tag:blogger.com,1999:blog-34558078201208591512024-02-09T02:21:04.141+00:00Eduardo MatosUnknownnoreply@blogger.comBlogger1125tag:blogger.com,1999:blog-3455807820120859151.post-86022982715147873052012-04-04T08:56:00.004+01:002020-03-13T10:16:45.603+00:00<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><b><span style="font-size: x-small;">Contact: eduardomatos00@gmail.com </span></b></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-family: "verdana" , sans-serif;">Eduardo Matos (1970)</span><span style="font-family: "verdana" , sans-serif; font-size: x-small;">,</span><span style="font-family: "verdana" , sans-serif;"> </span></span><span style="font-family: "verdana" , sans-serif;"> Rio de Janeiro, Brazil, </span></span></span><span class="short_text" id="result_box" lang="en">lives and works Helsinki</span></span><br />
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<span id="m_-4519064773227850244gmail-result_box" lang="en"><span style="font-family: "verdana" , sans-serif;">You are all invited to my next exhibition at the Irène Laub Gallery in Brussels with the Greek artist Eirene Efstathiou.</span></span></div>
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<span lang="en"><a href="http://irenelaubgallery.com/"><span style="font-family: "verdana" , sans-serif;">http://irenelaubgallery.com/</span></a></span><br />
09.03.17 > 14.04.17</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-zOkiGqvt3TEXE2Xq4IpgA8Nvr62jdOkZ0EIZTkQJXDwctcDQK4ETIoM7yhxWBiO4NRDa9eGK1HZL9wimcsNoOkn_UEyshRxreNpPRD5Verw0V2IZ5abmcTicW-m9tWwxfnPaZ_Jc8jc/s1600/imag.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span lang="EN-GB" style="font-family: "verdana" , "sans-serif"; font-size: 10pt; line-height: 115%; margin: 0px;"><span style="color: black;">How to express what is seen and transmit it through
the realization of the image itself? It is in the ability to conjure up micro
events in the margins of the dominant writing – as a means to induct a
subjective reading – that the works of Eirene Efstathiou and Eduardo Matos
meet. Slowing down and taking the time to look around oneself and see what is
happening. Eduardo Matos’ installation «Lamp’s Explanation» incites this
introspection. This research emerged in the solitude of his Brussels apartment
in a spirit of resistance towards the outside world. That which he tries to
escape nonetheless permeates his everyday life. The play of city lights is
projected onto the white walls of his studio. Eduardo Matos draws the way he
paints. He covers the papers with a thin layering of colors, much like the
glazes of the masters of the fifteenth century. It is the temperature and
brightness of these, often artificial, lights, that he tries to capture in
these two new series of drawings. Sometimes the details of his apartment are
included in these attempts that connect interior and exterior. In the series of
drawings «No. 3 Map trace» (2016), Eirene Efstathiou, for her part, shows an
interest in the protests of July 1965 that occurred prior to the Greek coup. On
the pages of an old teaching atlas colored in by children, the artist
juxtaposes photographs from archives and post-war statistical annotations that
describe the material losses under the Occupation. This process, in which
documentary values intersect with their subjective interpretation, draws
attention to the way historical events and data are manipulated and
misrepresented by the media to serve a contemporary political narrative.</span><span style="margin: 0px;"><span style="color: black;"> </span></span><span style="color: black;">A similar approach is used in her paintings.</span><span style="margin: 0px;"><span style="color: black;"> </span></span><span style="color: black;">By juxtaposing Greek historical and media
images from December 1944 and 2008, Eirene Efstathiou reflects on the
politically charged events of these two Decembers. The result is a semantic
blur caused by a loss of context that would allow an interpretation of facts.
