tag:blogger.com,1999:blog-2497157521108684662024-02-08T06:28:38.943+00:00Rosa AlmeidaRecent Worksrosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.comBlogger12125tag:blogger.com,1999:blog-249715752110868466.post-15661965404014874592011-10-26T16:17:00.027+01:002012-03-13T12:07:18.470+00:00Recent works<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFliG0_u8Xmy9hCHjim5hLYF5WyJU2zbLXrtW8IyOaiCtUfcrXGY2iAhERVqZIf7jLDDOMlqo05xymIeSXvYhTmZqlCS9XbbLutUWoqldxUWZsS8u9fio80ay14dZiImIX_Bt5TWaLYZI/s1600/Ijpg_00_pt.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 300px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFliG0_u8Xmy9hCHjim5hLYF5WyJU2zbLXrtW8IyOaiCtUfcrXGY2iAhERVqZIf7jLDDOMlqo05xymIeSXvYhTmZqlCS9XbbLutUWoqldxUWZsS8u9fio80ay14dZiImIX_Bt5TWaLYZI/s400/Ijpg_00_pt.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5667821093629110930" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br><br /><span style=";font-family:arial;font-size:100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Site specific instalations,</span> 2011, Permanent Marker on Silkpaper<br> and Glass, view and details of instalation<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR9WdWVNQXK3yCx5BekbEP5egnEc_DCXmhD-F5edrrfeFYh5UP_xEruH07EZjNv2A2p-9Dlx5BtQSIyUeMGDuhtDT0FX9o4IyTObfZpwpIU0FScp-orMlKAp26VZHe4xh3hyphenhyphenAwtEf3XQE/s1600/detail_01_pt.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR9WdWVNQXK3yCx5BekbEP5egnEc_DCXmhD-F5edrrfeFYh5UP_xEruH07EZjNv2A2p-9Dlx5BtQSIyUeMGDuhtDT0FX9o4IyTObfZpwpIU0FScp-orMlKAp26VZHe4xh3hyphenhyphenAwtEf3XQE/s400/detail_01_pt.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5667821622745418690" /></a><br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style=";font-family:arial;font-size:100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Site specific instalations,</span> 2011, Permanent Marker on Silkpaper<br> and Glass, view and details of instalation<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTTJUVvfur4gLNvnm9Dp7gujbyxKpjZJ5K6R-m6ax-bO_TF6RGZBplcTj-mPVnBUsffqNtwzOC3200mG_RPXVLV55n2PlQWSZsLpRstIjewIhHvL06u68U86-YgAFBlidrwBU7NjoUQW0/s1600/detalhe_02_pt.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px; height: 266px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTTJUVvfur4gLNvnm9Dp7gujbyxKpjZJ5K6R-m6ax-bO_TF6RGZBplcTj-mPVnBUsffqNtwzOC3200mG_RPXVLV55n2PlQWSZsLpRstIjewIhHvL06u68U86-YgAFBlidrwBU7NjoUQW0/s400/detalhe_02_pt.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5667835395412909266" /></a><br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style=";font-family:arial;font-size:100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Site specific instalations,</span> 2011, Permanent Marker on Silkpaper<br> and Glass, view and details of instalation<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXeyAIWWppmyCVgBOxHGCr-DuwtqZbRXEBdNhE37roWbQmH1pB6m8OHdaCj_hda2lmKDO31ch2dlLIk-K6d7mmf8CiZ8mU4apCUa6p30XUNcUpuEV3OqbH88nJIxxC4lf27WLVgCLC600/s1600/dtail_03_pt.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXeyAIWWppmyCVgBOxHGCr-DuwtqZbRXEBdNhE37roWbQmH1pB6m8OHdaCj_hda2lmKDO31ch2dlLIk-K6d7mmf8CiZ8mU4apCUa6p30XUNcUpuEV3OqbH88nJIxxC4lf27WLVgCLC600/s400/dtail_03_pt.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5667845585854116322" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br><br /><span style=";font-family:arial;font-size:100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Site specific instalations,</span> 2011, Permanent Marker on Silkpaper<br> and Glass, view and details of instalation<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWtWxDbus522qpnfaljPPQGICw-Ep0EMdJFRSSXwHU9v4tDuFtXTiiCYoiqkjKz0PcTSqmYT_Yc3BtnGru-vfk2DBoWOkmiirmIJO9XOmM0MYhyGTJGG1F5MC4gi2y7hc91J4Gxzp50Uk/s1600/dview_05_pt.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 267px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWtWxDbus522qpnfaljPPQGICw-Ep0EMdJFRSSXwHU9v4tDuFtXTiiCYoiqkjKz0PcTSqmYT_Yc3BtnGru-vfk2DBoWOkmiirmIJO9XOmM0MYhyGTJGG1F5MC4gi2y7hc91J4Gxzp50Uk/s400/dview_05_pt.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5667845838434505378" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br><br /><span style=";font-family:arial;font-size:100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Site specific instalations,</span> 2011, Permanent Marker on Silkpaper<br> and Glass, view and details of instalation<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span>rosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.com0tag:blogger.com,1999:blog-249715752110868466.post-14408114862891328622010-09-08T15:56:00.017+01:002010-10-04T16:10:58.313+01:00Drawings 2010<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW1fKBPDpfuEDE_UVaTpHGhOQVCkp86uUTJa4WvP_aI7YUqyKPY3DYoPYl8HPLtFF5fGY35ASZac6pUSCYDtSTbFKC3WuZA0OlnQqufp7QS_-4sEufNp0yBwq5iDcn-rmZCa3XjJW4JCQ/s1600/009_pt3.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 327px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgW1fKBPDpfuEDE_UVaTpHGhOQVCkp86uUTJa4WvP_aI7YUqyKPY3DYoPYl8HPLtFF5fGY35ASZac6pUSCYDtSTbFKC3WuZA0OlnQqufp7QS_-4sEufNp0yBwq5iDcn-rmZCa3XjJW4JCQ/s400/009_pt3.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5522749589071819522" /></a><br /><br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br><span style="font-weight: bold;">Untitled, </span>2010, Gouache, Pencil and Permanent Ink on Paper, 38x31cm<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7uvM1RQqDRcH4vttbE-FmgX8lBOTXG-Bc-k2v4Bx2lzC-_C336RtwxGTe3dsTgOyYMc_b9IIVn2b-0d0qJDojxwVIv0yYg13-pW5ZzSAHLIZh_FUDA7wDS37YxaEvQGe46r9hl_Cz4n8/s1600/024_pt3.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 328px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7uvM1RQqDRcH4vttbE-FmgX8lBOTXG-Bc-k2v4Bx2lzC-_C336RtwxGTe3dsTgOyYMc_b9IIVn2b-0d0qJDojxwVIv0yYg13-pW5ZzSAHLIZh_FUDA7wDS37YxaEvQGe46r9hl_Cz4n8/s400/024_pt3.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5524208060147205074" /></a><br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Untitled, </span>2010, Gouache, Pencil and Permanent Ink on Paper, 38x31cm<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlMwC1TDVY8XitaPwxBwJa9kmZx8NhumUktgWSIAOXBy-6S-6aIrIF0OwvWtrXAkCqez60VToOwqbbweKCKG4GFbpMZK8DO2C7JW2zIea1S-5B4lETAhgS2S8KWtWBfKJkP6FhQ9EiXJw/s1600/057_pt3.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 327px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlMwC1TDVY8XitaPwxBwJa9kmZx8NhumUktgWSIAOXBy-6S-6aIrIF0OwvWtrXAkCqez60VToOwqbbweKCKG4GFbpMZK8DO2C7JW2zIea1S-5B4lETAhgS2S8KWtWBfKJkP6FhQ9EiXJw/s400/057_pt3.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5524208462640214770" /></a><br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Untitled, </span>2010, Gouache, Pencil and Permanent Ink on Paper, 38x31cm<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span>rosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.com0tag:blogger.com,1999:blog-249715752110868466.post-77435642387267489982009-01-15T20:46:00.004+00:002012-05-19T11:40:39.767+01:00Details of works<embed type="application/x-shockwave-flash" src="https://picasaweb.google.com/s/c/bin/slideshow.swf" width="400" height="267" flashvars="host=picasaweb.google.com&hl=pt_BR&feat=flashalbum&RGB=0x000000&feed=https%3A%2F%2Fpicasaweb.google.com%2Fdata%2Ffeed%2Fapi%2Fuser%2F107076910111093834047%2Falbumid%2F5246021714765516641%3Falt%3Drss%26kind%3Dphoto%26authkey%3DGv1sRgCOPztsezitvwxwE%26hl%3Dpt_BR" pluginspage="http://www.macromedia.com/go/getflashplayer"></embed>rosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.com0tag:blogger.com,1999:blog-249715752110868466.post-30517214396449448722008-09-15T00:05:00.020+01:002012-03-13T12:06:26.893+00:00Statements<span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" ><br />My dinner table drawings are maps of social experiences, and different performances in imaginary times and circunstances.<br />The words are very much on a survival language in people socializing. Other times, it happens the viewer can follow an entire conversation.<br />The work is on our language's experience, gesture and body language.<br /><br />Rosa Almeida<br /></span><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" >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.<br />In her drawing based work, she uses different media such as site specific installation, light, photography, sculpture and video.<br />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.<br /></span><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" ><span style="color: rgb(0, 0, 0);">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /></span><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" >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.<br />The video animations are the way the spectator looks at the drawings, from detail to another detail, editing himself the drawing.<br />The video animations enphasises this editing process, of a fragmented nature, relating to the video process too.<br /><br />Rosa Almeida<br />October 2004<br /></span><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br />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.<br />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.