Professional Documents
Culture Documents
Reflections
on
Contempo-
rary
Printmaking
2013
Reflections
on
Contempo-
rary
Printmaking
Nas palavras
de Barto In Bartos
esta era a
words
sua
this was
casa
home
Ana
Eliseu
Daniel
Figueiredo
p. 6-11
Espao
para Room
experimentar to
experiment
Laura
Figueiras
Ins
Jorge
Mestre
Simo
Manoela
Afonso
Alexandra
Ramires
Bertlio
Martins
Cias
Rplica
por by
Soraya Vasconcelos
p. 16-21
A prtica
da
partilha
The practice
of
sharing
Reflexes sobre
Reflections on Rplica
por by
Paul Coldwell
p. 24-27
Como passar How to pass
pelas coisas
through
sem que s without
passem
just
por ns
passing by
Processos descritos
por artistas residentes
Processes described
by resident artists
p. 29-108
Biografias
Biographies
p. 111-119
La technique,
il faut
lapprendre.
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Sob a designao residncia artstica cabem uma diversidade de acontecimentos que, em comum, tm o facto
de implicarem um certo isolamento; uma residncia artstica serve para subtrair, por momentos, um artista ao seu
O projecto
quotidiano habitual, procurando imergi-lo num estado
em que, disposto a ver, sentir e pensar aquilo que o rodeia
Rplica
com a conscincia em alerta, foca a sua energia criadora
de modo mais completo.
O formato de residncia adequou-se ao objectivo de
RplicaReflexo sobre Gravura Contempornea: gerar
um espao propcio experimentao e reflexo em torno da gravura, enquanto
expresso artstica contempornea. Para tal, props-se a envolver oito artistas
residentes e um conjunto de convidados num processo sinergtico em volta de
uma matria que se considera pertinente num momento em que se assiste ao
ressurgimento das artes do mltiplo: do livro, das edies de fotografia de menor
formato, de serigrafia, gravura, etc. A facilidade de disseminao e a diluio dos
custos de produo tornam este tipo de actividade artstica mais acessvel; atravs da socializao do processo de trabalho contribui-se para a democratizao
do mercado da arte, potenciando a abrangncia de um maior pblico consumidor e permitindo aos artistas uma divulgao mais vasta das suas obras.
Mas se verdade que, numa difcil conjuntura econmica como a actual, o
universo do mltiplo se apresenta com redobrado afinco como forma sustentvel dos artistas darem continuidade aos seus interesses e projectos criadores, este argumento econmico est longe de ser o nicoou o mais interessantepara se apostar na explorao desse mesmo universo. Ao pensar estas
tcnicassobre as suas especificidades e potencialidadessurgem questes
ligadas originalidade e reprodutibilidade, repetio e variao; discutem-se normas e preconceitos relativos prtica do meio mas, tambm, relativas ao
estatuto e relao do artista com os mercados e pblicos de arte.
O evento englobou um dia de debates, na Universidade do Algarve vdeos online:
replicagravura.blogspot.pt contando com a participao de artistas, investigadores e
curadores. Numa primeira sesso, os trs convidados: Paul Coldwell, David Santos e Pedro Cabral Santo partilham a sua viso sobre a prtica e as problemticas
da gravura. Em seguida, foi projectado o excelente documentrio de Jorge Silva
MeloBartolomeu Cid dos Santos, Por Terras Devastadas edio midas, 2009 como
mote para uma segunda conversa, contando com a participao do prprio realizador, de Graciela Machado e Manuel Botelho em torno da pessoa e obra de
Bartolomeu dos Santos. Quis-se, desta forma, homenagear o artista cuja oficina
iria acolher esta residncia, contribuindo para a divulgao e anlise da sua obra.
Estas conversas, concebidas para suscitar interrogaes e criar um enquadramento crtico, julgaram-se teis, por um lado, para que um pblico mais
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vasto tivesse uma abordagem ao assunto em causa e, por outro, para servir de
momento de charneira aos oito artistas participantes, introvertendo-os para o
universo que seria o deles nos prximos tempos.
