Pedro Barateiro // Spirit Shop // 29.05.2020

Invited to present a project for Janela, the artist departed from the term Spirit Shop, already used in 2017 to create a neon sign, which had its debut in the exhibition The Opening Monologue, in Netwerk Aalst, Belgium. It is at that moment that this object acquires a character of temporary space - Spirit Shop is both a work and a space, which becomes a temporary physical space depending on the people and the place where it is presented. The artist produced this piece with the idea of ​​metamorphosing it in a space where a series of events such as exhibitions, readings, screenings, performances and concerts take place. The Spirit Shop occupies two rooms in Pedro Barateiro's atelier at Rua da Madalena and has had programming since 2018. The transformation of Lisbon’s downtown in recent years due to tourism makes this area particularly sensitive to changes in the economy of the city and the country. Barateiro is interested in the fact that in this very old part of the city, the various layers are noticed, from the ruins to the reconstruction, to the several remarkable episodes of its history, mainly from the colonial expansion to reflect the different forms of objectification linked to modern capitalism. The first event at Spirit Shop consisted of a performance where Pedro Barateiro and Ana Jotta burned a branch of salvia (known as Salvia divonorium), a herb known for its psychotropic properties, to cleanse the space.

Fátima Moreno López // 15 de febrero ¿Qué hay detrás de la ventana?  // 15.02.2020

Before embarking on her trip to Mexico City, Fátima Moreno López opened The Wild Detectives, a book by Roberto Bolaño which she had read years ago. As she flips through it like a magazine she is surprised to find, on the last page of the book, which starts with a García Madero’s diary entry from the 15th of April, the unanswered question: What's behind the window?

Moreno López, an artist prone to coincidences, had scheduled, a long time ago, a small exhibition on the 15th of February 2020 in a window in Estoril, Lisbon. The end of the book, that recalls the ending of a journey through Mexico, becomes the beginning of the artist's own Mexican journey, which begins with a search for what's behind the glass, knowing that the text, the poetry and the flatness: the page of a book; can sometimes become real, objective and material. The question that can now be made: can praxis, the real and the material become poetic once again?

What Bolaño achieved: making the reader reach the end of the novel, look around, and realized that the book was just a transparent piece of matter from which to observe the world. Fátima materializes it today in a pictorial form. An entity that, from a specific perspective, is representational, but doubles and changes shape with travel, with the movement of the observer, until the signifier becomes an object and then turns again into signifier.

 

What's behind the window?

There's nothing.

 

Fátima Moreno López is an artist and illustrator born in Granada who, far from the static circuits of the world of contemporary art, keeps on working in a stoic, visceral, expressive and personal way in her paintings and oniric drawings, which merge the known with the monstrous, with the laughable. An imaginary that proposes the dissection of amorphous forms, bucolic bodies, represented speeds and onomatopoeia: numerous participants who, as in a novel, each have their raison d'être. Fátima lives and works in Lisbon since 2015. Currently, she is preparing an artist’s book - The Fly in the Eye - to be published this year by Taffimai. While working as an illustrator, she also explores other lines of work such as collaborations with fashion or ceramic pieces. Some of her most recent exhibitions include A Line Going To Walk, Monitor Gallery, Lisbon 2019. Poww !!… Crash, Nave Gallery, Lisbon 2019. The Moving Idea, Ses Dotze Naus, Ibiza 2018

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Fernanda Fragateiro // Learning from Bernard Rudofsky 3 // 24.01.2020

Fernanda Fragateiro (Montijo, 1962) lives and works in Lisbon. Acting in the field of three-dimensionality, challenging the tension between architecture and sculpture, Fernanda Fragateiro's work improves relations with the place, calling the spectator to a performative position. Some of her projects are the result of collaborations with other visual artists, architects, landscapers and performers. Invited by Taffimai to present a project in three parts - three windows (Toronto, São Pedro do Estoril, Madragoa) Fernanda Fragateiro developed a research around Bernard Rudofsky (Austrian-American, 1905-1988), architect, curator, critic, designer exhibitions and fashion whose work was entirely influenced by his deep interest in the idea of stimulating the human body and its senses. The proposal that unfolds in each moment in a different way, started in October 2019 in a window in the Little Portugal neighbourhood, in Toronto where Fragateiro used an iconic pair of sandals designed by Rudofsky in 1946, model Lilly, transforming the object into sculpture or symbol of homage to the architect. Then to the São Pedro de Estoril Window, using white paint, Fernanda used an excerpt from an interview with Andrea Bocco Guarneri about the practical principles of Rudofsy's life at his residence in Malaga, which he painted as a stencil technique. hand on the window. For this third and final part of the project, the artist is inspired by a grid that Rudofsky used in the fashion show: Are Clothes Modern ?, 1944, MoMA, where she worked on the grid not only as an aesthetic element, transforming it into a showcase of women's shoes, but also metaphorically, referring to Rudofsky's activism who believed that women lived in prison as a result of their clothes. The grid is also an analogy for the closing of the trilogy, ending this cycle around Rudofsky's ideals.