These representations leave room for visions of ruins and absence. Alongside
his drawings, Eduardo Matos presents a video that replays a process conceived
in the framework of the work «Lamp Explanation». A loop shows the empty space
of his apartment where a choreography of anonymous objects unfolds. They appear
and disappear according to the cyclical movement of the camera. Absence is a
key concept in the intimate observations the artist makes. She calls into
question that which is seen, that which should be seen, the way we understand
these images and the world around us.</span></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-zOkiGqvt3TEXE2Xq4IpgA8Nvr62jdOkZ0EIZTkQJXDwctcDQK4ETIoM7yhxWBiO4NRDa9eGK1HZL9wimcsNoOkn_UEyshRxreNpPRD5Verw0V2IZ5abmcTicW-m9tWwxfnPaZ_Jc8jc/s1600/imag.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span lang="EN-GB" style="font-family: "verdana" , "sans-serif"; font-size: 10pt; line-height: 115%; margin: 0px;"><span style="color: black;">‘Regarding the continuity of disrupted images’
questions the way in which images circulate, the lack of references relating to
them, but also the perception we have of them. In the face of the uncertainty
produced by the superabundance of information, should we not slow down and take
the time to question these unanimous visions?</span><span style="margin: 0px;"><span style="color: black;">
</span></span><span style="color: black;">The gaze of Eirene Efstathiou, always on the fringe of the dominant
discourse, confronts the impossibility of a representation of violence and
chaos. Eduardo Matos, on the other hand, resists the excesses of society
through an introspective process. Whether addressing a specific problem or the
truncated reports of public demonstrations, the questions raised in the works
of Eirene Efstathiou and Eduardo Matos transcend the anecdote and speak of a
common history.</span></span></a></div>
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<span style="font-family: "verdana" , sans-serif;">Reliquia cadaver" at Galerie der kunster in Munic</span><span style="font-family: "verdana" , sans-serif;">h
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<span style="font-family: "verdana";"><span style="font-family: "verdana" , sans-serif;">«««««««««««««««««««««««««««««««««««««««« </span></span><br />
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<span style="font-family: "verdana";"><span style="font-family: "verdana" , sans-serif;">Dear all,<br /> On the 19th of February I opened a solo show at Pedro Oliveira Gallery Porto, Portugal.<br /><br /><i> Metal Explanation<br /> Cap. B e C. The Intruders and Without Electricity</i></span><span class="text_exposed_hide" style="font-family: "verdana" , sans-serif;"><i>...</i></span></span><span style="font-family: "verdana";"><span class="text_exposed_show"><span style="font-size: x-small;"><br /><span style="font-family: "verdana" , sans-serif;"> From 20 Feb. until 26 Mar.</span></span><br /><span style="font-family: "verdana" , sans-serif; font-size: x-small;"> More info: </span><a href="http://galeriapedrooliveira.com/press/eduardo_matos_2016.htm" rel="nofollow" target="_blank"><span style="font-family: "verdana" , sans-serif; font-size: x-small;">http://galeriapedrooliveira.com/press/eduardo_matos_2016.htm</span></a></span></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“Lamp’s Explanation”</span></b></span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;">
</span></span><br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">By André Cepeda and Eduardo Matos</span></b></span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;">
</span></span>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><br /></span></span></div>
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</span></span>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The work of André Cepeda and Eduardo Matos shows us
different options, developed by each of them over more than a decade. André
Cepeda more focused and loyal to the photographic work, and Eduardo Matos with
a research that brings into dialogue different media in a same space of
sensible experience. Although at first glance the work of both, that is, the
language, the themes and, somehow, the space of affirmation of their works,
tells us that we are facing two distinct authors, Cepeda and Matos have shared
experiences and developed common work, such as the artistic residency in 2010,
in Brussels, which resulted in the project “Kanal”.</span></b></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><br /></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">In “Lamp’s Explanation”, exhibition which now opens at
Galeria Pedro Oliveira, the authors resume a dialogue that has accompanied them.
This time the gallery’s space is the common place where Cepeda’s pictures and Matos’
drawings and video inhabit the space in a possible dialogue. Added to this, parallel
to the exhibition, Cepeda and Matos curate a program of performance and sound:
António Olaio, Gustavo Sumpta, Luís Lopes and Vera Mota join the “Lamp’s
Explanation” with their sounds, gestures and movements.</span></b></span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;">
</span></span>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><br /></span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;">
</span></span>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">"My friend André</span></b></span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;">
</span></span>
<br />
<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">I've been here dealing with my stuff, trying to figure
out what can I offer you in exchange for the pictures you have sent me. I
wonder what place is the one which your pictures thoroughly realize,
inescapable fatality it seems to me...</span></b></span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;">
</span></span>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">I do see the times are not for optimism. The dust and
the metal bring a bitter taste to my saliva.</span></b></span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><br /></span></span></div>
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</span></span>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The drizzly racket that has settled around us, in the public
life, in the streets, in the cafes, in the newspapers and television doesn’t
let me confused, but also doesn’t satisfy the wickedness that I am capable of.
