Exhibitions Archive < Back JOÃO LOURO | La Teoria dell'Evoluzione BESSA PEREIRA GALLERY, MILAN OPENING 19 de out. de 2023 CLOSING 8 de nov. de 2023 We could not be more delighted to announce the official launch of a project that opens its doors to an international public and market, exclusively dedicated to contemporary art, which stems from Galeria Bessa Pereira's decade-long experience in the Portuguese capital. Choosing Milan as its starting point, Bessa Pereira Gallery inaugurates the 2023 autumn season with an individual exhibition by artist João Louro, already known in Italy for his participation in the 2015 Venice Art Biennale. The artist marks his return with this new exhibition ' La Teoria dell’Evoluzione ', curated by Mario Codognato, which will open on Thursday 19 October, at 6pm, in Via Tortona, 30 . We therefore invite you to the inauguration cocktail, where we will toast the beginning of this new adventure. Previous Next

Modern Design < Back POLTRONA PILÃO II, 1979 José Zanine Caldas, Brazil Poltrona Pilão (Pilão Armchair) Sucupira wood (variant of) H 85,5 x W 51,0 cm Observations: Hand sculpted armchair with aid of axe and adze. Conical shape tapered at the base. Sandpaper finish and wax polished. Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm Poltrona Pilão (Pilão Armchair), 1979 José Zanine Caldas, Brazil Sucupira wood (variant of) H 85,5 x W 51,0 cm

Ceramics < Back Dieter Crumbiegel (Germany, 1938 - ) Germany, 1985, Gres, 32 x 30 x 10 cm.

Exhibitions Archive < Back LAAF 2022 Lisboa OPENING 29 de abr. de 2022 CLOSING 7 de mai. de 2022 SAVE THE DATE! We are very pleased to be present at the next edition of the LAAF, at Cordoaria Nacional from April 30th to May 8th, and super excited to welcome you. Don't miss our 5 days programme of curated talks "Conversas Sobre Arte"! Previous Next

Archeological < Back CLAY VASE Vase from the Lambayeque culture, Peru Circa 1100AD/1400AD Brown and orange clay H 22 x W 14,5 x D 13,5 cm Observations : Incised decoration on base depiction waves and steps. Faded pictorial layer, slight perception of polychromy.

Modern Art < Back RENÉ BERTHOLO Attended ESBAL between 1951 and 1957, but his experimental drive prevented a more linear academic path and, in 1957, he left for Munich. In the following year, he settled in Paris, with Lourdes Castro, producing an abstract matrix painting, which progressively admits the neofigurative exercise, as well as the informalist experiences still affiliated with the psychic automatism techniques dear to the surrealist heritage. In those early years lived in Paris, his commitment to the edition of the magazine KWY (1958–1963) also stands out. From the 1960s onwards, René Bertholo's aesthetic was defined around a playful imagery, in an almost DIY exercise where objects and small figures populate the pictorial space from a dimension of constant and reused montage. In 1966–67, the first "Reduced Models" appear, built mechanical objects that convert in real motion some of the figurative symbols of Bertholo's painting (tree, cloud, etc.), from the action of small engines that are also and displayed in the visual plane of the work. There, the objectual and procedural condition of the work of art is questioned, in an absolutely innovative exercise in modern Portuguese art. Motivated by studies carried out in the early 70s in Berlin, Bertholo will make a series of "sound machines" where he delves into some of the issues previously touched on, assembling and reassembling sounds from everyday life. Since 1974, his painting has undergone an adjustment in the treatment of miniaturized figuration, configuring it in a more narrative level, where the pictorial appears in the allegorical definition of the pluralized space of the painting, thus the image being the stage of a very particular band drawn. The process of reusing or reassembling figures and objects previously presented will be carried out in recent years, still using computer graphics that facilitate the author's stylistic resource, confirming a favorite image from which some autobiographical references have never been absent. Le Jour et la Nuit, 1969 [off] Metal, painted metal and electric system 35,0cm (W) x 30,5cm (H) x 7,0cm (D) Le Jour et la Nuit, 1969 [on] Metal, painted metal and electric system 35,0cm (W) x 30,5cm (H) x 7,0cm (D) Le Jour et la Nuit, 1969 [label] Metal, painted metal and electric system 35,0cm (W) x 30,5cm (H) x 7,0cm (D)

