Festivais Gil Vicente
Festas da Cidade e Gualterianas
Festivais Gil Vicente
Festas da Cidade e Gualterianas
Festivais Gil Vicente
Festas da Cidade e Gualterianas
menu logo
menu logo
main logo
menu logo
menu logo
menu logo
menu logo
main logo
Image
Image
Image
Image
Image
Image
Image

ROOM 12 AND 13

Colossus Complex

Image
Ángel Calvo Ulloa, Guest curator
Ángel Calvo Ulloa, Guest curator
Carla Filipe, Alisa Heil, NEG (Nova Escultura Galega), Jorge Barbi, Lola Lasurt, Taxio Ardanaz, Jeremy Deller, Gareth Kennedy, Jorge Satorre, Pedro G. Romero, Andreia Santana, Joaquim Salgado Almeida, André Sousa and José de Guimarães

The first news about the existence of the Colossus of Pedralva dates from May 23, 1876, when Francisco Martins Sarmento recorded, in one of his notebooks, the information he received from a certain Father António. He reported the existence, in the Monte dos Picos, in the parish of Pedralva, of a stone man, who supposedly corresponded to a “preliminary model for the giant Goliath”, intended for the Sanctuary of Bom Jesus do Monte, in Braga.

But after his first visit to Pedralva, the archaeologist began to fantasise about the possibility that the indefinite bulge on the figure’s left thigh was related to a phallic cult and the superstition of procreative virtue attributed to other stones that Sarmento considered belonged to proto-history.


Over the following years, the contradictory theories transmitted by the different individuals who talked to Martins Sarmento and his own doubts about the origin of the sculpture defined new interests for the researcher. In 1892, he finally decided to buy a small plot of land, a few metres from the discovery site, where the three parts of the Colossus were assembled.


After Martins Sarmento’s death, in 1899, interest in the case waned in archaeological debates and the sculpture was only transferred to the garden of the Sociedade Martins Sarmento (SMS) in 1929, where it remained until 1996, when Guimarães City Council and SMS decided to transfer it to the city’s main western thoroughfare, the Alameda Mariano Felgueiras, in a roundabout between Hospital Senhora da Oliveira and Guimarães Shopping, where it remains today.


Throughout the 20th century, the Colossus timidly aroused the interest of several scholars in the field of archaeology, with a special impact in Galicia, Spain. In the second half of the century, the Colossus became part, among the intelligentsia of the neighbouring region, not only of extensive specialised studies, but also of a symbolic repertoire which talked about the supposed importance of this find.


They say that stories are formed partly from truth and partly from speculation. Through the end of the 19th century and throughout the 20th century the complexity of the case led to constant resignification, wherein it was the subject of speculations and imprecise archaeological studies that, somehow, transcend it, as an anachronistic artifact that doesn’t just pertain to the field of archaeology, but also to the collective imagination of the surrounding Minho region.


In addition to verdicts on the importance of origin and dating, the Colossus Complex project intends to delve into the various layers of meaning of this account, in an undisciplined manner. The multiplicity of identities that determine the everything and nothingness of the Colossus are the fundamental basis for calling into question the “blame” to which it has been condemned.


Transferring analysis of the Colossus to the field of art also makes it possible to rethink the account, using all these layers - those that have fuelled and questioned this epic - which forms that which the Colossus represents today. Colossus Complex also points to a complexity that extends beyond the debate about the origin of this stone figure, ending in political and social aspects that reveal an entire series of historical problems, of which the Colossus is just the tip.

FOR ALL AGES

Ángel Calvo Ulloa was born in 1984, in Lalín (Pontevedra). He is a curator of exhibitions and in art critic for publications such as El Cultural and Dardo Magazine. As a curator he has worked on projects for institutions such as CA2M (Madrid), La Casa Encendida (Madrid), Caixaforum (Barcelona), MNAC (Barcelona), MARCO (Vigo), CCEMx (Mexico City) or Tabacalera (Madrid), among others. He is currently preparing the exhibition project “Autoconstrucción. Piezas sueltas. Juego y experiencia”, for ARTIUM (Gasteiz, País Vasco) and “Nuevos Babilonios” (with Pedro G. Romero), for the Moreira Salles Institute (São Paulo). He recently co-edited, with Juan Canela, the book “Conversaciones desde lo curatorial. Ideas, experiencias y afectos”, Editora Consonni.