<br />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.<br />In this way the reading is linked to the real experience, even physical, which is reinforced by the superfragmented writting.<br />In the Photo Drawings, I decided to value this.<br />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”.<br /><br />Rosa Almeida<br />Dec 03<br /><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><span style="color: rgb(0, 0, 0);"><span style="color: rgb(0, 0, 0);"></span></span><span class="Apple-style-span" style="font-size:medium;"><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px;font-family:arial,sans-serif;font-size:12px;" > Os meus desenhos são para ser experimentados.<br />Não são para ser vistos ao longe, daí que o pormenor / envolvimento do espectador tenha especial relevância.<br />O pormenor não é gratuito, reflete a proposta perceptiva da linguagem<br />no campo visual, que tem acompanhado o meu trabalho desde 1995.<br />Aparentemente como num livro, o espectador tem que se envolver para ler/ver o trabalho, é uma experiência parcial, não comtemplativa.<br />Mas ao contrário de um livro, onde o espaço é abstracto e neutro, nos meus trabalhos a linguagem escrita em multiplas direcções, é inseparável<br />do espaço,vivenciado, na aparencia de mapas, linhas de percursso ou mesas de jantar.<br />Neste sentido a leitura corresponde a uma experiencia real, fisica até, reforçada pela escrita superfragmentada.<br />Nos Photo Drawings decidi valorizar isto.<br />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".**<br />Se os Desenhos são uma proposta de experiência, os Photo-Drawings são o registo duma experiência.<br />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.<br />No sentido da tradição da Fotografia os Photo-Drawings refletem, um passo atrás, a fotografia-documentação da obra, em desenho.<br />A tensão proposta sobre o original é muito importante nestes trabalhos.<br /><br />Rosa Almeida<br />Dez 03</span></span><div><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" ><span class="Apple-style-span" style="color: rgb(51, 51, 51);font-family:arial,sans-serif;font-size:100%;" ><span class="Apple-style-span" style="line-height: 18px;font-size:10px;" ><span class="Apple-style-span" style="font-size:small;"><span class="Apple-style-span" style="color: rgb(102, 102, 102);">** Nuno Faria, "A Linguagem e o Desenho" in Catálogo Fundación Rei Afonso Henriques, Espanha, 2003</span></span><br /></span></span></span><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" ><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8WHzkIoYFZ4uGf7HsAdN-6Y_p4ERJq69l5EM0W856TSq1I6vixJJCXuOMNxlcG4UBpVuTcMk4ayNxBceyhviibg_Ht2lpAzMio-J0q4HzdkF-zNEbzSUnvWHy-X7jdbsZab0xcgVy8o4/s1600-h/Voicescrop.jpg"><span style="color: rgb(0, 0, 0);"></span></a></span><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span></div><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" ><span style="color: rgb(0, 0, 0);"></span><br />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<br />of the drawing. The two elements are strictly connected. The light is a material.<br />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.<br />The motion image, video/cinema quality in the Light Drawings is very important.<br /><br />Rosa Almeida<br />Dec 03<br /></span><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><span style="color: rgb(0, 0, 0);"><span style="color: rgb(0, 0, 0);"></span></span><span class="Apple-style-span" style="color: rgb(51, 51, 51); line-height: 18px;font-family:arial,sans-serif;font-size:12px;" > Os Light-Drawings, de 2003 são também sobre a importancia do pormenor na nossa percepção e memória. A nossa atenção, a luz foca um preciso momento do desenho, e os dois elementos são interdependentes. A Luz não é um acessório mas um material.<br />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.<br />Nos Light-Drawings a qualidade de moving image, Video/Cinema no Desenho é muito importante.<br /><br />Rosa Almeida<br />Dez 03<br /></span><span style="color: rgb(0, 0, 0);font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span>rosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.com0tag:blogger.com,1999:blog-249715752110868466.post-22015361844034556282008-09-14T23:01:00.040+01:002010-09-08T16:49:20.637+01:002. Wall Drawings<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfOCFMD52XA21zkmGjb0MWPtb1m1GV6YaWOukecyAcy3CZu6w9zGupOeExwMA2HklMeytP14dJ3jYyZNWWd1ibikyz0InMx4a5fqNQylYcPzWFW-uuJ81bI-hvLPi5q3qxXjJeroGwXJQ/s1600-h/listen-dramaticopt.jpg"><br /><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfOCFMD52XA21zkmGjb0MWPtb1m1GV6YaWOukecyAcy3CZu6w9zGupOeExwMA2HklMeytP14dJ3jYyZNWWd1ibikyz0InMx4a5fqNQylYcPzWFW-uuJ81bI-hvLPi5q3qxXjJeroGwXJQ/s400/listen-dramaticopt.jpg" alt="" id="BLOGGER_PHOTO_ID_5246001079365582306" border="0" /></a><br><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Listen, </span>Listen, 2004, Light, Filter and Pencil on Wall, 80cm diameter, Variable Dimensions, Detail of installation at Presenca Gallery, Porto<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkPKkEldWCMFf9RCc0FoHy21Gc5kmwSRqEWcAt_p51AqvEqZ8trb672_gX9zLYSueek-GDHNw0BuViMXpv-lg24SBIs8TSRn8ULLDUS2uS_B_AWHNv8DQUnH0SiVwl7fmhXsvf5Id8XPk/s1600-h/JUST-KIDDINGpt.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkPKkEldWCMFf9RCc0FoHy21Gc5kmwSRqEWcAt_p51AqvEqZ8trb672_gX9zLYSueek-GDHNw0BuViMXpv-lg24SBIs8TSRn8ULLDUS2uS_B_AWHNv8DQUnH0SiVwl7fmhXsvf5Id8XPk/s400/JUST-KIDDINGpt.jpg" alt="" id="BLOGGER_PHOTO_ID_5246001339473072098" border="0" /></a><br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Just Kidding, </span>2003, Light, Filter and Pencil on Wall, 90cm diameter, Variable Dimensions<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizUKs4yQZRG-0dHByW6U7gkj_ozkmYtI8YjsuegQBK2Tr8fxpyMBVbNH2p58TlOLGewo_3vVScdPVai_wgWA85REcRbyt8uL9l7dHbyLtikF88CUoodwiQ-ywcDLtae0tPKQ_G9GJte9E/s1600-h/Light-Drawings-Left-Setb06pt.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizUKs4yQZRG-0dHByW6U7gkj_ozkmYtI8YjsuegQBK2Tr8fxpyMBVbNH2p58TlOLGewo_3vVScdPVai_wgWA85REcRbyt8uL9l7dHbyLtikF88CUoodwiQ-ywcDLtae0tPKQ_G9GJte9E/s400/Light-Drawings-Left-Setb06pt.jpg" alt="" id="BLOGGER_PHOTO_ID_5239928377116809490" border="0" /></a><br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Listen, </span>2005, Light, Filter and Pencil on Wall, 110cm diameter, Variable Dimensions, Installation View at BarLeft, Lisboa<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcAWskuzdeCPSBsWiDUWpM_lWOcNkLvTcamn45kDidpS6NQ-H1JzzAmxliLhncnJJ4822aUcFhpVRdFxlBlYE7DDVwPTK4seCpoyuqwUo1CELAb3rg6Vb_4d3HfS6jKD1QMUPgOlQJgdY/s1600-h/silence_view-of-instalationpt.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjcAWskuzdeCPSBsWiDUWpM_lWOcNkLvTcamn45kDidpS6NQ-H1JzzAmxliLhncnJJ4822aUcFhpVRdFxlBlYE7DDVwPTK4seCpoyuqwUo1CELAb3rg6Vb_4d3HfS6jKD1QMUPgOlQJgdY/s400/silence_view-of-instalationpt.jpg" alt="" id="BLOGGER_PHOTO_ID_5246002291639566946" border="0" /><br /></a><br><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Silence, </span>2004, Light, Filter and Pencil on Wall, 90 cm diameter, Variable Dimensions<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBGIh1giB3_o_mocwa73mE9LkK1iPkJ8Fz3PRqyQGnNz5XqOAit-QErxwJ_En3hcHjeFCL69OXPp0VaJ1ErP9_0P4wox5DPGEDxB8Y9BH-qDSAiYpsjGF-tqVBakWK2Hm3kyTkkFzCQMU/s1600-h/hum-hum_view-of-installationpt.jpg"><br /><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBGIh1giB3_o_mocwa73mE9LkK1iPkJ8Fz3PRqyQGnNz5XqOAit-QErxwJ_En3hcHjeFCL69OXPp0VaJ1ErP9_0P4wox5DPGEDxB8Y9BH-qDSAiYpsjGF-tqVBakWK2Hm3kyTkkFzCQMU/s400/hum-hum_view-of-installationpt.jpg" alt="" id="BLOGGER_PHOTO_ID_5246003057773871762" border="0" /></a><br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Hum Hum, </span>2004, Light, Filter and Pencil on Wall, 100 cm diameter, Variable Dimensions<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH2dfoTuBXizxuJ0n3EH1K156cI6U3yl2M56I5JrxlVNfNfPzZQDMJyy7ZE1zuWsBQ-4s0SnR0Xoi0ZXAIS8Nc1G2rWbTbSizd7bnnc-Y_GBbdzqFZfH5jegcwtbcpghzsXqn6hS6XBPY/s1600-h/hum-hum_detailpt.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH2dfoTuBXizxuJ0n3EH1K156cI6U3yl2M56I5JrxlVNfNfPzZQDMJyy7ZE1zuWsBQ-4s0SnR0Xoi0ZXAIS8Nc1G2rWbTbSizd7bnnc-Y_GBbdzqFZfH5jegcwtbcpghzsXqn6hS6XBPY/s400/hum-hum_detailpt.jpg" alt="" id="BLOGGER_PHOTO_ID_5246003370138265506" border="0" /><br /></a><br><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Hum Hum, </span>2004, Light, Filter and Pencil on Wall, 100 cm diameter, Variable Dimensions<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqYe0l7IiDPChzN4eJ5tyjCd_uYsP98zu0qXWw-q0NZSlOgp9eNfXnYruy7hYqE08AuzZUbIjziGtu6H6R0hmyvTv8eB7SvngERyA5Td5q7oKEJqsjDsC0bfzZP66BiMmBblhHBY1X3-k/s1600-h/installation-viewpt.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqYe0l7IiDPChzN4eJ5tyjCd_uYsP98zu0qXWw-q0NZSlOgp9eNfXnYruy7hYqE08AuzZUbIjziGtu6H6R0hmyvTv8eB7SvngERyA5Td5q7oKEJqsjDsC0bfzZP66BiMmBblhHBY1X3-k/s400/installation-viewpt.jpg" alt="" id="BLOGGER_PHOTO_ID_5246003571225387058" border="0" /></a><br><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Light Drawings, </span>2004, Light, Filter and Pencil on Wall, Installation View at Presenca Gallery, Porto<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE5C_9MXoEfMoImekbD3-HkdHlcr5NfN_aaSMhG5oUbrX9Y1n-q0iPFo25NKXJfqHYJNJBcOENuQ5K3-ed5Xd-TRvuvM7jnEwwKmG4UZr5aeaVSm5tqhvOkfdulPWsg6-34f9QJ9Xd83A/s1600-h/It-FeelsLikept.