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Fernanda Fragateiro // Learning from Bernard Rudofsky 2 // 09.12.2019

Convidada pela Taffimai a apresentar um projeto em três partes – três Janelas (Toronto, São Pedro do Estoril, Lisboa) Fernanda Fragateiro desenvolveu uma pesquisa em torno de Bernard Rudofsky (austríaco-americano, 1905-1988), arquiteto, curador, crítico, designer de exposições e de moda cuja obra foi na íntegra influenciada pelo seu profundo interesse pela ideia de estimular o corpo humanos e os seus sentidos. A proposta que se vai desdobrando em cada momento de uma forma diferente, começou em Outubro de 2019 numa Janela no bairro de Little Portugal, em Toronto onde Fragateiro usou um par de sandálias icónicas desenhadas por Rudofsky em 1946, modelo Lilly, transformando o objeto em escultura ou símbolo de homenagem ao arquiteto.

Para a Janela em São Pedro do Estoril, Fernanda isola um excerto da entrevista a Andrea Bocco Guarneri - um arquiteto que tem desenvolvido uma profunda pesquisa sobre a vida e o trabalho de Rudofsky, sobre a casa de Bernard e Berta Rudofsky em Málaga, refletindo sobre a forma como a vida quotidiana do casal espelhava os mais puros princípios de auto-sustentabilidade ainda hoje tão difíceis de colocar em prática.

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Janela LIS > YYZ // 25.10.2019 > 03.11.2019 

As an extension of Focus: Portugal at Art Toronto, Independent Lisbon-based curator Luiza Teixeira de Freitas, staged a Toronto based version of her curatorial project, Janela. In Portugal, the project consists of inviting artists to intervene in a plant shop window in the Madragoa neighbourhood of Lisbon, offering a moment of pause or interruption for the daily passerby. 

For Toronto, Teixeira de Freitas has invited Portuguese and Canadian-Portuguese artists to engage the windows of Little Portugal. 

Participating local businesses include: The Citizen Room (Tomás Cunha Ferreira), Saudade (Jorge Queiroz), The Unboxed Market (Nadia Belerique), The World's Smallest Hat Shop (Luís Lázaro Matos) and Miss Pippa's (Fernanda Fragateiro).

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Tomás Cunha Ferreira // Tom Tom Club // 26.09.2019 

Tomás Cunha Ferreira, is the seventh artist invited to produce a work for Janela. His practice develops around the exploration of broad and expandable concepts such as crossing the surface, the line, the space, breaking boundaries between the various media on which he works. He is Portuguese with strong Brazilian influences, his works function as open spaces for contemplation and carry no defined finalized form. Inspired by international artists such as Paul Klee or Ana Maria Maiolino, he soon realized that arts in general, such as painting, literature, music, but also cinema and even sports, would all be sources with which to fill his works with meaning and content.

It was amongst familiar references of Portuguese poetry, as well as within hybrid art forms found in Brazilian culture, that his interventions are born, in a variety of media that include music sheets, visual poems, emblems, patterns, paintings, murals. Anything that allows a rambling about their corporeality, the space they occupy, cross, transform.

 

For the project of Janela, the artist works the concept of window-shop, producing a garment, labeled by an imaginary brand – the tom tom club – the name of a North American rock band, also influenced by various musical rhythms, like black music, rock and reggae, which in turn took its name from a bar in the Bahamas. The work carries a dichotomy of convictions – as well as it gives itself the path to become a dressing poem, or a painting-sculpture.

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Igor Jesus // Mozart // 09.07.2019 

Composer Gustav Mahler died in his bed while conducting an imaginary orchestra. His last word was 'Mozart.' The day he first visited 'Janela', Igor Jesus found a moth that seemed to struggle against the impossibility of passing under the transparency of the glass. With the desire to add a new entrance to his vast library of sounds, Jesus decided to record the activity of the moth on the glass, using surface microphones and a recorder, he tried to capture the sound produced by the movement of the moth. After a few minutes of recording, the activity of the insect slowed down and the remaining energy was not enough to sting the microphones anymore. "In an attempt to continue the process and discover new sounds, I tried to prolong the moment by gluing the moth to the glass with tape" explains the artist. His desire was to stimulate the moth every time she tried to escape, he could register the sound activity of the confrontation between the glass and the body of the bug. “As I tried to glue her, I killed her. I never killed an animal”.

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Mauro Cerqueira // Pulso Dente Gente Sempre // 14.05.2019 

Mauro Cerqueira is the sixth artist invited to produce a work for Janela. For this project, Cerqueira is based on a previous work "Life Ruin" of 1916-2017, which consisted of a set of columns of pressed cardboard, fully intervened by the artist, with ballpoint, referring to a universe of internal conflict, demand of answers, externalized in drawings that represent human restraints, anguish and suffering. For the "Janela" Mauro Cerqueira prepared a selection of small cardboard sculptures that merge in the space dominated by a controlled flora, creating an antagonism with the freedom of expression revealed in the drawings.