Carla Filipe was born in 1973, in Póvoa do Valado (Aveiro). She played an important part in the “artist-run spaces” movement in Porto (as co-founder of “Salão Olímpico” and “Projecto Apêndice”) and began her work in this context. She has investigated the appropriation of objects and documents, and traced relationships between works of art, popular culture and activism. Her main participations in international and national exhibitions include the 8th Bienal Manifesta, 13th Istanbul Biennial, Serralves Museum and the Bienal de São Paulo. She co-curated, with Ulrich Loock, “O ontem morreu hoje, o hoje morre amanhã” (Yesterday died today, today dies tomorrow), Galeria Municipal do Porto (2018).


Alisa Heil was born in 1986, in Gelnhausen, and André Sousa was born in 1980, in Porto. Although both share a studio in Porto and share several points in common in their work, this is the first time that their work is conceived in the form of a joint installation. Heil’s interest explores the correlation between superstition, its symbolism and the outdated consumerism. In Sousa’s paintings and videos, we encounter landscapes, literary references, individual experiences or elements and codified appropriations. Since 2008, in addition to presenting his work internationally on several occasions, Sousa in conjunction with the artist Mauro Cerqueira, has coordinated the artistic project and space “Uma Certa Falta de Coerência”, in Porto. In 2017, Heil founded the itinerant curatorial project “Kunsthalle Freeport”. Together, they share the belief in artist-run initiatives.


NEG (Nova Escultura Galega) is a collective of artists founded in 2018 by Misha Bies Golas (Lalín, Pontevedra, 1977) and Jorge Varela (Allariz, Ourense, 1971). The collective’s artistic practice refers not only to the tradition of Galician handicrafts, but also to the conceptual ideas of Eastern European countries in the 1970s. They produced an extensive compilation and exchange of documents and archives, and also organised study trips to various countries in Eastern Europe, and published the “Cadernos da NEG”. The collective’s first joint public presentation will occur in the CIAJG (José de Guimarães International Centre for the Arts), in the context of the exhibition “Colossus Complex”.


Jorge Barbi was born in 1950, in A Guarda, Galicia. The reflection on the passage of time, objects and their context, the dialectic form-content and the concern with the mechanisms of perception are constant in the work of Jorge Barbi. Since the early 1980s, Barbi has adopted travel as a working method for observing the geography and exhaustive cartography of the landscape and the changing elements that make it up. His work has been shown individually at CAM Fundação Calouste Gulbenkian, Lisbon; MARCO, Vigo; Museo Patio Herreriano, Valladolid or CGAC, Santiago de Compostela.


Lola Lasurt was born in 1983, in Barcelona, where he lives and works. The artist develops research into History as an open and self-critical process, through installations, paintings, videos and collaborative processes, from an archaeological perspective of the media. She is currently completing a Master of Philosophy degree at the Royal College of Art in London. Her main participations in national and international exhibitions include the Galeria Joan Prats, Espai13 Fundació Joan Miró, Abelló Museum, Mollet La Casa Encendida, Sant Andreu Contemporani, among others. She was nominated for the Young Belgian Art Prize’ 15, and received the Miquel Casablancas Award, among others.


Taxio Ardanaz was born in 1978 in Pamplona. He lives and works in Bilbao. With a BA Hons. degree in Fine Arts and completed his training through seminars and workshops with the curators and artists Esther Ferrer, Julie Mehretu, Miroslaw Balka and Peio Aguirre. He has participated in artistic residencies in countries such as Italy, Iraqi Kurdistan, Cuba, Austria, Mexico and China. His main participation in national and international exhibitions include Tabacalera Promoción del Arte (2017), Raquel Ponce Gallery (2013), La Habana: Artist x Artist (2016); Mexico City: Ateneo Español de México (2012), AN Studio (2011); and Pamplona: Polvorín de la Ciudadela (2008). He was recently selected in the Itzal Aktiboa Awards (2018).


