440fc09ae/DSC03099.jpg" /> <img width="1500" height="1240" width_o="1500" height_o="1240" data-src="https://freight.cargo.site/t/original/i/cd658e0417328659cf6a1e2d7428ba0b7004898ad3cdc16da6931e18f3cc5b20/14_Pinto_Diogo.jpg" data-mid="118541009" border="0" src="https://freight.cargo.site/w/1000/i/cd658e0417328659cf6a1e2d7428ba0b7004898ad3cdc16da6931e18f3cc5b20/14_Pinto_Diogo.jpg" /> Diogo Pinto, “Strof and the Joy of Living”, 2021, oil on canvas, 31 x 42 (3 parts with 31 x 14 cm each) <img width="1500" height="1225" width_o="1500" height_o="1225" data-src="https://freight.cargo.site/t/original/i/2de98172be0bc56a30e84d98ab0b3ae18e985ed0ee9e122d18936398dd5e237b/15_Pinto_Diogo.jpg" data-mid="118541011" border="0" src="https://freight.cargo.site/w/1000/i/2de98172be0bc56a30e84d98ab0b3ae18e985ed0ee9e122d18936398dd5e237b/15_Pinto_Diogo.jpg" /> Diogo Pinto, “Bedroom view”, 2021, oil on canvas, 31 x 42 (3 parts with 31 x 14 cm each) Spirit Shop Lisbon, 2021 Photos by Beatriz Pereira More info https://diogopinto.org/Verao-Ete-Summer-Sommer Mon, 17 Oct 2022 16:18:17 +0000 Diogo Pinto https://diogopinto.org/Verao-Ete-Summer-Sommer ← Verão – Été – Summer – Sommer Within the context of This is a Bar… ou Praia de Banhos – Joaquim Bravo, Turismo e o Algarve, curated by the artist Diogo Pinto and (then) currently on view at Galerias Municipais – Pavilhão Branco, we invite you to Verão – Été – Summer – Sommer – a presentation with Faltpavillon and Diogo Pinto in Lisbon. Faltpavillon (folding pavilion) is an itinerant exhibition vessel created by Michael Ray-Von and Finn Curry. In place of a conventional gallery space with a fixed location, their format consists of a 3 x 3 meter pop-up pavilion, commonly found in the context of wedding parties, street markets, and archaeological digs, among others. For each edition of Faltpavillon, an artist is invited to select a new site where to assemble the pavilion and present works within and around it. For the exhibition Verão – Été – Summer – Sommer, Diogo Pinto will present an original artwork inside the tent in front of Pavilhão Branco and again, with another work, on a Algarve beach. Pinto’s research-heavy curatorial and artistic practice examines Portuguese art historical narratives and actors, in this instance focusing on the tourism industry in the Algarve. Through Faltpavillon, his work will be framed directly by the environments his curatorial and artistic work investigates, thereby making new connections available to the viewer and underlining the inextricable link between the physical space of the Algarve, it’s history as it relates to tourism, and it’s representation in art. <img width="4930" height="3325" width_o="4930" height_o="3325" data-src="https://freight.cargo.site/t/original/i/35615045c824a101beb150a97ffafa4f1e44e79b0843751d1a3562f8e0840786/Pinto_Faltpavillon-082-TWEAKED-copiar.jpg" data-mid="156096075" border="0" src="https://freight.cargo.site/w/1000/i/35615045c824a101beb150a97ffafa4f1e44e79b0843751d1a3562f8e0840786/Pinto_Faltpavillon-082-TWEAKED-copiar.jpg" /> <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/bc2ecaec9d70a604e105ef2661bc6998b7e8eb90bcebaf979e3682481ef5cba4/Pinto_Faltpavillon-083.jpg" data-mid="156097893" border="0" src="https://freight.cargo.site/w/1000/i/bc2ecaec9d70a604e105ef2661bc6998b7e8eb90bcebaf979e3682481ef5cba4/Pinto_Faltpavillon-083.jpg" /> “Verão – Été – Summer – Sommer”, &nbsp;2022, oil on canvas, 93 x 56 cm(12 canvases with 31 x 14 cm each)&nbsp; <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/60243dfd17254cc25877ffda340e2ab5f783f16f013ea08bec3912906c7f44c2/Pinto_Faltpavillon-085.jpg" data-mid="200221089" border="0" src="https://freight.cargo.site/w/1000/i/60243dfd17254cc25877ffda340e2ab5f783f16f013ea08bec3912906c7f44c2/Pinto_Faltpavillon-085.jpg" /> <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/7f2a43cfac8998f221bfe02cef8deeb16f7a7c4a271f61fb360fd57fc15620c5/Pinto_Faltpavillon-094.jpg" data-mid="156098101" border="0" src="https://freight.cargo.site/w/1000/i/7f2a43cfac8998f221bfe02cef8deeb16f7a7c4a271f61fb360fd57fc15620c5/Pinto_Faltpavillon-094.jpg" /> <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/b8660ecde4f8ed80f5ca4165fca1fc75e7cfdeb817c0e5355e30f24423b064f4/Pinto_Faltpavillon-097.jpg" data-mid="156098135" border="0" src="https://freight.cargo.site/w/1000/i/b8660ecde4f8ed80f5ca4165fca1fc75e7cfdeb817c0e5355e30f24423b064f4/Pinto_Faltpavillon-097.jpg" /> <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/cf44e0e7773cd94abe5b2f3dcdc4aa8baf29edbb3eb4f7f42ea1fea1a6dfa2d2/Pinto_Faltpavillon-019.jpg" data-mid="156096747" border="0" src="https://freight.cargo.site/w/1000/i/cf44e0e7773cd94abe5b2f3dcdc4aa8baf29edbb3eb4f7f42ea1fea1a6dfa2d2/Pinto_Faltpavillon-019.jpg" /> <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/668889537dc8684afd7935d458891b7adfb4f18a444e37a0898e3a1745ee9e05/Pinto_Faltpavillon-021.jpg" data-mid="156098268" border="0" src="https://freight.cargo.site/w/1000/i/668889537dc8684afd7935d458891b7adfb4f18a444e37a0898e3a1745ee9e05/Pinto_Faltpavillon-021.jpg" /> “Godot’s Bar”, &nbsp;2022, oil on canvas, 62 x 84 cm (12 canvases with 31 x 14 cm each) <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/1c635414a8db937c1155039bd5075eef71a8bfa5dea620b4328c0399bda61d08/Pinto_Faltpavillon-017.jpg" data-mid="156098349" border="0" src="https://freight.cargo.site/w/1000/i/1c635414a8db937c1155039bd5075eef71a8bfa5dea620b4328c0399bda61d08/Pinto_Faltpavillon-017.jpg" /> <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/5acd38eb413ea0ee83d7843e36609581bf44b6fe63c416af8f2344e659c69f8f/Pinto_Faltpavillon-034.jpg" data-mid="156098373" border="0" src="https://freight.cargo.site/w/1000/i/5acd38eb413ea0ee83d7843e36609581bf44b6fe63c416af8f2344e659c69f8f/Pinto_Faltpavillon-034.jpg" /> <img width="1693" height="1128" width_o="1693" height_o="1128" data-src="https://freight.cargo.site/t/original/i/d8c9dff8217b76c4f097c81a7c01f8a9c4d6c1e3920915fe9742783568f02d15/tshirt-crop.jpg" data-mid="156098919" border="0" src="https://freight.cargo.site/w/1000/i/d8c9dff8217b76c4f097c81a7c01f8a9c4d6c1e3920915fe9742783568f02d15/tshirt-crop.jpg" /> <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/6d77d6692d82faac0981c7f9e8863d82a2ececd7bf9e6720bdda88c3a4a4f1d2/Pinto_Faltpavillon-037.jpg" data-mid="156098930" border="0" src="https://freight.cargo.site/w/1000/i/6d77d6692d82faac0981c7f9e8863d82a2ececd7bf9e6720bdda88c3a4a4f1d2/Pinto_Faltpavillon-037.jpg" /> <img width="5000" height="3333" width_o="5000" height_o="3333" data-src="https://freight.cargo.site/t/original/i/5fc10879fd6d21571924d1614d2ebb92ed32e96429179f46d3af70faefc08345/Pinto_Faltpavillon-038.jpg" data-mid="156098932" border="0" src="https://freight.cargo.site/w/1000/i/5fc10879fd6d21571924d1614d2ebb92ed32e96429179f46d3af70faefc08345/Pinto_Faltpavillon-038.jpg" /> Limited edition t-shirt souvenir BUY HERE Faltpavillon Lisbon and Praia da Salema, Portugal, 2022 Photos by Finn Curry https://diogopinto.org/Froggy Wed, 27 Dec 2023 23:49:47 +0000 Diogo Pinto https://diogopinto.org/Froggy ← Froggy On the occasion of June Art Fair, in Basel, various artists were challenged to create a frog for the Landhof community garden.&nbsp; Works by&nbsp;Ana Manso,&nbsp;Anastasia Pavlou,&nbsp;Golnaz Hosseini,&nbsp;Jacob Ott,&nbsp;Jan Kiefer,&nbsp;Joaquim Cantor Miranda,&nbsp;Jodok Wehrli,&nbsp;Kevin Desbouis,&nbsp;Kilian Schellenberger,&nbsp;Kristian Suvatne Augland,&nbsp;Laurie Anderson Mlodzik,&nbsp;Lotte Rose Kjaer Skau,&nbsp;Mariana Tilly,&nbsp;Michael Ray-Von,&nbsp;Mireille Gros,&nbsp;Noemi Pfister,&nbsp;Pauline Coquart,&nbsp;Pedro Barateiro and&nbsp;Sergio Rojas Chaves <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/98094ae62c7a17b5174b66b7333383772924d790983156de6280cddd9b795b68/Entrance.jpeg" data-mid="200224784" border="0" src="https://freight.cargo.site/w/1000/i/98094ae62c7a17b5174b66b7333383772924d790983156de6280cddd9b795b68/Entrance.jpeg" /> <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/d73adc83323787a3ad093d9caac7be75442f17c2afb75c784d5deb159cfe64fb/Golnaz-2.jpeg" data-mid="200224785" border="0" src="https://freight.cargo.site/w/1000/i/d73adc83323787a3ad093d9caac7be75442f17c2afb75c784d5deb159cfe64fb/Golnaz-2.jpeg" /> Golnaz Hosseini,&nbsp;“Fröschungsfroge”, 2023, slime and acrylic on rock <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/71893fa08d19df6f247d6343573e5fd3ec5e49ed80d7117b71b7dff53eded36d/Froggy_1-5.jpg" data-mid="200224871" border="0" src="https://freight.cargo.site/w/1000/i/71893fa08d19df6f247d6343573e5fd3ec5e49ed80d7117b71b7dff53eded36d/Froggy_1-5.jpg" /> Ana Manso,&nbsp;“Frog Spirit”, 2023, oil on clay and found + oil on wood <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/96e9dd1ea69f44770296edc0ae1f38e6be81d5a720a0d9e12385158b5cdfefa7/Jodok-1.jpeg" data-mid="200224788" border="0" src="https://freight.cargo.site/w/1000/i/96e9dd1ea69f44770296edc0ae1f38e6be81d5a720a0d9e12385158b5cdfefa7/Jodok-1.jpeg" /> Jodok Wehrli,&nbsp;“Er, Weis and Bud 1995-2000”, 2023, papiermaché and lacquer <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/a60ea5efc63a849f7b8e7e5b6495d7198962822e1bc11f8c1642523df762072a/Jodok-3.jpeg" data-mid="200224789" border="0" src="https://freight.cargo.site/w/1000/i/a60ea5efc63a849f7b8e7e5b6495d7198962822e1bc11f8c1642523df762072a/Jodok-3.jpeg" /> <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/3dae8965c69adfcfe1843601c0e4105bfe40dc8d0d38f4451f9887ba6a179ffc/Froggy-52.jpg" data-mid="200225017" border="0" src="https://freight.cargo.site/w/1000/i/3dae8965c69adfcfe1843601c0e4105bfe40dc8d0d38f4451f9887ba6a179ffc/Froggy-52.jpg" /> Mariana Tilly,&nbsp;“Not a bad jazz record”, 2023, acrylic on rock and vinyl record <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/6b203912e28c0b222cb872ed534d73fe2891774dbd625ac7a26f6f6e97e28cd8/Kevin-6.jpeg" data-mid="200224791" border="0" src="https://freight.cargo.site/w/1000/i/6b203912e28c0b222cb872ed534d73fe2891774dbd625ac7a26f6f6e97e28cd8/Kevin-6.jpeg" /> <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/f2b80e530d9fc2fcdfb4aaad92aeef424306717352cb754a6b6b7994d7da4eff/Kevin-1.jpeg" data-mid="200224790" border="0" src="https://freight.cargo.site/w/1000/i/f2b80e530d9fc2fcdfb4aaad92aeef424306717352cb754a6b6b7994d7da4eff/Kevin-1.jpeg" /> Kevin Desbouis,&nbsp;“The Great News”, 2023, paint on wood <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/f089657c9cf26bd07325ca41e007652ed14000bc846c95f0af1f3ab1021485e0/Kristian.jpeg" data-mid="200224793" border="0" src="https://freight.cargo.site/w/1000/i/f089657c9cf26bd07325ca41e007652ed14000bc846c95f0af1f3ab1021485e0/Kristian.jpeg" /> Kristian Suvtane Augland,&nbsp;“Frogs on top of another frog”, 2023, oil on rocks <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/47cb07502e98b750cf312c64815d596d5b2847b4b52f46417f97d6255291acd7/Kilian.jpeg" data-mid="200224792" border="0" src="https://freight.cargo.site/w/1000/i/47cb07502e98b750cf312c64815d596d5b2847b4b52f46417f97d6255291acd7/Kilian.jpeg" /> Kilian Schellenberger,&nbsp;“House of Frogs”, 2023, rocks <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/c63481ba58d062631678e3f13b15546e5ca66c4e1007a38f2bb24e6374826639/Froggy_1-6.jpg" data-mid="200224906" border="0" src="https://freight.cargo.site/w/1000/i/c63481ba58d062631678e3f13b15546e5ca66c4e1007a38f2bb24e6374826639/Froggy_1-6.jpg" /> Joaquim Cantor Miranda,&nbsp;“Rã”, 2023, print on paper mounted on marble <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/f0fb9d06f33d69a2ba84981cf9d318e176d2aa6be5f252199cc0b6ca53766e37/Lotte-1.jpeg" data-mid="200224795" border="0" src="https://freight.cargo.site/w/1000/i/f0fb9d06f33d69a2ba84981cf9d318e176d2aa6be5f252199cc0b6ca53766e37/Lotte-1.jpeg" /> Lotte Rose Kjaer Skau,&nbsp;“The writing on the stone”, 2023, acrylic on rock <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/721b45d1277544222b04f96b8856cf760ad1f7bb7d863028a10d6a63c8ad388b/Laurie-1.jpeg" data-mid="200224794" border="0" src="https://freight.cargo.site/w/1000/i/721b45d1277544222b04f96b8856cf760ad1f7bb7d863028a10d6a63c8ad388b/Laurie-1.jpeg" /> Laurie Mlodzik, untitled, 2023, plushies and handmade paper <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/57da737383f74f135b8766b8834500ac1bdc4bd858207deabec5efd810b5ea4b/Mariana-1.jpeg" data-mid="200224796" border="0" src="https://freight.cargo.site/w/1000/i/57da737383f74f135b8766b8834500ac1bdc4bd858207deabec5efd810b5ea4b/Mariana-1.jpeg" /> <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/9fa9da1f689124e95c400b9a4a88d686382e1704e9faca7abda5097ea0d76623/Mariana-2.jpeg" data-mid="200224797" border="0" src="https://freight.cargo.site/w/1000/i/9fa9da1f689124e95c400b9a4a88d686382e1704e9faca7abda5097ea0d76623/Mariana-2.jpeg" /> Mariana Murcia,&nbsp;“Rata por rana”, 2023, ceramics <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/a14aa4e5f7021d6e6c6aef6285531a77d81e1634f894a9711039a2b5a9e31d9b/Froggy-17.jpg" data-mid="200225146" border="0" src="https://freight.cargo.site/w/1000/i/a14aa4e5f7021d6e6c6aef6285531a77d81e1634f894a9711039a2b5a9e31d9b/Froggy-17.jpg" /> Anastasia