​

​

For the new project of Janela Taffimai, the Brazilian artist Elisa Rossin created an “autobiographical masking”, a handmade body built with organic and inorganic elements; parts of a female figure seen from the inside, with internal reflections that compose a garden-body. There is death and rebirth there, life in constant transformation! The piece is inspired by the book “A Queda do Céu” (in which Davi Kopenawa reflects on the meaning of the Yanomami universe), and by the artist's personal feelings during her immigration process to the city of Lisbon in May 2022. Elisa Rossin’s creative process is intimately experimental and explores different materialities. To arrive at this collage-sculpture, the artist fuses different formal universes, such as plaster, paper, mirrors and plants.

For the new project of Janela Taffimai, the artist João Pimenta Gomes proposes a new way of experiencing this creative place, through a sound piece that, using speakers installed in the window glass itself, invites us to approach, to feel the vibration that music echoes in the physical matter of glass. Tríade Maior reveals the artist's sound experiments over the last two years, made in a studio with a modular synthesizer. Pimenta Gomes creates sound fragments that unfold in a very progressive way, first through LFOs [Low Frequency Oscillators] that below 20 Hz allow to generate a rhythmic pulse, and later, when experimenting with the successive repetition of these sounds, he changes them manually and adds new elements that complicate the melody. The result is a slow song, inspired by Unfinished Music No. 1 and 2 by Yoko Ono and John Lennon, musical references that helped him find free sequences of succession of notes, or concrete rhythmic ideas.

In the art installation Tender Grapple the ambiguous objects of sculptor and performance maker Sijben Rosa can not just be touched with your eyes through a shop window, you also get to see them with your hands. During
shopping hours, you can enter the store, stick your hands through two holes in the backside of the window installation and feel for yourself. The holes don’t allow you to see the sculptures while you touch them, forcing you to focus solely on the tactility. For the audience outside your hands become the performers, and your exploration the choreography.
Visual artist Sijben Rosa makes objects and choreographs situations around them using performative means. Sijben’s objects seem to have a purpose, yet their practical functions - if they have them at all - remain unknown. This ambiguity creates an oasis amidst the structured efficiency of everyday life. The objects do not claim a purpose, rather they claim space for nothingness. And in doing so, they actually generate space - for thinking, for speaking, for simply existing without the need for justification, offering a void that’s ready to allow something new to emerge. Ultimately, Sijben aims
for an artistic practice that deals with the social, economic, and aesthetic status of objects, contemplating the interplay between objecthood and personhood - a practice that essentially seeks to encourage awareness of one's position amongst other subjects and other objects.

For her Janela project, Maria Ana Vasco Costa brings two painted and glazed ceramic pieces to the glass surface, - one on the inside and one on the outside- that, when suspended, suggest different perceptions of matter, in regards to its weight, as well as its depth. The artwork suggests the idea of trans piercing, of immersion, in order to play with the effects naturally given by the reflexion in contact with the glazed quality of the piece. The unifying element that binds the it to the interior of the store is its color– the greenish tones of the ceramic that we can also identify in the plants and the interior of the space. Maria Ana Vasco Costa explores in this project the concept of the identity of the tile, and what it means for its viewer – a coating or an ornamental device? Or a material capable of carrying a narrative? Eça de Queiroz mentions in the preface he wrote for the literary work Azulejos by Conde de Arnoso that “... Naturalism simply consists in painting your street as it is in reality and not how you could idealize it in your imagination” (1) defying the concept of observation and of how it can or not reflect reality in its entirety, and even in potency. Here, the artist also
challenges the capacity of observation of the passer-by, compelling a more profound reading of what is seen, beyond the glass, beyond the window. The tile can then become a vehicle for the construction of reality.

Now I have two things: A window display and a date (I got confused from the beginning when I shuffled shop window with display window). One: In the window I can do more or less whatever I want despite the physical limits. Two: a date, which can no longer be changed. I confess that I thought of perpetually differing. I could argue that it has to do with an idea of ​​cancellation that is very much in vogue these days. In the window I would leave a message – “under construction” or “I'll be back”. I saved the last one as a title, because it makes me think of a drawing where you see death leaving a room and that, turning around by the viewer, says “I'll be back”. I also thought to pay homage to Yve Klein's invisible work, which consists of an empty showcase inside an empty room. With a consistent exhibition text it would hold. The result would be similar to the previous idea, but this time without the message, more accurate.

I saw a Chinese video on youtube: A calligrapher writes with water on a hot cement floor. At the same time that the ideogram appears, it disappears. Perfect! Better I can't. Yesterday I woke up and thought to myself – If you have no ideas, at least find a solution. I had never realized until now how far apart these concepts of idea and solution are. I searched my library for ideas and solutions, solutions and ideas. It's what I do when I'm without, neither one nor the other. And a miracle happened! a slight earthquake that no one felt, made the YI king, the book of transformations, fall in front of me…

Needle and Thread

Needle and thread

an art I do not master,

but I would like to.

Maybe then

I would never lose anyone.