Ao longo dos dezoito dias em que decorreu a residncia, Alexandra Ramires,
Ana Eliseu, Bertlio Martins, Daniel Figueiredo, Ins Cias, Laura Figueiras,
Jorge Mestre Simo e Manoela Afonso habitaram a cidade de Tavira, usufruindo
do seu ambiente veraneante e aproveitando com entusiasmo as condies mpares da oficina de gravura projectada por Bartolomeu dos Santos, que chegou a
estar ocupada perto de vinte e quatro horas por dia!
Os residentes, provenientes de diversas sensibilidades e formaes, alguns
mais prximos da ilustrao, outros do design ou das artes visuais, elegeram
os seus objectos de interesse, encontrando matria prima nos mais diversos
lugaresna gravura em si (nas suas particularidades tcnicas e conceptuais),
na paisagem (natural e humana) de e em volta de Tavira, em lvaro de Campos
(...)lvaro de campos nasceu em tavira, no dia 15 de outubro de 15 de outubro de 1890 ( 1.30 da tarde,
diz-me o ferreira gomes (...) em carta a adolfo casais monteiro, 13.01.1923, arquivo pessoa, [online 2014]
disponvel em arquivopessoa.net/textos/3007 mas tambm na pairante presena de Barto-
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to a broader public and, on the other, to usher the eight participating artists into
the world that they would inhabit in the weeks to come.
Over the eighteen-day period of their residency, Alexandra Ramires, Ana
Eliseu, Bertlio Martins, Daniel Figueiredo, Ins Cias, Laura Figueiras, Jorge
Mestre Simo and Manoela Afonso lived in the city of Tavira, enjoying its seaside environment and readily taking advantage of the unique resources at Bartolomeu dos Santos printmaking studio, which came to be busy almost twenty
four hours a day!
With different sensibilities and educational backgrounds some closer to
illustration and others to design or the visual arts the residents selected their
objects of interest, finding their source material in the most diverse places: in
printmaking itself (its technical and conceptual specificities), in the natural and
human landscape in and around Tavira, in lvaro de Campos (...) lvaro de campos was born in tavira on october 15, 1890 (at 1:30 in the afternoon, Ferreira Gomes told me (...) in
carta a adolfo casais monteiro, 13.01.1923, arquivo pessoa, [online 2014] available in arquivopessoa.net/
textos/3007,
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Oficina de Gravura
Printmaking workshop,
Slade School of Art, 1994
12 Oficina de Tavira
antes das obras
before construction works,
1994
13 Esquemas de Bartolomeu dos
Santos relativos organizao
da Oficina de Tavira
Sketches of Bartolomeu
dos Santos concerning the
organization of Oficina de
Tavira, 1994
14 Obras na
construction works at
Oficina de Tavira, 1994
15 Oficina de Tavira
aps as obras
after construction works, 1995
18 Oficina Bartolomeu dos
Santos, Rplica 2013
23 Paul Coldwell, artistas em
residncia e equipa da OBS,
Paul Coldwell, artists in
residence and OBS team, 2013
23
24
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The open print workshop occupies a very special place in art production in
terms of providing a space in which artists from a range of disciplines and with
differing ideologies and histories can meet, produce work and exchange ideas.
There is the practical rationale that makes the sharing of resources both logical and desirable, indeed it offers a sustainable model through which equipment and resources can be maximised and offers a range of facilities beyond
the scope of most individual artists. Through this, it can create the environment for combining techniques and providing opportunities for new hybrid
approaches. Most importantly, a print studio that is well used will also be a
better one, as, over time, the organisation of processes and the knowledge of
both the equipment and materials becomes refined. Furthermore, the overall
layout of the studio gradually finds its natural plan, so that the studio reflects
and facilitates the rhythm of making. A good functioning studio should be one
that can almost be negotiated blindfolded. But above all, the open print workshop facilitates the sharing of expertise and knowledge, in which every participant makes a contribution. In this way the print workshop can be seen as the
accumulated knowledge of all its participants, a physical repository that each
member both contributes to and draws from.
Rplica, staged at the studio of the late Barto dos Santos, was a very special event for a number of reasons. Firstly, it reflected dos
Santos ethos of shared production and that teaching and
learning take place in printmaking throughout every stage
Reflections of making, from conceptualisation, through understanding technique, to final execution and presentation. I learnt
on
this as a student of dos Santos at the Slade School of Art in
the 1970s, learning how to ink and wipe an etching plate
Rplica
by observing him printing his own work, learning how
the etching plate was something that could be endlessly
reworked until the desired results were achieved, gaining
the confidence to take risks and experiment. Dos Santos placed great value on
the intelligence embedded within the hand, as well as the eye, brain and heart.
