Teixeira de Pascoaes
We represent the objective and the subjective, quantity and quality, the cardinal and ordinal number, the corpuscular disorder and the music of the spheres, fatality and liberty. We represent all of that, in a solid, liquid and gas scenario. And so we eat, drink and breathe;-three virtues of the animated spirit, because it changes what it eats into sensations, what it drinks into feelings and what it breathes into clear or obscure ideas, as the air is clear or foggy... solid is the origin of sensation; feeling is fluid;and thought is only the color blue or the intimate image of light.
Teixeira de Pascoaes
The relation of the photos (and what their image conveys) with the space where they were displayed (e.g.the coincidence of direction of the light source in the image and the display space) was a device first used during this exhibit. In 2009, Dias Úteis (useful days), an exhibition project presented in a deserted 18th century building, had as its main driving force this dynamic of reading the image in harmony with the space temporarily inhabited by the work. The itinerary of this exhibition, spiraling and near-labyrinthic, ended in the building's garret, where two photographs whose subject rested upon the notion of time were displayed. "Modo Funcionário de Viver" (Functional Way of Life), a set of seven photographs, and the artist's book "Termo de identidade e residencia" (Term of Identity and Residence) appear as different presentations of this quest to record the transformation of certain bodies, under the effect of the varying light of each day. "o outro nome das coisas" pursues the same path: the wall of a certain space, experienced daily by the artist, is recognizable as the interpretation of a particular future transformation.
A table for a book
A book for a table
In a room with a view over Lisbon a book is presented on a table. It results from a daily practise undertaken by Catarina Botelho during the course of a year and a half. Along the days, at different times, the artist photographed frontally and from the same point of view, a wall and the light that hit it from a nearby window. The sharing of intimacy, the transitory sequence of her thought - or the intimate image of light - is inherent to the proposed reading of this object.