Monday, 15 September 2008

Statements


My dinner table drawings are maps of social experiences, and different performances in imaginary times and circunstances.
The words are very much on a survival language in people socializing. Other times, it happens the viewer can follow an entire conversation.
The work is on our language's experience, gesture and body language.

Rosa Almeida
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In Rosa Almeida’s work her aim has been to replace language, making it closer to the way we actually experience it, through thinking, speaking and reading.
In her drawing based work, she uses different media such as site specific installation, light, photography, sculpture and video.
Her writings are not conclusive but fragments, to be edited by the viewer each time he sees it. The language is always in relation with the experience’s layers and space.
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In my video animations, I shoot blow ups of drawings of mine and its presence, as well as the handy camera is very important. The works are an interface of video and drawing.
The video animations are the way the spectator looks at the drawings, from detail to another detail, editing himself the drawing.
The video animations enphasises this editing process, of a fragmented nature, relating to the video process too.

Rosa Almeida
October 2004
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My drawings are to be experienced. They are not to be seen at distance and the detail / spectator’s exchange have a very special role.
The detail is not non relevant, it reflects a perceptive proposal of language in the visual territory, that has been developed in my work since 1995.
As in a book, the spectator relation is a partial experience, non contemplative. Opposite a books’s neutral and abstract space, in my work, the written language in multiple directions is related to the the space experience, in its map quality – the walks lines and dinner table scratches.
In this way the reading is linked to the real experience, even physical, which is reinforced by the superfragmented writting.
In the Photo Drawings, I decided to value this.
They are versions of a spectator involvement with my drawings, pointing out that “…the important is not the images but what one chooses to see on it”.

Rosa Almeida
Dec 03
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Não são para ser vistos ao longe, daí que o pormenor / envolvimento do espectador tenha especial relevância.
O pormenor não é gratuito, reflete a proposta perceptiva da linguagem
no campo visual, que tem acompanhado o meu trabalho desde 1995.
Aparentemente como num livro, o espectador tem que se envolver para ler/ver o trabalho, é uma experiência parcial, não comtemplativa.
Mas ao contrário de um livro, onde o espaço é abstracto e neutro, nos meus trabalhos a linguagem escrita em multiplas direcções, é inseparável
do espaço,vivenciado, na aparencia de mapas, linhas de percursso ou mesas de jantar.
Neste sentido a leitura corresponde a uma experiencia real, fisica até, reforçada pela escrita superfragmentada.
Nos Photo Drawings decidi valorizar isto.
Eles são interpretações da aproximação do espectador ao desenho, apontando que "(...) o mais importante não é a imagem mas aquilo que se escolhe ver nela".**
Se os Desenhos são uma proposta de experiência, os Photo-Drawings são o registo duma experiência.
Neste sentido os Photo-Drawings são trabalhos sobre a visão, o percursso do espectador, que é reforçado na importancia da instalação no espaço, que obriga de novo a um percursso noutro espaço, ampliado.
No sentido da tradição da Fotografia os Photo-Drawings refletem, um passo atrás, a fotografia-documentação da obra, em desenho.
A tensão proposta sobre o original é muito importante nestes trabalhos.

Rosa Almeida
Dez 03
** Nuno Faria, "A Linguagem e o Desenho" in Catálogo Fundación Rei Afonso Henriques, Espanha, 2003
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The Light Drawings, 2003, are as well about the importance of the detail in our perception and memory. Our attention, the light focus on a precise moment
of the drawing. The two elements are strictly connected. The light is a material.
The Light Drawings depend on the space around and are site specific, done directly on the wall. I’ve been doing wall drawings since 1996.
The motion image, video/cinema quality in the Light Drawings is very important.

Rosa Almeida
Dec 03
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Os Light-Drawings dependem do espaço envolvente e são trabalhos site specific, feitos directamente na parede. Eles vêem no seguimento dos meus wall drawings desenvolvidos desde 1996.
Nos Light-Drawings a qualidade de moving image, Video/Cinema no Desenho é muito importante.