Printmaking is a hands on activity but no less engaged in the articulation of
ideas, thoughts and feelings. The renewed interest in the haptic and in craft
skills naturally finds its model in the print studio.
Secondly it was a celebration of diversity and exchange with participants
coming from a variety of backgrounds and experience. The print studio has
traditionally occupied this rare place whereby artists, sometimes diametrically
opposed, could work together and observe different approaches to image making. What became clear very quickly was the supportive nature of the group
and how they each were learning from each other. This is not to say it became
26
homogenised, clear positions were taken and defended, but it was in the spirit
of open exchange. Importantly, all the experimentation was done in public so
that its potential was available for all to use and appropriate if necessary. As
guest artist on the programme, I was there to share my knowledge but also
learn from the others. My role was to help engender an atmosphere whereby
experimentation could take place and where everyone could take risks and feel
comfortable in extending him or herself.
There was a third component to the workshop and that was to perpetuate
the memory of dos Santos himself. The studio carries with it the presence of
the artist and through this a deeper sense of work, ideas and values was transmitted to all those involved. The presentation I gave on my
work, late in the evening, on the terrace of the studio, with
wine and conversation, seemed to pay homage to dos Santoss desire to integrate teaching with social interaction. Im Paul
certain that Barto would have been delighted to see his studio being used in this way; a place to make prints, to discuss Coldwell
ideas, to foster new friendships and to ensure that his passion
for printmaking as an accessible and democratic medium was
being carried forward by a new generation.
27
Ana
Eliseu
As dimenses indicadas so
em centmetros e referem-se
rea impressa.
Dimensions are indicated in
centimetres and refer to the
printed area.
31
32
33
34
35
36
37
rvores (1 e 1) gua-forte
[trees (1 and 1)] etching
3418
38
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33
34
35
36
37
38
Daniel
Figueiredo
ins sarre . in aavv, bartolomeu cid dos santos : exposi o retrospetiva . lisboa , fundao calouste gulbenkian ,
centro de arte moderna , 1989
Decidi fazer uma interveno nas paredes exteriores da oficina; apropriei-me do nome da rua onde esta
est situada (Escadinhas Bartolomeu dos Santos) e
produzi uma primeira matriz com o objectivo de gerar
um padro que seria depois aplicado, em jeito de azulejo; criei o meu prprio labirinto de escadinhas.
Na fase seguinte, deixei-me levar pela envolvncia
experimental que se vivia, pelo fervilhar de ideias e o
questionar de tcnicas e processos, e continuei a utilizar a mesma matriz exaustivamente at sua completa degradao, entrei assim dentro do labirinto sem
saber se conseguiria encontrar o centro ou mesmo voltar a sair.
I decided to intervene on the outside wall of the studio; referring to the street name where the workshop
is located: Escadinhas* Bartolomeu dos Santos, I produced a matrix with the intent of generating a pattern
that could be applied in the style of a ceramic tile. I created my own labyrinth of stairs.
In the next phase, I let myself be carried away by the
experimental atmosphere, by the seething of ideas, the
questioning of techniques and processes. I exhaustively reworked that first plate until it was completely
deteriorated. In this way I entered the labyrinth, not
knowing if Id be able to find its centre or even find a
way out.
* n .t. escadinhas translates into stairway
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42
43
44
45
Possveis direces
gua-forte, gua-tinta, chine-coll
[possible directions] etching, aquatint and chine-coll
2020
46
47
Labirinto de escadinhas
linogravura, interveno urbana
[stair labyrinth] linocut, urban intervention
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44
45
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Laura
Figueiras
As a point of departure for my work, I took the composition of geometric forms in dialogue with the plate surface. By juxtaposing these forms and resorting to the
use of colour, I intend to create varied visual situations.
In this way, I attempt to show a range of possibilities in
the context of pictorial practice. Line and tone emerge
as primordial elements whose interaction enable the
formation of picture planes.
During the residency, I focused on these two premises and had the chance to improve techniques such as
chine-coll, sugar-lift and aquatint, which were crucial
for the development and expansion of my work.