That we are all capable of.</span></b></span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;">
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><br /></span></span></div>
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</span></span>
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<div class="MsoNormal" style="text-align: justify;">
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">By desire, I'm confined to a physical and mental space
that does not go beyond the 12m<sup>2</sup> of my studio in Brussels, where I
now live. On top of this situation, the white walls of my studio, which is also
my home, insinuate themselves with a nocturnal satin sheen as if it were an
issue. It seems little to me, but it is what it is, I'm not for more. As you
see, it does not foretell for big incursions.</span></b></span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;">
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<div class="MsoNormal" style="text-align: justify;">
<b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: #222222; font-family: "times new roman" , "serif"; font-size: 12.0pt;">We are friends and we have a lot in
common, but friendship is also made of silences and little violence. Therefore,
I see no reason why the exhibition that we now prepare isn’t like that as well."</span></b><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"></span></b></div>
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</div>
<span style="font-family: "verdana" , sans-serif;"><span id="result_box" lang="en"><span class="hps">Some</span> <span class="hps">pictures</span> <span class="hps">of</span> <span class="hps">my work</span> <span class="hps alt-edited">at</span> <span class="hps">the</span> <span class="hps">Bienal</span> da Maia <span class="hps">2015</span> , <span class="hps">Portugal</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-yiazUd9Br5NtwUUg0Dm3ZgLLP9Sj4Y8KdRvYRsawV1-Ih2LCoXPq4Q4ITw9e73mjdIC-tHnxFBQBheEnSjve6BfJ-T1YbVRu-xPUIbpTkjjclji5Debdcbw89c-1inUBtcExxgDzFYA/s1600/25+c.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="425" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-yiazUd9Br5NtwUUg0Dm3ZgLLP9Sj4Y8KdRvYRsawV1-Ih2LCoXPq4Q4ITw9e73mjdIC-tHnxFBQBheEnSjve6BfJ-T1YbVRu-xPUIbpTkjjclji5Debdcbw89c-1inUBtcExxgDzFYA/s1600/25+c.jpg" width="640" /><span style="font-family: "verdana" , sans-serif;"><span id="result_box" lang="en"><span class="hps">Maia</span></span></span></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidDDIYGV1xp4skYj6gUjf40GjKmSHiDNNpUpxNeldeXWEqs1J73zWDZ_wL2fh1wc_kTSZX-Pa5Uu7V1gl6JkKn7QwHXqDh3vsts0QP-6_YwjrO8dBUakO_BvdYX9ZcMQZ68vMkmXClPFE/s1600/27+c.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidDDIYGV1xp4skYj6gUjf40GjKmSHiDNNpUpxNeldeXWEqs1J73zWDZ_wL2fh1wc_kTSZX-Pa5Uu7V1gl6JkKn7QwHXqDh3vsts0QP-6_YwjrO8dBUakO_BvdYX9ZcMQZ68vMkmXClPFE/s1600/27+c.jpg" width="400" /></a></div>
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<span style="font-family: "verdana" , sans-serif;"><span id="result_box" lang="en"><span class="hps"><b>»»»</b> On 24th</span> <span class="hps">January</span> <span class="hps">I will present</span> <span class="hps">the</span> <span class="hps">video </span></span></span><span style="font-family: "verdana" , sans-serif;"><span id="result_box" lang="en"><i><span class="hps">argant</span></i></span></span><span style="font-family: "verdana" , sans-serif;"><span id="result_box" lang="en"><span class="hps">.</span><br /> <span class="hps alt-edited">At</span> <span class="hps">CCVF</span><i><span class="hps"> </span></i><span class="hps">Guimarães, Portugal.</span></span></span><br />
<span style="font-family: "verdana" , sans-serif;"><span id="result_box" lang="en"><span class="hps"><i>»Território de Trabalho » Laboratório das artes 10 anos</i> </span><i><span class="hps"><br /></span></i></span></span><br />
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<span style="font-size: small;"><span style="font-family: "arial narrow" , "sans-serif"; font-size: x-small;"><span style="font-family: "verdana" , sans-serif;"><b>»»»</b> Argant » </span></span><span style="font-family: "verdana" , sans-serif;"><span style="font-size: x-small;">2010 » Video projection: HD, Color, Mute, 6’12’’ </span> </span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span class="hps"><span lang="EN" style="color: black;">The title of</span></span><span lang="EN" style="color: black;"> <span class="hps">this</span> <span class="hps">piece</span> <span class="hps">comes from</span> <span class="hps">the
word “garganta” (throat in portuguese).</span> In the video <span class="hps">objects</span> <span class="hps">are</span> <span class="hps">treated</span> <span class="hps">as
sculptural mass</span>. <span class="hps">For</span> <span class="hps">Georges</span>
<span class="hps">Bataille</span> the <span class="hps">“informe”</span> <span class="hps">is the</span> <span class="hps">first</span> moment which <span class="hps">defines what</span> <span class="hps">was</span> <span class="hps">rejected</span>
<span class="hps">and excluded</span> <span class="hps">from</span> <span class="hps">Western metaphysics.</span> T<span class="hps">he</span> <span class="hps">indefinable</span>, <span class="hps">an</span> <span class="hps">anti-concept</span>,