Pavlou,&nbsp;“Claude”, 2023, oil pastel on rock <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/93fc4dba047940c43f8c9cdaa02876aebc20cc8cb116af029ac9b4758b887772/Jacob-1.jpeg" data-mid="200224786" border="0" src="https://freight.cargo.site/w/1000/i/93fc4dba047940c43f8c9cdaa02876aebc20cc8cb116af029ac9b4758b887772/Jacob-1.jpeg" /> Jacob Ott,&nbsp;“Diogo the frog”, 2023, acrylic and spray paint on rock, rubber boot and leaves <img width="3000" height="4496" width_o="3000" height_o="4496" data-src="https://freight.cargo.site/t/original/i/5d2e73abaa4983b625e1191780c8c431dc121c70772eac74ece8871f674d54db/Jan-1.jpeg" data-mid="200224787" border="0" src="https://freight.cargo.site/w/1000/i/5d2e73abaa4983b625e1191780c8c431dc121c70772eac74ece8871f674d54db/Jan-1.jpeg" /> Jan Kiefer,&nbsp;“Gekreuzigter”, 2023, acrylic on rocks and wood <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/407eebf5a1bffa5f23301304a40ad33c6c671d728fc38173e3856f5b0df96d27/Michael-1.jpeg" data-mid="200224798" border="0" src="https://freight.cargo.site/w/1000/i/407eebf5a1bffa5f23301304a40ad33c6c671d728fc38173e3856f5b0df96d27/Michael-1.jpeg" /> Michael Ray-Von,&nbsp;“Gaucho”, 2023, raisins on rock <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/334de645d161d48e551f5330dc8e48f46e6be9491bc12b7ba56c7e5e248f17bd/Mireille-1.jpeg" data-mid="200224799" border="0" src="https://freight.cargo.site/w/1000/i/334de645d161d48e551f5330dc8e48f46e6be9491bc12b7ba56c7e5e248f17bd/Mireille-1.jpeg" /> Mireille Gros,&nbsp;“Max”, 2023, oil on rock <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/1dd36015987b11e531c82946538b1876749727dc1da5ee313bf99189acfda0ba/Noemi-1.jpeg" data-mid="200224800" border="0" src="https://freight.cargo.site/w/1000/i/1dd36015987b11e531c82946538b1876749727dc1da5ee313bf99189acfda0ba/Noemi-1.jpeg" /> Noemi Pfister, untitled, 2023, etched marble and glitter <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/a388aec9ca28d08898ea51070e57f832d3b637aafc321b4a0f8c603c45c8ab02/Pedro-1.jpeg" data-mid="200224801" border="0" src="https://freight.cargo.site/w/1000/i/a388aec9ca28d08898ea51070e57f832d3b637aafc321b4a0f8c603c45c8ab02/Pedro-1.jpeg" /> Pedro Barateiro,&nbsp;“Fingers”, 2023, pen on bathing suit <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/97c8712f870bbba45578be75939b02e15caead0dcd0fb9a03907ba359ad175d1/Froggy_1.jpg" data-mid="200224908" border="0" src="https://freight.cargo.site/w/1000/i/97c8712f870bbba45578be75939b02e15caead0dcd0fb9a03907ba359ad175d1/Froggy_1.jpg" /> Sergio Rojas Chaves,&nbsp;“Let me hold you (1-6)”, 2023, wood, plaster, polymer clay and acrylic paint <img width="4496" height="3000" width_o="4496" height_o="3000" data-src="https://freight.cargo.site/t/original/i/d4c272fc803609b27eff6c13fa375c8427419227cb3e2a89574dc0178015738d/Sergio-2.2.jpeg" data-mid="200224803" border="0" src="https://freight.cargo.site/w/1000/i/d4c272fc803609b27eff6c13fa375c8427419227cb3e2a89574dc0178015738d/Sergio-2.2.jpeg" /> <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/8128980bd7f1030e0fc9726c4ddb519df2c0a46e5ab5d5a0174c6bafe519f2cb/Froggy_1-7.jpg" data-mid="200225044" border="0" src="https://freight.cargo.site/w/1000/i/8128980bd7f1030e0fc9726c4ddb519df2c0a46e5ab5d5a0174c6bafe519f2cb/Froggy_1-7.jpg" /> Pauline Coquart, “Sex Working Class Frog”, 2023, confetti on rock Curated by Diogo Pinto June Art Fair Basel, 2023 Photos by Joaquim Cantor Miranda and Mariana Tilly https://diogopinto.org/Decaf-Ballad Wed, 27 Dec 2023 18:15:57 +0000 Diogo Pinto https://diogopinto.org/Decaf-Ballad ← Decaf Ballad The walls and cabinetry of grandparents homes are reserved to a special kind: the very best. I’m talking about photos of grandchildren, weddings, vacations and all things family (pets included). They’re the archetypical shrines that achieve the seemingly impossible task of framing a lifetime worth of pride, tenderness and warmth. In between loved ones we sometimes find the odd inanimate exception: house portraits. Circa 1950s onwards1, the practice of hiring a photographer to take a picture of your home from a bird’s-eye view seems to have taken off2. Before drones and Google maps, it became popular among an older&nbsp;generation that could actually afford to buy or even&nbsp;build a house. I guess it makes sense. To be proud enough to hang a photo of a life-long achievement, like the house you had built from the ground up, really comes as no surprise. My grandparents had one, right by the doorway, and the more I ask around the more I hear of similar decorative choices. Growing up, I never really gave it much scrutiny, if anything, it scratched an itch I never knew I had: “what do we look like from the sky?”. The aerial photographers perspective of choice was usually 3/4 with a super tight zoom, focusing on said building and leaving out any reference points. By almost completely shrinking the house down to an abstracted group of oblong rectangles and tilted squares, it made for a very “boxy” and “tiny” rendering of homes. And well, being inside the house you now see depicted in such a way, felt weird – sort of as the “this-can’t-be-my-voice” estrangement one has when&nbsp;hearing a recording of yourself talk for the first time;&nbsp;or when you have a dream of seeing yourself asleep in bed. I suppose they were made considering their future exhibition inside the spaces they portray. It’s all very meta, yet very loving. As all photos that are dear enough&nbsp;to make it onto our walls, they’re terrifically endearing. Paul Bättig was a biochemist who worked in the laboratories of the Biozentrum (Basel) for 40 something years. Paul had two big pursuits outside of his lab work: jewellery and photography. At some point, he opened Ai-Ping Silber on Erasmusplatz, a jewellery store named after his wife. In there, he combined all sorts of objects of his affection: stones, silvers, pendants, paintings. He was also a self-taught photographer, even winning some local newspaper contests. He would&nbsp;take pictures of his co-workers at the Biozentrum, and the Biozentrum building itself. Furthermore, in the ‘90s, Paul decided to hire a helicopter and take his own aerial shots of the Biozentrum. Following on the house portrait tradition, such pride and attachment usually reserved to homes and property were, in this way, also dedicated to this office building, his workspace, the concrete apple of his eye. But Paul didn’t frame and place the photos in his laboratory, as the story usually goes. He commissioned a painter (Oswulf) to take the aerial photos, and some from street-level, and make them into oil paintings; not one, not two, but a dozen of them. This&nbsp;conversion of mediums — the care to repeatedly have these images rendered methodically into paint — acts as a metaphor of the enormous attention and emotion&nbsp;surrounding this one place; true ownership and desire&nbsp;of its representation, curiosity about its unseen angles, appreciation for its fortitude. I first saw these paintings in 2021, hanging pretty high on the walls at Ai-Ping Silber, now ran by Ai-Ping Bättig, where I sometimes go to look at beautiful jewellery.&nbsp;Now, we are in an office building in Silbern, the industrial area of Dietikon, in a refurbished ‘00s office building which now seeks to cater the needs of young start-up companies. In room 2.01, alongside Oswulf/Paul’s, we&nbsp;find my paintings, equally representing bird’s-eye views&nbsp;of all sorts of latitudes, coordinates and heights. They are, as Oswulf did, a direct conversion of the several images City Plaza, Biozentrum and Paul Bättig have stirred up in me. 1 My data collection here is totally informal and based mostly on my&nbsp;Portuguese upbringing – German and Spanish friends find it also a&nbsp;past common practice in their respective countries. 2 Well, pun intended. Helicopter seems to have been the&nbsp;transportation of choice for these flying photographers. <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/36227632e269768279631c341b92f2ead83906f8239ed7900eadd9feb053d56e/Diogo_small-01.jpg" data-mid="200207724" border="0" src="https://freight.cargo.site/w/1000/i/36227632e269768279631c341b92f2ead83906f8239ed7900eadd9feb053d56e/Diogo_small-01.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/6dc5ac34d897de2a61e28377b29d35e4467ed826846f91e6618d28e445aa1110/Diogo_small-02.jpg" data-mid="200207982" border="0" src="https://freight.cargo.site/w/1000/i/6dc5ac34d897de2a61e28377b29d35e4467ed826846f91e6618d28e445aa1110/Diogo_small-02.jpg" /> Oswulf (commissioned by Paul Bättig),&nbsp;“Biozentrum 1507-120-22”, n.d. oilon canvas, 40 x 50 cm, courtesy Ai-Ping Bättig <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/773ab36c45c5ca6738572cd14ee1df40301c343d611a4fb4ee53edf4f5b31084/Diogo_small-09.jpg" data-mid="200207725" border="0" src="https://freight.cargo.site/w/1000/i/773ab36c45c5ca6738572cd14ee1df40301c343d611a4fb4ee53edf4f5b31084/Diogo_small-09.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/c10091fd6e044e961e92ea1de54c5c6756e5039b33aca8b5f941e3d3a81b4938/Diogo_small-03.jpg" data-mid="200207726" border="0" src="https://freight.cargo.site/w/1000/i/c10091fd6e044e961e92ea1de54c5c6756e5039b33aca8b5f941e3d3a81b4938/Diogo_small-03.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/db90b70288d3831b61c43e7932fc4e32f9112ba970f042d1ab53d8a411156e4c/Diogo_small-04.jpg" data-mid="200208016" border="0" src="https://freight.cargo.site/w/1000/i/db90b70288d3831b61c43e7932fc4e32f9112ba970f042d1ab53d8a411156e4c/Diogo_small-04.jpg" /> Diogo Pinto,&nbsp;“The Lunch Break”, 2023, acrylic on paper mounted to canvas, 90 x 190 cm <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/ad8bfccba2d285e3ba32710a3558cdd49386126fd99332f56c9e6f6c7e73c2c0/Diogo_small-06.jpg" data-mid="200207847" border="0" src="https://freight.cargo.site/w/1000/i/ad8bfccba2d285e3ba32710a3558cdd49386126fd99332f56c9e6f6c7e73c2c0/Diogo_small-06.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/2a76ab5352fd5c2e7047d5f27858ec36960c1ba519a357576bf7b2474ceec68c/Diogo_small-07.jpg" data-mid="200207848" border="0" src="https://freight.cargo.site/w/1000/i/2a76ab5352fd5c2e7047d5f27858ec36960c1ba519a357576bf7b2474ceec68c/Diogo_small-07.jpg" /> Diogo Pinto,&nbsp;“The Bird Paradox”, 2023, oil on canvas, 38 x 46 cm <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/84da0925f6159c91dcd574ce705a52850f656fd7972d7f8afca102e72f653fe8/Diogo_small-08.jpg" data-mid="200207849" border="0" src="https://freight.cargo.site/w/1000/i/84da0925f6159c91dcd574ce705a52850f656fd7972d7f8afca102e72f653fe8/Diogo_small-08.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/582c240567227ba08b186ac9eccb0a9216dcd9e55491f48ea4ca44f9bc91bddb/Diogo_small-10.jpg" data-mid="200207727" border="0" src="https://freight.cargo.site/w/1000/i/582c240567227ba08b186ac9eccb0a9216dcd9e55491f48ea4ca44f9bc91bddb/Diogo_small-10.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/e38804c091a643e55d2d6410b452616369c82c79bbc0f91885fa3e9542a32cda/Diogo_small-11.jpg" data-mid="200207728" border="0" src="https://freight.cargo.site/w/1000/i/e38804c091a643e55d2d6410b452616369c82c79bbc0f91885fa3e9542a32cda/Diogo_small-11.jpg" /> Diogo Pinto,&nbsp;“Lunar Panting”, 2023, oil on canvas, 90 x 190 cm <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/e7a4f13b24589c9f169322b47dce6fc8505e89553081ff2c331bbf4fd143c534/Diogo_small-12.jpg" data-mid="200207863" border="0" src="https://freight.cargo.site/w/1000/i/e7a4f13b24589c9f169322b47dce6fc8505e89553081ff2c331bbf4fd143c534/Diogo_small-12.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/7eff52f8605425af42fff9f9bc4e85b9768804ceda2dc946fccd28fe8ac75694/Diogo_small-13.jpg" data-mid="200207729" border="0" src="https://freight.cargo.site/w/1000/i/7eff52f8605425af42fff9f9bc4e85b9768804ceda2dc946fccd28fe8ac75694/Diogo_small-13.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/c545200aa264692531a3cf3845ee44f3110b331b7e32619a48a59bf27c2e6609/Diogo_small-15.jpg" data-mid="200207730" border="0" src="https://freight.cargo.site/w/1000/i/c545200aa264692531a3cf3845ee44f3110b331b7e32619a48a59bf27c2e6609/Diogo_small-15.jpg" />Oswulf (commissioned by Paul Bättig),&nbsp;“BIOZ 0123-28 2169”, 2007, oil on canvas, 30 x 40 cm, courtesy of Ai-Ping Bättig <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/075b433848bb2396a35fb8fa76ac039fe3eee4f788ae645039696551f1971c8f/Diogo_small-18.jpg" data-mid="200207731" border="0" src="https://freight.cargo.site/w/1000/i/075b433848bb2396a35fb8fa76ac039fe3eee4f788ae645039696551f1971c8f/Diogo_small-18.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/5cb9b21c7a4aa419c2ae99b1cbb16b7b477d2a386a1ad2ef2a39f9cb606cc099/Diogo_small-20.jpg" data-mid="200207732" border="0" src="https://freight.cargo.site/w/1000/i/5cb9b21c7a4aa419c2ae99b1cbb16b7b477d2a386a1ad2ef2a39f9cb606cc099/Diogo_small-20.jpg" /> Diogo Pinto,&nbsp;“Decaf Ballads”, 2023, oil, acrylic and decaffeinated coffee on canvas, 90 x 190 cm <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/e8d635cd04236850c38a49656afdb8fcd44a8eb00eac82d0f8e341f43d05756b/Diogo_small-21.jpg" data-mid="200207733" border="0" src="https://freight.cargo.site/w/1000/i/e8d635cd04236850c38a49656afdb8fcd44a8eb00eac82d0f8e341f43d05756b/Diogo_small-21.