Maybe then

the signs, the time

the word mother

would not flee from me

​

Memory

Being a woman is —

putting hands to head

and the blood always being

fresher than memory

El Greco

With El Greco I learn:

one must embrace the cross

to get rid of her

​

The project by the artist António Poppe for Janela is a whole with two parts: an artistic intervention in the window and a serenade to this intervention sang by La Familia Gitana. At the end of the day, and especially today, on the political precipice we find ourselves on with the government elections, there are many ways to tell a story. Poppe recalls the natural expressiveness of a mother when she tells her children a story. His mother was a narrating frenzy. Telling a story is a way of loving, a way of offering the body, the voice and the hug, hoping that an understanding will grow from there, and that this understanding will become an opinion. Matured, this opinion generates revolution.
Janela will be filled with these stories, not told but handwritten. These small papers are like time machines that take us to the hand that wrote them, to its embrace and voice. However, the amalgamation of writings does not just speak to us only, but listens attentively. On the opening day, it will hear gypsy music with guitars, clapping, singers and drums. On other days it will listen to the city, waiting to hear opinions. To see revolutions.
In the vertigo of the political precipice, the mirage of a gypsy group serenading a window, makes me think of how good it is that there are so many ways to tell a story, and not just the one we are told.

“Our gaze goes through glass, piercing but without breaking it, allowing ourselves to be seduced by something, becoming oculist witnesses of our own need to consume. It transforms ourselves into external voyeurs of an inner relationship, like Kali holding the severed head of her partner looking at the whole situation, but still with an acting body. A vitrine showing some slightly modified objects, that are - maybe - urgently necessary to get.” These are the words Abraham chose to accompany his Janela installation. Born of dull moments, each intervened 45 RPM vinyl record cover seeks to appeal not only to the informed eye, but the passer-by eye. The vinyl covers are arranged in a grid-like curtain which leaves room to peek inside the space at the same time as it engages in dialogue with the similar shapes of tiles of the surrounding neighbourhood of Madragoa. Non-performative, humble and unpretentious, the installation shares the author’s character. Site-specific and community-oriented, Abraham Cruzvillegas’ “To reconstruct desire” should stir up anyone’s stroll around the area.

For the new Janela edition Taffimai invited artist Julião Sarmento to intervene. The neon installation Strip Club, which occupies most of the Janela’s area.

Strip Club ironically promises to transform the plant store Limbo Shop into a striptease club, inviting whoever passes by the Janela to come inside. As the store is closed by law, the artist’s invitation reveals itself as a provocation, the ultimate game of seduction. This edition of Janela is not just one more of the games we came to get used to in Julião Sarmento’s work, but it is mostly a reminder that we in fact cannot ca+ome in, cannot enjoy, cannot participate in all of what Lisbon’s streets have to offer. We are left with passing by the Janela and imagine the inside of the club.

Julião Sarmento maintains a career at the frontline of contemporary art’s scene in Portugal and internationally. He studied painting and architecture at the then fine Arts School of Lisbon, and has been exhibiting at large since the 70s as a group and individually. An eclectic lifework of painting, sculpture, photography, film, video, performance, sound, installation and site-specific pieces has given Julião Sarmento a career of great visibility

In nineteen thirty-five, Marcel Duchamp enrolled in the Lépine inventors' contest. In a nine-square-metre stand he presented, on a chequered tablecloth, a portable RCA gramophone - Special K model on which six cardboard discs spun in turn. The movement revealed an infinite vortex of drawings and tongue twisters, hovering on the surface of the record in a libidinous hypnotic trance that caused visitors to salivate. Unlike the technological marvels presented by his fellow inventors, Duchamp's optical-erotic game had no pre-defined end. Marcel hoped that the interaction with his experimentalist peers and with a technically educated public would reveal a practical sense to his invention that he did not yet know. 

The prize that year was awarded to M. DeFleur's ink-stain remover pen, while M. DuChamp's ROTORELIEFS got an honourable mention. Despite the commercial failure, the passage through the fair revealed therapeutic applications in the device, such as exercising three-dimensional vision for those who had lost an eye or soothing over-excited brains fighting insomnia. If URINOL and the other infamous ready-mades questioned the creation of the artistic object, the ROTORELIEFS rethought the invention of the technological object. Duchamp was proposing to the community a return to an elementary practice, in this case based on disinterested and endless technological research, invention for invention's sake.

In nineteen fifty-three, in the shouting of the twenty-sixth Situationist meeting, a document was born with rational, but no less radical, proposals for the planning of a city. One of these proposals reacted to a new form of pollution caused by excessive street lighting in the countryside and in the city. The advance of the electric day confused the circadian rhythm. Nature, disorientated, insomniac and unstable, was either depressed or reproducing itself unrestrainedly. The exaggerated proliferation of mosquitoes, which one of the ROTORELIEFS had already foreseen, triggered the reappearance of malaria and leishmaniasis in coastal areas. 

To solve this problem the Situationists proposed a civilian control of public lighting by installing switches in all street lamps. In the same attempt to bring back the shade to the night, we reinvented one of Duchamp's records by converting it into the first abat-jour for public lamps.