<span class="hps">not</span> <span class="hps">so much</span> <span class="hps">a</span>
<span class="hps">theme</span> <span class="hps">but</span> <span class="hps">more</span>
<span class="hps">a</span> <span class="hps">substance</span>.</span></span></div>
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André Cepeda e Eduardo Matos<br />
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<b><span style="font-family: "verdana" , sans-serif;"><span style="font-size: small;"><span class="short_text" id="result_box" lang="en"> <span class="hps">Kanal</span> <span class="hps">project at Standart/deluxe </span></span></span></span></b><span style="font-size: small;">_ Lausanne _<wbr></wbr>Suíça</span><br />
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<span class="A7"><span lang="EN-US" style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; font-style: normal; line-height: 115%;">Dear reader, </span></span></div>
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<span class="A7"><span lang="EN-US" style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; font-style: normal; line-height: 115%;">Please allow me two introductory remarks before going any further. This
project, carried out with André Cepeda, is the result of our time as
artists-in-residence at Contretype in Brussels. As you can imagine, speaking on
behalf of both of us is not easy, especially because we began work on the
project back in April 2011. When we decided to do a project about the canal, we
were faced with a reality so complex and rich in terms of possible
representations that we felt that our hesitations, back-tracking and the
decisions we took as we went along were part of a context that was itself
elusive and fluid. You should be aware that these continual difficulties gave a
structure to the results of the project that form this exhibition. At first, we
intended to cover the entire length of the canal in Brussels. We started at </span></span><span class="A7"><span lang="EN-US" style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Verbrande-Brug</span></span><span class="A7"><span lang="EN-US" style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; font-style: normal; line-height: 115%;">, to the north of the city, a sort of mythical place that no longer
exists as we found it. We came across people living in boats on the canal; we
met </span></span><span class="A7"><span lang="EN-US" style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Little Jimmy</span></span><span class="A7"><span lang="EN-US" style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; font-style: normal; line-height: 115%;">, a man from the golden age of
rock’n’roll and spoke with someone who introduced himself as “the last captain
of the harbour”. Progress has come to their doorstep, and soon all those who
live in boats will be forced to leave. “There is no place for us anymore, no
place for dreaming, for poetry”, one of them explained.We spent some time in
the scrap car-dealers’ neighbourhood, where things that were invisible were
hinted at, and we went to the North Sea. Further south, we drove to Charleroi
while listening to the raw, melodic guitars of </span></span><span class="A7"><span lang="EN-US" style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Neil Young </span></span><span class="A7"><span lang="EN-US" style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; font-style: normal; line-height: 115%;">and </span></span><span class="A7"><span lang="EN-US" style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">Earth</span></span><span class="A7"><span lang="EN-US" style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; font-style: normal; line-height: 115%;">, and then wandered aimlessly around
the city for a while.This experience reminded us of another trip we’d done
together along the Mississippi in the Deep South of the United States; it
reminded us of the presence of music in the landscape, places and people. A
strange feeling took hold of us: somehow some places in Belgium resemble the
United States... As they say there, the canal is an invisible boundary that
crosses and divides the city of Brussels. It is an extraordinary place of
change and experimentation in which the atmosphere and landscape metamorphose
into strata of a matrix of indecipherable meaning. Even before I went there, I
had already imagined a landscape built and manipulated by many layers of information.
At the very moment I am writing these words, huge changes are taking place all
across it, producing an energy matrix that will completely change it. The
landscape is doubly artificial, where demolition, reconstruction and
environmental redevelopment will create a cold, pragmatically modern landscape,
with an energy that will be impossible to ignore. In a way, we had created our
own expectations, ideas and visions about this landscape, and we were anxious
to simply experience the passing of time in such a huge structure: the
movement, speed, rhythm and repetition that it generated- all things that are
increasingly distancing us from nature. With time, the first images appeared.
