Art and anesthesia: image and absence at the abyss of high mechanical reproduction

Friday the 19th of may at 2:30pm, Cris Ambrosio and Deyson Gilbert will present “art and anesthesia: image and absence at the abyss of high mechanical reproduction”- coleção moraes- barbosa - at the Colégio das Artes, Universidade de Coimbra. Free admission.

Colégio das Artes
Apartado 3066
3001-401 Coimbra


Exhibition and newly published writings

 EARTH-WORDS, Robert Smithson: Artforum 1966-73

org. Antônio Ewbank and Wallace V. Masuko

may 6th 2023, 11 a.m. to 7 p.m.  

06.05 - 17.06.23

Robert Smithson's sculptural language is not limited to objects commonly found in museums and galleries, nor to large-scale projects that explore large spaces outside urban centers. It also links his textual production, published mainly in North American art magazines in the 1960s and 1970s. With the support of the Holt/Smithson Foundation and the moraes-barbosa collection, Robert Smithson: Artforum 1966-73 is launched on the occasion of the 50th anniversary of the artist's death, containing all the texts published in that magazine, and for the first time, in a fac-simile translation. Simultaneously, the exhibition Earth-Words [Terra-palavras] addresses Smithson's sculptural thought process with a set of graphic pieces that are part of cmb.

Erica Ferrari

Pedrosa's proposal for the 6th Biennial sought to remove the works of contemporary artists from the specialized isolation of modern art museums, then in vogue. By ending specialization, he contradicted the traditional historiography of art, which imposed on certain works and objects the label of “predecessors”: Aboriginal, Hindu, Baroque and the European 1800s, and Latin American art seem to ricochet in the photos of the construction of Brasília, in Alicia Penalba's bronzes, in Lygia Clark's Critter.

Program of Texts: Of glass. Why does it not recoil, or die?

Laila Terra

It is necessary to understand more than the elementary set that makes the Farnsworth House an aesthetic sign. It is necessary to enter the historical context of the language that encompasses this specific sign, because every language is consigned to a certain time and space. It is necessary to identify the discourse ascribed to the house and to the characters who occupied it in the different situations. Who was Mies van der Rohe when he was hired by Edith, and what were the enunciations concerning him? Who was Edith Farnsworth, the contractor, and how was she represented by history (from 1940 to 2020)? When was the house designed and where? What are the constructive elements proposed by Mies? What was Edith's reaction after the house was finished and what did that entail? And, finally, what happened to the house over time (from 1951 to 2020)? Finally, with these data, we can confront the discourses.

Exhibition: Possession State: notes for an aesthetic of torture 

Cris Ambrosio & Deyson Gilbert (org.)

𝘧𝘰𝘳 𝘢 𝘥𝘦𝘧𝘪𝘯𝘪𝘵𝘪𝘰𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘤𝘰𝘯𝘤𝘦𝘱𝘵 𝘰𝘧 𝘱𝘰𝘴𝘴𝘦𝘴𝘴𝘪𝘰𝘯:
In a strict sense, ideological drama established in the field of conscience by the conflict of one or more entities that claim, all at once, control over the same countenance. In a dilated form, a crossroaded category: a spiritual path of beings butchered by the historical and political blades of the territories, bodies, and symbols (demonology of weights, wills and the owned). In a direct puncture: misalliance and fractured conciliation between images, things, and inclinations. In essence: the exorcism of the eyes against the sweat of the hands and the drool of the assholes.

This November, cmb will launch its new space with a showing of part of its archive and collection.

1st cycle

c    mb

For 6 months, Antônio Ewbank, Bruno Baptistelli, Erica Ferrari, Pontogor and Tom Nóbrega received a research grant to develop their work in intersection with the moraes-barbosa collection’s archive.