André Romão (1984) lives and works in Lisbon. His practice has been dealing with the human aspects hiding in cultural and economical systems of production, exploring the confrontation of macro and micro structures in contemporary society through an ‘against the grain’ research on economics, eroticism, violence, and appropriation.
A selection of his solo exhibitions includes: Museu Berardo, Lisbon (2019); BoCA Biennial, Braga (2019); Galeria Vera Cortês, Lisbon (2018, 2015); García Galería, Madrid (2017); Syntax, Lisbon (2016); Kunstraum Botschaft, Berlin (2016); The Green Parrot, Barcelona (2015); MACRO – Museo d’Arte Contemporanea, Rome (2014); Middelheim Museum, Antwerp (2012); Galleria Umberto di Marino, Naples (2011); Kunstlerhaus Bethanien, Berlin (2010) and Kunsthalle Lissabon (2010).
His work has been featured in group exhibitions in institutions and galleries such as Abbaye Saint André Centre d’ art contemporain, Meymac (2018); Museu de Arte Contemporânea de Elvas (2017); MAAT, Lisbon (2017); CentroCentro, Madrid (2016); FUTURA, Prague (2016), CAPC musée d’art contemporain, Bordeux (2015); Astrup Fearnley Museet, Olso (2014); Serralves Museum, Oporto (2013 and 2010); Galerie Kamm, Berlin (2013); PhotoCairo 5, Cairo (2012); Fundação Calouste Gulbenkian, Lisbon (2010); Museu da Cidade, Lisbon (2009); Spike Island Art Center, Bristol (2008), among others.
André Romão is co-editor of ATLAS Projectos since 2007.
Augustas Serapinas' (*1990, LT) practice is invested in recomposing socially engaged spaces in order to foreground and problematize the assumptions that shape them. By inverting the customary functions of objects and spatiality, Serapinas toys with the possibilities of the encounter - with art and with the social relations it engenders, as a phenomenon and an opportunity. Often Serapinas' work starts without an object but with the question what new connections can be made and what spaces, specifically the ones hidden from plain sight, can be excavated and rendered visible. Backrooms of museums, storage spaces or technical equipment rooms become signifiers of human (inter-)action that often stays unnoticed. In this exhibition, Serapinas is presenting a reclaimed wooden (house) corner taken from a slowly disappearing Lithuanian typology of sheds that were popular in the rural landscape of the 1920s & 30s. Like cross-sections, the artist appropriates entire facades or windows and other architectural elements like the aforementioned corner and points to a vanishing historical building tradition while illustrating the consequences of an economic free trade and how spaces naturally become obsolete. Another work in the exhibition consists of a reclaimed window in a frame belonging to the same type of disappearing house. On its glassy surface, a stained-glass window painter has drawn the very scene that the former occupant of the house could view from it, before the building and its sight were demolished.
Céline Condorelli lives and works between London and Lisbon.
A selection of exhibitions and projects include: Every Step in the Right Direction, Singapore Biennale, Singapore; Art Encounters Biennial, Timisoara, Romania; Céline Condorelli, Kunsthaus Pasquart, Biel, Switzerland; Host / Vært, Kunsthal Aarhus, Denmark (2019); Zanzibar (commissioned sculpture), King’s Cross Projects, London, UK; Geometries, Locus, Athens, Greece (2018); Anren Biennale, Chengdu, China; Céline Condorelli: Epilogue, P!, New York, USA; Wall to Wall, Museum of Contemporary Art Leipzig, Germany; Proposals for a Qualitative Society (Spinning), Stroom Den Haag, The Hague, Netherlands; Corps à Corps, IMA Brisbane, Australia (2017); Conversation Piece (commissioned sculptures), MASP, São Paulo, The Eight Climate (What Does Art Do?), Gwangju Biennale, South Korea (2016); Liverpool Biennial, UK (2016); 20th Biennale of Sidney, Australia (2016); Display Show, Stroom den Haag (part 3), Eastside Projects (part 2), Temple Bar Gallery (part 1) (The Hague, Birmingham, Dublin, 2015–2016); bau bau, HangarBicocca (Milan, 2015).
Gonçalo Barreiros (1978) lives and works in Lisbon. Graduated in Sculpture from the Ar.Co school (Lisbon) and then he obtained a Master Degree in Fine Arts at the Slade School of Fine Art in London, with a full scholarship from the Calouste Gulbenkian Foundation.