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/fafaaaa477570f71410d59407c65a0e693070648eca23ece585886df7ba8fecb/Diogo_small-23.jpg" data-mid="200207734" border="0" src="https://freight.cargo.site/w/1000/i/fafaaaa477570f71410d59407c65a0e693070648eca23ece585886df7ba8fecb/Diogo_small-23.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/786bbc50e7797d1b1b128c109b0e9674f3e67c1d332c66d31955c7999a90c2da/Diogo_small-24.jpg" data-mid="200207735" border="0" src="https://freight.cargo.site/w/1000/i/786bbc50e7797d1b1b128c109b0e9674f3e67c1d332c66d31955c7999a90c2da/Diogo_small-24.jpg" />Oswulf (commissioned by Paul Bättig),&nbsp;“0123-31 2765”, 2007, oil on canvas, 40 x 30 cm, courtesy Ai-Ping Bättig <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/6311471dc02641122da48445e890a9b3b40c362b0eda0223f0cd3361364c23f4/Diogo_small-25.jpg" data-mid="200207736" border="0" src="https://freight.cargo.site/w/1000/i/6311471dc02641122da48445e890a9b3b40c362b0eda0223f0cd3361364c23f4/Diogo_small-25.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/e940d296a4262cdf950888e7204169d29299803227f6aa9672d1c51355fd9520/Diogo_small-27.jpg" data-mid="200207737" border="0" src="https://freight.cargo.site/w/1000/i/e940d296a4262cdf950888e7204169d29299803227f6aa9672d1c51355fd9520/Diogo_small-27.jpg" />Oswulf (commissioned by Paul Bättig), untitled, 2007, oil on canvas, 30 x 40 cm, courtesy Ai-Ping Bättig <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/a39849d64fdf6c38405c0f3dd4db9424536ac47452b91817f772c88a1e7c4dfa/Diogo_small-28.jpg" data-mid="200207738" border="0" src="https://freight.cargo.site/w/1000/i/a39849d64fdf6c38405c0f3dd4db9424536ac47452b91817f772c88a1e7c4dfa/Diogo_small-28.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/e31b3ff0168769ccd1460f9512d0efd8a952ee1b1a0409ccc21153bbc19d1c60/Diogo_small-29.jpg" data-mid="200207739" border="0" src="https://freight.cargo.site/w/1000/i/e31b3ff0168769ccd1460f9512d0efd8a952ee1b1a0409ccc21153bbc19d1c60/Diogo_small-29.jpg" /> Diogo Pinto,&nbsp;“My First Last Briefcase”, 2023, oil on canvas, 140 x 160 cm <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/818a5431a4f2a665904b231ddae9cc1870f865678eba484b36e79d906fc451df/Diogo_small-31.jpg" data-mid="200207740" border="0" src="https://freight.cargo.site/w/1000/i/818a5431a4f2a665904b231ddae9cc1870f865678eba484b36e79d906fc451df/Diogo_small-31.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/45a723b17932c17b201c1681b71e34a2e19b2a07be028f78487bc961f4295268/Diogo_small-32.jpg" data-mid="200207741" border="0" src="https://freight.cargo.site/w/1000/i/45a723b17932c17b201c1681b71e34a2e19b2a07be028f78487bc961f4295268/Diogo_small-32.jpg" /> Diogo Pinto,&nbsp;“These gates of mine”, 2023, oil and acrylic on paper mounted to canvas, 48 x 56 cm <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/1c12247a4f29ee6ec72bf5ff605deee178220a59477a40b8ef0da510d70042ec/Diogo_small-33.jpg" data-mid="200207742" border="0" src="https://freight.cargo.site/w/1000/i/1c12247a4f29ee6ec72bf5ff605deee178220a59477a40b8ef0da510d70042ec/Diogo_small-33.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/fd389e15a4d0ef1c05558965097910ea52a804e86d3943b64bce8b2d1fbc7e79/Diogo_small-34.jpg" data-mid="200207743" border="0" src="https://freight.cargo.site/w/1000/i/fd389e15a4d0ef1c05558965097910ea52a804e86d3943b64bce8b2d1fbc7e79/Diogo_small-34.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/8c42238bcf20f767edb2eb9afbeb20b65233427402405b5e870d13020648c510/Diogo_small-36.jpg" data-mid="200207744" border="0" src="https://freight.cargo.site/w/1000/i/8c42238bcf20f767edb2eb9afbeb20b65233427402405b5e870d13020648c510/Diogo_small-36.jpg" />Oswulf (commissioned by Paul Bättig), “BIOZ PHARMAZ 0129-08 1361”, 2009, oil on canvas, 30 x 40 cm, courtesy Ai-Ping Bättig <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/84462b031d20cf27abfc3006d6e83cf9945fb251291b221952afa3436879283d/Diogo_small-37.jpg" data-mid="200207745" border="0" src="https://freight.cargo.site/w/1000/i/84462b031d20cf27abfc3006d6e83cf9945fb251291b221952afa3436879283d/Diogo_small-37.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/d53e369fb1d2e5f0c43b41e152994123fa55d2438d7444e792363c8b8ab96953/Diogo_small-40.jpg" data-mid="200207747" border="0" src="https://freight.cargo.site/w/1000/i/d53e369fb1d2e5f0c43b41e152994123fa55d2438d7444e792363c8b8ab96953/Diogo_small-40.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/4803a63c717862c2943920e75eebf7ac20d1be75766c1fb9d6b44bffb638591d/Diogo_small-41.jpg" data-mid="200207748" border="0" src="https://freight.cargo.site/w/1000/i/4803a63c717862c2943920e75eebf7ac20d1be75766c1fb9d6b44bffb638591d/Diogo_small-41.jpg" /> Diogo Pinto,&nbsp;“Autumn”, 2023, oil on gobelin, 90 x 190 cm <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/34d91e7ec8cce9e3bb74811c8ef062225989b9c25991f979e9a6dc352b31b7dc/Diogo_small-43.jpg" data-mid="200207749" border="0" src="https://freight.cargo.site/w/1000/i/34d91e7ec8cce9e3bb74811c8ef062225989b9c25991f979e9a6dc352b31b7dc/Diogo_small-43.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/eab601647107d126772bb39de9f072c29c6afd71332840885642961843d9aa85/Diogo_small-55.jpg" data-mid="200207912" border="0" src="https://freight.cargo.site/w/1000/i/eab601647107d126772bb39de9f072c29c6afd71332840885642961843d9aa85/Diogo_small-55.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/6b6d0bde792c8240a2479e4050845190b60d6917c1083665c4197eb4c19511af/Diogo_small-57.jpg" data-mid="200207757" border="0" src="https://freight.cargo.site/w/1000/i/6b6d0bde792c8240a2479e4050845190b60d6917c1083665c4197eb4c19511af/Diogo_small-57.jpg" /> Diogo Pinto,&nbsp;“A heart of opal”, 2023, oil on canvas, 30 x 40 cm <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/e88d8634619775b0bb225d808bb9ad263b197c0137e256c1a16a028241bea0d1/Diogo_small-50.jpg" data-mid="200207750" border="0" src="https://freight.cargo.site/w/1000/i/e88d8634619775b0bb225d808bb9ad263b197c0137e256c1a16a028241bea0d1/Diogo_small-50.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/d9f5b1a97cdf878b5d50fcd1479e6b39105c0c332081a385acbbb0a20415870d/Diogo_small-51.jpg" data-mid="200207751" border="0" src="https://freight.cargo.site/w/1000/i/d9f5b1a97cdf878b5d50fcd1479e6b39105c0c332081a385acbbb0a20415870d/Diogo_small-51.jpg" /> <img width="1333" height="2000" width_o="1333" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c276242aa65098d9083d98ec57b3d829fd3e47387f215f19988d2ec28272c0da/Diogo_small-52.jpg" data-mid="200228562" border="0" src="https://freight.cargo.site/w/1000/i/c276242aa65098d9083d98ec57b3d829fd3e47387f215f19988d2ec28272c0da/Diogo_small-52.jpg" /> Diogo Pinto, “8 O’clock Respite”, 2023, oil on canvas, 160 x 90 cm <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/addb6e1f10cf6e49aa3b716ed1baa0f6b01a687b5d41f244e1a9db27533a15eb/Diogo_small-54.jpg" data-mid="200207752" border="0" src="https://freight.cargo.site/w/1000/i/addb6e1f10cf6e49aa3b716ed1baa0f6b01a687b5d41f244e1a9db27533a15eb/Diogo_small-54.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/3dea0e1cbae96d486f3bd9a17c4313912c1c51f3d4dcb0a9973802929b7b946d/Diogo_small-45.jpg" data-mid="200207753" border="0" src="https://freight.cargo.site/w/1000/i/3dea0e1cbae96d486f3bd9a17c4313912c1c51f3d4dcb0a9973802929b7b946d/Diogo_small-45.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/6366823170a60e439a4ef2af6142145cfad9f98a98c54e2a41c7a629f974bcbe/Diogo_small-46.jpg" data-mid="200207754" border="0" src="https://freight.cargo.site/w/1000/i/6366823170a60e439a4ef2af6142145cfad9f98a98c54e2a41c7a629f974bcbe/Diogo_small-46.jpg" /> Oswulf (commissioned by Paul Bättig),&nbsp;“0105-14 6275”, 2007, oil on canvas, 30 x 40 cm <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/4e9b33b2f7d17d633635ae9b0253471b24f4b06e057b5b3481c6e8cb2dfb59f2/Diogo_small-38.jpg" data-mid="200207746" border="0" src="https://freight.cargo.site/w/1000/i/4e9b33b2f7d17d633635ae9b0253471b24f4b06e057b5b3481c6e8cb2dfb59f2/Diogo_small-38.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/b69b8b67a235d819c98caf6a6b307d3291309a645273cb6332136e95927acc31/Diogo_small-47.jpg" data-mid="200207755" border="0" src="https://freight.cargo.site/w/1000/i/b69b8b67a235d819c98caf6a6b307d3291309a645273cb6332136e95927acc31/Diogo_small-47.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/ee12932b041ee22755f49c9222dfe52901e9830afe8b3062644980075b44b106/Diogo_small-49.jpg" data-mid="200207756" border="0" src="https://freight.cargo.site/w/1000/i/ee12932b041ee22755f49c9222dfe52901e9830afe8b3062644980075b44b106/Diogo_small-49.jpg" />Oswulf (commissioned by Paul Bättig),&nbsp;“0123-27 5941”, n.d oil on canvas, 40 x 30 cm, courtesy Ai-Ping Bättig <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/c529f764d38046370d0e2dc4d18c188a2923d0a87e7779ffdf4c809374261794/Diogo_small-59.jpg" data-mid="200207758" border="0" src="https://freight.cargo.site/w/1000/i/c529f764d38046370d0e2dc4d18c188a2923d0a87e7779ffdf4c809374261794/Diogo_small-59.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/9d8fbf1767180c25057a176462af3d36150cba315896fa85c5b79057f66ee75c/Diogo_small-60.jpg" data-mid="200207759" border="0" src="https://freight.cargo.site/w/1000/i/9d8fbf1767180c25057a176462af3d36150cba315896fa85c5b79057f66ee75c/Diogo_small-60.jpg" />Oswulf (commissioned by Paul Bättig),&nbsp;“Biozentrum 1502-0105-01 7563”, n.d. oil on canvas, 42 x 52 cm, courtesy Ai-Ping Bättig <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/b51da6b65f4dc3f0ab81962f83d8da99f2e9917f9c6b758dece84dc93aa5cc1b/Diogo_small-61.jpg" data-mid="200207760" border="0" src="https://freight.cargo.site/w/1000/i/b51da6b65f4dc3f0ab81962f83d8da99f2e9917f9c6b758dece84dc93aa5cc1b/Diogo_small-61.jpg" />Oswulf (commissioned by Paul Bättig),&nbsp;“Biozentrum 0105-16 5862”, 2008, oil on canvas, 42 x 52 cm, courtesy Ai-Ping Bättig <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/e9b6fc114b0a9f75fb11f3e98df55666fa4f86302024eca1ca952c4cf6ef7adc/Diogo_small-62.jpg" data-mid="200207761" border="0" src="https://freight.cargo.site/w/1000/i/e9b6fc114b0a9f75fb11f3e98df55666fa4f86302024eca1ca952c4cf6ef7adc/Diogo_small-62.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/39d048b7cae4f95908ca56ca907f9184e3c5d5b72952cf7c598b1005d48b232d/Diogo_small-63.jpg" data-mid="200207957" border="0" src="https://freight.cargo.site/w/1000/i/39d048b7cae4f95908ca56ca907f9184e3c5d5b72952cf7c598b1005d48b232d/Diogo_small-63.jpg" /> Diogo Pinto,&nbsp;“Through the looking glass”, 2023, vinyl on window, dimensions variable <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/ca6d9b88c46350cceb60c6a44286f2458a0bf5dfe5da4b9420f6b8cdbfb6346f/Diogo_small-64.jpg" data-mid="200207762" border="0" src="https://freight.cargo.site/w/1000/i/ca6d9b88c46350cceb60c6a44286f2458a0bf5dfe5da4b9420f6b8cdbfb6346f/Diogo_small-64.jpg" /> Dietikon Projektraum Dietikon, Switzerland, 2023 Photos by Finn Curry With the support of Kanton Zürich Fachstelle Kultur, Ernst und Olga Gubler-Hablützel Stiftung and Stadt Dietikon Special thank you to Ai-Ping Bättig and the Ai-Ping Silber store (Basel). https://diogopinto.org/This-is-Bar-ou-Praia-de-Banhos Wed, 19 Oct 2022 18:29:36 +0000 Diogo Pinto https://diogopinto.org/This-is-Bar-ou-Praia-de-Banhos ← This is a Bar... ou Praia de Banhos - Joaquim Bravo, Turismo e o Algarve Works by Joaquim Bravo,&nbsp;Álvaro Lapa, António da Cunha Telles, António Palolo, BRANA, Cristina Motta, João Cutileiro, Jorge Mealha, José Miranda Justo, Maria Altina Martins, Patrícia Almeida, Peter Jones, Rosa Jones, Vera Gonçalves, XANA and Zé Ventura “MARINAS”, an exhibition of works by BRANA, opened to the public on the 10th of September 2020 at Ascensor, Associação Goela, in Lisbon. BRANA is Joaquim Bravo’s (1935-1990) pseudonym, a name used by the artist to sign the six colourful works, showcased in the exhibition (made somewhere between the ‘70s and the ‘80s). They were, allegedly, made to sell to tourists at the beach. That same day, Portugal would once again be removed from the UK’s list&nbsp;of safe air corridors, rekindling nationwide dismay over the economy’s dependence on tourism.&nbsp;Algarve has been specially affected — it’s the only continental region where unemployment continues to rise, even after two years since the pandemic first hit. Joaquim Bravo, born in Évora in 1935, was an artist and teacher living in Lagos (Algarve) for most of his life. His work and career reveal an inordinate capacity for enthusiasm, surprise and communication regarding art and life, drawing and painting.