Continuous risk 1585

Eduarda Neves

the scratch, or a sharp plate

But already in the course of that galactic year, we came to the realization that up to then the forms of the world had been provisional and would change one by one. And this understanding was followed by a boredom for the old images, so much so that one could not even bear the memory of them

 (Italo Calvino — All Cosmicomics)

The drawing does not occupy the paper sheet. It spatializes itself in time there, and it discovers its archetype: space-time as assemblage operates the drawing effect, a certain rhythm in which each form is always an indeterminate beginning, without founding propositions. A scratch. The tip of a sharp plate, suspended, swings back and forth. In the center and over our heads. To risk. Up and down. The line that unfolds on the wall in a game of multiple reflections guarantees the condition of wonder. It establishes the plasticity of new spaces that dispossess the resemblance of the power of any regulatory exercise of the image. Potentially cinematographic structures activate delicate and imperceptible movements. Through them, various scales and planes are repeated discontinuously. A transparent cube reinvents the dark room, fascinated by invisible screens that await the sensitive matter - Sokurov said that there are a great number of people who have nothing inside them.

Convoking an almost dramaturgical sense of the exhibition space, in which objects, supports, and materials play a leading role in the free flow between order and disorder, balance and imbalance, reality and imagination, interior and exterior, light and shadow, a conceptual framework is affirmed that destabilises the sovereignty of representation. Sound atmospheres integrate a sinuous and vitalist poetics that not only configures these works but also manifests the singular formulation of iconography as a trace which names the world. Omnipresent and tense complicities establish critical approximations between contemporary landscapes and technologies, water springs and oil extraction, ecology and industrial massification, nature and culture. The gods and the mortals. Always the form and the background. Links. Art and an obstinate way of saddening. 

Herberto Helder wrote that the lover and the loved thing are a single prior cry of love - it is what at the origin is enunciated as a plan. Or the drawing. 

Eduarda Neves
(a autora escreve segundo o anterior acordo ortográfico)

Carlos Mensil
22.09 – 12.11.2022
Text : Eduarda Neves
Photography : Bruno Lopes 
Video : João Silva 

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