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

ROOMS 9 AND 11

Myths... Non... Inside out...

Image
José de Guimarães, Horácio Frutuoso, Manoel Oliveira, Kiluanji Kia Henda, Anna Franceschini

D. Sebastião occupies the centre of this room. Cut, pasted and reinterpreted, he reveals the mechanism of the myth: “the nothingness that is everything”, neither front nor back.

Consisting of several fragments of papier-maché, painted on both sides, José de Guimarães’ statue of king D. Sebastião questions the creation of the myth. We see him riding a strange horse. In his hand, instead of a sword, he wields a serpent, that is his own torso. An abnormal montage, this figure of D. Sebastião questions the limits of painting and the unity of the figure represented. Based on cutting and collage, using invisible scissors that fragment the unity of the narration.


Cinematographic montage, which consists of bringing together different narrative “blocks” in a sequence, structures our interpretation of the works on display. The broad mural intervention by the artist Horácio Frutuoso (1991), the documents from the film Non ou Vã Glória de Mandar (No, or the Vain Glory of Command) (1990) by Manoel Oliveira (1908- 2015), the phantasmagoria of Queen Nzinga, recorded by Kiluanji Kia Henda and a video-installation The Stuffed Shirt by artist Anna Franceschini (1979) explore the mechanics of myth. They transform and deform the meanings. Horácio Frutuoso intervenes on the walls as if they were pages of a book. Exploring the baroque richness of the images in the text of Father António Vieira (1608-1697), the artist alludes to the body of S. Sebastião, transformed into a battlefield. The documents of Manoel de Oliveira’s film, notes and images from the shoot, in turn, evoke the reverse shot from the main action. Dense, even when it appears to be crystalline, the montage of myth is close to the montage of cinema, since it reveals as much as it hides.


At the same time, the sound of strange and noisy machinery pervades the room. In a clothing factory, such as those in the Ave valley region (Minho), men’s clothing is subjected to a series of folding operations, movements and twists. A symbol of performance and virility, the clothes are transformed into a sad and comical body

FOR ALL AGES

Manoel de Oliveira was born in 1908, in Porto. He was the longest active filmmaker in the history of cinema, covering a total of 84 years between his first film, “Douro, Faina Fluvial”, in 1931, and his last film, “Um Século de Energia”, in 2015. With a filmography that includes more than fifty titles, he was the only filmmaker to make the transition from silent to sound cinema, from black and white to colour film, and from silver nitrate film to digital media. Known as “the Master”, Manoel de Oliveira was internationally recognised by the world’s most important film festivals as a master of film art and due to his longevity was the “oldest living filmmaker still actively working within the industry”, since he continued to film until the age of 106.


Horácio Frutuoso was born in 1991, in Vila Nova de Famalicão. He studied at the Faculty of Fine Arts, University of Porto. He was a member of the SINTOMA group and co-author of the artistic project “Expedição” (Expedition). His work combines painting with graphic poetry, using digital media and installation-performance. He has regularly collaborated with the Teatro Praga since 2016. His solo exhibitions include the Serralves Museum (2019), in Porto, and the Balcony Gallery (2018 and 2020), in Lisbon, and he also participated in the “Ponto de Fuga” (Vanishing Point) exhibition, held at Cordoaria Nacional Lisboa and “Haus Wittgenstein” , at MAAT, Lisbon (2018).


Kiluanji Kia Henda was born in 1979, in Angola and lives and works in Luanda. Kia Henda explores photography, video, performance, installation and object-sculpture with humour and irony, moving far beyond merely fitting together pieces of a puzzle from different historical episodes. His work materialises fictional narratives and transposes facts to different time periods and contexts. He has participated in several exhibitions, including “The Divine Comedy”, in the Museum für Moderne Kunst, Frankfurt and the Smithsonian Institute, Washington, 2014; “Surround the Audience”, New Museum Triennial, New York, 2015; “Museum (Science) Fictions - MUSEUM ON/OFF”, Centre George Pompidou, Paris, 2016; “Constellations”, Tate Gallery, 2017. In 2017, he received the Frieze Artist Award.


Anna Franceschini was born in 1979, in Pavia (Italy). She has a BA Hons. degree in Media Studies in Milan and received a postgraduate scholarship in History and Criticism of Italian Cinema. Her work has been presented and won awards at important European film festivals and, while working primarily with film and video, she has also worked in the fields of sculpture and installation. She has worked on a recurring basis with objects, spaces and the concept of cinema. She has participated in group exhibitions in several museums and international art institutions. Her solo exhibitions include Palazzo delle Esposizioni (Rome), Fiorucci Art Trust, (London), Galeria Vera Cortês (Lisbon).

Image

FOR ALL AGES

Manoel de Oliveira was born in 1908, in Porto. He was the longest active filmmaker in the history of cinema, covering a total of 84 years between his first film, “Douro, Faina Fluvial”, in 1931, and his last film, “Um Século de Energia”, in 2015. With a filmography that includes more than fifty titles, he was the only filmmaker to make the transition from silent to sound cinema, from black and white to colour film, and from silver nitrate film to digital media. Known as “the Master”, Manoel de Oliveira was internationally recognised by the world’s most important film festivals as a master of film art and due to his longevity was the “oldest living filmmaker still actively working within the industry”, since he continued to film until the age of 106.


Horácio Frutuoso was born in 1991, in Vila Nova de Famalicão. He studied at the Faculty of Fine Arts, University of Porto. He was a member of the SINTOMA group and co-author of the artistic project “Expedição” (Expedition). His work combines painting with graphic poetry, using digital media and installation-performance. He has regularly collaborated with the Teatro Praga since 2016. His solo exhibitions include the Serralves Museum (2019), in Porto, and the Balcony Gallery (2018 and 2020), in Lisbon, and he also participated in the “Ponto de Fuga” (Vanishing Point) exhibition, held at Cordoaria Nacional Lisboa and “Haus Wittgenstein” , at MAAT, Lisbon (2018).


Kiluanji Kia Henda was born in 1979, in Angola and lives and works in Luanda. Kia Henda explores photography, video, performance, installation and object-sculpture with humour and irony, moving far beyond merely fitting together pieces of a puzzle from different historical episodes. His work materialises fictional narratives and transposes facts to different time periods and contexts. He has participated in several exhibitions, including “The Divine Comedy”, in the Museum für Moderne Kunst, Frankfurt and the Smithsonian Institute, Washington, 2014; “Surround the Audience”, New Museum Triennial, New York, 2015; “Museum (Science) Fictions - MUSEUM ON/OFF”, Centre George Pompidou, Paris, 2016; “Constellations”, Tate Gallery, 2017. In 2017, he received the Frieze Artist Award.


Anna Franceschini was born in 1979, in Pavia (Italy). She has a BA Hons. degree in Media Studies in Milan and received a postgraduate scholarship in History and Criticism of Italian Cinema. Her work has been presented and won awards at important European film festivals and, while working primarily with film and video, she has also worked in the fields of sculpture and installation. She has worked on a recurring basis with objects, spaces and the concept of cinema. She has participated in group exhibitions in several museums and international art institutions. Her solo exhibitions include Palazzo delle Esposizioni (Rome), Fiorucci Art Trust, (London), Galeria Vera Cortês (Lisbon).

Back