 O Presidente e o Conselho de Administração da Fundação de Arte Moderna e Contemporânea – Colecção Berardo têm a honra de convidar V. Exa. para a inauguração da exposição de Joana Vasconcelos, Sem Rede, dia 1 de Março, segunda-feira, às 19h30, no Museu Colecção Berardo. Opening of the exhibition Joana Vasconcelos, Sem Rede, on Monday, the 1st of March, at 7.30 p.m. Vernissage de l’exposition Joana Vasconcelos, Sem Rede, le lundi 1 mars, à 19h30.
Com um percurso iniciado em meados da década de 1990, Joana Vasconcelos afirmou-se
como a mais importante artista da sua geração, com uma prolífica carreira crescentemente
reconhecida tanto em Portugal como no estrangeiro. Cruzando tradição e modernidade,
identidade e história e sublime e simbólico, a artista interpreta o mundo contemporâneo
através de uma singular apropriação das mentalidades, imagens e objectos da sociedade
de consumo. Esta exposição reúne, pela primeira vez, um número significativo de obras
realizadas nos últimos 15 anos, assim traçando uma panorâmica da sua produção
e constituindo uma oportunidade única para conhecer ou redescobrir o seu especial universo.
Comissariado: Miguel Amado
Exposição patente até 18 de Maio de 2010.
JOANA VASCONCELOS
“NETLESS”
FROM 1ST MARCH TO 18TH MAY 2010
The Museu Colecção Berardo in Lisbon is presenting “Netless”, the first survey show of Portuguese artist Joana Vasconcelos. The exhibition comprises around forty works on view at the galleries of floor -1, the atrium and the exterior of the Museu Colecção Berardo. The exhibition opens on March 1st at 7.30 p.m. and runs through May 18th. The Museu Colecção Berardo is open everyday from 10 a.m. to 7 p.m. (Saturdays until 10 p.m.) and the admission is free.
Lisbon, February 8th – The Museu Colecção Berardo in Lisbon is presenting “Netless”, the first survey show of Portuguese artist Joana Vasconcelos. Having initiated her career in the mid-1990s and with an oeuvre increasingly acclaimed both in Portugal and abroad, Vasconcelos is considered the most important Portuguese artist from her generation. Organised by the Museu Colecção Berardo and curated by Miguel Amado, “Netless” brings together around forty works, thus marking out a panoramic view of Vasconcelos’ practice. The exhibition is focused on her output of the last fifteen years, comprising not only the large-scale sculptures made in the last decade, but also several pieces from the 1990s, many of them unknown since their original presentation. This exhibition thus represents a unique opportunity for viewers to become acquainted with Vasconcelos’ production or rediscover it in depth.
Vasconcelos interprets the current world through a unique reading of the mentalities, mythologies and iconographies of consumer society. Finding her inspiration in common imagination, she examines various themes of daily life. Therefore, acting in accordance with an allegorical impulse and a derisory action, she deconstructs the values, habits and customs of Western civilization in order to comment the existence of the present, to frame the past’s legacy, and to envision the future’s paths. Crossing tradition with modernity, the collective unconscious with history, and the sublime with the symbolic, she questions identity, be it based on gender, class, or nationality. Her works combine cultural references (from artistic movements to daily expressions), quotidian objects with sign value (such as feather-dusters, blister packs of pills, tampons, domestic utensils, plastic cutlery, and pots and lids), and popular materials and techniques (such as tiles and Bordalo Pinheiro’s faiences or knitting and crochet). Ingeniously manipulated, these elements loose their meaning and make up a new form, which reconceptualise the original sense and thereby reflect the entropic experience that characterizes the contemporary condition.
The exhibition includes well-known works such as A Noiva (2001-2005), the series Coração Independente (2004-2008), and Marylin (2009). These works investigate the female condition, a subject matter that runs throughout the Vasconcelos’ production. From Flores do Meu Desejo (1996-2009) to Vista Interior (2000), as well as the ensemble Sofá Aspirina (1997) and Cama Valium (1998), it is the debate on women’s status that the artist is expressing here. However, the exhibition includes other, lesser-known works that address several political and economical topics. One might refer, for example, to corporate ideology (Ponto de Encontro, 2000), the ostentation of class (Menu do Dia, 2001), the dazzled exercising of power (O Mundo a Seus Pés, 2001), religious intolerance (Burka, 2002), and the security state (Una Dirección, 2003). Recent works highlight social issues,
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