One of André’s photographs attracted my attention and I can even say that it
changed the direction of our project. The image is of an open book on a wooden
table. Observing it closely, we see that what is printed on the pages is a map,
and looking even closer, we see that it is a map of the city of Brussels. In
the lower part of the image, we feel the texture of the floor. Also on the
table we see an empty coffee cup and, in the upper left-hand corner, another
book, probably an encyclopaedia. Although the image depicts concrete objects,
its inherent degree of abstraction was to us raw evidence that what certain
images conceal about themselves is often more significant than what we think we
can see on the surface. We know that this project misses out countless things
that we did not notice, were not aware of, or that we simply ignored. But, as
in life, looking the other way may have led us to focus on, and intensify, what
is important. Therefore, in this exhibition we have imagined a place where
images and objects, sound, video and performance, become a narrative of time
that enhance our expectations.</span></span></div>
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<span class="A7"><span lang="EN-US" style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; font-style: normal; line-height: 115%;"><span style="mso-spacerun: yes;"> </span></span></span><span class="A7"><b><span style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; font-style: normal; line-height: 115%;">Eduardo Matos</span></b></span><span class="A7"><span style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; font-style: normal; line-height: 115%;">, Bruxelas 2011 </span></span><span class="A7"><span style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; line-height: 115%;">translation: Rui Parada</span></span><span style="font-family: "arial narrow" , "sans-serif"; font-size: 12.0pt; line-height: 115%;"></span></div>
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<span style="font-family: "times new roman" , "serif";"><b>//////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////</b></span><br />
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<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">“Lamp’s Explanation”</span></b></span></span></div>
<span style="font-family: "verdana" , sans-serif;"><span lang="EN-GB" style="font-size: small;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;"><b style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">At
Galeria Pedro Oliveira, Oporto Portugal » November » 2013</span></b></span></b></span></span><br />
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">In “Lamp’s Explanation”, exhibition which now opens at
Galeria Pedro Oliveira, the authors resume a dialogue that has accompanied them.
This time the gallery’s space is the common place where Cepeda’s pictures and Matos’
drawings and video inhabit the space in a possible dialogue. Added to this, parallel
to the exhibition, Cepeda and Matos curate a program of performance and sound:
António Olaio, Gustavo Sumpta, Luís Lopes and Vera Mota join the “Lamp’s
Explanation” with their sounds, gestures and movements.</span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">"My friend André</span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">I've been here dealing with my stuff, trying to figure
out what can I offer you in exchange for the pictures you have sent me. I
wonder what place is the one which your pictures thoroughly realize,
inescapable fatality it seems to me...</span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">I do see the times are not for optimism. The dust and
the metal bring a bitter taste to my saliva.</span></span></div>
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<br /></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">The drizzly racket that has settled around us, in the public
life, in the streets, in the cafes, in the newspapers and television doesn’t
let me confused, but also doesn’t satisfy the wickedness that I am capable of.
That we are all capable of.</span></span></div>
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<br /></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="font-family: "times new roman" , "serif"; font-size: 12.0pt;">By desire, I'm confined to a physical and mental space
that does not go beyond the 12m<sup>2</sup> of my studio in Brussels, where I
now live. On top of this situation, the white walls of my studio, which is also
my home, insinuate themselves with a nocturnal satin sheen as if it were an
issue. It seems little to me, but it is what it is, I'm not for more. As you
see, it does not foretell for big incursions.</span></span></div>
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<span style="mso-bidi-font-weight: normal;"><span lang="EN-GB" style="color: #222222; font-family: "times new roman" , "serif"; font-size: 12.0pt;">We are friends and we have a lot in
common, but friendship is also made of silences and little violence. Therefore,
I see no reason why the exhibition that we now prepare isn’t like that as well."</span></span><br />
<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBD-1r8Z9lWerU-pum_uuO0cqq8DvfOSrm6r16zp8_BvPA8ebFh2bFgym5TRrw0C_8eMDYH6GzNGfUm97M2NZqVMntRDyeI75b__ytrxsVC-dx4NIMjDaPDXZDLU73jwX8JFKwj7w6sD0/s1600/explica%C3%A7%C3%A3o+da+l%C3%A2mpada.tif" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="426" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBD-1r8Z9lWerU-pum_uuO0cqq8DvfOSrm6r16zp8_BvPA8ebFh2bFgym5TRrw0C_8eMDYH6GzNGfUm97M2NZqVMntRDyeI75b__ytrxsVC-dx4NIMjDaPDXZDLU73jwX8JFKwj7w6sD0/s640/explica%C3%A7%C3%A3o+da+l%C3%A2mpada.tif" width="640" /></a></div>
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