 

In general, in the work of Mauro Cerqueira we find photography, video and drawing, but also performance, painting and sculpture. The artist also explores the narrative as a medium, in the form of a printed publication. Mauro Cerqueira bases his conceptual development on the observation of daily life, in particular the most marginalized factions of society, which leads his artistic production to question the political and economic system.

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Gabriel Abrantes // newscycle // 22.03.2019 > 12.05.2019

Gabriel Abrantes presents newscycle at Janela.

For his new animation newscycle shown at Janela, Gabriel Abrantes brings to life a neoclassic sculpture of woman and a figurine of a blue hippopotamus from the Louvre’s collection, belonging to the department of Egyptian Antiquities (prehistoric period to the late Middle Kingdom circa 3800-1710 BC). They are working out, running side by side on treadmills, in a gym that could be in any given contemporary building. An array of diverse bizarre news headlines comes up on the treadmill’s TV screen in front of them. Using unlikely readings of traditional narratives, Abrantes addresses historical, political and social matters, in an ambiguous way. By transforming any conventional prospect, his films, made in a mix of techniques, are surreal, provoking and absurd, filled with disconcerting humor towards crucial matters and metaphysical anxieties.

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Luis Lázaro Matos // Waterfalls // 26.01.2019 > 17.03.2019

Luis Lazaro Matos at Água da Cascata Vai Correndo na Ribeira e Acaba no Mar in São Pedro do Estoril.

I was never able to skateboard, nor was I ever able to date the boys in school. Like skateboards, they all seemed to run from under my feet. Waterfalls is a series of portraits of boys posing next to waterfalls drawn along with verses of poems written and selected by myself.
The poems are written in a confessional tone, and appear in the skateboard, an object that is always associated with public space. Here they look almost abandoned - skateboards asking the viewer: "take me and enjoy the ride!”. As if drawn with marker and written by a teenager on a personal diary, The poems seek to explain situations where the dynamics of movement and weight serve as a cause or consequence for disruptive social interactions. Instead of publishing a poetry book why not having poetry on an object that can take a person on an adventure? Or poetry that can or ought to be activated in the urban space. I don't know if these skateboards are messages in a bottle, or objects that represent the movement of things I have accepted to not chase anymore, as if I was hearing that song from TLC "Don't go chasing waterfalls”.

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Maria Klabin // Espelho // 26.01.2019 > 17.03.2019

Maria Klabin at Limbo plant shop in Madragoa!

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Jorge Queiroz // My father’s girlfriend, a paper airplane, a blue line and a sculpture for a plant shop // 16.11.2018 > 19.01.2019

Jorge Queiroz is the second artist invited to produce a work for Janela.

The work of Jorge Queiroz gains expression through drawing and painting, using a predominantly personal universe. His works are full of symbolic references and a peculiar surrealism, they are of a nature that has no logical narrative continuity. The existing elements in the image emerge as accumulations of several references, which he often revisits to re-work. His creative process is also an experience that begins in a skillful way, but that rampant and progressively admits the inclusion of new components, translating into an enigmatic production in "layers", full of puzzles that allow the construction of new narratives with every new interaction.

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Céline Condorelli // Limits to Growth // 07.09.2018 > 10.11.2018

Céline Condorelli was the first invited artist to produce a work for Janela, whose proposal will happen in both windows belonging to the project – one in Lisbon and the other in São Pedro do Estoril. Limits to Growth introduces the window and its meaning, it is an architectural element to let light in and see out, it is an opening, but also a means of observing and learning about something. In this installation, the ‘wind’ and the ‘eye’ (from the Old Norse vindauga, vindr ‘wind’ + auga ‘eye’), frame a reading insidethe framing device.This setting is an opportunity to think about The Limits to Growth*, and place it in the city as a proposition, a provocation, a moment to think, a very small intervention. Both windows will be negatives of each other. In Lisbon an empty frame whilst in São Pedro, the missing center of the frame. In Lisbon the frame literally articulates a reading, as inside the window the book The Limits to Growth is being read (by the ‘eye’, by plants, by passersby, by the sky) through little fans than turn the pages (by the ‘wind’).

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Céline Condorelli // Limits to Growth // 07.09.2018 > 10.11.2018

Céline Condorelli was the first invited artist to produce a work for Janela, whose proposal will happen in both windows belonging to the project – one in Lisbon and the other in São Pedro do Estoril. Limits to Growth introduces the window and its meaning, it is an architectural element to let light in and see out, it is an opening, but also a means of observing and learning about something. In this installation, the ‘wind’ and the ‘eye’ (from the Old Norse vindauga, vindr ‘wind’ + auga ‘eye’), frame a reading insidethe framing device.This setting is an opportunity to think about The Limits to Growth*, and place it in the city as a proposition, a provocation, a moment to think, a very small intervention. Both windows will be negatives of each other. In Lisbon an empty frame whilst in São Pedro, the missing center of the frame. In Lisbon the frame literally articulates a reading, as inside the window the book The Limits to Growth is being read (by the ‘eye’, by plants, by passersby, by the sky) through little fans than turn the pages (by the ‘wind’).