Since the beginning of his career, Barreiros has committed himself to sculpture. In his pieces, the dimensions of chance, time, disappointment, imperfection and imponderability shape a conception of sculpture as an unstable, uncertain realm. Sculpture is a possibility, a pause, an accident. Each piece is the outcome of a long process of creation and research, they are about time, they define a condition. Perhaps the most determining feature of his practice is the tendency to take the exhibition space as a stage and to make the pieces agents that are often disturbing, sarcastic, comic or exasperating. Using a wide variety of expedients and technical resources, the artist has produced a very diverse body of works, sometimes presenting extremely simple pieces, using a drawing, a sound, a noise, a word, a hum, or a metallic trill, but also the instability of a balance, a difference in scale or proportion, the absence of colour. Much of the singularity of Gonçalo Barreiros' work seems to lie in the way in which he prepares the double movement that his works set in motion. Revealing a sophisticated domain of the mechanics of subversion, irony and incongruity, his works confront the spectator with his most intimate and inescapable reactions, and at the same time with the prejudices, censures and violence that govern many of our common values. The work triggers a set of much more discreet reflections that focus on the spectator himself, his convictions and his idiosyncrasies, but also on this space of supposed consensus where the friendly rules and protocols exist and where the processes of identity construction of the communities take place. Inevitably, these are spaces of loss and erosion, places of leveling and compromise where deviation, exception, and free will do not rage.
A selection of his solo exhibitions includes: Recomeço do mundo, CAPC (Coimbra, 2018); Declaração Amigável, Galeria Vera Cortês (Lisbon, 2017); Condomínio Fechado, O Armário (Lisbon, 2017); Nosey Parker, Galeria Vera Cortês (Lisbon, 2014); Vraum, Chiado 8 (Lisbon, 2013); n.17, Empty Cube in Círculo das Artes Plásticas de Coimbra (2013) and Woodpecker, Ermida de Belém (Lisbon, 2012).
Joana Escoval (1982) lives and works in Lisbon.
Joana Escoval’s works are passages, open-ended invisible paths. The rhythm and fluidity of the elements she uses in her work are temporarily suspended in time, and will eventually follow their natural transition and transmission into other states of matter, keeping their new-found charges and vibrations from when they were sculptures. Whichever form they’re found in (mostly metals compounded or purified, mixed as alloys or mixed with other materials), these elements are charged with energies that unite beings and objects, the material and the spiritual. Escoval blurs the borders between what we are so used to calling “nature” and “culture,” and emphasises instead how everything is entangled and connected, seeing “nature” and its cycles beyond a western point-of-view—and most of all seeing it as something that is not separate from us.
She won the BES Revelação Prize in 2012 (Serralves Museum) and was nominated for the EDP Foundation New Artists Prize in 2015, in Portugal. Escoval has received a fellowship from Calouste Gulbenkian Foundation and FLAD Foundation in 2013.
A selection of exhibitions and projects includes: Mutações. The Last Poet (solo show), Museu Coleção Berardo, Lisbon (2020); In a waiting Room (solo show), curated by Milan Farronato, Fiorucci Art Trust, London (2019); 11a Biennal D’Art Leandre Cristòfol, curated by Julia Morandeira, Centre d’Art la Panera, Lleida, Spain (2019); De Collectie (1). Highlights for a Future, S.M.A.K., Gent, Belgium; The sun lovers (solo show), Tenderpixel, London (2018); The word for world (solo show), Greynoise, Dubai (2017), Fiducia Incorreggibile (solo show), Galeria Vera Cortês, Lisbon (2017), Transmissions from the Etherspace, curated by João Laia, La Casa Encendida, Madrid (2017), Current Detours, HalfHouse, Barcelona (2017), I will go where I don't belong / Volcano Extravaganza, Forucci Art Trust, Stromboli (2016); I forgot to go to school yesterday (solo show), Kunsthalle Lissabon and Kunsthalle Tropical, Iceland (2016); Lichens Never Lie (solo show), La Criée Centre for Contemporary Art, Rennes (2016); Matter Fictions, curated by Margarida Mendes, Museu Coleção Berardo, Lisbon (2016); The lynx knows no boundaries, Fondation d’Entreprise Ricard, Paris (2015); Europe, Europe, Astrup Fearnley Museet, Oslo (2014).
João Louro was born in 1963, in Lisbon, where he lives and works. He studied architecture at the University of Lisbon and painting at the Ar.Co School of Visual Art. João Louro’s body of work encompasses painting, sculpture, photography and video.
João Louro’s work descends from minimal and conceptual art, with special attention to avant-garde movements of the early twentieth century. It draws out a topography of time, with references that are personal but mainly they are generational. With regular recourse to language as a source, as well as the written word, he seeks a review of the image in contemporary culture, starting out from a set of representations and symbols from the collective visual universe.
Minimalism, conceptualism, Pop culture, structuralism and post-structuralism, authors such as Walter Benjamin, Guy Debord, Georges Bataille and Blanchot as well as artists like Donald Judd and the ever-present Duchamp, form the reference lexical universe of the artist.