The possibilities were enormous, considering the
conditions offered by Oficina Bartolomeu dos Santos
and the sharing of knowledge that took place between
the resident artists, tutors and the organisation team.
51
52
57
58
51
52
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57
Ins
Cias
The fact that the residency took place at Oficina Bartolomeu dos Santos determined my decision to explore
metal techniques, as excellent conditions for this practice were available, representing the greater potential
for discovery and experimentation. I decided to use an
illustration I was working on at the time as the basis of
my project, using preestablished images and compositions. Most importantly, Rplica gave me the opportunity to make mistakes: from over tenuous interventions
to ruthless corrosion of the metal plate (which initially
inspired me such ceremony). Having freed myself from
the obligation of returning to the original idea leaving
room for other possibilities I felt encouraged to do, to
move forward without over thinking. This is something
that I take with me for future work.
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66
67
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64
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66
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Jorge
Mestre
Simo
All of the work I produced during the residency resulted from a first contact with printmaking techniques. Through experimentation, a series of possibilities emerged that met with my previous concerns.
I attempted to understand how gesture and its repetition could be applied to printmaking techniques, to the
point where they became automatic and intuitive.
The atmosphere of the residency strengthened this
idea through the day-to-day repetition of activities and
processes, which established daily rituals, which echoed in my own creative process.
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75/
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77
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73
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Manoela
Afonso
81/
82
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84
Alexandra
Ramires
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91
98
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Bertlio
Martins
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101
S/ ttulo gua-forte
[untitled] etching
3025
102
S/ ttulo colagravura
[untitled] collagraph
2317
103
S/ ttulo monotipia
[untitled] monoprint
1510
S/ ttulo gua-tinta
[untitled] aquatint
2116
S/ ttulo colagravura
[untitled] collagraph
2317
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Biografias
Biographies
112
teacher and is a member of the team at Docs KingdomInternational Seminar on Documentary Film.
113
Tutores
Convidados
Guest
Tutors
Nuno Faria
Curador independente com formao em Histria
da Arte pela Universidade Livre de Bruxelas. Entre
1997 e 2003, integrou os quadros do Instituto de
Arte Contempornea do Ministrio da Cultura,
foi consultor e curador residente da Fundao
Calouste Gulbenkian entre 2003 e 2009. Foi responsvel pelo programa de arte contempornea
Allgarve10.
Desenvolve o projecto MobilehomeE scola Nmada, Experimental e Independente, em Loul e
o projecto Cretto na Fundao Paolo Brodbeck,
na Ctania (Itlia). director artstico do Centro
Internacional das Artes Jos de Guimares, em
Guimares.
Foi professor no Curso Avanado de fotografia
do Ar.Co, no curso de Artes Visuais da Universidade do Algarve e desde 2011 lecciona no Mestrado
em Fotografia do Instituto Politcnico de Tomar.
coordenador editorial de diversas publicaes,
tendo ampla obra escrita publicada sobre arte e
artistas. Em 2013 foi-lhe atribudo o prmio de crtica e ensaio da AICA/Fundao Carmona e Costa.
Independent curator, holds an art history degree
from the Vrije Universiteit Brussel. From 1997 to
2003, he worked at Instituto de Arte Contempornea (Ministrio da Cultura), after which he
worked as a consultant and resident curator at
114
Oona Grimes
Desenhadora, rabiscadora e contadora de histrias
compulsiva. Trabalha sobretudo com livros e mltiplos, gravura e tcnicas mistas, abraando processos de impresso redundantes, recuperando e
reciclando materiais descartados, desprezados e
obsoletos. Nas suas narrativas, as vidas de William
Bligh, Mary Bell, John Dee e Fred West, so compiladas e servidas, em modo de cocktail, enquanto
destilaes de memrias individuais e colectivas.
Colabora com escritores e poetas, entre os quais
Iain Sinclair, Leslie Forbes e Fabian Peake.
representada pela Danielle Arnaud Gallery,
em Londres e o seu trabalho faz partes de diversas coleces pblicas: British Library, a New York
Public Library, Strang Collection, Lineker College
Oxford University, Victoria & Albert, University of
Texas e o Governo de Macau.
professora na Ruskin School of Fine Art
Oxford University, na University of the Arts London e no Royal College of Arts.
Compulsive drawer, scribbler and storyteller.
