Noutro Blogue, aquando desta Exposição no Centro da Gulbenkian em Paris escrevemos, como se verifica, sobre o acontecimento. Lembro-me que na altura reparei que a Comunicação Social portuguesa se deu alguma cobertura não dei por isso. Por acaso agora encontrei o que no NYT se fez sobre a exposição e pensei que é sempre ocasião para se falar da pintora LISA SANTOS SILVA, de quem sou amiga. Desde o tempo em que trabalhou na então Direcção Geral de Acção Cultural, agora DGARTES. Mais ou menos por essa altura outros «nomes conhecidos» contribuiam também para que institucionalmente fosse claro o que se praticava na esfera do serviço público quanto às «artes plásticas» em articulação pensada com o resto: João Vieira, Fernando Calhau, Julião Sarmento, ... (Seria interessante comparar com o que se passa hoje).Pode ler-se no NYT:
«Strategically placed halfway between the Arc de Triomphe and the Trocadero museum quarter is a discreet cultural center in an elegant town house once owned by the Armenian-born oil industry pioneer and promoter Calouste Gulbenkian. Though modest in size, the Centre Culturel Calouste Gulbenkian (51 Avenue d’Iena; 33-1-53-23-93-93; www.gulbenkian-paris.org) is worth a detour. The current offering, a show titled “Are You Ready Lola,” is a perfect example. On through April 22, the exhibition features 18 oil paintings by Lisa Santos Silva, a Portuguese artist who lives and works in Paris.
The title of the exhibition comes from a line in Max Ophul’s classic 1955 film “Lola Montès,” spoken by the circus director played by Peter Ustinov to the dancer, acrobat and courtesan Lola as she prepares to throw herself from a high trapeze — the moment of suspense when time and space fuse in infinity.
Ms. Santos Silva’s work, whether stylized figurative portraiture or abstracted lightscapes, is imbued with that same sense of dynamic suspense. Rich and densely colored, they are luminous, almost transparent, an effect produced by layer upon layer of paint brushed out thinly over a white gesso-primed canvas, then left to dry before the next layer. These paintings are more to be looked into than looked at. A series of russet-toned, turbulent abstracted pieces, “Farewell to the Colonies” (above), an elegy to her childhood in Angola, could have been painted by the famed landscape artist J. M. W. Turner.
The artist’s figures feature protruding eyes, sensual mouths and fixed expressions. A closer look at each reveals a secret, interior life, drawn from the Portuguese religious and feminist history to which the artist is consciously an heir. (...)» O resto.
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