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhE5C_9MXoEfMoImekbD3-HkdHlcr5NfN_aaSMhG5oUbrX9Y1n-q0iPFo25NKXJfqHYJNJBcOENuQ5K3-ed5Xd-TRvuvM7jnEwwKmG4UZr5aeaVSm5tqhvOkfdulPWsg6-34f9QJ9Xd83A/s400/It-FeelsLikept.jpg" alt="" id="BLOGGER_PHOTO_ID_5249978495107984018" border="0" /></a><br><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">It Feels Like, </span>2004, Light, Filter and Pencil on Wall, 120 cm diameter, Variable Dimensions<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span>rosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.com0tag:blogger.com,1999:blog-249715752110868466.post-12536729960841879272008-09-14T22:59:00.069+01:002016-10-15T04:14:10.673+01:004. Earlier Installations<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp2QGIiuMNk3nk7YE_NFYHufXhO3qyKutGP9Tf3ovP5hwzS2wARb9EiNOs1cebG3wgSkUBEC_ikmQazOkJyGZMLhrP7OnV3aHLejpUUhj55OJq0ICvEGyTS_PIzhIvg1hE-ITGGDHo6x0/s1600-h/What-You-Feel-Is-True,-viewpt.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><br /><img alt="" border="0" id="BLOGGER_PHOTO_ID_5249979650771586674" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjp2QGIiuMNk3nk7YE_NFYHufXhO3qyKutGP9Tf3ovP5hwzS2wARb9EiNOs1cebG3wgSkUBEC_ikmQazOkJyGZMLhrP7OnV3aHLejpUUhj55OJq0ICvEGyTS_PIzhIvg1hE-ITGGDHo6x0/s400/What-You-Feel-Is-True,-viewpt.jpg" style="cursor: pointer; float: left; margin: 0pt 10px 10px 0pt;" /></a><br />
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<span style="font-family: "arial"; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">What You Feel Is True, </span>1997, Stillness Tools and Letraset on Wall, 1200x300x1cm, Dimensions Variable, View of Installation at John Weber Gallery, New York<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilhDGnWFq62MacUFocyQJcx6oj5K-LZX_6jFDLrM6qUDbRddqPGAJvupTIILiawfeDHpBHU2GM4w6OeJv3b8NDmB8QjAWBo8x2iUIEXrzc_MdwNVOPLZHs_cF9vSSd1n6ybzcJ5BYJhIc/s1600-h/WhatYouFellIsTrue-earlier-inatallationspt.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5252854472654633698" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEilhDGnWFq62MacUFocyQJcx6oj5K-LZX_6jFDLrM6qUDbRddqPGAJvupTIILiawfeDHpBHU2GM4w6OeJv3b8NDmB8QjAWBo8x2iUIEXrzc_MdwNVOPLZHs_cF9vSSd1n6ybzcJ5BYJhIc/s400/WhatYouFellIsTrue-earlier-inatallationspt.jpg" style="cursor: pointer; float: left; margin: 0pt 10px 10px 0pt;" /></a><br />
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<span style="font-family: "arial"; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">What You Feel Is True, </span>1997, Stillness Tools and Letraset on Wall, 1200x300x1cm, Dimensions Variable, Detail of Installation<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiN2RdeoJD6VyUuUJ8n6yvXwEDrM9UIGhoPrXhz1ToGdtTF_Bqu32WTw04R_T0OPkFZqS2Y955bKQ_sgA3tQJ9VowbAvMR4IOUiygCLpQqes11MV-GJ6eZaxDzZm64eKOtZGvaok8TN98/s1600-h/what+you+feel+is+true+view+of+inst+Slade+School-pt.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><br /><img alt="" border="0" id="BLOGGER_PHOTO_ID_5245915463796182594" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgiN2RdeoJD6VyUuUJ8n6yvXwEDrM9UIGhoPrXhz1ToGdtTF_Bqu32WTw04R_T0OPkFZqS2Y955bKQ_sgA3tQJ9VowbAvMR4IOUiygCLpQqes11MV-GJ6eZaxDzZm64eKOtZGvaok8TN98/s400/what+you+feel+is+true+view+of+inst+Slade+School-pt.jpg" style="cursor: pointer; float: left; margin: 0pt 10px 10px 0pt;" /></a><br />
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<span style="font-family: "arial"; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">What You Feel Is True, </span>1997, Stillness Tools and Letraset on Wall, 340x300x1cm, Dimensions Variable, View of Installation at Slade School Open Studios, London<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdjCOk2C4mhx5f7gZJx0Uo_JCszerByVb9obfNN6P01_D_ZUyTzOVuJeIewnIi5lFp158HeAqjr_lePJuFtD_gGwq3xGlfdbBT_yPw9bcEy2AGfCRitwIgDslEoRmuM-DE08Bxf8HCSrs/s1600-h/What-You-Feel,-Detailpt.jpg"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5239634900479613090" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdjCOk2C4mhx5f7gZJx0Uo_JCszerByVb9obfNN6P01_D_ZUyTzOVuJeIewnIi5lFp158HeAqjr_lePJuFtD_gGwq3xGlfdbBT_yPw9bcEy2AGfCRitwIgDslEoRmuM-DE08Bxf8HCSrs/s400/What-You-Feel,-Detailpt.jpg" style="cursor: pointer;" /></a><br />
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<span style="font-family: "arial"; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">What You Fell Is True, </span>1997, Detail<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbCFYvvT_-SL6qUVGA5N5GwFuxrQRvit3_BuRg6Gv0QU_GWS9LLHZeO-sabaNz8ICMoXK4pH-bSK9TUoLcRL9pHS-uLfeYmOl0Mih5PMKDlZIKpp8W8w-ZVotQ0Qicv08ipj_Q5OU4Y2g/s1600-h/Smoke+Gets,+geral-pt.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5245917475600114322" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbCFYvvT_-SL6qUVGA5N5GwFuxrQRvit3_BuRg6Gv0QU_GWS9LLHZeO-sabaNz8ICMoXK4pH-bSK9TUoLcRL9pHS-uLfeYmOl0Mih5PMKDlZIKpp8W8w-ZVotQ0Qicv08ipj_Q5OU4Y2g/s400/Smoke+Gets,+geral-pt.jpg" style="cursor: pointer; float: left; margin: 0pt 10px 10px 0pt;" /></a><br />
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<span style="font-family: "arial"; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Smoke Gets In Your Eyes, </span>1996, Ashes, Plastic Paper and Letraset on Wall, 45x120x10cm<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjm3_gKUJv5zwS6W_fEV5yyVn7vH26K_Ao2OkOOdeP1oREVbZ1BEc1Qxsjp_7w50xSgBup3JthgUyRE8IKL5R8OVcp0G7P-bVPFkys5M5vuiO62QDpUANpiNUigWmX0qX9McSB8WlfyZQ/s1600-h/Smoke+Gets...Detail-newpt.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5245917671641820066" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjm3_gKUJv5zwS6W_fEV5yyVn7vH26K_Ao2OkOOdeP1oREVbZ1BEc1Qxsjp_7w50xSgBup3JthgUyRE8IKL5R8OVcp0G7P-bVPFkys5M5vuiO62QDpUANpiNUigWmX0qX9McSB8WlfyZQ/s400/Smoke+Gets...Detail-newpt.jpg" style="cursor: pointer; float: left; margin: 0pt 10px 10px 0pt;" /></a><br />
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<span style="font-family: "arial"; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Smoke Gets in Your Eyes, </span>1996, Detail<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br />
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<span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span>rosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.com0tag:blogger.com,1999:blog-249715752110868466.post-54880769362466282182008-09-14T22:57:00.019+01:002010-09-08T16:58:28.042+01:005. Drawings<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LAWT4S-SgaubhbVAqtx5rjENJ92-PsjB0tauc8veF7_FFXF0YPBlY2ZSl2d87StC9SMOgQsjG2svg8Z2dswMRlf2U7fr0OsyfIh75EbHvuQm4rG-Yd9gL8HLKJc0Rd9GXz3liOmm8R4/s1600-h/A+Bit+Noisy,2003pt.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 281px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg-LAWT4S-SgaubhbVAqtx5rjENJ92-PsjB0tauc8veF7_FFXF0YPBlY2ZSl2d87StC9SMOgQsjG2svg8Z2dswMRlf2U7fr0OsyfIh75EbHvuQm4rG-Yd9gL8HLKJc0Rd9GXz3liOmm8R4/s400/A+Bit+Noisy,2003pt.jpg" alt="" id="BLOGGER_PHOTO_ID_5303442147915590018" border="0" /></a><br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">A Bit Noisy, </span>2003, Gouache, Letraset, Permanent Ink and Pencil on Paper, 100x70cm<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK5y-cFIk_5XVGZzJDehi0ylBn3dijT1BC1AUUiB2XcHI1BOC3zSzLoB3lW4fry0VQ71HhpGUN87lqiWbOnOO49N1wlAgtqEz5gL3iXUJBFT-IU5wPTkcPQuctWsycyA1UffIsqXrJoac/s1600-h/DSCN1754pt.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgK5y-cFIk_5XVGZzJDehi0ylBn3dijT1BC1AUUiB2XcHI1BOC3zSzLoB3lW4fry0VQ71HhpGUN87lqiWbOnOO49N1wlAgtqEz5gL3iXUJBFT-IU5wPTkcPQuctWsycyA1UffIsqXrJoac/s400/DSCN1754pt.jpg" alt="" id="BLOGGER_PHOTO_ID_5303435372490122882" border="0" /></a><br><br /><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">A Bit Noisy, </span>2003, Detail<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE64kf93FqSB7Ged7GTgafZnK9Y53V4yDOFX-b0b0C34wtSZgfwAJKj1720pR1hWjUnjd43-kIgBfgSp0Ju47u2T9FpGD1Hd3fsAOW7Sy-abm4eQiJ_4TejC6prC8Q3Jf2_TzURum6dzw/s1600-h/a+bit+noi,+det2-pt.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE64kf93FqSB7Ged7GTgafZnK9Y53V4yDOFX-b0b0C34wtSZgfwAJKj1720pR1hWjUnjd43-kIgBfgSp0Ju47u2T9FpGD1Hd3fsAOW7Sy-abm4eQiJ_4TejC6prC8Q3Jf2_TzURum6dzw/s400/a+bit+noi,+det2-pt.jpg" alt="" id="BLOGGER_PHOTO_ID_5245929442751687474" border="0" /></a><br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">A Bit Noisy, </span>2003, Detail<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi97dj33DAG_AN33q2TRbiyo_uAeWj0W7j2ICAiyVw7jNeaFBHO7IevCMvu14usbCDL3I-8CcCnIh15ow6_uovInVR-XB8HhHUzuVw4hV_5ziVRzuoYC1YsSRO-1q3qxHsrqw-GPNHe0Jo/s1600-h/a-b-noisy-det-pt.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi97dj33DAG_AN33q2TRbiyo_uAeWj0W7j2ICAiyVw7jNeaFBHO7IevCMvu14usbCDL3I-8CcCnIh15ow6_uovInVR-XB8HhHUzuVw4hV_5ziVRzuoYC1YsSRO-1q3qxHsrqw-GPNHe0Jo/s400/a-b-noisy-det-pt.jpg" alt="" id="BLOGGER_PHOTO_ID_5250387467257565330" border="0" /></a><br><br /><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">A Bit Noisy, </span>2003, Detail<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2IR_nFqyQIYgS1bvJEWMLrEzxdeVbSYWhrHC7x2XmOhD9d-CFAN1NQzyRH9a_yD6LOa1FMFK3GSP7Taw007OWT2otYmYjuybeOtMJEpRXr6hPlNWvQKqvS2MD_CHWE79SSmZs1AgcVzA/s1600-h/A-Bit-Noisy-detalhept.