Jeremy Deller was born in 1966 in London, where he lives and works. Among other awards, he won the Turner Prize in 2004. He has been developing research into social stereotypes and the narratives of identity and history, through collaborative forms of production, in a proposal that dilutes the protocols of authorship. His main participations in national and international exhibitions include FRAC Nord-Pas-De-Calais; FRAC Pays de la Loire; Tate Modern, London; Victoria & Albert Museum, London, The Modern Institute, Glasgow / UK (2019); British Pavilion, 55th Venice Biennale / IT (2013); Hayward Gallery, London / UK (2012); Tokyo Palais, Paris / FR (2008).


Gareth Kennedy was born in 1979 in Dublin. His work explores the social role of crafts in the 21st century and generates ‘communities of interest’ associated to the production and interpretation of new material cultures. The results generally include architectural structures or projected structures, films, hand-made objects, as well as live performance events that bring these physical entities to life in specific public contexts. Kennedy has produced and exhibited his works internationally. His artistic practice until today includes public works of art, educational projects, exhibitions, residences and collaborations. In 2009, he co-represented Ireland at the 53rd Venice Biennale.


Jorge Satorre was born in 1979, in Mexico City. Using manual processes and experimentation with different materials, his work has developed as a set of responses to vestiges excluded from various historical moments in the different contexts with which he interacts, and defends apparently unrepresentative opinions, which reveal a non-hegemonic truth. His work has been exhibited in spaces such as REDCAT, Los Angeles; Museo Tamayo, Mexico City; Artspace, Auckland; Halfhouse, Barcelona; Le Grand Café, St-Nazaire (France); FormContent, London; Centro Cultural Montehermoso, Vitória, Vitoria or La Casa Encendida, Madrid.


Pedro G. Romero was born in 1964, in Aracena (Huelva). The central theme of his work is the reflection and investigation of images that resist the passage of historical, biological, psychological or verbal time. His work constantly addresses the disappearance of authorship and the questioning of beliefs. In 2000 he began working on the projects: “Archivo F.X.” and “Máquina P.H”, respectively using iconoclasm and flamenco as his core work material for each project. He has participated in international events such as the Bergen Assembly 2019; dOCU - MENTA14; 31st Bienal de São Paulo; Manifesta 8 and the 53rd Venice Biennale, among others.


Andreia Santana (1991, Lisbon) lives and works in New York and holds a BFA from ESAD - Caldas da Rainha, participated in the Maumaus Independent Study Programme, and currently holds a scholarship in the Studio Art programme at CUNY, New York. Santana won the NOVO BANCO ART Prize, was shortlisted for Ducato Prize (Italy), and has been awarded grants including Fulbright / Carmona and Costa Foundation, among others. Santana’s work has been shown in Portugal and abroad in venues such as Serralves Contemporary Art Museum, Porto; Hangar, Lisbon; Generali Milano; Filomena Soares Gallery; Porto Municipal Gallery; Peninsula Gallery, New York; MAAT, among others.


Joaquim Salgado Almeida was born in 1951, in S. Martinho de Candoso (Guimarães). He holds a BFA degree in Fine Arts from ESBAP, and has taught in the field of visual arts in public and private higher education. In addition to painting, he has worked in the fields of sculpture and as an illustrator for several publications. As a cartoonist, he has worked with the newspaper “O Povo de Guimarães”, including portraying two historical and identity references - Afonso Henriques and the Colossus de Pedralva. He participates on a weekly basis in the “Mais Guimarães” newspaper, with the “Mais SAL” cartoon strip. He currently works on projects such as “Osmusiké Cadernos”, “Sounds and voices of Liberty”, “Sons do Temp(l)o” (Sounds of time and temple) and others, in an embryonic form.

