A Reserva das Coisas no seu Estado Latente — pdf
“Practicing an alchemy of matter and meaning, Fernanda Fragateiro builds up a space of emancipation which confronts a poetry of form with an assumed innocence of a concealed knowledge. Structured by a rhythm of togetherness and separation, the exhibition The Reserve of Things in Their Latent State (after Maurice Blanchot) gracefully unfolds as a never-ending sentence of Blanchotian récit until it disappears in fairly long and abnormally narrow corridors of its veiled meaning. A sentence is a (written) line is a horizon is a limit-experience (an agent of disappearance as well as deception; but also a guarantee of fulfilment and affirmation, on the threshold of the visible and invisible). Act of silencing prevails. A denial, in fact, is an ultimate gesture of deconstructing a modernist pattern of thought, caught in-between an homage to a legacy and a desire to liberate the mind from received ideas and accepted knowledge.”
Texts by Adam Budak and Filipa Oliveira.
126 pages, Fundação Eugénio de Almeida, 2017
“Practicing an alchemy of matter and meaning, Fernanda Fragateiro builds up a space of emancipation which confronts a poetry of form with an assumed innocence of a concealed knowledge. Structured by a rhythm of togetherness and separation, the exhibition The Reserve of Things in Their Latent State (after Maurice Blanchot) gracefully unfolds as a never-ending sentence of Blanchotian récit until it disappears in fairly long and abnormally narrow corridors of its veiled meaning. A sentence is a (written) line is a horizon is a limit-experience (an agent of disappearance as well as deception; but also a guarantee of fulfilment and affirmation, on the threshold of the visible and invisible). Act of silencing prevails. A denial, in fact, is an ultimate gesture of deconstructing a modernist pattern of thought, caught in-between an homage to a legacy and a desire to liberate the mind from received ideas and accepted knowledge.”
Texts by Adam Budak and Filipa Oliveira.
126 pages, Fundação Eugénio de Almeida, 2017