Working with books and multiples, etching and
mixed media, she embraces redundant print processes; salvaging and recycling last of stock, discarded and obsolete materials.
Narratives gleaned from such diverse lives as
William Bligh, Mary Bell, John Dee and Fred West
are mapped and served up as cocktail-shaken distillations of individual and collective memory. She
has previously collaborated with writers & poets,
most recently Iain Sinclair, Leslie Forbes & Fabian
Peake.
She is represented by Danielle Arnaud Gallery,
London and her work is included in numerous
Paul Coldwell
Artista, gravador e Professor de Belas Artes na
University of the Arts London.
A sua obra artstica inclui edies e livros de
artista, escultura e instalao. O seu trabalho est
representado em inmeras coleces pblicas,
incluindo TATE, Victoria & Albert Museum, British
Museum, The Arts Council of England. Foi seleccionado para a Bienal de Gravura de Lubliana
(1997, 2005), a International Print Triennial de Cracvia (2002, 2003, 2006, 2009) e a Northern Print
Biennial (2009, 2011). O seu trabalho grfico foi
objecto de uma retrospectiva em 2013, organizada
pela University of Kent, Canterbury.
Foi curador de inmeras exposies, incluindo
Morandis Legacy: Influences on British Art
(Estorick Collection, 2006), publicou em 2010 o
livro Printmaking: A Contemporary Perspective,
(Black Dog Publishing) e escreve regularmente
para as revistas Print Quarterly (da qual membro
do conselho editorial), Art in Print e Printmaking
Today.
Artist, printmaker and Professor in Fine Art at The
University of Arts London. His art practice includes
prints, book works, sculptures and installations
and his work is included in numerous public collections, including Tate, Victoria & Albert Museum
(V&A), British Museum and the Arts Council of
England. He has been selected for the Ljubljana
Print Biennial in 2005 and 1997, the International
Print Triennial, Cracow in 2000, 2003, 2006 and
2009, and the Northern Print Biennial in 2009,
2011. In 2013 he was the subject of a retrospective
of his graphic work organized by the University of
Kent, Canterbury.
He has curated a number of exhibitions including Morandis Legacy; Influences on British Art
(Estorick Collection London), published a major
survey of printmaking, Printmaking: A Contemporary Perspective (Black Dog Publishers, 2010) and
writes regularly in Print Quarterly (where he is on
the editorial board), Art in Print and Printmaking
Today.
Oradores
Convidados
Guest
Speakers
David Santos
Historiador, curador e crtico de arte. Director do
Museu Nacional de Arte ContemporneaMuseu
do Chiado (Lisboa) desde Dezembro de 2013,
tendo dirigido o Museu do Neo-Realismo (Vila
Franca de Xira) entre 2007 e 2013. Foi docente do
ensino superior na rea da Histria da Arte Contempornea (IADE, Lisboa) e, desde 1996, tem
vindo a publicar artigos e ensaios sobre arte em
catlogos, jornais (J; O Independente) e revistas
especializadas (Arte Ibrica; Arq./a; Artecapital.
net). Tem participado em palestras, conferncias e
mesas-redondas no pas e no estrangeiro. mestre em Histria Poltica e Social, ps-graduado em
Histria da Arte e licenciado em Histria, variante
de Histria da Arte. Prepara neste momento provas de doutoramento em Arte Contempornea
(Universidade de Coimbra).
Art historian, curator and art critic. In December
2013, he became director of the National Museum
of Contemporary ArtMuseu do Chiado (Lisbon) after directing the Museum of Neorealism
(Vila Franca de Xira) from 2007 to 2013. He was
a member of the Contemporary Art History faculty at IADE in Lisbon and has published articles
and essays on art in catalogues, newspapers (J;
O Independente) and specialist magazines (Arte
Ibrica; Arq./a; Artecapital.net) since 1996. In
115
Graciela Machado
Licenciada pela antiga Escola Superior de Belas
Artes da Universidade do Porto, em Artes PlsticasPintura em 1993, Mestre em Gravura pela
Slade School of Fine Art em 1996 e Doutorada em
Desenho pela Faculdade de Belas Artes da Universidade do Pais Basco em 2007. Enquanto docente
e investigadora da Faculdade de Belas Artes da
Universidade do Porto dedica-se ao desenvolvimento de estruturas acadmicas adequadas
criao nas prticas contemporneas da gravura.