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi2IR_nFqyQIYgS1bvJEWMLrEzxdeVbSYWhrHC7x2XmOhD9d-CFAN1NQzyRH9a_yD6LOa1FMFK3GSP7Taw007OWT2otYmYjuybeOtMJEpRXr6hPlNWvQKqvS2MD_CHWE79SSmZs1AgcVzA/s400/A-Bit-Noisy-detalhept.jpg" alt="" id="BLOGGER_PHOTO_ID_5250388414477455618" border="0" /></a><br><br /><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">A Bit Noisy, </span>2003, Detail<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span>rosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.com0tag:blogger.com,1999:blog-249715752110868466.post-27211027598071187542008-09-14T22:52:00.014+01:002010-09-08T16:59:51.882+01:007. Drawings<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_hPmUxVCT7ZQqHVxenbvIlDLt67bvf3YEtP17SoT03myLmV6jcffGNS8s6VKCNq50B7GVmtUzefyLkpn119ok1dyGPP8UWFAJPkqChoBzBeRDkru2GTDihbIUxWiIAaU9lWTZ1fJQv1U/s1600-h/des+ny+010pt.jpg"><img style="float: left; margin: 0pt 10px 10px 0pt; cursor: pointer; width: 297px; height: 400px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_hPmUxVCT7ZQqHVxenbvIlDLt67bvf3YEtP17SoT03myLmV6jcffGNS8s6VKCNq50B7GVmtUzefyLkpn119ok1dyGPP8UWFAJPkqChoBzBeRDkru2GTDihbIUxWiIAaU9lWTZ1fJQv1U/s400/des+ny+010pt.jpg" alt="" id="BLOGGER_PHOTO_ID_5303413016380993074" border="0" /></a><br><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Something Else, </span>2004, Gouache, Permanent Ink and Pencil on Paper, 100x70cm<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_oxVxpSd91hXYD_2p-Rc3K5TOEOE58vPOGi9d-fLEb1p_SLy8Ixc6xZM68gE-GAkd6hVo-pgPMDHpTqGSXk_hsUiRds16LrolhzUh2j5gkL7mlhblCS4NrG2xljZL2tfp7LLHwvt8YUg/s1600-h/Des-presenc%CC%A7a-Pq-Freedompt.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg_oxVxpSd91hXYD_2p-Rc3K5TOEOE58vPOGi9d-fLEb1p_SLy8Ixc6xZM68gE-GAkd6hVo-pgPMDHpTqGSXk_hsUiRds16LrolhzUh2j5gkL7mlhblCS4NrG2xljZL2tfp7LLHwvt8YUg/s400/Des-presenc%CC%A7a-Pq-Freedompt.jpg" alt="" id="BLOGGER_PHOTO_ID_5239624406756910594" border="0" /></a><br><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Freedom, </span>2004, Gouache, Permanent Ink and Pencil on Paper, 30x20cm<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span>rosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.com0tag:blogger.com,1999:blog-249715752110868466.post-22044142503138090542008-09-14T22:48:00.013+01:002010-09-08T17:00:51.519+01:009. Drawings<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirY6viZ6iXMgBEmDyQerAuYfwG8vNy33J_JJVeqo4FCWo6WGhBZ7eAImXmxwbinm9CLizTWoNhE9_CGL4afjRJlmRpsCazBjq0bLtsPW5DZ8riNDdvBxkhggl_dBd-M2KKyhJvmZLRBkw/s1600-h/Maps-kind,Grey,view,CCApt.jpg"><br /><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirY6viZ6iXMgBEmDyQerAuYfwG8vNy33J_JJVeqo4FCWo6WGhBZ7eAImXmxwbinm9CLizTWoNhE9_CGL4afjRJlmRpsCazBjq0bLtsPW5DZ8riNDdvBxkhggl_dBd-M2KKyhJvmZLRBkw/s400/Maps-kind,Grey,view,CCApt.jpg" alt="" id="BLOGGER_PHOTO_ID_5239622511893879970" border="0" /></a><br><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">I'll Be right Back, </span>2005, Gouache, Permanent Ink and Pencil on Paper, 30x22cm<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNwzxImbHHBYItPWSj2GosDA0E3WRLjUUfQWkkk8f-PKzQTDeOND-5HfUqeQkQeWgLnEiz7OMnF8NJ_GQwJLQk-Q2G5mMS3xRHaDek-hD4Zscuf0xZN2k3YbrU690vhyKFXpZSgAurneE/s1600-h/Maps-kind,-Blue,-View,-CCApt.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhNwzxImbHHBYItPWSj2GosDA0E3WRLjUUfQWkkk8f-PKzQTDeOND-5HfUqeQkQeWgLnEiz7OMnF8NJ_GQwJLQk-Q2G5mMS3xRHaDek-hD4Zscuf0xZN2k3YbrU690vhyKFXpZSgAurneE/s400/Maps-kind,-Blue,-View,-CCApt.jpg" alt="" id="BLOGGER_PHOTO_ID_5239619955984012978" border="0" /></a><br><br /><br /><span style=";font-family:arial;font-size:100%;" >. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Yes Yes, </span>2005, Gouache, Permanent Ink and pencil on Paper, 30x22cm<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span>rosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.com0tag:blogger.com,1999:blog-249715752110868466.post-41028415182879398452008-09-14T22:46:00.025+01:002010-09-08T17:03:03.193+01:0011. Video<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dxCvMvngt-E_TYyjh9HYGmM2lnJtXn0Gkku7byPGsefwDWzaYOysXU4-tlqCcX_tPXaSh9uqt7LYhFXqNu9JA' class='b-hbp-video b-uploaded' frameborder='0'></iframe><br /><br><br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Either Way, </span>2004, Video, Color and Sound, 2'.02", Video Stills<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><br><br /><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8WHzkIoYFZ4uGf7HsAdN-6Y_p4ERJq69l5EM0W856TSq1I6vixJJCXuOMNxlcG4UBpVuTcMk4ayNxBceyhviibg_Ht2lpAzMio-J0q4HzdkF-zNEbzSUnvWHy-X7jdbsZab0xcgVy8o4/s400/Voicescrop.jpg" alt="" id="BLOGGER_PHOTO_ID_5239692457055618514" border="0"><br /><br /><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Voices, </span>2002, Video, Color and Sound, 0'.54", Video Stills<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ9G3C5OL5jb-b9HvtL5ttylnduIsfPt4oHO-DKDzPYTt_DvpBk-pEvxy56_lvN4ezAP7uOLEPXQTkzr2S4amiHxlDlsh1Q0MkSmSSCu_ym2GjLboIHeOVrMpDwavE1648ULQCpA3c-CY/s1600-h/More+Respect2-pt.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQ9G3C5OL5jb-b9HvtL5ttylnduIsfPt4oHO-DKDzPYTt_DvpBk-pEvxy56_lvN4ezAP7uOLEPXQTkzr2S4amiHxlDlsh1Q0MkSmSSCu_ym2GjLboIHeOVrMpDwavE1648ULQCpA3c-CY/s400/More+Respect2-pt.jpg" alt="" id="BLOGGER_PHOTO_ID_5245959757671939842" border="0"></a><br><br /><br /><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">More respect, </span>2002, Video, Color and Sound, 0'.54", Video Stills<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdgwRdHNvY7IU8t6iPgnR5L5ob9eKILYJCK_9XuhoD0naTCOxdtygjtsyiMFtUeNBmmBcQDBA6cMStTikTXhe9CPN5J_Ymicyfg0crcvQMHMcSe6Nk4me1HEVCIr8FLy0mSC3Ovd23EXk/s1600-h/Either-Waycrop.jpg"><img style="cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhdgwRdHNvY7IU8t6iPgnR5L5ob9eKILYJCK_9XuhoD0naTCOxdtygjtsyiMFtUeNBmmBcQDBA6cMStTikTXhe9CPN5J_Ymicyfg0crcvQMHMcSe6Nk4me1HEVCIr8FLy0mSC3Ovd23EXk/s400/Either-Waycrop.jpg" alt="" id="BLOGGER_PHOTO_ID_5239692610885963970" border="0"></a><br><br /><br /><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .<br /><span style="font-weight: bold;">Either Way, </span>2004, Video, Color and Sound, 2'.02", Video Stills<br />. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span>rosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.com0tag:blogger.com,1999:blog-249715752110868466.post-47335548636810413082008-09-14T22:35:00.020+01:002013-09-20T16:02:56.657+01:00Bio<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiATnoVrPKXVmRDu7H_6U0KXqdlHP44r5bB60yLYmPVWTZgiLUoo1kgWbD4l4RVWnfLA9TDR2UoubKV9d_yJZ_FQAo5afvfoiSi-shb8fT-5pNuzUNGlZBDljZUDEZ3wxsh3BBvD0P-i00/s1600-h/P1010866pt.jpg" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}"><br /><img alt="" border="0" id="BLOGGER_PHOTO_ID_5239599139301291858" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiATnoVrPKXVmRDu7H_6U0KXqdlHP44r5bB60yLYmPVWTZgiLUoo1kgWbD4l4RVWnfLA9TDR2UoubKV9d_yJZ_FQAo5afvfoiSi-shb8fT-5pNuzUNGlZBDljZUDEZ3wxsh3BBvD0P-i00/s400/P1010866pt.jpg" style="cursor: pointer; float: left; margin: 0pt 10px 10px 0pt;" /></a><span style="color: black; font-family: arial; font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;">Lives and works in Lisboa </span><span style="font-family: arial; font-size: 100%;">and London</span><span style="font-size: 100%;"><span style="font-family: arial; font-size: 100%;"> </span></span><br />
<span style="font-size: 100%;"><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span></span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">1997,</span> Master in Fine Arts, Slade School of Visual Arts, UCL, London, United Kingdom<br /><span style="font-weight: bold;">1990,</span> Degree in History of Art, Universidade Nova de Lisboa, Lisboa, Portugal</span><span style="font-size: 100%;"><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span></span><span style="color: black; font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">Group shows</span></span><span style="font-size: 100%;"><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span></span><span style="color: black; font-family: arial; font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2010,</span> Sold Out, Elastic Residence, Whitechapel, London, UK (Cat); Sala do Veado, Natural History Museum, Lisboa; Vanishing Point, Elevator Gallery, curated by Snozzie Hexagon, UK</span><br />
<span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2009,</span> Paper In The Wind, Thomas Jaekel Gallery, curated by David Gibson,<br />New York, USA</span><br />
