Boa viagem, muitas maravilhas
Group exhibition, Atelier – Museu Júlio Pomar, Lisbon, 2025
Curated by Lígia Afonso, Marta Guerreiro and Rita Salgueiro
The installation Artista Ausente (Absent Artist) was part of the first collective exhibition based on the funds preserved by BAC – Banco de Arte Contemporânea Maria da Graça Carmona e Costa, revealing a vast and significant set of documentation and works, by artists, galleries and art critics, active since the second half of the 20th century. The exhibition also featured works by other artists, that branch out from its funds, recognizing the multiple potentialities of an archive.
Artista Ausente reflects on posthumous artistic estates, incorporating the unpublished, newly discovered, and yet-to-be-investigated body of work by Marília Torres, inscribing it, as well as Eduardo Nery's color studies, extrapolating the pictorial grid of the project for Avenida Infante Santo onto the wall.
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Lígia Afonso / Marta Guerreiro / Rita Salgueiro
The title Artista Ausente refers to the fact that Fernanda Fragateiro uses the work of the two artists as material for her own work, which apparently leaves her out of the picture, but also brings into discussion what can happen to artists' work after their disappearance, leaving decisions about their legacy entirely in the hands of others. To what extent can the disclosure or concealment of works and archives be manipulated by third parties?
Artista Ausente reflects on posthumous artistic estates, incorporating the unpublished, newly discovered, and yet-to-be-investigated body of work by Marília Torres, inscribing it, as well as Eduardo Nery's color studies, extrapolating the pictorial grid of the project for Avenida Infante Santo onto the wall.
–
Lígia Afonso / Marta Guerreiro / Rita Salgueiro
The title Artista Ausente refers to the fact that Fernanda Fragateiro uses the work of the two artists as material for her own work, which apparently leaves her out of the picture, but also brings into discussion what can happen to artists' work after their disappearance, leaving decisions about their legacy entirely in the hands of others. To what extent can the disclosure or concealment of works and archives be manipulated by third parties?
Photos: António Jorge Silva