Rosa Almeida
Dez 03
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Sunday, 14 September 2008

2. Wall Drawings





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Listen, Listen, 2004, Light, Filter and Pencil on Wall, 80cm diameter, Variable Dimensions, Detail of installation at Presenca Gallery, Porto
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Just Kidding, 2003, Light, Filter and Pencil on Wall, 90cm diameter, Variable Dimensions
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Listen, 2005, Light, Filter and Pencil on Wall, 110cm diameter, Variable Dimensions, Installation View at BarLeft, Lisboa
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Silence, 2004, Light, Filter and Pencil on Wall, 90 cm diameter, Variable Dimensions
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Hum Hum, 2004, Light, Filter and Pencil on Wall, 100 cm diameter, Variable Dimensions
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Hum Hum, 2004, Light, Filter and Pencil on Wall, 100 cm diameter, Variable Dimensions
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Light Drawings, 2004, Light, Filter and Pencil on Wall, Installation View at Presenca Gallery, Porto
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It Feels Like, 2004, Light, Filter and Pencil on Wall, 120 cm diameter, Variable Dimensions
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4. Earlier Installations




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What You Feel Is True, 1997, Stillness Tools and Letraset on Wall, 1200x300x1cm, Dimensions Variable, View of Installation at John Weber Gallery, New York
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What You Feel Is True, 1997, Stillness Tools and Letraset on Wall, 1200x300x1cm, Dimensions Variable, Detail of Installation
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What You Feel Is True, 1997, Stillness Tools and Letraset on Wall, 340x300x1cm, Dimensions Variable, View of Installation at Slade School Open Studios, London
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What You Fell Is True, 1997, Detail
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Smoke Gets In Your Eyes, 1996, Ashes, Plastic Paper and Letraset on Wall, 45x120x10cm
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Smoke Gets in Your Eyes, 1996, Detail
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5. Drawings

























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A Bit Noisy, 2003, Gouache, Letraset, Permanent Ink and Pencil on Paper, 100x70cm
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A Bit Noisy, 2003, Detail
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A Bit Noisy, 2003, Detail
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A Bit Noisy, 2003, Detail
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A Bit Noisy, 2003, Detail
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7. Drawings

























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Something Else, 2004, Gouache, Permanent Ink and Pencil on Paper, 100x70cm
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Freedom, 2004, Gouache, Permanent Ink and Pencil on Paper, 30x20cm
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9. Drawings





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I'll Be right Back, 2005, Gouache, Permanent Ink and Pencil on Paper, 30x22cm
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Yes Yes, 2005, Gouache, Permanent Ink and pencil on Paper, 30x22cm
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11. Video

video


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Either Way, 2004, Video, Color and Sound, 2'.02", Video Stills
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Voices, 2002, Video, Color and Sound, 0'.54", Video Stills
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More respect, 2002, Video, Color and Sound, 0'.54", Video Stills
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Either Way, 2004, Video, Color and Sound, 2'.02", Video Stills
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Bio



Lives and works in Lisboa and London 
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1997, Master in Fine Arts, Slade School of Visual Arts, UCL, London, United Kingdom
1990, Degree in History of Art, Universidade Nova de Lisboa, Lisboa, Portugal
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Group shows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2010, Sold Out, Elastic Residence, Whitechapel, London, UK (Cat); Sala do Veado, Natural History Museum, Lisboa; Vanishing Point, Elevator Gallery, curated by Snozzie Hexagon, UK
2009, Paper In The Wind, Thomas Jaekel Gallery, curated by David Gibson,
New York, USA