&nbsp;When Bravo moved to Lagos in 1966, one of his jobs was as Caddie Master&nbsp;at Hotel do Golfe da Penina (one of the many jobs created by the recently inaugurated Five-Star Hotel, the first in the region). At the time, due to the state’s efforts to encourage tourism (inseparable from the reaportuguesamento&nbsp;project, carried out since 1933 by the consecutive Secretariats of National Propaganda, in order to program the Regime’s ideology), a new image of the Algarve was established, promoting the paradise-like landscape as a place of tradition, authenticity, History and peace; set for international tourism. From the 1960’s onwards, Lagos became a touristic centre of the country and the site of a gathering for artists whose works and trajectories reflect the social, economic, political and urban development of the region. Building on the intention of “Marinas” and heavily guided by Bravo’s archive, This is a Bar... ou Praia de Banhos – Joaquim Bravo, Turismo e o Algarve unfolds an artistic and social (rather than historical) perspective over the last fifty years of a vivid art scene, revealing associations in Bravo’s path that extend beyond the reciprocal exchange with (and lasting influence on) other artists, colleagues, friends and acquaintances and their surroundings in Lagos. By bringing together works and documents intrinsically linked to the region,&nbsp;this exhibition seeks to entangle the subtle relationships between art and tourism in Portugal, highlighting several artistic strategies and reactions to the changes brought about by touristic mechanisms in the Algarve since the 1960s. Each of the four rooms of the Pavillhão Branco correspond to an environment resulting of several months of research, collection and exchange with artists and their representatives in Lagos, Salema, Sagres, Alvor, Monchique, Évora and Lisbon: 1. Padrão In 1973, João Cutileiro (1937-2021, Lisbon) completed Lagos’ most iconic public artwork for Praça Gil Eanes. Once a roundabout, the Gil Eanes square is located in the historical town enter, a short distance away from Avenida&nbsp;dos Descobrimentos (inaugurated by the regime during the Henriquinas celebrations in 1960, aligned with the Algarve’s reformulation as a tourist centre) and a few meters away from the statue of Infante D. Henrique (by Leopoldo de Almeida), and the one of Lacobrigense navigator Gil Eanes. Curiously, the icon sculpted by Cutileiro for the heart of Lagos is Estátua a El-Rei Dom Sebastião (transl. Statue to King Dom Sebastião), following proper traditions of “roundabout public art” conduct, and fortunately dethroning all other proper traditional standards associated with public statuary practices in Portugal.&nbsp;Lagos rose to the status of city and was named the capital of the Kingdom&nbsp;of Algarve in 1573 by Dom Sebastião’s decree. It is said that, when he set out on the disastrous journey to Alcácer-Quibir in 1578 (causing a monarchical succession crisis), he departed from Lagos.The town holds a special place in the so-called Portuguese Discoveries an&nbsp;in the country’s colonial history, which can be felt in the public space. On a promenade through Avenida dos Descobrimentos, the celebration of this heritage is palpable; one finds examples of statist statuary and modern monuments to old national and regional “heroes” — a stubborn, reoccurring thematic persisting to this day, in spite of the disruption caused by Cutileiro’s Dom Sebastião in 1973. Lagos is a case in point of how the historical link between nationalistic myths and tourism endures to this day.Cutileiro’s work has been the subject of vastly documented controversy, and its difficult reception by the public has, over time, become a semi-joke. The clumsy figure that portrays Dom Sebastião, stripped from symbolic references to heroic myths, and looking frail-bodied next to his disproportionately large helmet, marked an aesthetic and political change that, a few months before the Carnation Revolution, already lingered in the air. The Sebastianist myth lives on in seaside Lagos. The profiles by Cristina Motta (1963, Lisbon), outlined against an immense blue, recall the expectation inherent to maritime perils that has so deeply shaped the western Algarve&nbsp;over the centuries. It is said that after the disappearance of Dom Sebastião in 1578, the people who dreamed of his return would often gather at Alto de Santa Catarina and anxiously gaze out to the sea. But the King did not return by sea, or in the fog - possibly giving rise to the Portuguese equivalent of “watching ships go by”. Artistically shaped by exchanging with other artists in Lagos (through Miranda Justo, Xana and Bravo among others), Motta has&nbsp;worked intermittently as an artist since 1987, the year she became a regular visitor of Lagos. The sense of waiting is echoed in the work of Maria Altina Martins (1953, Luanda), who incorporates historical references as an act of transmission and contemporary renewal of mythologies. The representation of the Avis flag through tapestry refers us to other epics in which the slow process of weaving alludes to notions of resilience and hope, equally present in the propagated Sebastianist myth. As opposed to the heavy tradition of verticality and elevation in statuary, the suspension of the hollow, fluid and colourful verticality of Zé Ventura’s (1956, Lagos) woven columns replaces the pedestal with the lightness of emptiness — taking on particular importance in response to the obelisks that insist on being erected throughout Portugal. Vera Gonçalves (1955, Lisbon) moved to Lagos in 1978 after being a par&nbsp;of Útil Pedra cooperative, Cutileiro’s workshop-based initiative in Lagos,&nbsp;and established herself as a sculptor. Like much of her work, As Pedras, as Madeiras, e as Flores stems, in her own words, from “hours alone in the deserts of empty tides, searching for that shape, or that colour, what the sea brought me or what came out of the earth’s bowels”. In a circular arrangement, the polished and balanced overlays – results from millennia of wear and tear from the sea, - are brought together, supported by organic pedestals over a bed of bougainvillea petals (a South America native, brought through the sea, named after French colonizer Louis de Bougainville). Between altar and offering,&nbsp;the piece’s shape is reminiscent of Vera’s intervention at a roundabout on Avenida da República (Lagos), inaugurated in 1999 as part of the 25th of April celebrations (Monumento Diálogo, Liberdade e Democracia). If, since 1973, public sculpture in Lagos shows little inheritance from Cutileiro’s aesthetic and symbolic disruption, Vera’s Monument is the exception to the rule. Also Bravo, in the context of the urban rehabilitation program of the Lagos waterfront in 1980 (and certainly inspired by the preponderance of roundabouts in public art projects), proposed the construction of Círculo da Paz - a circle on the ground, delimited by black stone paving, within which no&nbsp;aggression could ever take place; a utopian and “anti-fascist par excellence” place. The proposal was never carried-out. <img width="1800" height="1190" width_o="1800" height_o="1190" data-src="https://freight.cargo.site/t/original/i/3be9f4fe29ff8dcf4f902774bff4f887321bf1bb85a09617708ee13568d5eefc/1.jpg" data-mid="156411462" border="0" src="https://freight.cargo.site/w/1000/i/3be9f4fe29ff8dcf4f902774bff4f887321bf1bb85a09617708ee13568d5eefc/1.jpg" /> <img width="1800" height="2250" width_o="1800" height_o="2250" data-src="https://freight.cargo.site/t/original/i/f5b867c9d8bfd975f362ec11d53c50c81ad62a17e9742fd2b200d620e1746969/2.jpg" data-mid="156411463" border="0" src="https://freight.cargo.site/w/1000/i/f5b867c9d8bfd975f362ec11d53c50c81ad62a17e9742fd2b200d620e1746969/2.jpg" /> João Cutileiro, “D. Sebastião (sculpture model)”, 1972, Marble, 55 x 17 x 17 cm, col. Tiago Cutileiro <img width="1800" height="2239" width_o="1800" height_o="2239" data-src="https://freight.cargo.site/t/original/i/115f0a27d2cd126e3851de7dc1204d980d9e53fe07b8f0ead2e5c887e9cec706/4.jpg" data-mid="156411466" border="0" src="https://freight.cargo.site/w/1000/i/115f0a27d2cd126e3851de7dc1204d980d9e53fe07b8f0ead2e5c887e9cec706/4.jpg" /> Vera Gonçalves, “As Pedras, as Madeiras e as Flores”, 2005, stones, wood and bougainvillea flowers, dimensions variable <img width="1800" height="1202" width_o="1800" height_o="1202" data-src="https://freight.cargo.site/t/original/i/6b7d01c8b2b9ec78a95c73ac59f288fe0d9eeedd895930da36b74fc0ced537fb/5.jpg" data-mid="156411467" border="0" src="https://freight.cargo.site/w/1000/i/6b7d01c8b2b9ec78a95c73ac59f288fe0d9eeedd895930da36b74fc0ced537fb/5.jpg" /> <img width="1800" height="2250" width_o="1800" height_o="2250" data-src="https://freight.cargo.site/t/original/i/8c8127aee7be0320009cef5163e555cf1e844a1e3b7de2fb675b651de3dc816f/6.jpg" data-mid="156411468" border="0" src="https://freight.cargo.site/w/1000/i/8c8127aee7be0320009cef5163e555cf1e844a1e3b7de2fb675b651de3dc816f/6.jpg" /> Cristina Motta,&nbsp;untitled, 2018, acrylic on canvas and collage, 60 x 50 cm <img width="1800" height="2700" width_o="1800" height_o="2700" data-src="https://freight.cargo.site/t/original/i/9d64978c0e10be51b82a0e0720ae93a72911f36e00cb7b9d7945d8bdb17ffc20/7.jpg" data-mid="156411469" border="0" src="https://freight.cargo.site/w/1000/i/9d64978c0e10be51b82a0e0720ae93a72911f36e00cb7b9d7945d8bdb17ffc20/7.jpg" /> Zé Ventura, “Transformação, Mar II and Night Lights I” 2014, 2009 and 2008, textiles and fibres, 240 x 20 Ø cm 2. The Magic Places The opening of the grand and expeditious development of Faro’s International Airport in July 1965 is a critical moment in the Algarve’s history. Three years after Salazar decided to clear a smooth, undisturbed way for its construction (encouraging major investment early on), the Algarve was now an international, connected destination. Still an ‘unknown paradise’, but ready to be explored. Milu (Maria de Lourdes Cunha, 1940, Angra do Heroísmo) and Joaquim Bravo met in 1959 during his compulsory military service at Terceira Island. Marrying the following year, they move to Lagos in 1966 due to the growing touristic economy. Hotel do Golfe da Penina, the first five-star hotel in the Algarve where Bravo would later work, opens that same year in Monte de Alvor, founded by John Stilwell, a British businessman and frequent visitor of the region. The golf course — the first 18-hole course in the Algarve — was designed by Sir Henry Cotton (leading golfer of his generation), who also brought the iconic Pacific Donkey, Penina’s resident caddie - a marketing strategy that sought to accentuate newly introduced modern practices. The&nbsp;nomination of the Algarve as an international luxury destination was mainly seized upon by British tour operators; favourite destinations included Monte Gordo, Praia da Luz and Lagos. In December 1968, Paul McCartney went to Hotel Penina at 1h30 in the morning to exchange some money. The members of, “Jotta Herre”, the resident band, immediately recognized him and invited him to join them on the bar’s stage. The result of this impromptu session was Penina, a song written and offered to the band by McCartney. Penina, one night Drinking liquids, drinking music Time has come, fill my heart&nbsp; Beat the drums, take me home Help me, friends, free my soul Penina by Paul McCartney, 1968 The hypnotic mirror ball, the neon lights, the collective drunkenness, the empty dance floor at the end of the night – all of this is part of a typical artificiality of seasonal nightlife environments, particularly characteristic to Mediterranean seaside resorts. One wishes for an endless summer, sings and dances, and when morning comes, the spoils of the previous night are brought to light, and with it a faint decadence — inherent to holiday time and to lazy days in the sun. In the Portobello&nbsp;series, Patrícia Almeida (1970-2017, Lisbon) recorded the environments evoking these experiences; love letters to the offsprings of mass tourism, at the mercy of the comings and goings of heterogeneous crowds,&nbsp;and to the places and locals that stay behind. Jorge Mealha’s (1934-2021, Mozambique) Curves, like sleeping bodies resisting to external conditions, appear to be continuous without beginning or end; like a Moebius strip or an ouroboros, they occupy the floor space like monuments to an eternal summer night. Over the counter, the drawings by Margarida Rosa Jones (1942, Lagos) compose a masked ball - the various facets of strangers at the bar counter, or the individual experiences of fiction induced by a desire to become another. It reads, on the back of each: “Along your path you will meet every day millions of masks and very few faces”. During the ‘70s, Rosa worked in the tourism sector in relation to golf; first at the Lagos Tourist Office, in front of snack bar Abrigo (meeting point for several artists in Lagos), and later for Henry Cotton and at golf clubs in Austria or Switzerland, where she drew during sleepy hours. José Miranda Justo (1951, Lisbon) was also part of Bravo’s inner circle, after meeting in 1973 as teaching colleagues in Lagos and with whom he regularly discussed arts and literature. Their great friendship and exchange stayed strong until Bravo’s passing. His painting JB X 4&nbsp;consists of 4 bottles of