Tem encetado vrias colaboraes em regime de
curadoria editorial com investigadores e artistas,
de modo a desenvolver novos produtos e processos aplicveis ao contexto da autoedio. Como
tema de ps doutoramento prope-se tratar os
processos da gravura fotomecnica.
A sua actividade artstica est centrada sobre a
prtica da gravura e conceitos de tempo, tecnologia e paisagem.
BA in Fine Arts (Painting) from the former Porto
School of Fine Arts (1993), MA in Printmaking from
the Slade School of Fine Art (1996) and completed
a PhD in Drawing at the Fine Arts College, University of the Basque Country (2007). As a lecturer and
researcher in the Fine Arts College at the University
of Porto, she dedicates herself to the development
of academic structures suited to artistic creation
in contemporary printmaking practices. In the
same area, she has collaborated with researchers
and artists as a curator to develop new products
and processes to be applied to self-publishing. The
theme of her post-doctoral research is an inquiry
into processes of photo-mechanical printmaking.
Her artistic practice is centred on printmaking and
questions the concepts of time, technology and
landscape.
116
Oscar Wilde, Bertolt Brecht, Georg Buchner, Lovecraft, Michelangelo Antonioni, Pier Paolo Pasolini,
Heiner Muller e Harold Pinter. Realizou vrias longas-metragens e documentrios, nomeadamente
A Gravura: Esta Mutua Aprendizagem.
Studied at the London Film School. With Lus
Miguel Cintra, he co-founded and directed Teatro
da Cornucpia (1973/79). He was an apprentice
with Peter Stein in Berlin and Giorgio Strehler in
Milan. In 1995, he founded the association Artistas Unidos, of which he is the artistic director. He
has written librettos and plays, and has translated
works by Carlo Goldoni, Luigi Pirandello, Oscar
Wilde, Bertolt Brecht, Georg Buchner, Lovecraft,
Michelangelo Antonioni, Pier Paolo Pasolini,
Heiner Muller and Harold Pinter. He has made several feature films and documentaries, in particular,
A Gravura: Esta Mutua Aprendizagem [Printmaking: A Mutual Learning].
Manuel Botelho
Artista plstico e Professor na Faculdade de Belas
Artes da Universidade de Lisboa. Curso de Arquitetura da antiga Escola Superior de Belas Artes de
Lisboa (1968-76). Bolseiro da Fundao Calouste
Gulbenkian na Byam Shaw School of Art (1983-85)
e na Slade School of Fine Art, Londres (1985-87).
Doutoramento em Pintura, na Faculdade de Belas
Artes da Universidade de Lisboa (2006).
Participou em mltiplas mostras colectivas.
Entre outros locais, exps individualmente em:
Fundao Calouste Gulbenkian (1986, 1994);
Museu Nacional de Arte Antiga (2000); Centro de
Arte Moderna Jos de Azeredo Perdigo (2005);
Museu de Arte Contempornea de Elvas (2008);
Fundao EDP (2008); Centro Cultural de Lagos
(2005, 2009); Fundao PLMJ (2012); e ainda nas
galerias Mdulo (Lisboa e Porto), Flowers East
(Londres), Miguel Nabinho (Lisboa), Fernando
Santos (Porto), Joo Esteves de Oliveira (Lisboa),
Gomes Alves (Guimares).
Visual artist and Professor at the Fine Arts College of the University of Lisbon. After studying architecture at the former Lisbon School of
Fine Art (1968-76), he won scholarships from the
Calouste Gulbenkian Foundation to study at the
Byam Schaw School of Art (1983-85) and the Slade
School of Fine Art in London (1985-87). He completed a PhD in Painting from the Fine Arts College
of the University of Lisbon (2006). He has participated in numerous group shows and his solo
exhibitions include: Calouste Gulbenkian Foundation (1986, 1994); National Museum of Ancient Art
(2000); Jos de Azeredo Perdigo Modern Art Centre (2005); Elvas Museum of Contemporary Art
(2008); EDP Foundation (2008); Lagos Cultural
Centre (2005, 2009); PLMJ Foundation (2012);
and the art galleries Mdulo (Lisbon and Porto),
Flowers East (London), Miguel Nabinho (Lisbon),
Fernando Santos (Porto), Joo Esteves de Oliveira
(Lisbon) and Gomes Alves (Guimares).
