DRAWING ROOM Lisboa' 2022
Este ano e pela primeira vez, a Taffimai fez parte da Drawing Room Lisboa, feira dedicada ao desenho, que teve lugar na Sociedade Nacional de Belas Artes, entre 26 e 30 de Outubro, com a presença de mais de 70 artistas e 26 galerias nacionais e internacionais. Estivemos incluídos na secção editorial que teve lugar no piso superior da Sociedade Nacional de Belas-Artes em Lisboa.
This year and for the first time, Taffimai was part of Drawing Room Lisboa, a fair dedicated to drawing, which took place at Sociedade Nacional de Belas Artes, between 26 and 30 October, with the presence of more than 70 artists and 26 national and international galleries. We were included in the editorial section that took place on the top floor of Sociedade Nacional de Belas Artes in Lisbon.
Four Flags Lisboa' 2020
Four Flags 2020 Lisbon was a partnership between Taffimai and Galeria Zé dos Bois. The Four Flags project started in Amsterdam, conceptualized by Julia Mullié and Nick Terra. The idea was born under the urgency of these new times as sharing art in public space. Four flags Lisboa was displayed on the facade of ZDB Gallery, where 4 flags were launched every friday, on a total of 36 projects, over a three-month period.
All flags were produced in an edition of 4 + 1 A.P. and the total value of sales benefits the participating artists.
Alexandre Estrela, Alice Geirinhas, Alice Reis, Ana Jotta, Belén Uriel, Carla Filipe, Diogo Bolota, Ellie Ga, Fátima Moreno López, Francisco Tropa, Gabriel Abrantes, Gisela Casimiro, Gonçalo Pena, Horácio Frutuoso, Hugo Canoilas, Joana Escoval, João Marçal, João Maria Gusmão, Jorge Queiroz, Lucia Vives, Luís Lázaro Matos, Mané Pacheco, Mattia Denisse, Pedro Barateiro, Pedro Neves Marques, Pedro Henriques, Pedro Paiva, Rodrigo Garcia Dutra, Sara Bichão, Sara Chang Yan, Sílvia Prudêncio, Susana Mendes Silva, Tomás Cunha Ferreira and Yonamine
FELIX GONZALEZ-TORRES / Fortune cookie corner
Felix Gonzalez-Torres (Guáimaro, Cuba, 1957) is best known for his participatory and collective artworks and for often being actively involved with politics and public life, asking the spectators to implant their own meaning to his artworks. This way, the viewer is not inert but is part of the creation.
“Untitled” (Fortune Cookie Corner), 1990, was the first of his “candy” installations but is today being shown again under different circumstances. Presented by Andrea Rosen Gallery and David Zwirner Gallery, this installation composed solely by fortune cookies will be reproduced from May 25 to July 5 in hundreds of locations throughout the world. 1,000 people were therefore invited to install between 240 and 1,000 fortune cookies in a place curated by them, and everyone that visits this installation is allowed to take a fortune cookie. When the fortune cookie supply is over, these cookies will no longer be considered as part of Felix Gonzalez-Torres’ work. Spreading out from the gallery’s traditional boundaries, this multiple-sight work spreads poetically like an ivy plant transforming in shape and meaning wherever it reaches. Social distance is diminished once you take one fortune cookie from the pile and read the message inside, as if it were a letter specially curated for you from a pen pal that you have never met but to whom you’re very close. What kind of message is it?
This work also raises a question most relevant in Felix Gonzalez-Torres’ work that is the relation between art showing within private and public spaces. How does a pile of fortune cookies bring us closer in a time where distance is king and how does has our living today shifted the concepts of private and public space.
Luiza Teixeira de Freitas was in invited to activate this work in Lisbon and did it through the publisher Taffimai in Limbo, a beautiful plant shop in the Madragoa neighbourhood.