whisky, 4 bottles of JB, 4 bottles of Joaquim Bravo. <img width="1800" height="1250" width_o="1800" height_o="1250" data-src="https://freight.cargo.site/t/original/i/fce4a81409113d92f92f6ae681c0fb3da91a37766dfee42d07b71e3d76f51798/8.jpg" data-mid="156411470" border="0" src="https://freight.cargo.site/w/1000/i/fce4a81409113d92f92f6ae681c0fb3da91a37766dfee42d07b71e3d76f51798/8.jpg" /> <img width="1800" height="2250" width_o="1800" height_o="2250" data-src="https://freight.cargo.site/t/original/i/4019af3685c438bda2910bcca2e542d5c945de23223eb106b4a0f279c418ae01/9.jpg" data-mid="156411471" border="0" src="https://freight.cargo.site/w/1000/i/4019af3685c438bda2910bcca2e542d5c945de23223eb106b4a0f279c418ae01/9.jpg" /> <img width="1800" height="1800" width_o="1800" height_o="1800" data-src="https://freight.cargo.site/t/original/i/f1474ef2331e45f7b4a93b8030e0023381eaac62cc44d4bcaf5999cc26414dc6/10.jpg" data-mid="156411472" border="0" src="https://freight.cargo.site/w/1000/i/f1474ef2331e45f7b4a93b8030e0023381eaac62cc44d4bcaf5999cc26414dc6/10.jpg" /> Rosa Jones, from the series “Máscaras”, 2009-10,&nbsp;10 drawings, pastel on paper, dimensions variable <img width="1800" height="1440" width_o="1800" height_o="1440" data-src="https://freight.cargo.site/t/original/i/ef46e970bfb90a6a0a4dd09466f840aa4285182c44c4f3060f50383c64e56f9e/11.jpg" data-mid="156411473" border="0" src="https://freight.cargo.site/w/1000/i/ef46e970bfb90a6a0a4dd09466f840aa4285182c44c4f3060f50383c64e56f9e/11.jpg" /> <img width="1800" height="2245" width_o="1800" height_o="2245" data-src="https://freight.cargo.site/t/original/i/47801414c3f6f728e7d13fe92777129c5a74726ff802288b5d3a53b8ff7c8b89/12.jpg" data-mid="156411474" border="0" src="https://freight.cargo.site/w/1000/i/47801414c3f6f728e7d13fe92777129c5a74726ff802288b5d3a53b8ff7c8b89/12.jpg" /> Joaquim Bravo, “THIS IS A BAR”, n.d. felt pen on paper, 21 x 30 cm, col. Maria de Lurdes Cunha <img width="1800" height="1440" width_o="1800" height_o="1440" data-src="https://freight.cargo.site/t/original/i/a039b4778c092d9d487908aded7ae8682b7e9f42474ececc81bbfaf09e1334f7/13.jpg" data-mid="156411475" border="0" src="https://freight.cargo.site/w/1000/i/a039b4778c092d9d487908aded7ae8682b7e9f42474ececc81bbfaf09e1334f7/13.jpg" /> José Miranda Justo, “JB x 4”, n.d.&nbsp;oil on wood, 125 x 240 cm <img width="1800" height="1201" width_o="1800" height_o="1201" data-src="https://freight.cargo.site/t/original/i/30ecba0780ce70fbdefe4e6f60bc01b9bfbd0506e9476495a5d6bc4af34789db/14.jpg" data-mid="156411476" border="0" src="https://freight.cargo.site/w/1000/i/30ecba0780ce70fbdefe4e6f60bc01b9bfbd0506e9476495a5d6bc4af34789db/14.jpg" /> 3. To Continue Living... Between 1960 and 1980, the urban and territorial development of the Algarve coastline was almost unstoppable. The hotel and real estate industry paidlittle attention to what already existed, with the exception of certain areas of historical and cultural importance such as Lagos or Tavira. The construction of new large hotel and housing developments grew uncontrollably in areas such&nbsp;as Armação de Pêra and Quarteira, getting as close as possible to the sea (on cliffs or sand) and creating serious environmental problems. Through lack of foresight or lack of interest, the unsustainable and expansive building for the sake of tourism (guided by advertising and aggressive economic strategies) became anthropophagic, resulting in the “destruction of tourism by tourism”. The operations of Serviço de Apoio Ambulatório Local (SAAL) — a state project to build affordable housing created after the 25th April Revolution&nbsp;— allowed for the construction of Bairro 25 de Abril and Bairro 1o de Maio, both located in Meia-Praia in Lagos. This State-funded project predicted a cooperation between inhabitants, volunteers and architects to rehouse people from fishing communities — who participated in the self-construction of their houses — allowing for further expansion of the housing spaces, if needed&nbsp;be. The residents to be re-housed in the Algarve received the SAAL project with special urgency and great optimism. However, Bairro 25 de Abril remains the only neighbourhood of the SAAL project that continues without land allocation, deeds or proper infrastructures; it is part of an endlessly drawn- out process over land ownership and legal permits. A cement wall separates the neighbourhood’s boundaries from the Palmares Resort golf courses, which stretch from several miles inland to reach the dunes of Meia-Praia — accentuating the consequent social and spatial inequalities of unbridled hunt for territory and commodification of public space. Bravo photographed part of SAAL’s construction processes. António da Cunha Telles (1935, Funchal) also records the events in Continuar a viver... ou os Índios da Meia-Praia, from 1976, an ethnographic documentary for which Zeca Afonso wrote the song of the same title. In the shadow of the same canopy, a second moment of Patrícia Almeida’s Portobello&nbsp;projects onto the wall - 80 slides of abandoned lands; territory which is either embargoed or under construction; golf courses; or the detritus of tourist activity. Each individual piece of Ventanias, by Vera Gonçalves, is named after a collateral point of the Wind Rose. Steel and pieces of driftwood, of unknown origin, are collected by Vera in a ceaseless search for materials to build with; as Bravo cut out his photographs, Vera records material processes of building&nbsp;and negotiation. Areia para os olhos by XANA (1959, Lisbon), an edification of red plastic buckets forming a translucent barrier, was presented for the first time in several Algarve beaches as part of the ALLGARVE’08&nbsp;program. Created&nbsp;in 2007 by the Ministry of Economy and financed by Turismo de Portugal, Entidade Regional do Turismo do Algarve, the local authorities and privateentities, ALLGARVE sought to respond to the cyclical instability caused by&nbsp;the seasonal nature of beach areas. This strategy, aiming to supplement the region’s well-known offer (sun and sea), presented a set of cultural initiatives (concerts, gastronomic events and contemporary art exhibitions) spread across several municipalities. In retrospect, the memory of the project, which ended in 2011, is not a peaceful one. This foreboding flop might’ve&nbsp;been due to the misguided efforts of rebranding the area, which brought the aggressiveness of touristic expansion back in the spotlight. <img width="1800" height="1180" width_o="1800" height_o="1180" data-src="https://freight.cargo.site/t/original/i/96936a71cb8843efe134073e5cd8afcbeb835a3d6a6ce300f6ac28eee284e695/15.jpg" data-mid="156411477" border="0" src="https://freight.cargo.site/w/1000/i/96936a71cb8843efe134073e5cd8afcbeb835a3d6a6ce300f6ac28eee284e695/15.jpg" /> <img width="1800" height="1201" width_o="1800" height_o="1201" data-src="https://freight.cargo.site/t/original/i/d8cf2f8d9e5405b070d699b4e22152a91d40eeb7474ca0e45ba4f7ccba922c93/16.jpg" data-mid="156411478" border="0" src="https://freight.cargo.site/w/1000/i/d8cf2f8d9e5405b070d699b4e22152a91d40eeb7474ca0e45ba4f7ccba922c93/16.jpg" /> <img width="1800" height="1180" width_o="1800" height_o="1180" data-src="https://freight.cargo.site/t/original/i/f3f9502cb1a2ac2d8aa6f8c0aa160d9a0f86632a71e4f8004935f14b8d4ab224/17.jpg" data-mid="156411479" border="0" src="https://freight.cargo.site/w/1000/i/f3f9502cb1a2ac2d8aa6f8c0aa160d9a0f86632a71e4f8004935f14b8d4ab224/17.jpg" /> Vera Gonçalves, “Ventania SO, Ventania NE, Acalmia and Ventania SE”, 2008, 2007 and 2006, steel, paper, driftwood, whiteand blue paint, dimensions variable <img width="1800" height="1433" width_o="1800" height_o="1433" data-src="https://freight.cargo.site/t/original/i/f24c38d2e618800f04175b4062d854f520a4d609cae816c0682ec457ffc4f830/18.jpg" data-mid="156411480" border="0" src="https://freight.cargo.site/w/1000/i/f24c38d2e618800f04175b4062d854f520a4d609cae816c0682ec457ffc4f830/18.jpg" /> <img width="1800" height="2704" width_o="1800" height_o="2704" data-src="https://freight.cargo.site/t/original/i/82309a7ed2a6aec8c3d64850716873f0b407a86ed24904d4e8618de4af321876/19.jpg" data-mid="156411481" border="0" src="https://freight.cargo.site/w/1000/i/82309a7ed2a6aec8c3d64850716873f0b407a86ed24904d4e8618de4af321876/19.jpg" /> Joaquim Bravo,&nbsp;untitled (SAAL drawings), 1977, graphite and collage on paper, 21,5 x 30,5 cm each, col. Maria de Lurdes Cunha 4. Souvenir The souvenir is a witness of past journeys. The more touristy an area becomes, the easier it is to translate it into a portable object, or a recurring image, or a logo. That’s why postcards (or any type of landscape framing) persist as the ultimate souvenir.&nbsp;Due to its sheer scale, the souvenir industry disseminates clichés and visual strategies meant to bottle travelling and spatial nostalgia and pack it into symbols. In Bravo’s words, his “(...) works are not friendly, not wink-wink, not well seasoned”. Over decades of artistic work, Bravo never sought to ease the reception of his works - on the contrary, it’s understandable that he didn’t&nbsp;care for what’s attractive, or anything remotely approaching souvenir-style images. Bravo’s most well seasoned works are not even his. The six “Marinas”, signed BRANA, depict the coastal Algarve: the dawn at the beach, light gently reflecting on the ocean underneath, turning the blue waters purple; rock formations emerging from the still sand are quickly sketched through layers&nbsp;of Indian ink and oil pastel. They excel precisely due to their decontextualized misplacement in Bravo’s vast oeuvre and, in dichotomy, because of their backstory and their commercial intent. BRANA is therefore a compromise between Bravo’s aesthetic quest and his projection of what would be attractive products for holidaymakers, beachgoers and other casual buyers. Facing the precariousness of the Portuguese art market, many artists based in the Algarve resisted institutional indifference by relying on tourism. Opening their ateliers, establishing galleries and shops, these artists came across new&nbsp;mechanisms of financial and artistic emancipation. Although “lonely”, this path provided a particular independence, common to the collectives of artists who&nbsp;inhabited (and inhabit) the touristic space. As it happens, BRANA or Bananata’s (pseudonym of XANA) search for anonymity is quite contrasting to Vera Gonçalves, Zé Ventura and JorgeMealha’s pursuit for a horizontal trade of their work. In their paths, the crystallizing hierarchies of artistic mediation have been blurred, and intermediary agents dismissed. In 1980, Vera and Bravo were involved with the rehabilitation project of two Army spaces (supported by Major Mendonça da Luz, Manager of the Lagos Military Mess). Integral to the social and historical contextualization of&nbsp;Lagos, the former Slave Market and the Regimental Warehouse were thus reformulated; the first as Slave Market Gallery, the second as a multi-usecultural space, reacting to the total lack of exhibition and cultural venues&nbsp;around Lagos. Both spaces became important meeting points, regularlyexhibiting regional and national artists (some of them exhibiting solo for the first time, like Vera and Zé Ventura); the&nbsp;Slave Market Gallery&nbsp;project would culminate in the creation of the Lagos Biennale (1982, 1984, 1986 and 1988), a meaningful cultural landmark. In 1988, Vera opens her studio to the public for the first time, designed with a solid identity. VER, with its logo, posters and pamphlets, is advertisedsimultaneously as a space for work, exhibition and sale. In 1994, Vera went&nbsp;on to open&nbsp;Terra à Vista&nbsp;— a gallery in the Marina of Lagos — where for&nbsp;the following thirteen years she presented her works and those of other contemporary artists. The logo, shared by both spaces, is allusive to thePhoenician eye – commonly used as a good omen by the small fishing boats of the Portuguese coast. In the same spirit, Jorge and Janet Mealha had also founded Casa dos Oleiros&nbsp;in 1981 (Lagos), where they dedicated themselves&nbsp;not only to the creation of unique pieces and ceramic sculptures, but also&nbsp;to the education and training of national and international artists. In 1998,&nbsp;they open JJ Mealha Galeria in the centre of Lagos. Not far from&nbsp;JJ, one finds Jorge’s striking tile panel at the entrance to the Marina Bridge from 1994 — one of his numerous interventions integrated into public urbanism. The eight flower drawings (studies for possible panels) evoke visual trends of the 1970s, from the times Jorge Mealha travelled through Europe and settled in Lagos. The two panels, set between the two glass-brick windows of Pavilhão Branco,&nbsp;present themselves as public art on a domestic scale, moving along with&nbsp;the recurrent fascination with azulejo, its glazed quality and the way it was incorporated into 20th century Portuguese architecture. Speaking of ateliers that are shops and dispensable hierarchies, Zé Ventura began weaving in 1981, developing an organic practice merging painting,drawing and fabric. Once a month, Zé opens her studio in Monchique (in a former bank building); the ground floor functions as a reception and gallery where the paintings, wearable works and other useful art pieces are shown. Her coats are woven like paintings, in a happy limbo that quiets some of&nbsp;the apprehensive attitude that artists working with weaving or fabric often encounter. On some of his “textured paintings”, as she calls them, there are labels on the collar: the logo is her signature, and her labels function as a direct translation of her authorship as a brand. If Bravo had a logo, it would be a Duck; or Pato-Bravo (transl. Pato&nbsp;= duck,&nbsp;Bravo&nbsp;= wild,) — an expression used, according to Priberam Dictionary&nbsp;to designate a duck other than a domestic duck, or a&nbsp;person who does construction work of dubious quality, or even&nbsp;a wise guy or a swindler, — a&nbsp;“nickname” that would stick to his life and work. One of his best-known and better-seasoned works is&nbsp;O Pato, from the Gulbenkian Collection, and other ducks were found in random objects from his archive. For the postcards, printed in series (the ideal souvenir), Bravo synthetizes the duck’s head turning to the horizon. On one of his frequent visits to Lagos, António Palolo (b. 1946-2000, Évora) filmed O Pato de Joaquim Bravo (transl.