Modern Design < Back ACHILLE CASTIGLIONI LAMP, 1988 Ceiling lamp model Taraxacum ‘88 Designer: Achille Castiglioni (1938-2000 ) Italy, 1988 Production: Flos 80 cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned on with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [detail with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned on with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [detail with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned on with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [detail with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned on with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [detail with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned on with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [detail with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned on with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [detail with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned on with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [detail with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned on with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [detail with opaque bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs) Achille Castiglioni lamp, 1988 [turned off with transparent bulbs] Achille Castiglioni ( 1938-2000 ), Italy Ceiling lamp model Taraxacum ‘88, 1988 Production - Flos 80cm (Diameter with bulbs)

Exhibitions Archive < Back NO MEIO DA PEDRA TINHA UM CAMINHO Pollyanna Freire OPENING 17 de mai. de 2023 CLOSING 9 de jun. de 2023 O conjunto das “experimentações” que agora se apresentam pelo traço da Pollyanna Freire, são ensaios com uma escala que nos permitem interpretar a verdadeira natureza do seu pensamento. A escala reduzida, alicerça o seu processo gráfico, assumindo-se como um meio de mediação entre a dimensão da folha de papel e a escala urbana, que um dia a sua obra configurará com certeza. Aparentemente, o desenho é fundamental na estruturação do caminho entre pensamento e a existência das peças, contudo, acreditamos que os exercícios de construção em escala reduzida permitem-lhe incorporar o objecto e estabelecer um diálogo entre peças, mas acima de tudo, incutir-lhes referenciação espacial mesmo quando isoladas. A concepção é metódica e estruturada, e nessa medida as peças que servem de consolidação do processo, por incorporarem a objectividade e definição conceptual de Pollyanna, permitem, a outra escala, identificar universos paralelos com a mesma substância. À imagem da circunstância dos habitantes da Ilha de Liliput. Se a nossa relação com a dimensão “menor” das peças não produz menos efectividade na expressão das mesmas, pelo contrário, revela um robusto eclectismo na constituição de novos universos (mesmo que a uma escala doméstica). A expressão da sua obra, traduz-se no desenho de uma bidimensionalidade ficcionada sobre o infinito, permitindo-nos a nós, caminhar na vertigem sobre o limite do que será o “outro lado do espelho”. Uma fronteira invisível entre a realidade e o vazio, onde o desenho é quem traça a iminência. Tal como João Pinharanda afirma, as suas peças “são apreendidas visualmente como se estivéssemos a vê-las serem desenhadas no espaço”, sendo o movimento do observador o rastilho na sua interpretação. A imobilidade é ficcionada entre arestas, planos e sombras, concretizando perenes vazios nos seus núcleos, contudo o movimento de interpretação pelo espectador torna-se motor na activação do objecto perante a sua depurada envolvência. Neste duplo movimento em torno e através dos vazios, construímos a cartografia da “dança” entre peças, harmonizando com o nosso movimento a polifonia entre delicadas estruturas cromaticamente distintas. O domínio cromático entre peças, a reinterpretação do espaço através do movimento cru do traço e a flexibilidade das peças na transição entre escalas consubstanciam a expressão de um movimento elíptico na construção de novas formas sobre o vazio. A subtileza deste confronto é profundamente reveladora da singularidade da obra de Pollyanna. Previous Next

Exhibitions Archive < Back FEIRA DE OUTONO 2023 Sociedade Nacional de Belas Artes, Lisboa OPENING 15 de nov. de 2023 CLOSING 19 de nov. de 2023 Previous Next

Contemporary Art < Back MIGUEL ÂNGELO ROCHA Lisbon, 1964 Born in Lisbon in 1964, lives and works in New York and Lisbon. Graduated in Painting from the Faculty of Fine Arts of the University of Lisbon (1992). Between 1994 and 1996 he completed his Master of Fine Arts at the School of Visual Arts in New York. In 2002, joined as an assistant at the Faculty of Fine Arts in Lisbon. Exhibits regularly since 1991. He has held several solo and group exhibitions at the Chiado Museum in Lisbon; at the Laure Genillard Gallery in London; at the Frieda and Roy Furman Gallery, Walter Reade Theater at Lincoln Center in New York; in the Círculo de Artes Plásticas in Coimbra; in the Módulo - Centro Diffusor de Arte, in Lisbon; in Hospital Júlio de Matos, in Lisbon; in the Miguel Nabinho Gallery, in Lisbon, among others. His works are represented in many collections such as Serralves Foundation, Chiado Museum, Carmona and Costa Foundation, Modern Art Center of the Calouste Gulbenkian Foundation. Untitled, 2016 Wood, acrylic paint and rope 170 x 77 x 23 cm Green on red, 2008 Wood, wicker, acrylic paint and gouache 31x18x35 cm