He was the portuguese representative at the Venice Biennale of 2015, with the exhibition I Will Be Your Mirror | Poems and Problems.
José Pedro Croft (Porto, 1957) lives and works in Lisbon. He studied painting at ESBAL (University of Fine Arts in Lisbon) and sculpture with João Cutileiro. His work ranges from sculpture to drawing and etching without hierarchies. His work is represented in the following collections: Caixa Geral de Depósitos, Lisbon (Portugal); Centre Georges Pompidou, Paris (France); CAM–Centro de Arte Moderna, Calouste Gulbenkian Foundation, Lisbon (Portugal); Centro Galego de Arte Contemporâneo (CGAC), Santiago de Compostela (Spain); Coleção Figueiredo Ribeiro - QUARTEL Abrantes (Portugal); Colección Bienal de Escultura “Ciudad de Pamplona”, Pamplona (Spain); Colección Fundación Helga de Alvear, Cáceres (Spain); European Central Bank, Frankfurt (Germany); Fundação de Serralves, Porto (Portugal); Fundação Luso–Americana para o Desenvolvimento, Lisbon (Portugal); Fundación Caixa Galicia, La Coruña (Spain); Fundación Banco sabadell, Barcelona (Spain); Fundación La Caixa, Barcelona (Spain); Jorge Perez Collection, Miami (U. S. A.); Leal Rios Foundation, Lisbon (Portugal); MACE Museu Arte Contemporânea de Elvas - Coleção António Cachola (Portugal); MEIAC, Museo Extremeño e Iberoamericano de Arte Contemporáneo, Badajoz (Spain); Ministério da Cultura (Portugal); Museo de Arte Moderno y Contemporáneo de Santander y Cantabria, Santander (Spain); Museo de Zamora, Zamora (Spain); Museo Nacional Centro de Arte Reina Sofía (MNAC), Madrid (Spain); Museu de Arte Moderna do Rio de Janeiro (MAM), Rio de Janeiro (Brazil); Peter Meeker Collection (Portugal); Sammlung Albertina, Viena (Austria); Sintra Museu de Arte Moderna - Colecção Berardo, Sintra (Portugal).
Susanne Themlitz (Lisbon, 1968) lives and works in Cologne, Germany.
A selection of her solo shows includes: Breath. Pause – Between Two Points, Galeria Vera Cortês (Lisbon, 2016); Ese Paciente Laberinto, Galería Ángeles Baños (Badajoz, 2015); Lá em baixo fica iluminada a sombra, Vera Cortês Art Agency (Lisbon, 2014); À la poursuite d’un papillon / Sans doute l’horizon était là-haut, Houg Gallery (Lyon, 2013); Drei Zeichnungen und ein Wesen, Galerina Steiner (Berlin, 2012); Entre el Tiempo, MAS – Museo de Arte Moderno y Contemporáneo de Santander (2010); 4 Containers, 1 Drawing and One Landscape / On Board of Victor Hugo, P28 (Lisbon, 2010); O Estado do Sono (The State of Drowsiness), Paiol, Museu de Arte Contemporânea de Elvas (2009); At Eye Level, Vera Cortês Art Agency (Lisbon, 2009); O Estado do Sono (The State of Drowsiness), Culturgest (Porto, 2006); Of Subterranean Life, Casa da Cerca (Almada 2006); Metamorfopsia Dois Mil e Cinco, Carmona e Costa Foundation (Lisbon, 2005).
In her group exhibitions, attention is drawn to institutions and galleries such as: Museu do Oriente (Lisbon, 2017), Galerina Steiner (Berlin, 2016), ROMPONE kunstsalon, Cologne (2016), Arquipélago – Centro de Artes Contemporâneas (Azores, 2015); Museo de Huelva (2015); Museu de Arte Contemporânea de Elvas (2014); Culturgest (Lisbon, 2013); Martina Kaiser Gallery (Cologne, 2013); Hans-Peter-Zimmer Foundation (Düsseldorf, 2012); Calouste Gulbenkian Foundation (Lisbon, 2012); Berardo Museum (Lisbon, 2010); Museum for Contemporary Art Pátio Herreriano (Valladolid, 2008); MACUF (A Coruña, 2008); Centro Cultural de Belém (Lisbon, 2007); Calouste Gulbenkian Museum (Lisbon, 2004).
Susanne S. D. Themlitz work is represented in various collections such as: BESArt Collection, Bordallo Pinheiro Museum, Calouste Gulbenkian Foundation, Carmona e Costa Foundation, Lisbon City Hall, Elvas Museum of Contemporary Art, Serralves Museum (Portugal); Museo Extremeño e Iberoamericano de Arte Contemporáneo (Spain).