&nbsp;Joaquim Bravo’s Duck), a short&nbsp;improvised testimony to Bravo’s transformation into a duck, or Bravo’s birth through a duck. In the same vein, it was also Palolo who photographed an experimental happening of Bravo with his son on the beach (a mixture of waves, sand and paper rolls), explaining the intimate and generous approach to experimental artistic practices by which the two understood each other. Álvaro Lapa (b. 1939-2006), also from Évora, paints&nbsp;Morada&nbsp;in the Algarve. The landscape, somewhat desolate, comes to us as a record of his time in Lagos, punctuated by plans for future projects with Bravo and Palolo that never&nbsp;came to fruition. And Palolo, Lapa, Espanca, Bravo and Rosa are featured in “Yellow House in the Algarve” another studio of the South, by Peter Jones (b.&nbsp;1943, Hawarden, Wales) alongside himself (and his dog) in a group portrait, displayed on an easel as seen at the entrance of studios, pottery shops, street painters’ stalls, or souvenir sellers. Peter and Bravo met at the Penina Hotel in 1969, becoming close due to a shared interest in books, which eventually expanded to painting; Instigate&nbsp;by Bravo, Peter started to paint. A professional golfer, he travelled most of&nbsp;the year (with Rosa) to Austria and Switzerland, returning to Lagos to paint whenever possible. Since his retirement and permanent move to Lagos in2010, he has devoted himself mostly to portraying his long-time friends, in a lengthy and detailed process of representation; Peter seeks to recreate or pay homage to his memory of figures, re-purposing photographs from different origins, in what can be interpreted as a souvenir for himself, or of his own life. The documents and ephemera gathered in the tent are examples of interventions that challenge the notion of what the souvenir is and how it plays with nostalgia. Additionally, they are in themselves trophies of adaptation and resourcefulness facing these very issues, raised firstly by the institutional independence and great self-initiative of some artists. <img width="1800" height="1440" width_o="1800" height_o="1440" data-src="https://freight.cargo.site/t/original/i/afc9b75251f9d1d9f2567007ea53183c5e61857ebf63336b13096bdd941e6f13/20.jpg" data-mid="156411482" border="0" src="https://freight.cargo.site/w/1000/i/afc9b75251f9d1d9f2567007ea53183c5e61857ebf63336b13096bdd941e6f13/20.jpg" />Zé Ventura, “Movimento de instantes coloridos, Oceano Pacífico,&nbsp;Mil folhas,&nbsp;Oceano Atlântico and Desenrolar dos dias”,&nbsp;2000, 1998, 1993, 1998 and 2001, textiles, dimensions variable <img width="1800" height="1201" width_o="1800" height_o="1201" data-src="https://freight.cargo.site/t/original/i/0aad7192f480a4bd24dd96d8936dc09cb01571b436337f9d187288f25663ccb1/21.jpg" data-mid="156411483" border="0" src="https://freight.cargo.site/w/1000/i/0aad7192f480a4bd24dd96d8936dc09cb01571b436337f9d187288f25663ccb1/21.jpg" /> <img width="1800" height="1209" width_o="1800" height_o="1209" data-src="https://freight.cargo.site/t/original/i/6b5c62b2c820a347cb2f8f472175d108fba9a0157cde125f85f7722babe2e807/22.jpg" data-mid="156411484" border="0" src="https://freight.cargo.site/w/1000/i/6b5c62b2c820a347cb2f8f472175d108fba9a0157cde125f85f7722babe2e807/22.jpg" /> <img width="1800" height="1201" width_o="1800" height_o="1201" data-src="https://freight.cargo.site/t/original/i/5b7aadd7e6434f22ea1c9fa7c22354a17cd452796a0251c857619f1159925867/23.jpg" data-mid="156411485" border="0" src="https://freight.cargo.site/w/1000/i/5b7aadd7e6434f22ea1c9fa7c22354a17cd452796a0251c857619f1159925867/23.jpg" /> <img width="1800" height="1201" width_o="1800" height_o="1201" data-src="https://freight.cargo.site/t/original/i/4cfc1ef3c3bc92ba82c6c17613fa65298ad5cb40e255761f2aeba6c9d21195c6/24.jpg" data-mid="156411486" border="0" src="https://freight.cargo.site/w/1000/i/4cfc1ef3c3bc92ba82c6c17613fa65298ad5cb40e255761f2aeba6c9d21195c6/24.jpg" /> <img width="1800" height="1201" width_o="1800" height_o="1201" data-src="https://freight.cargo.site/t/original/i/c6a5d98d6de1dbd73d8890becec4e9f7b63e15e0455648950e3119d24c629fb3/25.jpg" data-mid="156411487" border="0" src="https://freight.cargo.site/w/1000/i/c6a5d98d6de1dbd73d8890becec4e9f7b63e15e0455648950e3119d24c629fb3/25.jpg" /> <img width="1800" height="1800" width_o="1800" height_o="1800" data-src="https://freight.cargo.site/t/original/i/c99913339f89f37736af012a7450fb840ef3d882f36286b5e9513b8f43614c2c/26.jpg" data-mid="156411488" border="0" src="https://freight.cargo.site/w/1000/i/c99913339f89f37736af012a7450fb840ef3d882f36286b5e9513b8f43614c2c/26.jpg" /> Jorge Mealha,&nbsp;untitled (studies for tile panels), n.d. 8 drawings, ink on paper, 15 x 21 cm each, col. Janet Brown Mealha <img width="1800" height="1210" width_o="1800" height_o="1210" data-src="https://freight.cargo.site/t/original/i/8ea75607e0d0be5f5a46c62d77d9bfd03210074410b3257ca3d6db25cd3aca0b/27.jpg" data-mid="156411489" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/8ea75607e0d0be5f5a46c62d77d9bfd03210074410b3257ca3d6db25cd3aca0b/27.jpg" /> Peter Jones, “Yellow house in the Algarve, another Studio of the South”, 2018-21, oil on canvas, 130 x 130 cm <img width="1800" height="2239" width_o="1800" height_o="2239" data-src="https://freight.cargo.site/t/original/i/d9d0762e64bd17b2a635d8ad6064b47411373c2a311f757bdfd82999e17d1f3d/28.jpg" data-mid="156411490" border="0" src="https://freight.cargo.site/w/1000/i/d9d0762e64bd17b2a635d8ad6064b47411373c2a311f757bdfd82999e17d1f3d/28.jpg" /> Joaquim Bravo,&nbsp;untitled, n.d. collar on canvas with frame by the artist, 41,5 x 41,5 x 13 cm, col. Maria de Lurdes Cunha <img width="1800" height="2296" width_o="1800" height_o="2296" data-src="https://freight.cargo.site/t/original/i/d11b735cd0bfbde7683bc431abfd8b61ccd8eb101e52c541c191ae4b78d01e83/29.jpg" data-mid="156411491" border="0" src="https://freight.cargo.site/w/1000/i/d11b735cd0bfbde7683bc431abfd8b61ccd8eb101e52c541c191ae4b78d01e83/29.jpg" /> Jorge Mealha,&nbsp;untitled, n.d. tiles mounted on wood, 91 x 60 cm, col. Beatriz Gomes curated by Diogo Pinto Text by Diogo Pinto and Mariana Tilly Photos by João Neves Galerias Municipais Pavilhão Branco, Lisbon, 2022 Exhibition Catalogue https://diogopinto.org/PLEASE-HOLD Wed, 08 Feb 2023 17:35:49 +0000 Diogo Pinto https://diogopinto.org/PLEASE-HOLD ← Please Hold Part of Regionale 23 (It’s about damned time) Be it in the private or public sector, waiting is a necessary step to everyday life – one that is calculated into yearly expenses of corporate and common design. It’s something to be managed and minimised. Good service = little to no waiting (or at least enjoyable waiting). Although some offices may prioritise it more than others, service accountability in the age of Yelp is a universal demand. Like a reception area, a 1-star review sets the tone and expectations for the interaction ahead. Under the general rule “a happy customer is a loyal customer”, hospitality is a regulated craft. But welcomeness is difficult to coerce. It’s relatively easy to spot a forced smile and even if it isn’t fake, it’s certainly not genuine. To avoid breaking the fourth wall, a degree of honesty is required in being truly hospitable. Today, time runs fast. To not have instant gratification – to wait – means enduring the perception of “conscious time”, a time that is no longer lived through but felt. Legs turn restless, the mind paces back and forth bustling with discomfort and our body becomes burdened with an eerie sense of self-awareness. Boredom seeps in and duration becomes an undeniable certainty; we have time but we don’t want it. The hour is lived and time just feels unsynchronised as we become merely a thing that waits. Attention becomes disparately fixated, bouncing from one thing to the other in a non-directional gaze, simultaneously focused and aloof. The surroundings are no longer of ordinary function, objects acquire an uncanny quality: the hatstand appears to have a spoon for a hook, a blazer seems heavy as stone, the clock ticks counter clockwise... Their surreal particularity is revealed, cropped out from their typical context of invisibility just like the “waiter’s” own body, which now is reduced to, as it crumbles into powerlessness, an estranged object among other stranded objects. Like a warm airplane towel, waiting rooms are designed to soothe this uneasy state. TV’s, magazines, muzak and bucolic paintings become artifices of distraction in a delicate dance between diversion and functionality. These tools help create an environment which seeks to manage a large number of people and their own unwanted experience as waiters. Architecture, design and art, together in what could be framed as an immersive installation of sorts, unite in an effort to make waiting a little bit more bearable. Ultimately, these spaces are an act of hospitality or fabricated warmth. A dramatised clash between what feels natural and what feels artificial; what seems “real” and what seems “abstract”. In other words, these are “liminal spaces” that quiver on the threshold of absurdity. They lie before the curtain of a universe of regulation, like a preface prior to plunging into the abyss of bureaucracy. In a way, they are the embodiment of protocol, of ticked boxes and filed documents; an illusion of time awkwardly literalised. The present exhibition was organised within the context of Regionale 23, the cross-border project which yearly gathers several institutions in Basel and the trinational region (Northwestern Switzerland, South Baden and Alsace). Artists from or based in the region are eligible to apply to an open call, from which the host institutions select artists to exhibit. The process entailed an Excel sheet of 632 applicants. Each entry linking to portfolios, CVs and basic personal data. “First name / Name / Date of birth / Gender / And so on”. The curatorial tenor of PLEASE HOLD was therefore systemised, born out of an approved and stamped grid-like vision in a seemingly endless scroll of artists turned into numbers – an exhibition made in and out of bureaucracy. Diogo Pinto Works by&nbsp;Kristian Suvtane Augland, Jonathan Bitterli, Karola Dischinger, Susan Fankhauser,Laura Grubenmann, Dorothee Haller, Anas Kahal, Enrico Luisoni, Matilde Martins, Anastasia Pavlou, René Pulfer &amp; Herbert Fritsch, Nicolas Sarmiento, Mirjam Spoolder and Gina Weisskopf <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/3641ea13d4a13bcd7dd8d81a96216d5b9b19931b79cde46eceb2e4b58a5ad44e/1low_vertical.jpg" data-mid="167749887" border="0" src="https://freight.cargo.site/w/1000/i/3641ea13d4a13bcd7dd8d81a96216d5b9b19931b79cde46eceb2e4b58a5ad44e/1low_vertical.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/95b4331a08ece2c459f0a8e80c18cb0222c648a3ad78fd5f9839e297cb362787/2.jpg" data-mid="200225659" border="0" src="https://freight.cargo.site/w/1000/i/95b4331a08ece2c459f0a8e80c18cb0222c648a3ad78fd5f9839e297cb362787/2.jpg" /> René Pulfer &amp; Herbert Fristch, untitled, 1983,&nbsp;1 channel video, 17’, courtesy Kunstkredit Basel <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/d62ace65fe569e6f753cb5df8dfd288e9b874a34ad0181a6b00a292e37dbe3d3/3low_vertical.jpg" data-mid="167749888" border="0" src="https://freight.cargo.site/w/1000/i/d62ace65fe569e6f753cb5df8dfd288e9b874a34ad0181a6b00a292e37dbe3d3/3low_vertical.