Image

FOR ALL AGES

Ángel Calvo Ulloa was born in 1984, in Lalín (Pontevedra). He is a curator of exhibitions and in art critic for publications such as El Cultural and Dardo Magazine. As a curator he has worked on projects for institutions such as CA2M (Madrid), La Casa Encendida (Madrid), Caixaforum (Barcelona), MNAC (Barcelona), MARCO (Vigo), CCEMx (Mexico City) or Tabacalera (Madrid), among others. He is currently preparing the exhibition project “Autoconstrucción. Piezas sueltas. Juego y experiencia”, for ARTIUM (Gasteiz, País Vasco) and “Nuevos Babilonios” (with Pedro G. Romero), for the Moreira Salles Institute (São Paulo). He recently co-edited, with Juan Canela, the book “Conversaciones desde lo curatorial. Ideas, experiencias y afectos”, Editora Consonni.


Carla Filipe was born in 1973, in Póvoa do Valado (Aveiro). She played an important part in the “artist-run spaces” movement in Porto (as co-founder of “Salão Olímpico” and “Projecto Apêndice”) and began her work in this context. She has investigated the appropriation of objects and documents, and traced relationships between works of art, popular culture and activism. Her main participations in international and national exhibitions include the 8th Bienal Manifesta, 13th Istanbul Biennial, Serralves Museum and the Bienal de São Paulo. She co-curated, with Ulrich Loock, “O ontem morreu hoje, o hoje morre amanhã” (Yesterday died today, today dies tomorrow), Galeria Municipal do Porto (2018).


Alisa Heil was born in 1986, in Gelnhausen, and André Sousa was born in 1980, in Porto. Although both share a studio in Porto and share several points in common in their work, this is the first time that their work is conceived in the form of a joint installation. Heil’s interest explores the correlation between superstition, its symbolism and the outdated consumerism. In Sousa’s paintings and videos, we encounter landscapes, literary references, individual experiences or elements and codified appropriations. Since 2008, in addition to presenting his work internationally on several occasions, Sousa in conjunction with the artist Mauro Cerqueira, has coordinated the artistic project and space “Uma Certa Falta de Coerência”, in Porto. In 2017, Heil founded the itinerant curatorial project “Kunsthalle Freeport”. Together, they share the belief in artist-run initiatives.


NEG (Nova Escultura Galega) is a collective of artists founded in 2018 by Misha Bies Golas (Lalín, Pontevedra, 1977) and Jorge Varela (Allariz, Ourense, 1971). The collective’s artistic practice refers not only to the tradition of Galician handicrafts, but also to the conceptual ideas of Eastern European countries in the 1970s. They produced an extensive compilation and exchange of documents and archives, and also organised study trips to various countries in Eastern Europe, and published the “Cadernos da NEG”. The collective’s first joint public presentation will occur in the CIAJG (José de Guimarães International Centre for the Arts), in the context of the exhibition “Colossus Complex”.


Jorge Barbi was born in 1950, in A Guarda, Galicia. The reflection on the passage of time, objects and their context, the dialectic form-content and the concern with the mechanisms of perception are constant in the work of Jorge Barbi. Since the early 1980s, Barbi has adopted travel as a working method for observing the geography and exhaustive cartography of the landscape and the changing elements that make it up. His work has been shown individually at CAM Fundação Calouste Gulbenkian, Lisbon; MARCO, Vigo; Museo Patio Herreriano, Valladolid or CGAC, Santiago de Compostela.


Lola Lasurt was born in 1983, in Barcelona, where he lives and works. The artist develops research into History as an open and self-critical process, through installations, paintings, videos and collaborative processes, from an archaeological perspective of the media. She is currently completing a Master of Philosophy degree at the Royal College of Art in London. Her main participations in national and international exhibitions include the Galeria Joan Prats, Espai13 Fundació Joan Miró, Abelló Museum, Mollet La Casa Encendida, Sant Andreu Contemporani, among others. She was nominated for the Young Belgian Art Prize’ 15, and received the Miquel Casablancas Award, among others.


Taxio Ardanaz was born in 1978 in Pamplona. He lives and works in Bilbao. With a BA Hons. degree in Fine Arts and completed his training through seminars and workshops with the curators and artists Esther Ferrer, Julie Mehretu, Miroslaw Balka and Peio Aguirre. He has participated in artistic residencies in countries such as Italy, Iraqi Kurdistan, Cuba, Austria, Mexico and China. His main participation in national and international exhibitions include Tabacalera Promoción del Arte (2017), Raquel Ponce Gallery (2013), La Habana: Artist x Artist (2016); Mexico City: Ateneo Español de México (2012), AN Studio (2011); and Pamplona: Polvorín de la Ciudadela (2008). He was recently selected in the Itzal Aktiboa Awards (2018).