<span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2008,</span> Points of View, Pavilhao Branco Cidade Museum, Lisbon, curated by Miguel Amado, </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2007,</span> Algumas Paisagens, Elvas Comtemporary Art Museum, Elvas, Portugal<br /><span style="font-weight: bold;">2006,</span> Between Word and Image, Luis Seoane Foundation, Coruna, Spain;<br />Amarante Museum, Portugal; Pavilhão Branco, City Museum for the Arts </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2005,</span> Salon European Jeunes Createurs, Paris; Salzburg, Barcelona, Amarante, Geneve, selec. by Fatima Lambert<br />Galeria Presença, Porto<br />100 Desenhos, curated by Pedro Maia, Maus Hábitos, Porto<br /><span style="font-weight: bold;">2004,</span> Portugal, The Stenersen Museet, curated by Pedro Portugal, Oslo, Norway<br />VIII Mostra, Museo Arte Comporáneo Union Fenosa, Coruña, Spain<br />Flaneur, Luis Serpa Gallery, Lisboa, Portugal<br /><span style="font-weight: bold;">2003,</span> Open Studios, International Studio and Curatorial Program, New York, USA<br />Downstream, Rey Afonso Henriques Foundation, Zamora, Spain (cat.)<br /><span style="font-weight: bold;">2002,</span> Expecting The World, Kunstlerhaus Bethanien, Berlim, Germany;<br />Video Screening, Chiado Museum, Lisboa, Portugal<br />Life Policies, (with Marie Roemer), curated by Solvej Ovesen, Zdb, Lisboa<br /><span style="font-weight: bold;">2001,</span> First Step, M.A.C.E., Evora, Portugal<br />EDP Prize, Serralves Museum, Porto, Portugal </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2000,</span> Diary, Cornerhouse, Manchester; Firstsite, Colchester, curated by Margot Heller, United Kingdom </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;">Del Golfo Award, La Spezia, selection by Vicente Tudoli, Italy (Cat.)<br />André Viana Gallery, Porto, Portugal<br /><span style="font-weight: bold;">1999,</span> Europe on a Shoestring, John Weber Gallery, New York, USA<br />Scripta Manent, Esso Gallery, New York, USA<br />My Old Man Said Follow The Van, Hoxton Theatre, curated by Carolina Grau, London, United Kingdom </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"> Open Studios, International Studio Program, New York, USA<br /><span style="font-weight: bold;">1998,</span> Destroyer Creator, John Weber Gallery, New York, USA<br />Open Studios, International Studio Program, New York, USA<br />Cesar Gallery, Lisboa, Portugal </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">1997,</span> Degree Shows, Slade School of Fine Arts, London,<br />United Kingdom<br /><span style="font-weight: bold;">1996,</span> 25th Anniversary, 25 Younger Artists, John Weber Gallery,<br />New York, USA<br />Art Omi, Omi, New York, USA </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">1995,</span> Mujeres Ibero Americanas, MEIAC, Badajoz, Spain </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">1994,</span> Summer Workshop, Convento da Arrábida, Lisboa, Portugal (with Goldsmiths College)<br />Qualquer Semelhança É Inevitável, Loja da Atalaia, Lisboa, Portugal </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">1989,</span> Espaços, Loja de Desenho Gallery, Lisboa, Portugal<br />Diferença Gallery, EuroArt, Guimarães, Portugal<br /><span style="font-weight: bold;">1988,</span> Diferença Gallery, FAC, Lisboa, Portugal; FIC, Lisboa, Portugal<br /><span style="font-weight: bold;">1987,</span> Pipxou, Arte Antiga Museum, Curated by Ernesto de Sousa, Lisboa, Portugal</span><span style="font-size: 100%;"><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span></span><span style="color: black; font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">Solo shows</span></span><span style="font-size: 100%;"><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span></span><span style="font-family: arial; font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2009,</span> Open Studio, PointB Studios, Brooklyn, New York, USA<span style="font-weight: bold;"><br />2006,</span> In Between, (with Gavin Turk), Presenca Gallery, Porto </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2005,</span> Casa das Artes de Tavira, Portugal<br /><span style="font-weight: bold;">2004,</span> Selections of Drawings and New Video Animations (1997-2004), Culturgest Museum, Porto, Portugal </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;">Photo&Light Drawings, Presenca Gallery, Porto, Portugal<br /><span style="font-weight: bold;">1999,</span> Somewhere Without Language, John Weber Gallery, New York, USA<br /><span style="font-weight: bold;">1998,</span> Cesar Gallery, Lisboa, Portugal, </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">1997,</span> What You Feel Is True, John Weber Gallery, New York, USA<br /><span style="font-weight: bold;">1996,</span> Honni Soit Qui Mal Y Pense, Chiado Museum, Lisboa, Portugal </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">1994,</span> Berenice Se Fait Couper Les Cheveux II, Natural History Museum, Lisboa, Portugal<br />Berenice Se Fait Couper Les Cheveux, Diferença Gallery, Lisboa, Portugal<br /><span style="font-weight: bold;">1992, </span>Puzzles, Monumental Gallery, Lisboa, Portugal </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">1991,</span> Quebra Cabeças, Diferença Gallery, Lisboa, Portugal<br /><span style="font-weight: bold;">1990,</span> Labirintos, Loja de Desenho Gallery, Lisboa, Portugal<br />Labirintos, Faro Museum, Faro, Portugal<br /><span style="font-weight: bold;">1988,</span> Risco, Diferença Gallery, Lisboa, Portugal</span><span style="font-size: 100%;"><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span></span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">Bibliography</span></span><span style="font-size: 100%;"><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span></span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2008,</span> Miguel Amado in Points of View </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"> João Pinharanda in Uma Colecção Particular </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2007,</span> João Pinharanda in Mace Museum </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2006,</span> David Barrett in Presença Gallery, Porto<br />Fátima Lambert in Between Word and Image </span><span style="color: black; font-family: arial; font-size: 100%;">(Cat.)</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2005,</span> Fatima Lambert in Cat. Jeunes Createurs, Paris<br /><span style="font-weight: bold;">2004,</span> Barry Schwabsky, Rosa Almeida: Who Is Speaking?<br />in Culturgest Museum, Porto<br />Òscar Faria, Desenhos em Movimento in Publico<br />Herald Flor in Kultur Anmeldelser, Oslo, Norway<br />Ricardo Nicolau in Pangloss, Inv, Portugal; Projecto,<br />Rev. ClinicaGeral, Portugal<br />Isabel Salema in Pública, 14 Mar, Portugal<br />Luísa Soares de Oliveira, A arte de contaminar in Público, 21 Feb, Portugal<br />Isabel Salema, Portugal na Feira in Público, 11 Feb, Portugal<br />Nuno Crespo in Publico, Portugal<br />Ana Ruivo in Expresso, Portugal<br /><span style="font-weight: bold;">2003,</span> Beatriz Garcia in El Periódico, Jan, Spain<br />Maria Jesus Cachazo Toro in El Norte de Castilha, 12 Jan, Spain<br />Nuno Faria in Cat. Rey Afonso Henriques Foundation, Spain<br /><span style="font-weight: bold;">2001,</span> Òscar Faria in Público, Portugal<br />Sandra Vieira, Lado a Lado in MACE, Évora, Portugal<br /><span style="font-weight: bold;">2000</span>, Margot Heller in Cornerhouse; Firstsite Cat, United Kingdom<br />Diary, Mark Heller in Art Monthly, United Kingdom<br />Diary, Hugh Stoddard in LondonArt.Co.United Kingdom<br /><span style="font-weight: bold;">1999,</span> Barry Schwabsky, New York Reviews in Artforum, New York, USA<br />ISP Open Studios in Village Voice Magazine, New York, USA<br />My Old Man…., Critics Choice, Time Out, London, United Kingdom<br /><span style="font-weight: bold;">1999,</span> Bennett Simpson in On Paper, New York, USA<br />Destroyer Creator, Pick of the Week in Time Out, New York, USA<br />Destroyer Creator, Critic’s Choice in Village Voice, New York, USA<br />Delfim Sardo, in Arte Ibérica, Mar., Portugal<br />João Pinharanda, in Público, 6 Mar, Portugal<br />Òscar Faria in Público, Portugal<br />Fernanda Maio, in O Independente, 6 Fev, Portugal<br />Luisa Soares de Oliveira, Geografias, in Público, 13 Fev<br />Alexandre Pomar in Expresso, 13 Jan, Portugal<br />Celso Martins in Expresso, 7 Feb, Portugal<br />Pedro Lapa, Figures of Discourse, in Cat Cesar Gallery, Portugal<br /><span style="font-weight: bold;">1997,</span> Jonathan Goodman, in Art in America, New York, USA<br /><span style="font-weight: bold;">1996,</span> Gregory Volk in Art Omi, New York, USA<br />João Pinharanda, in Público, 10 May, Portugal<br />Pedro Lapa, The Museum and its Double, in Chiado Museum Cat., Portugal<br />Alexandre Pomar in Expresso, Apr, Portugal<br /><span style="font-weight: bold;">1995,</span> Leonor Nazaré, A Trama De Um Enredo Quase Extinto in Artes&Leilões, Portugal<br />Manuel Villaverde Cabral in Arrábida Workshop, Lisboa, Portugal<br /><span style="font-weight: bold;">1994,</span> Ruth Rosengarten in Visão, Mar., Portugal<br />Leonor Nazaré in Expresso, Apr., Portugal<br />Alexandre Pomar in Expresso, Mar., Portugal<br />Luísa Soares de Oliveira in público, Mar., Portugal<br />João Pinharanda in Público, Fev., Portugal<br /><span style="font-weight: bold;">1993,</span> José Sousa Machado in Artes&Leilões, Portugal<br /><span style="font-weight: bold;">1992,</span> Isabel Carlos in Expresso, Jul., Portugal<br />Luísa Soares de Oliveira in Público, Jul., Portugal<br />Leonor Nazaré in Expresso, Jun., Portugal<br />João Pinharanda in Público, Jun., Portugal<br /><span style="font-weight: bold;">1991,</span> Isabel Carlos, Quebra-Cabeças in Expresso, Jan., Portugal<br />João Pinharanda in Público, Jan., Portugal<br /><span style="font-weight: bold;">1990,</span> António Rodrigues in Colóquio Artes, Jan., Portugal<br />José Sousa Machado, Labirintos in Cat. Loja de desenho Gallery, Lisboa, Portugal<br />Emídio Rosa de Oliveira e Sete, Jan., Portugal<br /><span style="font-weight: bold;">1989,</span> Leonor Nazaré in expresso, Dez., Portugal<br /><span style="font-weight: bold;">1988,</span> João Pinharanda in Artes&Letras, Apr., Portugal</span><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">Interviews</span></span><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><span style="font-family: arial; font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2005,</span> Ileas Baleares TV, Palma de Mallorca, Spain<br /><span style="font-weight: bold;">2004,</span> Magazine TV2, Selection by Óscar Faria, Portugal<br /><span style="font-weight: bold;">2003,</span> TV Zamora, Spain<br /><span style="font-weight: bold;">1999,</span> Barbara Reis, É Preciso Estar em Nova Iorque? In Público, May, Portugal<br /><span style="font-weight: bold;">1997,</span> in Luso Americano, New York, USA<br />Barbara Reis in Pùblico, Fev., Portugal<br /><span style="font-weight: bold;">1994,</span> Magazine TV2, Selection by Alexandre Melo, Dec., Portugal</span><span style="font-family: arial; font-size: 100%;"><br /></span><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">Grants</span></span><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><span style="color: black; font-family: arial; font-size: 100%;"><br /><span style="font-weight: bold;">2001,</span> Calouste Gulbenkian Foundation, Portugal<br /><span style="font-weight: bold;">2000,</span> IAC, Institut for Comtemporary Art, Portugal<br /><span style="font-weight: bold;">1999,</span> GRCI, Ministry of Culture, Portugal<br /><span style="font-weight: bold;">1998,</span> Pollock Krasner Foundation, New York, USA<br />IAC, Institute for Comtemporary Art, Portugal<br /><span style="font-weight: bold;">1997,</span> Luso American Foundation, Portugal<br />Calouste Gulbenkian Foundation, Portugal<br /><span style="font-weight: bold;">1996,</span> IAC, Institute for Comtemporary Art, Portugal<br /><span style="font-weight: bold;">1995/1997,</span> DFA, University College of London, London, United Kingdom<br /><span style="font-weight: bold;">1994,</span> Lisboa 94, Lisboa, Portugal<br /><span style="font-weight: bold;">1992,</span> Luso American Foundation, Portugal<br />Calouste Gulbenkian Foundation, Portugal<br />Montepio Geral Foundation, Portugal<br /><span style="font-weight: bold;">1990,</span> Calouste Gulbenkian Foundation, Portugal</span><span style="font-family: arial; font-size: 100%;"><br /></span><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">Collections</span></span><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><span style="font-family: arial; font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;">Chiado Museum, Lisboa, PT<br />Centro Cultural Andratx, Palma de Mallorca, Spain<br />Serralves Museum, Porto, PT<br />Union Fenosa Museum, Coruña, Spain<br />Art Omi Foundation, New York, USA<br />Culturgest Museum, Lisboa, PT<br />Elvas Comtemporary Art Museum, Elvas, PT<br />Portugal Telecom Foundation, Lisboa, PT<br />Carmona e Costa Foundation, Lisboa, PT<br />PLMJ Foundation, Lisboa, PT<br />Prates Foundation, Ponte de Sor, PT<br />EDP Foundation, Lisboa, PT</span><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">Commissions</span></span><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><span style="color: black; font-family: arial; font-size: 100%;"><br /><span style="font-weight: bold;">2005,</span> Light Drawings, Bar Left, Lisbon, Portugal<br /><span style="font-weight: bold;">1995,</span> Totta&Açores Bank, Lumiar, Lisbon, Portugal</span><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><span style="font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">Files</span></span><span style="font-family: arial; font-size: 100%;">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><span style="font-family: arial; font-size: 100%;"><br /></span><span style="color: black; font-family: arial; font-size: 100%;"><span style="font-weight: bold;">2006,</span> PAM, The Perpectual Art Machine, New York, USA<br /><span style="font-weight: bold;">2004,</span> Anamnese, Elidio Pinho Foundation, Porto, Portugal<br /><span style="font-weight: bold;">2000,</span> Flat Files, Pierogi 2000 Gallery, New York, USA<br /><span style="font-weight: bold;">1996,</span> White Columns, New York, USA<br />Drawing Center, New York, USA</span><span style="color: black; font-size: 100%;"><br /></span>rosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.com0tag:blogger.com,1999:blog-249715752110868466.post-51446840774134880402008-08-30T18:17:00.040+01:002010-07-27T15:18:34.292+01:00Texts<span style="color: rgb(51, 51, 51);font-family:arial;font-size:100%;" ><span style="font-weight: bold;"><br />Rosa Almeida: Who Is Speaking?</span><br />Barry Schwabsky, in Culturgest Museum Cat</span><br /><span style="color: rgb(51, 51, 51);font-family:arial;font-size:100%;" ><span style="color: rgb(0, 0, 0);">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /></span><span style="color: rgb(51, 51, 51);font-family:arial;font-size:100%;" >“Je est un autre,” wrote the poet Rimbaud—“I is somebody else.” At the beginning of her career, even before she left her postgraduate course at the Slade School in London, Rosa Almeida likewise noted that “there is something confessional in the work, though the written phrases are not confessions, as they were not written by anyone.” They are not personal, but neither are they collective and nor are they anonymous; furthermore they are not fictional, though they may be or perhaps simply seem (how could one tell the difference between being and seeming here?) personal or collective or anonymous or fictional, variously, from moment to moment.<br />I’d like to speak, for a moment, not as an art critic but rather (if it be permitted on this occasion) as a poet, because as a critic I can speak of my admiration for Almeida but as a poet I must speak of my envy of her. In their origin writing and painting are indistinguishable—when aleph was an ox, was it a letter or a picture? and who can say whether the pictograms on cave walls should count as inscriptions or images?—in fact their creation precedes the division between the two. Even once the two activities were definitively differentiated they remained intertwined. A Renaissance Annunciation will bear the text of the Archangel’s greeting to the Virgin; a Cubist still life will lend you a scrap of its morning paper to read. But these texts-within-the-picture remain secondary. It’s really only been since the ‘60s that language has reclaimed its full rights within the work of art. And the recentness of art’s repossession of language seems to allow the language-artist (if that’s the right word) a greater degree of freedom, a greater sense of ease and possibility, than is possible for the poet, burdened as he is by so many centuries of history—or at least that’s the case when the language-artist is Rosa Almeida.<br />Almeida takes her liberty with language and runs with it. That’s what I envy. Perhaps it’s not only the freedom of handling language as an artist rather than a writer that comes into it. I suspect it also has something to do with her choice of which language to use—the fact that the language in her work is English, not her own native Portuguese. If I could write this essay in Portuguese, which I can’t, perhaps it would be written with a simplicity that would allow only the most urgent parts of what I want to say. That there is a freedom in the limitations that come from using a second tongue I know firsthand: As an American who once lived in Italy, I remember how my very awkwardness and limited vocabulary allowed to take refuge, at times, in a seeming naïveté; and how this enforced simplicity, like the three simple chords through which a garage rock band must express their all, allowed me the utter clarity of utterance that’s been lost, I fear, in the nuances of my own language. I remember, too, how when a girl laughed at my funny accent or artless phrasing, I knew I was getting somewhere, knew that she liked me. And so when my eye lights upon a curious phrase in one of Almeida’s drawings or wall works that a native speaker of English would be unlikely to have hit upon—“each time lets be more simple”; “we have a skinny relationship”—or when I notice how she uses song lyrics as readymade vehicles for communication (don’t foreigners really learn English from songs more than from books? No wonder Almeida’s video More Respect gives props to Aretha) I am reminded that here that a certain passion is being made to pass, as it were, through an opening that is just a bit too narrow for it—and therefore emerging with all the more force. And I don’t laugh, but I smile, and I know this art is getting somewhere with me, that I like it.