{"id":349,"date":"2020-09-09T14:34:55","date_gmt":"2020-06-15T12:49:57","guid":{"rendered":"http:\/\/oinstituto.pt\/pt\/?p=349"},"modified":"2025-10-08T15:39:33","modified_gmt":"2025-10-08T15:39:33","slug":"walking-lines","status":"publish","type":"post","link":"https:\/\/oinstituto.pt\/pt\/walking-lines\/","title":{"rendered":"Walking Lines"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":370,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[7,5,30],"tags":[],"class_list":["post-349","post","type-post","status-publish","has-post-thumbnail","hentry","category-exhibition","category-programme","category-yearbook20"],"grid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 2,\r\n \"rowGutters\": [\r\n 2\r\n ],\r\n \"frameMargin\": 2,\r\n \"topFrameMargin\": 17,\r\n \"bottomFrameMargin\": 2,\r\n \"rowAttrs\": [\r\n {},\r\n {}\r\n ],\r\n \"bgColor\": 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Walking Lines\u00a0
<\/span>20.08.2020

Artista: Tomas Spicer<\/span><\/p>

O trabalho desta exposi\u00e7\u00e3o parte de um texto que responde a ideias sobre o Porto, mas tamb\u00e9m sobre cidades e civiliza\u00e7\u00f5es em geral. Passamos muito tempo a passear e a olhar para coisas. Certas coisas saltam-nos \u00e0 vista e entram na nossa consci\u00eancia. Quando estamos num lugar por um longo per\u00edodo de tempo, as coisas parecem desaparecer ou desvanecer no \u2018cen\u00e1rio\u2019. Coisas que \u00e0 partida pareciam extraordin\u00e1rias, tornam-se totalmente invis\u00edveis. Walking Lines \u00e9 sobre tentar conservar estas coisas e torn\u00e1-las vis\u00edveis, ou pressionar \u2018pausa\u2019 numa ideia enquanto ela se dissipa.\u00a0<\/span><\/p>

\u00c9 interessante pensar sobre o porqu\u00ea de repararmos em algumas coisas e n\u00e3o repararmos noutras. O uso da galeria como espa\u00e7o no qual se apresentam ideias \u00e9 \u00fatil, visto que estimula uma esp\u00e9cie de hyper-consci\u00eancia, as galerias tornam as pessoas observadoras. Quando deixamos a galeria e vamos para a rua, esta consci\u00eancia diminui, ou torna-se diferente, portanto n\u00e3o vemos nem olhamos da mesma forma. A exposi\u00e7\u00e3o actua como um espa\u00e7o interno da mente, ou como um purgat\u00f3rio de ideias, ou talvez como uma sala de espera de pensamentos, e como um lugar onde estes pensamentos podem ser olhados e vistos.\u00a0<\/span><\/p>

O principal componente da exposi\u00e7\u00e3o \u00e9 um trabalho com base em texto que foi dividido em tr\u00eas partes. Estas partes foram colocadas em espa\u00e7os p\u00fablicos na cidade e arredores e s\u00e3o mostradas isoladamente, portanto fragmentadas. O \u00fanico lugar onde estes textos se re\u00fanem \u00e9 na pr\u00f3pria exposi\u00e7\u00e3o. Cada texto individualmente responde a diferentes ideias sobre a cidade.<\/span><\/p>

Testemunho do artista
<\/span>Tomas Spicer (Islington, Londres, 1988) vive e trabalha atualmente em Surrey. <\/span>\u00c9 licenciado em Belas Artes pela Central Saint Martins, University of the Arts London e \u00e9 p\u00f3s-graduado em educa\u00e7\u00e3o (PGCE in Post-Compulsory Education) pela University College London. Tomas faz trabalho que se materializa de v\u00e1rias formas, desde pintura a texto, escultura, performance e publica\u00e7\u00f5es. O seu eterno interesse \u00e9 o processo de transmiss\u00e3o ideacional, e as dificuldades - tanto de articula\u00e7\u00e3o como de interpreta\u00e7\u00e3o - que prejudicam a comunica\u00e7\u00e3o efetiva e fidedigna. Em particular, o seu trabalho explora o porqu\u00ea e de que formas a express\u00e3o art\u00edstica - pintura, escultura, linguagem, a\u00e7\u00e3o - podem apenas transmitir imperfeitamente ideias de uma mente para outra; do artista para o observador ou leitor. O seu processo \u00e9 largamente discursivo, jogando com, e estendendo, ideias em conversa com outras, e testando os limites da comunica\u00e7\u00e3o precisa e compreens\u00edvel. As pe\u00e7as que emergem destas discuss\u00f5es s\u00e3o frequentemente audazes e minimalistas - uma demonstra\u00e7\u00e3o de, e uma resposta a, dificuldades de transmiss\u00e3o. No entanto \u00e9 o processo como um todo - o processo e a sua subsequente objetifica\u00e7\u00e3o, e a rela\u00e7\u00e3o inquieta entre os dois - que marcam o foco do seu trabalho. Parte de uma tradi\u00e7\u00e3o oral contempor\u00e2nea, o seu processo e trabalho refletem um interesse profundo pela consist\u00eancia e estabilidade do significado.<\/span><\/p>

Fotos:
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