Jeremy Deller was born in 1966 in London, where he lives and works. Among other awards, he won the Turner Prize in 2004. He has been developing research into social stereotypes and the narratives of identity and history, through collaborative forms of production, in a proposal that dilutes the protocols of authorship. His main participations in national and international exhibitions include FRAC Nord-Pas-De-Calais; FRAC Pays de la Loire; Tate Modern, London; Victoria & Albert Museum, London, The Modern Institute, Glasgow / UK (2019); British Pavilion, 55th Venice Biennale / IT (2013); Hayward Gallery, London / UK (2012); Tokyo Palais, Paris / FR (2008).


Gareth Kennedy was born in 1979 in Dublin. His work explores the social role of crafts in the 21st century and generates ‘communities of interest’ associated to the production and interpretation of new material cultures. The results generally include architectural structures or projected structures, films, hand-made objects, as well as live performance events that bring these physical entities to life in specific public contexts. Kennedy has produced and exhibited his works internationally. His artistic practice until today includes public works of art, educational projects, exhibitions, residences and collaborations. In 2009, he co-represented Ireland at the 53rd Venice Biennale.


Jorge Satorre was born in 1979, in Mexico City. Using manual processes and experimentation with different materials, his work has developed as a set of responses to vestiges excluded from various historical moments in the different contexts with which he interacts, and defends apparently unrepresentative opinions, which reveal a non-hegemonic truth. His work has been exhibited in spaces such as REDCAT, Los Angeles; Museo Tamayo, Mexico City; Artspace, Auckland; Halfhouse, Barcelona; Le Grand Café, St-Nazaire (France); FormContent, London; Centro Cultural Montehermoso, Vitória, Vitoria or La Casa Encendida, Madrid.


Pedro G. Romero was born in 1964, in Aracena (Huelva). The central theme of his work is the reflection and investigation of images that resist the passage of historical, biological, psychological or verbal time. His work constantly addresses the disappearance of authorship and the questioning of beliefs. In 2000 he began working on the projects: “Archivo F.X.” and “Máquina P.H”, respectively using iconoclasm and flamenco as his core work material for each project. He has participated in international events such as the Bergen Assembly 2019; dOCU - MENTA14; 31st Bienal de São Paulo; Manifesta 8 and the 53rd Venice Biennale, among others.


Andreia Santana (1991, Lisbon) lives and works in New York and holds a BFA from ESAD - Caldas da Rainha, participated in the Maumaus Independent Study Programme, and currently holds a scholarship in the Studio Art programme at CUNY, New York. Santana won the NOVO BANCO ART Prize, was shortlisted for Ducato Prize (Italy), and has been awarded grants including Fulbright / Carmona and Costa Foundation, among others. Santana’s work has been shown in Portugal and abroad in venues such as Serralves Contemporary Art Museum, Porto; Hangar, Lisbon; Generali Milano; Filomena Soares Gallery; Porto Municipal Gallery; Peninsula Gallery, New York; MAAT, among others.


Joaquim Salgado Almeida was born in 1951, in S. Martinho de Candoso (Guimarães). He holds a BFA degree in Fine Arts from ESBAP, and has taught in the field of visual arts in public and private higher education. In addition to painting, he has worked in the fields of sculpture and as an illustrator for several publications. As a cartoonist, he has worked with the newspaper “O Povo de Guimarães”, including portraying two historical and identity references - Afonso Henriques and the Colossus de Pedralva. He participates on a weekly basis in the “Mais Guimarães” newspaper, with the “Mais SAL” cartoon strip. He currently works on projects such as “Osmusiké Cadernos”, “Sounds and voices of Liberty”, “Sons do Temp(l)o” (Sounds of time and temple) and others, in an embryonic form.

Back