Claire de Santa Coloma's work (Buenos Aires, 1983) lives on time, touch, body weight and balance. The verb to live arises naturally associated with his work since it seems inevitable to feel the life pulse of his works and it is customary to want to live with them.
The artist works mainly with wood and graphite - in sculpture, but also in drawing - exploring the sensorial potentialities of matter. The manuality inherent to his practice and the sensuality of the forms he creates emerge paradoxically combined with a rigorous conceptual exercise governed by a basic principle of economy of means. The artist repeatedly seeks the tension between the organic form found in nature and the conceptual form referred to in the canon of sculpture: “Remove the minimum of the trunk so that it becomes sculpture.” The works selected for this exhibition show his search for the subtlety of form, for the balance between weight and lightness, for the threshold between the aura of the work of art and the comfort of the everyday object.
The artistic practice of Francisca Aires Mateus (Lisbon, 1992) develops around sound and performance. In Casa do Mar, an unprecedented work designed especially for the exhibition almost nothing, the artist presents a sound piece in which we hear a non-Latin voice reading the short story Casa do Mar, by Sophia de Melo Breyner. The description of this house by Sophia's sea is given to us by this Estonian voice that reads the text fluidly, but clearly undecipherable.
The artist submits us, in the first instance, to an exercise of decoding the text, but which, then, in the face of the freedom of non-understanding, becomes a journey to an unexpected, distant and surprising territory.
Horácio Frutuoso (Póvoa do Varzim, 1991) works on painting and language, relating visual, semantic and phonetic codes in an affective and ironic register. In his approach to visual poetry he crosses reflections on contemporary times, on art and on the human condition, finding references both in classical literature and in popular culture.
For almost nothing, the artist carefully defined the location of each work, proposing different moments of dialogue with the space and with the other works that live in it. The unpublished works Broken and Counter clockwiseade deepen their investigations about the sound of the word, rehearsing graphic compositions of phonetic translations that test the limits of legibility. Aspirations, movements and aphorisms attract the eye and linger in the head, pointing out flaws in different communication systems and reinforcing the domain of silence.
In sound, video, but essentially in drawing, Sara Chang Yan's work (Lisbon, 1982) questions limits, reinvents resources and brings details, subtleties, new movements to the surface. In almost nothing, the artist works on the potential of the sheet of paper, in a composition of five suspended drawings, in which the gestures printed on the surface of the paper expand its two-dimensionality, thus adding movement and spatiality.
In the various elements it combines, it is noticeable his concern for the minimal intervention, slightly punctuated by the color, improbable, but intentional. The way the works are suspended and outside interferences, such as the movement of air or sunlight that changes throughout the day, offer an intimate and complete relationship with the works, of discovery, of what we see and what we hardly see, between this visible and invisible, the material and the immaterial.