Montserrat Soto
A descobrir, em Braga, uma fotógrafa do quotidiano. Vi-a em Madrid, com uma individual chamada Paisajes Secretos, um trabalho de observação de casas de comissários e curadores de exposições.
Desta vez, o bucolismo.
SIN CAMINO
Janeiro 29 - Março 15
Galeria Mário Sequeira
Untitled - Huella 4
Untitled - Huella 29
Untitled - Huella 35
Untitled - Huella 33
MONTSERRAT SOTO
Montserrat Soto (Barcelona, 1961) começou a expor o seu trabalho em 1989 e, de então para cá, apresentou-o em mais de vinte exposições individuais, entre as quais se destacam as que realizou nas Project Rooms da ArCo ‘98 (Madrid) e da Feira de Arte de Basileia (2000). Em 1992, estagiou em Nova Iorque como bolseira da Generalita da Catalunha. Já em 2004, o seu trabalho foi apresentado no CGAC – Centro de Arte Contemporânea de Santiago de Compostela. Tem ainda vindo a ser referenciado em inúmeros catálogos e livros, de entre os quais se salientam Pautas Y Contrastes, editado pelo Museu Reina Sofia (2000), Diálogos entrecruzados, Instituto de las Artes, Madrid2002, e Colección d’Art Contemporani, da Fundação La Caixa (2002).
In the presentation text of the catalogue of the CGAC – Contemporary Art Center of Santiago de Compostela show, the Director of the Center, Miguel Fernandéz-Cid stated:
“Montserrat Soto proposes a kind of visual paradoxes that take the landscape as motif and the laws of perception as allies. Her scenarios and landscapes are peculiar: as scenarios, they are naked while as landscapes they are uninhabited. However, they owe very little to abstraction, since they are simultaneously background and figure. As we see them again, installed in the space, we start to sense their secret, their sense. Because, for Montserrat Soto, Photography is not an end in itself.
…………………………………………………………………………………………….
The idea seems quite clear: to use photography, not as a flat image, an object for observation, but rather, openly, as the motive and the instrument of a visual paradox that settles us inside the landscape. It is not a question of representing it, but rather of summoning the spectator to enjoy landscape while an unavoidable proximity. The jumps are frequent and the dialogue between the images is agile. The material is served and, just as in Cortazár’s tale Las Babas del diablo, or in Antonioni’s Blow Up, the spectator cannot do anything else but to enter the images and all of their details, to explore them: to search for the less visible. We will then realize that the interest may not reside in the landscapes, but in the idea of landscape instead. Behind the visible, the questions always remain: the constant transformation of the landscape is one of those, just as it is too the strange seductive power that is implied in extracting a fragment and turn it into a referent. Other questions directly approach artistic issues, since these works do play with the Photography power of representation, but they also search for their own space of confrontation: with the traditional field of Photography, with the conventional role of painting, with reality. Montserrat Soto’s images possess something of double mirrors. Seductive and perverse, they do not represent - they include us, they implicate us.”
Galeria Mário Sequeira
Quinta da Igreja - Parada de Tibães
4700 Braga - Portugal
Telefone: +351 253 602550
Fax: +351 253 602551
Horário:
Segunda a Sexta: 10.H00 às 13H00 - 15H00 às 19H00
Sábado: 15:00 às 19:00 horas
email: contact@mariosequeira.com
www.mariosequeira.com
A descobrir, em Braga, uma fotógrafa do quotidiano. Vi-a em Madrid, com uma individual chamada Paisajes Secretos, um trabalho de observação de casas de comissários e curadores de exposições.
Desta vez, o bucolismo.
SIN CAMINO
Janeiro 29 - Março 15
Galeria Mário Sequeira
Untitled - Huella 4
Untitled - Huella 29
Untitled - Huella 35
Untitled - Huella 33
MONTSERRAT SOTO
Montserrat Soto (Barcelona, 1961) começou a expor o seu trabalho em 1989 e, de então para cá, apresentou-o em mais de vinte exposições individuais, entre as quais se destacam as que realizou nas Project Rooms da ArCo ‘98 (Madrid) e da Feira de Arte de Basileia (2000). Em 1992, estagiou em Nova Iorque como bolseira da Generalita da Catalunha. Já em 2004, o seu trabalho foi apresentado no CGAC – Centro de Arte Contemporânea de Santiago de Compostela. Tem ainda vindo a ser referenciado em inúmeros catálogos e livros, de entre os quais se salientam Pautas Y Contrastes, editado pelo Museu Reina Sofia (2000), Diálogos entrecruzados, Instituto de las Artes, Madrid2002, e Colección d’Art Contemporani, da Fundação La Caixa (2002).
In the presentation text of the catalogue of the CGAC – Contemporary Art Center of Santiago de Compostela show, the Director of the Center, Miguel Fernandéz-Cid stated:
“Montserrat Soto proposes a kind of visual paradoxes that take the landscape as motif and the laws of perception as allies. Her scenarios and landscapes are peculiar: as scenarios, they are naked while as landscapes they are uninhabited. However, they owe very little to abstraction, since they are simultaneously background and figure. As we see them again, installed in the space, we start to sense their secret, their sense. Because, for Montserrat Soto, Photography is not an end in itself.
…………………………………………………………………………………………….
The idea seems quite clear: to use photography, not as a flat image, an object for observation, but rather, openly, as the motive and the instrument of a visual paradox that settles us inside the landscape. It is not a question of representing it, but rather of summoning the spectator to enjoy landscape while an unavoidable proximity. The jumps are frequent and the dialogue between the images is agile. The material is served and, just as in Cortazár’s tale Las Babas del diablo, or in Antonioni’s Blow Up, the spectator cannot do anything else but to enter the images and all of their details, to explore them: to search for the less visible. We will then realize that the interest may not reside in the landscapes, but in the idea of landscape instead. Behind the visible, the questions always remain: the constant transformation of the landscape is one of those, just as it is too the strange seductive power that is implied in extracting a fragment and turn it into a referent. Other questions directly approach artistic issues, since these works do play with the Photography power of representation, but they also search for their own space of confrontation: with the traditional field of Photography, with the conventional role of painting, with reality. Montserrat Soto’s images possess something of double mirrors. Seductive and perverse, they do not represent - they include us, they implicate us.”
Galeria Mário Sequeira
Quinta da Igreja - Parada de Tibães
4700 Braga - Portugal
Telefone: +351 253 602550
Fax: +351 253 602551
Horário:
Segunda a Sexta: 10.H00 às 13H00 - 15H00 às 19H00
Sábado: 15:00 às 19:00 horas
email: contact@mariosequeira.com
www.mariosequeira.com
informações recolhidas no site da galeria e da responsabilidade dos autores, excepto hiperligações e selecção de imagens.
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