For the end of the electric day and the wild, domestic insomnia!

For the new Janela edition Taffimai invited artist Julião Sarmento to intervene. The neon installation Strip Club, which occupies most of the Janela’s area.

Strip Club ironically promises to transform the plant store Limbo Shop into a striptease club, inviting whoever passes by the Janela to come inside. As the store is closed by law, the artist’s invitation reveals itself as a provocation, the ultimate game of seduction. This edition of Janela is not just one more of the games we came to get used to in Julião Sarmento’s work, but it is mostly a reminder that we in fact cannot ca+ome in, cannot enjoy, cannot participate in all of what Lisbon’s streets have to offer. We are left with passing by the Janela and imagine the inside of the club.

Julião Sarmento maintains a career at the frontline of contemporary art’s scene in Portugal and internationally. He studied painting and architecture at the then fine Arts School of Lisbon, and has been exhibiting at large since the 70s as a group and individually. An eclectic lifework of painting, sculpture, photography, film, video, performance, sound, installation and site-specific pieces has given Julião Sarmento a career of great visibility

In Sara Bichão’s project for Janela Taffimai she will present works that are part of her last series of work: FEVER. In this set, genesis and form coexist antagonistically. On one hand, the reuse of matter implies not only an ethical but an affective position. On the other hand, the reading on these compositions is undeniably acidic. The first of the sculptures, is a vertical figure covered in a blue and red cape, it resonates with the American dream, a cinematic glimpse of the western hero. From behind, we realize that the dress is a childish disguise of the Native American Indian as we know it from the westerns. Umbrella wings, blinds cartilage, a knee brace on the face, cuttings made up of cuttlefish bones and other debris exposed "in the flesh". The second one is a rotten wooden trunk that reminds us of a bone where a foam ball of lead lies below a green carpet and two black rubber rings – could be a war tank. Finally, an acrobatic composition: an iron dagger, covering it with a work glove that points upwards, between the fingers a dart with a suction cup, on the index finger a trunk with two handles, curved and in balance. These and other details make us believe that this series is not (only) alluding to a personal universe but to an increasingly explicit non-conformity. Sara decides to divide the exhibition into three stages, like three issues in a short story or the structuring of a body of text. 1. The fever of heroes (13th November); 2. War fever (4th December); 3. The fever of words (6th January). The importance of showing these works in Janela is, precisely, what characterizes the interventions in this space: being an area of daily and exclusive care of plants, which to some extent exceeds human concentricity; and being at the window, showing the division of spaces (open term) s a whole.

For his intervention at the Janela, Francisco Tropa (Lisbon, 1968) chose as an artistic reference the Greek vase "the Sotades vase", from the British Museum of London’s collection which he candidly transposed into baked clay. At the museum there are also a group of Tanagra terra-cotta sculptures depicting two girls playing this game, dated to 800 b.c., a life-sized marbled figure playing the game, of later date, and several Astragali in bronze, rock-crystal, agate, etc., of ancient Greek and Roman times, alongside different dice of which Astragali are doubtless the ancestors.

The Astragals, or Knuckle-bone was a game played during the roman period made of small pieces of Astragali bronze, or of the knuckle-bones of sheep or other animals, hence the name. Astragalis are moreover associated with burials, most often of children and adolescents, having been found inside bowls and vessels in graves. Games with knuckle-bones have historically been a chosen amusement by South-American countries, and it is posed that they may have been played among the Native-Americans before the Discoveries. Having spread all over the European country, there are numerous distinct variations of the original game. In Switzerland, for example, the figures King, Queen, Jack (or knave) are included, combining Cards, Chess, and Astragals.

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.

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 February, 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.

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.

Fernanda Fragateiro (Montijo, 1962) lives and works in Lisbon. Operating in the field of three-dimensionality, challenging relations of tension between architecture and sculpture, Fernanda Fragateiro's work enhances relationships with each place, calling the viewer to a performative position. Some of her projects are the result of collaborations with other visual artists, architects, landscape architects and performers.

Invited by Taffimai to present a three-part project presentation  - the three Janelas (Toronto, São Pedro do Estoril, Lisbon) Fernanda Fragateiro researched around Bernard Rudofsky (Austrian-American, 1905-1988), architect, curator, politician, exhibition and fashion designer whose work was entirely influenced by his deep interest in the idea of ​​stimulating the human body and senses. A proposal that will be unfolded in each location in a different way, which began in October 2019 in a window of Toronto's Little Portugal neighbourhood, where Fragateiro used the iconic Lily sandals designed by Rudofsky in 1946, transforming  the object into a sculpture or a symbol of homage to the architect.

For the Janela in São Pedro do Estoril, Fernanda isolates a fragment of an interview made to Andrea Bocco Guarneri - an architect who developed a thorough research into Rudofsky's life and work, about Bernard and Berta Rudofsky's house in Malaga, reflecting on how the couple's daily life mirrored the purest principles of self-sustainability that are still so difficult to put into practice today.

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).

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.

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”.

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.

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.

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”.

Maria Klabin at Limbo plant shop in Madragoa.

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.

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’).

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’).