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/d7c55063aca927e648a2ee551f0f2f8acb471223d2e49c354a4ede364dd0976b/4low_vertical.jpg" data-mid="167749890" border="0" src="https://freight.cargo.site/w/1000/i/d7c55063aca927e648a2ee551f0f2f8acb471223d2e49c354a4ede364dd0976b/4low_vertical.jpg" /> Jonathan Bitterli, “Workflow”, 2019, ink and gouache on paper&nbsp; <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/a4bebb50e3661f72af7b3f9e98af09520154a70c1198942d71c659dfd9190761/12low_vertical.jpg" data-mid="167749894" border="0" src="https://freight.cargo.site/w/1000/i/a4bebb50e3661f72af7b3f9e98af09520154a70c1198942d71c659dfd9190761/12low_vertical.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/2bb0d423b116987b72dd2173af2db4494498ea69a23ffa0f833219a09213dc42/13low_vertical.jpg" data-mid="167749895" border="0" src="https://freight.cargo.site/w/1000/i/2bb0d423b116987b72dd2173af2db4494498ea69a23ffa0f833219a09213dc42/13low_vertical.jpg" /> Karola Dischinger, “Rhythm of Life (Moon phases)”, 2020, glass fusing <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/4114ecb94aea00ab958e6325c1e6154eafa739748fd6be18b1a1f0867c11c842/13.jpg" data-mid="200225915" border="0" src="https://freight.cargo.site/w/1000/i/4114ecb94aea00ab958e6325c1e6154eafa739748fd6be18b1a1f0867c11c842/13.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/998a6a1cb414329b3e414e239a1a80f4f45a672a2fba9002249e416310f797a1/9low_vertical.jpg" data-mid="167749893" border="0" src="https://freight.cargo.site/w/1000/i/998a6a1cb414329b3e414e239a1a80f4f45a672a2fba9002249e416310f797a1/9low_vertical.jpg" /> Anastasia Pavlou, “The Twins” and “Spread Thinly Like a Gel”, 2022, enamel, oil, water and gesso on canvas&nbsp; <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/3ee0feea7c6b116157202aeec93761230fdcb2c027f0d7a6491d27d29593c345/8low_vertical.jpg" data-mid="167749892" border="0" src="https://freight.cargo.site/w/1000/i/3ee0feea7c6b116157202aeec93761230fdcb2c027f0d7a6491d27d29593c345/8low_vertical.jpg" /> Anastasia Pavlou, “Dreaming=Dying”, 2022, charcoal, pigment and gesso on canvas <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/70a1b275911fc8c65bb4b1e0099d0d77b2e6da205fca7ba5593e71bbaa6709e6/6low_vertical.jpg" data-mid="167749891" border="0" src="https://freight.cargo.site/w/1000/i/70a1b275911fc8c65bb4b1e0099d0d77b2e6da205fca7ba5593e71bbaa6709e6/6low_vertical.jpg" /> Karola Dischinger, “Heavy Times, Steady Drop, Time Machine,&nbsp;Expired, Your Own Time, Time Flies – Slow Down, Resistance Futile, Future Uncertain, Celestial Times,&nbsp;AI Artifical Intelligence, Here and Now,&nbsp;High Pressure / Slack Time”, 2017-22,&nbsp;glass, paper, copper wire, feathers, resistors, bronze, gears and sand <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/42690eb42b282677f64af9479a1a9d1e82eb1efcae6bbe98cc4fede166972356/15low_vertical.jpg" data-mid="167749896" border="0" src="https://freight.cargo.site/w/1000/i/42690eb42b282677f64af9479a1a9d1e82eb1efcae6bbe98cc4fede166972356/15low_vertical.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/ea9c13a1e40a812ffd130886af00241ca49cf2370f7d506cb3b4f94e7837921c/16low_vertical.jpg" data-mid="167749897" border="0" src="https://freight.cargo.site/w/1000/i/ea9c13a1e40a812ffd130886af00241ca49cf2370f7d506cb3b4f94e7837921c/16low_vertical.jpg" /> Laura Grubenmann, “Burn me down in anger, cling to my softness for eternity”, 2020-22, beech, mahogany, metal and clay&nbsp; <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/a57d64f1acbf49e28a020c5721e0e98ff74faf8b5c675317681db8ead7d819bf/16.jpg" data-mid="200226106" border="0" src="https://freight.cargo.site/w/1000/i/a57d64f1acbf49e28a020c5721e0e98ff74faf8b5c675317681db8ead7d819bf/16.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/71b216c5a522530ad7f10371b93e716420c4ee40b35f387c99412386747d60fb/17.jpg" data-mid="200226108" border="0" src="https://freight.cargo.site/w/1000/i/71b216c5a522530ad7f10371b93e716420c4ee40b35f387c99412386747d60fb/17.jpg" /> Nicolas Sarmiento, “It is all grey out there. The floors are ash, the walls are dove, the table is slate, the rug is gunmetal”, 2022, wood, UV print on Stadurlon sheet, wood stain, wax, velvet and pencil <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/6330c944eceb956de8a33d65587a0f69631e7813eb3f604d53c427689b9031ae/18.jpg" data-mid="200226483" border="0" src="https://freight.cargo.site/w/1000/i/6330c944eceb956de8a33d65587a0f69631e7813eb3f604d53c427689b9031ae/18.jpg" /> <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/0c864f357e724d837c65aca6cc2e7874a94bd16f9a49189199e96bd924643d0b/Klingental_Regionale_23-21.jpg" data-mid="169844008" border="0" src="https://freight.cargo.site/w/1000/i/0c864f357e724d837c65aca6cc2e7874a94bd16f9a49189199e96bd924643d0b/Klingental_Regionale_23-21.jpg" /> Karola Dischinger, “Career Ladder”, 2016, glass, metal and plush toy <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/093312b4182995aa7af9c3ebf829a4758b13aa32c341aaaea5d4f01390f51d83/25low_vertical.jpg" data-mid="167749905" border="0" src="https://freight.cargo.site/w/1000/i/093312b4182995aa7af9c3ebf829a4758b13aa32c341aaaea5d4f01390f51d83/25low_vertical.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/311321ac9189ba248676a6b37ae6406d0214113db5b9d022c3e4f994a4a993b2/26.jpg" data-mid="200227073" border="0" src="https://freight.cargo.site/w/1000/i/311321ac9189ba248676a6b37ae6406d0214113db5b9d022c3e4f994a4a993b2/26.jpg" /> Gina Weisskopf, “Sternzeichen Zwillinge”, 2016,&nbsp;oil on canvas <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/52bcb94de93345956149f99a9ce221a0a4dc51dfb7f2d10689c4d8fec1760197/25.jpg" data-mid="200227072" border="0" src="https://freight.cargo.site/w/1000/i/52bcb94de93345956149f99a9ce221a0a4dc51dfb7f2d10689c4d8fec1760197/25.jpg" /> Gina Weisskopf, “Tote Buch”, 2016,&nbsp;oil on canvas <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/f22d811a84c87c15791a469a94cc68268edcc20f3a6d13ee26d7fe0123b869e9/32low_vertical.jpg" data-mid="167749911" border="0" src="https://freight.cargo.site/w/1000/i/f22d811a84c87c15791a469a94cc68268edcc20f3a6d13ee26d7fe0123b869e9/32low_vertical.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/6b750e7348f111fba152ace3aef18ec510ff65370b2d6e0b5aea61f41bb36332/30low_vertical.jpg" data-mid="167749909" border="0" src="https://freight.cargo.site/w/1000/i/6b750e7348f111fba152ace3aef18ec510ff65370b2d6e0b5aea61f41bb36332/30low_vertical.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/d627ac98eb5404587f2e5ff559dc9fd78db5e3867321a45da22776c0999f3d41/28.jpg" data-mid="200227266" border="0" src="https://freight.cargo.site/w/1000/i/d627ac98eb5404587f2e5ff559dc9fd78db5e3867321a45da22776c0999f3d41/28.jpg" /> Nicolas Sarmiento, “Migration, power and pristine reservoir counters”, 2020, wood, steel, glass, ticket, casted iron sample, laser cut on acrylic sheet, wire, inkjet print on paper, PVC plastic coated steel rope, electronic scale, stainless steel, copper, aluminium, plastic handle, ball bearings, dirt, metal standing feet, lamellos, screws, glue, foam floor roll, marker pen and orange peels <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/b37a707458e7479e5cd56c53183301cf8cc2dbb39d7f2a56b858d353073e60e2/22.jpg" data-mid="200227275" border="0" src="https://freight.cargo.site/w/1000/i/b37a707458e7479e5cd56c53183301cf8cc2dbb39d7f2a56b858d353073e60e2/22.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/356f6368e7cfcbb7aa2b869ef67e3021e84265ffc6ae95faf5a7117d1f671913/22low_vertical.jpg" data-mid="167749901" border="0" src="https://freight.cargo.site/w/1000/i/356f6368e7cfcbb7aa2b869ef67e3021e84265ffc6ae95faf5a7117d1f671913/22low_vertical.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/8e93dab30e11f1f978ec031bf94f3e8f03fa759dcfb5d4522b2c54b5a7fedd62/23low_vertical.jpg" data-mid="167749903" border="0" src="https://freight.cargo.site/w/1000/i/8e93dab30e11f1f978ec031bf94f3e8f03fa759dcfb5d4522b2c54b5a7fedd62/23low_vertical.jpg" /> Enrico Luisoni, “Bodywork”,&nbsp; 1986,&nbsp;4 polaroids (each) <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/503d02eb4c0d8afd9b94663bd7a9e319ccfeda438092b600e95a8fed0f96bfa2/33.jpg" data-mid="200227327" border="0" src="https://freight.cargo.site/w/1000/i/503d02eb4c0d8afd9b94663bd7a9e319ccfeda438092b600e95a8fed0f96bfa2/33.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/38a6322ad6390aa65ac06e6b2c71b6e8f0cee69296fc65ed4b2a3b0190dfc4f3/38low_vertical.jpg" data-mid="167749914" border="0" src="https://freight.cargo.site/w/1000/i/38a6322ad6390aa65ac06e6b2c71b6e8f0cee69296fc65ed4b2a3b0190dfc4f3/38low_vertical.jpg" />Susan Fankhauser, “Die Zeit umkehren”, 2022, clockwork, plastic, glass, ballpoint pen on paper <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/3deb2547610e89facbabe0263069aff8be03208ffea75db2eacf11013a57f181/39low_vertical.jpg" data-mid="167749915" border="0" src="https://freight.cargo.site/w/1000/i/3deb2547610e89facbabe0263069aff8be03208ffea75db2eacf11013a57f181/39low_vertical.jpg" /> <img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/0db5b863c8de9e9a6f89f649a8e1774fc5d328bb1c4d8c27c9c318a1d4ccfbfc/36.jpg" data-mid="200227397" border="0" src="https://freight.cargo.site/w/1000/i/0db5b863c8de9e9a6f89f649a8e1774fc5d328bb1c4d8c27c9c318a1d4ccfbfc/36.jpg" /> Dorethee Haller, “Groundbreaker”, 2017, split, silicone and fabric <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/5698f085f63808f7b0943829236290242a7ee088b4367e897c62710a180bf8aa/39.jpg" data-mid="200227417" border="0" src="https://freight.cargo.site/w/1000/i/5698f085f63808f7b0943829236290242a7ee088b4367e897c62710a180bf8aa/39.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/c87f2b1ca0a6b6aa6fd6894e094e10563865156b1ac9455af0e15ed82b3ad7fb/44low_vertical.jpg" data-mid="167749922" border="0" src="https://freight.cargo.site/w/1000/i/c87f2b1ca0a6b6aa6fd6894e094e10563865156b1ac9455af0e15ed82b3ad7fb/44low_vertical.jpg" /> Kristian Suvatne Augland, “Adapter 1”, 2022, aluminium briefcase and laser projector&nbsp; <img width="2000" height="1333" width_o="2000" height_o="1333" data-src="https://freight.cargo.site/t/original/i/2cf1f8e1a848d6aaf3350bba73542c04c165e94478a240e94822892748deeec8/Klingental_Regionale_23-45.jpg" data-mid="169843724" border="0" src="https://freight.cargo.site/w/1000/i/2cf1f8e1a848d6aaf3350bba73542c04c165e94478a240e94822892748deeec8/Klingental_Regionale_23-45.jpg" />Kristian Suvatne Augland, “Sculpture Chair 1-5” and “The news 1-6”,&nbsp;2022, steel, leather, wood and foam&nbsp; <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/e6f19d1eb240ab4da69f715f1ac71253910ba03c0e5a64d4e42b66e4eb16727b/46low_vertical.jpg" data-mid="167749924" border="0" src="https://freight.cargo.site/w/1000/i/e6f19d1eb240ab4da69f715f1ac71253910ba03c0e5a64d4e42b66e4eb16727b/46low_vertical.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/91976e53ad0d77572ae783ec3a0f9c1d6e8b7780cc93fd9ac290db618a7f3643/41low_vertical.jpg" data-mid="167749916" border="0" src="https://freight.cargo.site/w/1000/i/91976e53ad0d77572ae783ec3a0f9c1d6e8b7780cc93fd9ac290db618a7f3643/41low_vertical.jpg" /> Mirjam Spoolder, “Unclothed Paper”, 2022, collage&nbsp; <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/3124ab82310c22f5c2eba963bd9470ebd1c2d943a6e1a166533de28d1b88f9ab/38.jpg" data-mid="200227421" border="0" src="https://freight.cargo.site/w/1000/i/3124ab82310c22f5c2eba963bd9470ebd1c2d943a6e1a166533de28d1b88f9ab/38.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/5a1f0e4f94dd0f790dc428a7d8d158d4b38e131612a63b4ab6d1dd0220d1cc1a/43.jpg" data-mid="200227419" border="0" src="https://freight.cargo.site/w/1000/i/5a1f0e4f94dd0f790dc428a7d8d158d4b38e131612a63b4ab6d1dd0220d1cc1a/43.jpg" /> <img width="3543" height="2362" width_o="3543" height_o="2362" data-src="https://freight.cargo.site/t/original/i/e89a03831fc01ce460425828285c439666f2bf40f2f9546f9144d1445c3de8ee/50low_vertical.jpg" data-mid="167749927" border="0" src="https://freight.cargo.site/w/1000/i/e89a03831fc01ce460425828285c439666f2bf40f2f9546f9144d1445c3de8ee/50low_vertical.jpg" /> Matilde Martins, “Leben Mittel Punkt”, 2022, acrylic and gouache on wall <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/c21196724a65c3b919f3b82f231620969286dea716131ff15f391f56972386ec/45.jpg" data-mid="200227593" border="0" src="https://freight.cargo.site/w/1000/i/c21196724a65c3b919f3b82f231620969286dea716131ff15f391f56972386ec/45.