<br />There are really two ways to look at any of these works—but those two turn out to be one, or an infinity. You can look at them on a molecular level, starting with particular little fragments of language that catch your eye and letting their visual and semantic tone and weight sink in before starting to let your brain go to work on linking them up. Or you can take in the whole “field” comprised by the work at once, as a network of varying visual and semantic tones and weights that segue in and out of each other, and then start letting your brain pick out particular fragments to focus on, rolling around in your mind as you might roll a hard sweet candy around in your mouth. But really you inevitably do both of these things at once—and having done so, you inevitably come up with something a little different each time you look at the same work, because (taking it from the point of view of the fragment and working on up from there) these are stories that you have to rewrite for yourself each time you read them—or (this time seeing the work starting from the whole and then finding one’s way down to its molecules) they are maps that constantly change according to the constant mutation of the territory they represent, which is the wondering, wandering mind.<br />Whose mind, though? The inclusion of the artist’s “signature” within the drawings—but not at some secondary level of representation as in the traditional artwork but in the guise of one more language-fragment like all the others—might seem to settle the question: This is art in the first person; the voice is that of Almeida herself. But not so fast. Incorporating the name into the work this way does not accord it any special status; the point is precisely that it exists on the same level as everything else. Remember how the artist cautioned us: “They were not written by anyone.” But they—the phrases and their relationships—are constantly being rewritten every time I look at them. The constellations of thoughts reconfigure themselves, according my perceptions and desires. Suddenly another French author’s dictum comes to mind—that of Flaubert who, speaking of his most famous character, remarked, “Madame Bovary, c’est moi!” Likewise, each time I see and thereby recompose a work of Almeida’s, I have to admit, “Rosa Almeida, c’est moi.” As I enter into the feeling of the thing, it makes me its own.<br /><br /></span><span style="color: rgb(51, 51, 51);font-family:arial;font-size:100%;" ><span style="color: rgb(0, 0, 0);">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><span style="font-size:100%;"><span style="font-weight: bold;">Drawing and Language,</span><br />Nuno Faria, in Afonso Henriques Foundation Cat.<br /><span style="color: rgb(0, 0, 0);font-size:100%;" ><span style="color: rgb(0, 0, 0);">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /></span><span style="font-size:100%;"><br /><span style="font-weight: bold;">I</span><br />If it is true that drawing is closer to language than painting, it is equally true that it relates to language through distinct contours, appearing as aphasia, dyslexia or stammering.<br /><br />Drawing is frequently that which never actually becomes, which reiterates, ever moving, which announces. Therefore there are so many designations to refer its uncertain origin: outline, draft, sketch, layout, vignette, and plan. A drawing has no structure nor is it a structure; it comes before the origin and then declines, failing to assume the form of an image, a shape or a body. A drawing is movement, wavering, it does not emerge, being at once pure emersion. Monosyllabic, as in the Ursonate from Schwitters, a vision of the far-off in Teixeira de Pascoaes; offering itself in Mallarmé, as a virtual gesture consumed by its enunciation; ill-defined as a spider or spittle, to use an image from Bataille, in Victor Hugo; a small perception of the inner seism which is merely visible, with Michaux; or nearly an expression of clairvoyant disorder, with Artaud.<br /><br />This is the linage we should reclaim here, of poet-artists or artist-poets (the order is random) who have dived into de abyss of language-drawing. <span style="font-weight: bold;"><br /><br />II</span><br />Language, or rather still, the line-out of language is the theme of Rosa Almeida’s work. In this sense, Rosa Almeida’s creations pose straight on a question: drawing cannot be placed at a two-dimensional plane. It is not, in fact, confined to any type of preconception.<br /><br />The artist places the drawing on a distinct plane, an intermediate space of invisibility. In this case, drawing is not a character, nor a line, nor is it known by the uniformity of a surface, paper. We recognize in the drawing what we don’t see, and thus identification as a drawing becomes so curious, regardless of the drawing in question - a drawing which lines out language.<br /><br />Maybe the emersion of the drawing occurs precisely when two planes are articulated. On one hand, the plane of writing, traced out, filled through a mould, typed, always disburdened from a handwritten quality, even though its manifestation occurs at the surface, as a virtual and distanced mark, as a fictional space. On the other hand lies a reality plain, embodied by the use of semantically dissonant materials – wire, plastic, small pieces in metal, corrector paint, a sheet of reflective plastic, and so on – often appearing as a violent, erased, spatial distortion.<br /><br />The first is placed at a conceptual space; the second belongs to a physical space, conveying each spectator towards a reflexive relationship in their own space, their own linguistic coordinates, and their own “word/entity body”. A drawing appears precisely in that indistinct plane between myopia and hypermetropia, between aphasia and stammering, tangible as a poem or circular as a litany.<br /><br />Regarding this, says Rosa Almeida: “In my work, language in drawing always refers to the living experience of space.”<br /><br /><span style="font-weight: bold;">III</span><br />Articulation and movement are two structural vectors of Rosa Almeida’s work. The question of drawing as an articulation is a reasonable one. It is the spectator’s function, while facing a determined piece, to understand that a drawing begins at the exact moment a perceptive relationship is established, that such is a fundamental axis. To command, to choose, to classify recurring sentences and fragments which appear and cross the spectator’s visibility space is a task which reveals the assemblage. It is at the spectator’s level that a drawing emerges from the plane of the work as moving image, continuously being edited.<br /><br />The hors-champ of Rosa Almeida’s images ends up by renouncing the page, as the faltered and reiterated space of drawing, and overcomes writing as a machine which produces meanings. Space can be thus understood as a fundamental coordinate in Rosa Almeida’s project. The real complexity of the author’s work can be consequently assessed, as a demanding perceptive totality in which the body of the spectator completes the sense of the work.<br /><br /><span style="font-weight: bold;">IV</span><br />Memory is also between two planes: time and imagination. In Rosa Almeida’s work, memory appears as narrative element, not given as theme or sensation, but as matter or has a material component.<br /><br />Rosa Almeida’s works built convulsive and fragmented narratives with no apparent meaning. A piece of wall found in the ground echoes a fragment from a conversation transcribed at the wall; the photograph of a drawing over a sheet of paper shows that the question is not the image but what one chooses to see in it; editing a video enhances the issue of edition. Working through framing and reframing, the artist sends us back, us the spectators, to the sphere of perception, returning meanings to us and entailing those in a game of irony and spirit, in the construction of the (non) felt, of what for lack of better word, we call the work.<br /><br /><span style="font-weight: bold;">V</span><br />To put it maybe more explicitly: “a rose is a rose is a rose”.<br /><br /><span style="color: rgb(0, 0, 0);font-size:100%;" ><span style="color: rgb(51, 51, 51);">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . </span><span style="color: rgb(51, 51, 51);">. . . . . . . . . . . . . . . . .</span><span style="color: rgb(51, 51, 51);font-size:100%;" ><br />‘In Between’, Rosa Almeida and Gavin Turk, Presenca Galeria, Porto, Portugal<span style="font-weight: bold;"><br /><br />Betwixt and Between</span><br />David Barrett<br /></span><span style="color: rgb(51, 51, 51);font-size:100%;" ><span style="color: rgb(0, 0, 0);">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .</span><br /><br /></span><span style="color: rgb(51, 51, 51);font-size:100%;" >The exhibition’s title is drawn from a specific conversation – part of ongoing discussions – between Rosa Almeida and Gavin Turk. The two artists imagined a text-based installation by Lawrence Weiner. The middle line of this fictional work was the phrase ‘In Between’. It’s a peculiar origin for a show, and it reveals that, at its heart, the exhibition is bringing together several conceptual strands. There is the idea of the fragment (the title is a section of a larger text), the referencing of other artworks (in this case, fictional ones), and an interest in exploring different modes of representation, or – more specifically – methods of constructing meaning.<br /><br />While the first two strands are self-explanatory, the third strand is less obvious but it relates to the title itself. If ‘In Between’ is the middle line of a larger text, then it is a phrase that describes its own state; it is actually in between two other lines. So the phrase is not just a piece of text in itself but it is also its own description: a closed-circuit loop that operates in two modes.<br /><br />This is an important point because Almeida’s text works, which operate as a visual analogue for the experience of language, also play on the edge of two orders of meaning: referential and linguistic. For example, in crowded, urban areas, we often pick up fragments of other people’s conversations. Some of these will be indecipherable, while others will have poetic resonances for us. This latter phenomenon is what Almeida responds to with her spotlight installations, using coloured lights to literally highlight sections of her text-drawings in the gallery space. Hence a visual reference is used in place of linguistic meaning.<br /><br />But it is not just the overheard snippets of conversations that have fragmentary qualities to them, as Almeida’s drawings acknowledge. If you have ever transcribed a conversation verbatim you’ll know that everyday speech rarely follows clear oratory standards, and therefore how tenuous the play of meaning in spoken language is. Much of the meaning is actually inferred in the non-linguistic utterances – the ums, ahs, and pauses – spaces that Almeida reflects in her installations through the use of apparently absent-minded doodling.<br /><br />So it is the breakdown of the symbolic codes that Almeida is interested in: emphasizing the fact that meaning resides in the actual experience of spoken language rather than in the codified text itself. Taking this one stage further, Almeida then includes photographs of her own text-drawings in her installations. If writing has a peculiar relationship to the spoken word already (insofar as it is a symbolic translation of an existing code), then photographing this text adds a new order of representation to the mix, treating the written text (which is already secondary) as some kind of primary experience. Again, the gap between modes of creating meaning is explored.<br /><br />Almeida manipulates viewers, mediating their experience of her texts in order to mimic the actual experience of spoken language. It is a spatial experience of language that requires a precise theatricality in order to convince. (Think about her use of holographic reflective paper; it literalizes our temporal experience of language – its meaning shifting through time.) This may seem odd, but consider another, related practice: the writing of Raymond Carver. Carver’s choppy prose style is celebrated for convincingly conveying the experience and rhythms of natural dialogue, even though his prose style is in fact an utterly artificial construct. Both Carver and Almeida produce theatrical manipulations that operate on different orders to the speech that they are mimicking, but for some paradoxical reason this overt theatricality actually enables the works to be convincing.<br /><br />Turk’s works also flip through modes of representation, and this is particularly evident in his rubbish-bag monoprints. On one level they are direct, indexical images of bin bags (the bags are covered in paint and pressed onto the canvas), on another they are transformed representations of Yves Klein’s nude monoprint ‘Anthropometries’ (on whose process they are based), and on a third they are displaced representations of the human body (i.e. the body understood through its waste).<br /><br />But Turk’s work is much more strongly connected to another root concept of the exhibition: the idea of referencing earlier artworks as shorthand for artistic concepts, a tactic evident throughout his practice. The ploy of utilizing borrowed logics allows Turk to give complex ideas seemingly simple expression, setting off conversations in the viewer’s head (which is where all the work is done). So while the sculpture, Duck Rabbit, appears to be a relatively simple object, its web of references include: Piero Manzoni’s Achrome sculpture; Meret Oppenheim’s iconic fur-covered cup, saucer, and spoon, Object; René Magritte and Salvador Dalí’s obsession with eggs; Joseph Beuys’ How to Explain Pictures to a Dead Hare performance; and even Carl Andre’s use of bricks in his ‘Equivalent’ series of sculptures. The work is a set of questions – Wooden bricks? A furry egg? Is this by Turk or Manzoni? – and its title is based on the optical illusion where a drawing appears to be either a duck or a rabbit, depending on how your brain chooses to interpret the pattern, begging the question of whether the pattern was initially drawn as a duck or a rabbit – or was it originally conceived as an illusion? This conundrum ties in with the egg motif because the egg is also inherently linked to the question of originality. It’s another fundamental concern of ‘In Between’: in a world of cultural super-saturation, pretending to steal ideas can be an excuse to create.<br /><br />In taking motifs from a range of artists’ practices, Turk utilizes the power of another strand that runs through the whole show, that of the fragment, but he takes an almost entirely opposite approach to Almeida’s. Where Almeida deliberately ensures that her artworks are seen as parts of a larger conversation, Turk presents sculptures that are whole, complete objects in themselves. The game of recognition that Turk sets off, as we have seen, is one of references; the fragments that his sculptures rely on are the fragments of art historical ideas that they embody.<br /><br />Fragments necessarily have a direct relationship to their mother objects, but they can take many forms, and sometimes they are not easy to spot. Textual fragments are perhaps the easiest to recognize: languages have extremely strict rules codifying grammatical behaviour and vocabulary, and we immediately notice when these rules are not followed. This is why Almeida uses written text in her work. The fragments are obvious as being just that: snatches of discourse that the artist has set adrift, untethered from their moorings within a larger unit of language, be it prose, poetry, conversation, song, etc. Of course there is a further complicating factor, and that is the use of different languages. Almeida specifically chooses to work with fragments of the English language, which is not her native tongue. This raises the possibility of multiple languages within the work, and suddenly an uncertainty is introduced: Is this a fragment? Or a word from a language I do not understand?<br /><br />Such questions are further provoked by Almeida’s use of faux-archaeological panels. These connect to ancient forms of writing that are only known from such tablets. Cuneiform, for instance, was long considered to be a form of decorative patterning before it was finally recognized as 5,000-year-old writing. The clay fragments that had been discovered went through a journey of understanding in the 19th century: from being considered decorative items, to chunks of incomprehensible but recognizably syllabic writing, to finally being deciphered as declarations, inventories, contracts, wills, histories, myths, etc.<br /><br />So there is a clear difference in the two artists’ use of fragments. Almeida’s texts are like drops of rain from a downpour: single elements pulled from an endless stream. But for Turk, if all fragments are triggers, then his works might be considered conceptual hand-grenades; their perfectly finished, traditional sculptural forms are a deliberately incongruous condensation of the explosion of thought that they set off in the viewer’s mind. These two approaches illuminate a broader conversation between the artists, and reflect two ways of presenting the same ongoing discussion. Ultimately, the diverging artistic practices allow us to recognize that the exhibition is, of course, both a duck and a rabbit.<br /></span><span style="color: rgb(0, 0, 0);font-size:100%;" ><span style="color: rgb(51, 51, 51);">. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . </span><span style="color: rgb(51, 51, 51);">. . . . . . . . . . . . . . . . .</span><br /><br /></span></span></span></span></span>rosa almeidahttp://www.blogger.com/profile/11795994520614821785noreply@blogger.com0