2008, Points of View, Pavilhao Branco Cidade Museum, Lisbon, curated by Miguel Amado, (Cat.)
2007, Algumas Paisagens, Elvas Comtemporary Art Museum, Elvas, Portugal
2006, Between Word and Image, Luis Seoane Foundation, Coruna, Spain;
Amarante Museum, Portugal; Pavilhão Branco, City Museum for the Arts
(Cat.)
2005, Salon European Jeunes Createurs, Paris; Salzburg, Barcelona, Amarante, Geneve, selec. by Fatima Lambert
Galeria Presença, Porto
100 Desenhos, curated by Pedro Maia, Maus Hábitos, Porto
2004, Portugal, The Stenersen Museet, curated by Pedro Portugal, Oslo, Norway
VIII Mostra, Museo Arte Comporáneo Union Fenosa, Coruña, Spain
Flaneur, Luis Serpa Gallery, Lisboa, Portugal
2003, Open Studios, International Studio and Curatorial Program, New York, USA
Downstream, Rey Afonso Henriques Foundation, Zamora, Spain (cat.)
2002, Expecting The World, Kunstlerhaus Bethanien, Berlim, Germany;
Video Screening, Chiado Museum, Lisboa, Portugal
Life Policies, (with Marie Roemer), curated by Solvej Ovesen, Zdb, Lisboa
2001, First Step, M.A.C.E., Evora, Portugal
EDP Prize, Serralves Museum, Porto, Portugal
(Cat.)
2000, Diary, Cornerhouse, Manchester; Firstsite, Colchester, curated by Margot Heller, United Kingdom (Cat.)
Del Golfo Award, La Spezia, selection by Vicente Tudoli, Italy (Cat.)
André Viana Gallery, Porto, Portugal
1999, Europe on a Shoestring, John Weber Gallery, New York, USA
Scripta Manent, Esso Gallery, New York, USA
My Old Man Said Follow The Van, Hoxton Theatre, curated by Carolina Grau, London, United Kingdom
(Cat.)
Open Studios, International Studio Program, New York, USA
1998, Destroyer Creator, John Weber Gallery, New York, USA
Open Studios, International Studio Program, New York, USA
Cesar Gallery, Lisboa, Portugal
(Cat.)
1997, Degree Shows, Slade School of Fine Arts, London,
United Kingdom
1996, 25th Anniversary, 25 Younger Artists, John Weber Gallery,
New York, USA
Art Omi, Omi, New York, USA
(Cat.)
1995, Mujeres Ibero Americanas, MEIAC, Badajoz, Spain (Cat.)
1994, Summer Workshop, Convento da Arrábida, Lisboa, Portugal (with Goldsmiths College)
Qualquer Semelhança É Inevitável, Loja da Atalaia, Lisboa, Portugal
(Cat.)
1989, Espaços, Loja de Desenho Gallery, Lisboa, Portugal
Diferença Gallery, EuroArt, Guimarães, Portugal
1988, Diferença Gallery, FAC, Lisboa, Portugal; FIC, Lisboa, Portugal
1987, Pipxou, Arte Antiga Museum, Curated by Ernesto de Sousa, Lisboa, Portugal
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Solo shows. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2009, Open Studio, PointB Studios, Brooklyn, New York, USA
2006,
In Between, (with Gavin Turk), Presenca Gallery, Porto
(Cat.)
2005, Casa das Artes de Tavira, Portugal
2004, Selections of Drawings and New Video Animations (1997-2004), Culturgest Museum, Porto, Portugal
(Cat.)
Photo&Light Drawings, Presenca Gallery, Porto, Portugal
1999, Somewhere Without Language, John Weber Gallery, New York, USA
1998, Cesar Gallery, Lisboa, Portugal,
(Cat.)
1997, What You Feel Is True, John Weber Gallery, New York, USA
1996, Honni Soit Qui Mal Y Pense, Chiado Museum, Lisboa, Portugal
(Cat.)
1994, Berenice Se Fait Couper Les Cheveux II, Natural History Museum, Lisboa, Portugal
Berenice Se Fait Couper Les Cheveux, Diferença Gallery, Lisboa, Portugal
1992, Puzzles, Monumental Gallery, Lisboa, Portugal
(Cat.)1991, Quebra Cabeças, Diferença Gallery, Lisboa, Portugal
1990, Labirintos, Loja de Desenho Gallery, Lisboa, Portugal
Labirintos, Faro Museum, Faro, Portugal
1988, Risco, Diferença Gallery, Lisboa, Portugal
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Bibliography. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2008, Miguel Amado in Points of View (Cat.)
João Pinharanda in Uma Colecção Particular (Cat.)
2007, João Pinharanda in Mace Museum (Cat.)
2006, David Barrett in Presença Gallery, Porto
Fátima Lambert in Between Word and Image
(Cat.)
2005, Fatima Lambert in Cat. Jeunes Createurs, Paris
2004, Barry Schwabsky, Rosa Almeida: Who Is Speaking?
in Culturgest Museum, Porto
Òscar Faria, Desenhos em Movimento in Publico
Herald Flor in Kultur Anmeldelser, Oslo, Norway
Ricardo Nicolau in Pangloss, Inv, Portugal; Projecto,
Rev. ClinicaGeral, Portugal
Isabel Salema in Pública, 14 Mar, Portugal
Luísa Soares de Oliveira, A arte de contaminar in Público, 21 Feb, Portugal
Isabel Salema, Portugal na Feira in Público, 11 Feb, Portugal
Nuno Crespo in Publico, Portugal
Ana Ruivo in Expresso, Portugal
2003, Beatriz Garcia in El Periódico, Jan, Spain
Maria Jesus Cachazo Toro in El Norte de Castilha, 12 Jan, Spain
Nuno Faria in Cat. Rey Afonso Henriques Foundation, Spain
2001, Òscar Faria in Público, Portugal
Sandra Vieira, Lado a Lado in MACE, Évora, Portugal
2000, Margot Heller in Cornerhouse; Firstsite Cat, United Kingdom
Diary, Mark Heller in Art Monthly, United Kingdom
Diary, Hugh Stoddard in LondonArt.Co.United Kingdom
1999, Barry Schwabsky, New York Reviews in Artforum, New York, USA
ISP Open Studios in Village Voice Magazine, New York, USA
My Old Man…., Critics Choice, Time Out, London, United Kingdom
1999, Bennett Simpson in On Paper, New York, USA
Destroyer Creator, Pick of the Week in Time Out, New York, USA
Destroyer Creator, Critic’s Choice in Village Voice, New York, USA
Delfim Sardo, in Arte Ibérica, Mar., Portugal
João Pinharanda, in Público, 6 Mar, Portugal
Òscar Faria in Público, Portugal
Fernanda Maio, in O Independente, 6 Fev, Portugal
Luisa Soares de Oliveira, Geografias, in Público, 13 Fev
Alexandre Pomar in Expresso, 13 Jan, Portugal
Celso Martins in Expresso, 7 Feb, Portugal
Pedro Lapa, Figures of Discourse, in Cat Cesar Gallery, Portugal
1997, Jonathan Goodman, in Art in America, New York, USA
1996, Gregory Volk in Art Omi, New York, USA
João Pinharanda, in Público, 10 May, Portugal
Pedro Lapa, The Museum and its Double, in Chiado Museum Cat., Portugal
Alexandre Pomar in Expresso, Apr, Portugal
1995, Leonor Nazaré, A Trama De Um Enredo Quase Extinto in Artes&Leilões, Portugal
Manuel Villaverde Cabral in Arrábida Workshop, Lisboa, Portugal
1994, Ruth Rosengarten in Visão, Mar., Portugal
Leonor Nazaré in Expresso, Apr., Portugal
Alexandre Pomar in Expresso, Mar., Portugal
Luísa Soares de Oliveira in público, Mar., Portugal
João Pinharanda in Público, Fev., Portugal
1993, José Sousa Machado in Artes&Leilões, Portugal
1992, Isabel Carlos in Expresso, Jul., Portugal
Luísa Soares de Oliveira in Público, Jul., Portugal
Leonor Nazaré in Expresso, Jun., Portugal
João Pinharanda in Público, Jun., Portugal
1991, Isabel Carlos, Quebra-Cabeças in Expresso, Jan., Portugal
João Pinharanda in Público, Jan., Portugal
1990, António Rodrigues in Colóquio Artes, Jan., Portugal
José Sousa Machado, Labirintos in Cat. Loja de desenho Gallery, Lisboa, Portugal
Emídio Rosa de Oliveira e Sete, Jan., Portugal
1989, Leonor Nazaré in expresso, Dez., Portugal
1988, João Pinharanda in Artes&Letras, Apr., Portugal
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Interviews. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2005, Ileas Baleares TV, Palma de Mallorca, Spain
2004, Magazine TV2, Selection by Óscar Faria, Portugal
2003, TV Zamora, Spain
1999, Barbara Reis, É Preciso Estar em Nova Iorque? In Público, May, Portugal
1997, in Luso Americano, New York, USA
Barbara Reis in Pùblico, Fev., Portugal
1994, Magazine TV2, Selection by Alexandre Melo, Dec., Portugal