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/600112eba21fe2d38b8f6a5bf427cc8e605df4fad6b2d171de443a75162b5100/46.jpg" data-mid="200227594" border="0" src="https://freight.cargo.site/w/1000/i/600112eba21fe2d38b8f6a5bf427cc8e605df4fad6b2d171de443a75162b5100/46.jpg" /> Anas Kahal,&nbsp;Red Roses, 2020,&nbsp;1 channel video, 14’04’’&nbsp; Curated by Diogo Pinto Ausstellungsraum Klingental Basel, 2022&nbsp; Photos by Finn Curry https://diogopinto.org/Galerie-WYSIWAI Tue, 28 Sep 2021 08:49:05 +0000 Diogo Pinto https://diogopinto.org/Galerie-WYSIWAI ← Galerie WYSIWAI <img width="1794" height="1242" width_o="1794" height_o="1242" data-src="https://freight.cargo.site/t/original/i/48202b903e919d0992c978212c951b40b508347101b346db15c0860b5b958188/IMAGEM-FOLHA-DE-SALA-AMOR.jpg" data-mid="120088248" border="0" data-scale="38" src="https://freight.cargo.site/w/1000/i/48202b903e919d0992c978212c951b40b508347101b346db15c0860b5b958188/IMAGEM-FOLHA-DE-SALA-AMOR.jpg" /> From Z. L. Darocha’s exhibition at Clube Opinião, organized by Ernesto de Sousa in 1975. Courtesy Isabel Alves Galerie WYSIWAI (‘wiz-ee-why) is a twofold artwork and structure dedicated to disseminate and create new conversation around the practice of the Swiss-Portuguese artist Z.L. Darocha (1945-2016). A variation from the original WYSIWAG (What You See Is What You Get), WYSIWAI (What You See Is What Art Is) is an acronym created and used by Darocha as one of the many offices, workshops and identities with which he framed his work. In its inaugural moment, we have the pleasure to present the solo installation My Heart Rendez-vous, created by Portuguese artist – and galerie founder - Diogo Pinto (b. 1993). For 45 years, Darocha walked the streets in search of folds. In a quotidian archaeological effort, he would find, collect and preserve folded pieces of paper from places all over the world. He marked each paper fold with the date and location where it was discovered before storing them - creating an archive of pliages (folds) that spanned over a thousand entries. Some are shaped like airplanes, others like boats, some contain printed or written text, others drawing and doodles, and although they are all truly unique, they carry a communal and auto-biographical significance. Like Darocha wrote for the exhibition catalogue of his solo exhibition Plein et Pelié (Galerie Entre, 1974): “(…) any small paper boat can represent me, or can be the symbol of another individual… I am always another individual, I am all the small boats that are made at all times, all those who make them, all the places where they have passed, all the times of their existence, etc.(…)”. Darocha added pliages that he fabricated himself to the collection, thus expanding the dense array of symbols and signs that the work presented. In fact, the long and rich career of Darocha was like “a room of distorted mirrors”. He signed his work with many different names (too many to name), each projecting a mise-en-abîme of styles and identities. Ultimately, the gesture of folding paper was not only a constant in Darocha’s 50 year output but is in itself a metaphor to the many layers of his heterogeneous practice and his “passionate horror of boredom”. He was one of the artists showing his work in Art 6’75 (1975’s edition of ArtBasel) at Parisian Galerie Entre’s booth – a radical project-space founded by artists Catherine and Jacques Pineau. In Basel, at this event, Z.L. met his future wife, Claudia Rochas-Pàris. This meeting (art fair love-story) is at the core of My Heart Rendez-vous, for which Diogo Pinto created a new 3 x 4,80m painting, fitted to the dimensions of a standard art fair gallery booth, depicting the installation of his own 11 pliages — each one representing key moments of Darocha’s practice and the events that surrounded it. Among the resources used for his own foldings, you will find Galerie Entre’s invitation card for Art 6’75; pictures he posted in his Facebook page of the bouquet of flowers he offered Claudia every week; and spreads of the 1979 artist’s edition “Pliages; Collection + a brief essay”. Like Darocha, Diogo collected source material, later folding, scanning and reproducing it — presenting it now in the context and location where Darocha and Claudia’s meeting took place 46 years ago. <img width="5616" height="3754" width_o="5616" height_o="3754" data-src="https://freight.cargo.site/t/original/i/c29bebf0ffe0443078ee379f039d960d688204f6ff6de40f2fcd167514bfb49f/corrigida-kiefer-final.jpg" data-mid="123896376" border="0" src="https://freight.cargo.site/w/1000/i/c29bebf0ffe0443078ee379f039d960d688204f6ff6de40f2fcd167514bfb49f/corrigida-kiefer-final.jpg" /> <img width="2808" height="1872" width_o="2808" height_o="1872" data-src="https://freight.cargo.site/t/original/i/554d3850a3fd8c6672cd290ea48b04baff30bd31445e5b07af1a8a9669231011/diogo_pinto_5I2A4845.jpg" data-mid="200223021" border="0" src="https://freight.cargo.site/w/1000/i/554d3850a3fd8c6672cd290ea48b04baff30bd31445e5b07af1a8a9669231011/diogo_pinto_5I2A4845.jpg" /> My Heart Rendez-Vouz, Pliages (1974-2016,&nbsp;2021,&nbsp;oil and acrylic on canvas,&nbsp;300 x 480 cm (composed of 3 paintings with 300 x 160 cm each) <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/d7647baafa9038748b519c56c82c60e70259d5249f40ff41df8706ed7ca63256/WEB-7.jpg" data-mid="120073338" border="0" src="https://freight.cargo.site/w/1000/i/d7647baafa9038748b519c56c82c60e70259d5249f40ff41df8706ed7ca63256/WEB-7.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/cd6a92798a590d9ade49f1dace5fd369f8d95e9a61620de794272afd46db6cf2/WEB-1.jpg" data-mid="120073329" border="0" src="https://freight.cargo.site/w/1000/i/cd6a92798a590d9ade49f1dace5fd369f8d95e9a61620de794272afd46db6cf2/WEB-1.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/254a445a693ab147f842629e63a4ff1791a668e95581cdbfb4baa7640ce35b9a/WEB-4.jpg" data-mid="120073333" border="0" src="https://freight.cargo.site/w/1000/i/254a445a693ab147f842629e63a4ff1791a668e95581cdbfb4baa7640ce35b9a/WEB-4.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/84c8f0207db6bc3c7462c0e33f4b3416d7dd90bbd1f9ceb5f031658d7c81a879/WEB9.jpg" data-mid="120073344" border="0" src="https://freight.cargo.site/w/1000/i/84c8f0207db6bc3c7462c0e33f4b3416d7dd90bbd1f9ceb5f031658d7c81a879/WEB9.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/7b7b70d7517531f8c7bad74d8657dcb32cd850b3240368d1729c0a26c73edf20/WEB10.jpg" data-mid="120073346" border="0" src="https://freight.cargo.site/w/1000/i/7b7b70d7517531f8c7bad74d8657dcb32cd850b3240368d1729c0a26c73edf20/WEB10.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/9923418827e87ce897fda395daf0778fa470b08bb19c0fecf3373065f2180d5f/WEB-8.jpg" data-mid="120073341" border="0" src="https://freight.cargo.site/w/1000/i/9923418827e87ce897fda395daf0778fa470b08bb19c0fecf3373065f2180d5f/WEB-8.jpg" /> <img width="5559" height="3526" width_o="5559" height_o="3526" data-src="https://freight.cargo.site/t/original/i/6b927e2485d2febc508bbc5b90a31d626c341e0104fd0713f82b95d2e1e2dfaf/web11.jpg" data-mid="120073348" border="0" data-scale="74" src="https://freight.cargo.site/w/1000/i/6b927e2485d2febc508bbc5b90a31d626c341e0104fd0713f82b95d2e1e2dfaf/web11.jpg" /> Diogo Pinto, “Galery sign”, 2021, oil on canvas, 31 x 42 cm (3 parts with 31 x 14 cm each) Kiefer Hablitzel Göhner Prize Basel, 2021 A special thank you to Claudia Rochas-Pàris, Lia Rochas-Pàris, Catherine Pineau, Joana de Bastos Rodrigues, Isabel Alves, Filipe Darocha and Mariana Tilly https://diogopinto.org/Worlds-Rainbow Mon, 01 Nov 2021 19:28:22 +0000 Diogo Pinto https://diogopinto.org/Worlds-Rainbow ←<img width="2362" height="1576" width_o="2362" height_o="1576" data-src="https://freight.cargo.site/t/original/i/467d3fd012c270313027b277409969bddef8ee203e7fc7bf38f9bcf8dd993f69/2021_Diplom_Diogo_Pinto_05744_jms.jpg" data-mid="123306241" border="0" src="https://freight.cargo.site/w/1000/i/467d3fd012c270313027b277409969bddef8ee203e7fc7bf38f9bcf8dd993f69/2021_Diplom_Diogo_Pinto_05744_jms.jpg" /> <img width="2362" height="1577" width_o="2362" height_o="1577" data-src="https://freight.cargo.site/t/original/i/55592f02969b6d77c8b58ead5198c70ba2333efdf3d7aca20febd5de6d56c7d2/2021_Diplom_9062_JH.jpg" data-mid="123307437" border="0" src="https://freight.cargo.site/w/1000/i/55592f02969b6d77c8b58ead5198c70ba2333efdf3d7aca20febd5de6d56c7d2/2021_Diplom_9062_JH.jpg" /> <img width="5472" height="3648" width_o="5472" height_o="3648" data-src="https://freight.cargo.site/t/original/i/c0de7bc920457993eda1c0862292a0580ce3f0019c431c85a0ea0764a77780d6/wr1.jpg" data-mid="123587077" border="0" src="https://freight.cargo.site/w/1000/i/c0de7bc920457993eda1c0862292a0580ce3f0019c431c85a0ea0764a77780d6/wr1.jpg" /> <img width="2362" height="1577" width_o="2362" height_o="1577" data-src="https://freight.cargo.site/t/original/i/34cbac91aa081672a00d0a4569776be27ed24422a3e479a978bbd051c84c8c1c/2021_Diplom_9067_JH.jpg" data-mid="123307467" border="0" src="https://freight.cargo.site/w/1000/i/34cbac91aa081672a00d0a4569776be27ed24422a3e479a978bbd051c84c8c1c/2021_Diplom_9067_JH.jpg" /> World’s Rainbow«Next Generation» Graduation Exhibition Bachelor and Master HGK FHNW 10.10. —24.10.2021 Kunsthaus Baselland Curated by Chus Martinez and Claire Hoffmann more info photos by Jonas Huldi and Jennifer Merlyn Scherler https://diogopinto.org/Telepatia Fri, 10 Sep 2021 14:14:52 +0000 Diogo Pinto https://diogopinto.org/Telepatia ← <img width="3456" height="5184" width_o="3456" height_o="5184" data-src="https://freight.cargo.site/t/original/i/979a6216d6f7019cc732afc91ac659c37bb3df8d0b860fa34fa996e0684437ab/5.jpeg" data-mid="119289334" border="0" src="https://freight.cargo.site/w/1000/i/979a6216d6f7019cc732afc91ac659c37bb3df8d0b860fa34fa996e0684437ab/5.jpeg" /> <img width="3420" height="5144" width_o="3420" height_o="5144" data-src="https://freight.cargo.site/t/original/i/3d26bfdf95d57c0fd1c362f26593f6f15565bce13d029a26f81c7464764fd300/Untitled-jpeg.jpg" data-mid="118543450" border="0" src="https://freight.cargo.site/w/1000/i/3d26bfdf95d57c0fd1c362f26593f6f15565bce13d029a26f81c7464764fd300/Untitled-jpeg.jpg" /> <img width="3367" height="5083" width_o="3367" height_o="5083" data-src="https://freight.cargo.site/t/original/i/9a8d37f54c2fe0d37b7b3a836fe354eabd6295a3e14dec9eac5869a0687b5bcd/11.jpeg" data-mid="119289339" border="0" src="https://freight.cargo.site/w/1000/i/9a8d37f54c2fe0d37b7b3a836fe354eabd6295a3e14dec9eac5869a0687b5bcd/11.jpeg" /> <img width="3342" height="5013" width_o="3342" height_o="5013" data-src="https://freight.cargo.site/t/original/i/148a95fb794da273dfa0392d818d93858dc356785e7e71a098db020b9be8c3b2/8.jpeg" data-mid="119289336" border="0" src="https://freight.cargo.site/w/1000/i/148a95fb794da273dfa0392d818d93858dc356785e7e71a098db020b9be8c3b2/8.jpeg" /> <img width="3404" height="5132" width_o="3404" height_o="5132" data-src="https://freight.cargo.site/t/original/i/b6ceb5ef777c749bfed9e46fe5a5a93dd26f85ca02b72a8d802e25c1a44ded56/pretu-i-branki.jpeg" data-mid="119289340" border="0" src="https://freight.cargo.site/w/1000/i/b6ceb5ef777c749bfed9e46fe5a5a93dd26f85ca02b72a8d802e25c1a44ded56/pretu-i-branki.jpeg" /> <img width="3312" height="5152" width_o="3312" height_o="5152" data-src="https://freight.cargo.site/t/original/i/14fe71eae278c29dea25b753533bf4bc039b87e294b561dc08974691c40761cb/Untitled-after-print-by-Antonio-Aragao.jpg" data-mid="118543449" border="0" src="https://freight.cargo.site/w/1000/i/14fe71eae278c29dea25b753533bf4bc039b87e294b561dc08974691c40761cb/Untitled-after-print-by-Antonio-Aragao.jpg" /> <img width="3456" height="5184" width_o="3456" height_o="5184" data-src="https://freight.cargo.site/t/original/i/aa8e2673169b33a3169124d4cb0b10236a7a45d7401d2909443d1c99c4d5016f/6.jpeg" data-mid="119289335" border="0" src="https://freight.cargo.site/w/1000/i/aa8e2673169b33a3169124d4cb0b10236a7a45d7401d2909443d1c99c4d5016f/6.jpeg" /> <img width="3301" height="5033" width_o="3301" height_o="5033" data-src="https://freight.cargo.site/t/original/i/197dff9715a747c22894a48c1d6299825a620be973e901fb6938df184833696b/4.jpeg" data-mid="119289333" border="0" src="https://freight.cargo.site/w/1000/i/197dff9715a747c22894a48c1d6299825a620be973e901fb6938df184833696b/4.jpeg" /> <img width="3396" height="5184" width_o="3396" height_o="5184" data-src="https://freight.cargo.site/t/original/i/7077ee6b02c8010fe986de3f822933c9d1f065a9390561a8c9c4cf71f4b9bf8c/10.jpeg" data-mid="119289338" border="0" src="https://freight.cargo.site/w/1000/i/7077ee6b02c8010fe986de3f822933c9d1f065a9390561a8c9c4cf71f4b9bf8c/10.jpeg" /> <img width="3390" height="5118" width_o="3390" height_o="5118" data-src="https://freight.cargo.site/t/original/i/c49187cff6acf8bd39e81c19ad5e52abf0ba2a132615ab2741aa271fe4808ad0/3.jpeg" data-mid="119289332" border="0" src="https://freight.cargo.site/w/1000/i/c49187cff6acf8bd39e81c19ad5e52abf0ba2a132615ab2741aa271fe4808ad0/3.jpeg" /> <img width="3353" height="5029" width_o="3353" height_o="5029" data-src="https://freight.cargo.site/t/original/i/13de3a01d413d917e1f9a0791d9ef537290ecc152eba7a950294e257b87e569d/9.jpeg" data-mid="119289337" border="0" src="https://freight.cargo.site/w/1000/i/13de3a01d413d917e1f9a0791d9ef537290ecc152eba7a950294e257b87e569d/9.jpeg" /> <img width="3338" height="5024" width_o="3338" height_o="5024" data-src="https://freight.cargo.site/t/original/i/9d1be7ecdcb8a851eeae2e03421e08e1be2eb3189dabdaa5cb61189499c3977a/2.jpeg" data-mid="119289331" border="0" src="https://freight.cargo.site/w/1000/i/9d1be7ecdcb8a851eeae2e03421e08e1be2eb3189dabdaa5cb61189499c3977a/2.jpeg" /> <img width="3121" height="3494" width_o="3121" height_o="3494" data-src="https://freight.cargo.site/t/original/i/bb55bce605a80035789d63dce65f880db54dfcddbfd1c7ca5ff0317d0f71efa5/diogo4-2.jpg" data-mid="119289513" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/bb55bce605a80035789d63dce65f880db54dfcddbfd1c7ca5ff0317d0f71efa5/diogo4-2.jpg" /> Telepatia, Duo Show w/ Sofia Mascate, O Stand, Lisbon, 2021 More info