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Parceiros
Contraprova
A Contraprova uma associao sem fins lucrativos cuja misso contribuir para a produo,
promoo e distribuio da gravura contempornea portuguesa. Surgiu em 2008 na tentativa
de colmatar a falta de um espao de trabalho em
gravura, bem como promover projectos editoriais
e um conjunto de aces de formao para pblicos diversamente especializados. A associao
pretende constituir-se como um polo agregador
para a produo criativa em Lisboa, nas reas da
gravura, das tcnicas de impresso analgicas e
da ilustrao.
Partners
OBS
A Oficina de Tavira Associao Cultural (OBS) um
espao de criao artstica, no domnio das Artes
Visuais, com especial orientao para a prtica da
gravura.
A OBS procura recuperar um lugar de relevo no
panorama artstico nacional, aplicando os valores
de ensino, profissionalismo e dedicao que so o
legado do seu fundador, o artista Bartolomeu dos
Santos. Procura, acima de tudo, restabelecer o seu
papel numa rede internacional, caracterstica particular deste espao, desde a sua fundao.
A OBS pretende assim dar um forte contributo
para a criao, estabelecimento e fortalecimento
de pblicos, para a diversificao e descentralizao dos recursos criativos nacionais.
Oficina Bartolomeu dos Santos (OBS) is a space
for artstic creation in the field of Visual Arts, particularly dedicated to printmaking.
OBS seeks to recover an important place in the
national art scene, applying the values
of education, professionalism and dedication that are
the legacy of its founder, the artist Bartolomeu
dos Santos. It strives, above all, to reestablish
its place in an international network, a particular feature of this workshop since its foundation.
The OBS wishes to contribute to the creation,
establishment and strengthening of audiences, as
well as to the diversification and decentralization
of national creative resources.
CIAC
O CIAC resulta da fuso de dois centros no financiados: o Centro de Investigao em Cincias da
Comunicao e Artes (Universidade do Algarve)
e o Centro de Investigao em Teatro e Cinema
(Escola Superior de Teatro e Cinema do IPL). Esta
fuso exprime a vontade explcita de partilhar
massa crtica e recursos humanos e materiais das
duas instituies, tanto no domnio da investigao como no da sua aplicao a programas de
formao ps-graduada, ao nvel do 2 Ciclo, do 3
Ciclo e de ps-doutoramentos. Tem como objectivo desenvolver investigao aplicada e redes de
investigao em artes e comunicao, implementar laboratrios de criao artstica nas reas do
Teatro, Cinema e outras artes, com enfoque na
regio do Mediterrneo.
CIAC results from the merging of two nonfinanced Centres: CICCOMA (Research Centre for
Communication Sciences and Arts
Algarve
119
Agradecimentos
Programa de Residncia
Acknowledgments
Residency Program
Programao e Produo
Margarida Palma e Soraya Vasconcelos
Apoio Produo
Ana Joo Romana e Brbara Delgado Martins
Servio Educativo
Joanna Latka
Production Support
Ana Joo Romana and Brbara Delgado Martins
Educational Service
Joanna Latka
Graphic Design
Joana & Mariana
Design Grfico
Joana & Mariana
Publicao
Publication
Concepo e Coordenao
Margarida Palma e Soraya Vasconcelos
Textos
Margarida Palma, Soraya Vasconcelos
e Paul Coldwell
Texts
Margarida Palma, Soraya Vasconcelos
and Paul Coldwell
Design Grfico
Joana & Mariana
Traduo e Reviso de Textos
Kennis Translations
Fotografia
Resize, Lda.
Pginas 18 e 123, Soraya Vasconcelos
Pginas 8 a 15, Arquivo Brbara Delgado Martins
Graphic Design
Joana & Mariana
Translation and Proofreading
Kennis Translation
Photography
Resize, Lda.
Pages 18 and 123, Soraya Vasconcelos
Pages 8 to 15, Arquivo Brbara Delgado Martins
Encadernao
Ana & CarvalhoEncadernao e Tipografia
Bookbinding
Ana & CarvalhoEncadernao e Tipografia
Impresso
Riso
Printing
Riso
Tiragem
200
Print run
200
ISBN 978-989-20-4601-3
ISBN 978-989-20-4601-3