Theopening ofthe ART-MAPconcept (Moving Curatorial Project) todiversified proposals allows us a set of immeasurable relations. Fromthe artistic forms ordisciplines, to the theme andthe motif, fromthe technique tothe support, fromthe author's experienceto the proposal of curation and organization of the exhibition space, fromthe intention ofthe organization tothe character ofthe supports, fromthe choice ofspaces tothe visitors,it is possible to group experiencesand phenomena whose meaning leads to a "baroquethinking". Inthis case,the genesis ofthe project pursuesa dynamic character, of movement and fluidity, which meets the theme chosen for theedition.The strategy ofapproach tothe various spaces confers a spatial narrative character proposing an immersion and an experience that collapses different temporal dimensions, newand old forms.
However, one must understandwhat actually animates the experience.That is,the possibility of abaroque form ofthought and ofthis movement will result in worksthat illustrate it. In this field, as the first intuitive approach,illustrate refers to the formalistappropriation of a set of signs generalized by the consumption ofworks ofart and their popularization. In fact, thisconcept ofillustration is the materialization of knowledgeand knowledge.If someexamples caneasily be noticed among the present works, others escape itby the artist's willto ignore this sense of response or to seek a rationalconstruction on the subject. Thus, it is possible to find explicit visual references - a volumetriccarving,the tilepattern,the tension of a face, an infinite perspective - as other less immediate inthe domain ofthe expression ofidiosyncratic emotions, of disturbing the artist's spirit.
This ART-MAP event acts (much in thespirit) as aprovocation,constructing acollective manifestation thatallows us, from today and despite theproximity, a moreobjective analysis of the phenomenon. Itswide thematic spectrum,although less useful for a more definite study, enlarges themultiplicity ofpoints ofview according tothe narrative interaction that can beestablished with the works. In this sense, alwaysavoiding the immediate and more normative, shaper, one must look forall works that donot have an explicit reference to the past. Thatis,all those who,by force of acontemporary expression, in the spirit of time, refer in a manner analogous to a common, coherent, constant type.An analogue that is a quality, notnecessarily formaland concrete,expressed by attitude. A type thatdespite intersubjective is clearly animatedby the experiencesof each individual.
Thisis an excerpt fromthe catalog text by:
Miguel Duarte, Director of the Nogueira da SilvaMuseum / UM