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Grants. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2001, Calouste Gulbenkian Foundation, Portugal
2000, IAC, Institut for Comtemporary Art, Portugal
1999, GRCI, Ministry of Culture, Portugal
1998, Pollock Krasner Foundation, New York, USA
IAC, Institute for Comtemporary Art, Portugal
1997, Luso American Foundation, Portugal
Calouste Gulbenkian Foundation, Portugal
1996, IAC, Institute for Comtemporary Art, Portugal
1995/1997, DFA, University College of London, London, United Kingdom
1994, Lisboa 94, Lisboa, Portugal
1992, Luso American Foundation, Portugal
Calouste Gulbenkian Foundation, Portugal
Montepio Geral Foundation, Portugal
1990, Calouste Gulbenkian Foundation, Portugal

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Collections. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
Chiado Museum, Lisboa, PT
Centro Cultural Andratx, Palma de Mallorca, Spain
Serralves Museum, Porto, PT
Union Fenosa Museum, Coruña, Spain
Art Omi Foundation, New York, USA
Culturgest Museum, Lisboa, PT
Elvas Comtemporary Art Museum, Elvas, PT
Portugal Telecom Foundation, Lisboa, PT
Carmona e Costa Foundation, Lisboa, PT
PLMJ Foundation, Lisboa, PT
Prates Foundation, Ponte de Sor, PT
EDP Foundation, Lisboa, PT
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Commissions. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2005, Light Drawings, Bar Left, Lisbon, Portugal
1995, Totta&Açores Bank, Lumiar, Lisbon, Portugal
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Files. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .
2006, PAM, The Perpectual Art Machine, New York, USA
2004, Anamnese, Elidio Pinho Foundation, Porto, Portugal
2000, Flat Files, Pierogi 2000 Gallery, New York, USA
1996, White Columns, New York, USA
Drawing Center, New York, USA