TIGRE
(TIGER)
Espaço AZ
Lisbon, April 2015
Specifications:
Cloth: Digital print on nautical canvas
Sculptures: Pigmented cement
Objects: Painted plaster
(TIGER)
Espaço AZ
Lisbon, April 2015
Specifications:
Cloth: Digital print on nautical canvas
Sculptures: Pigmented cement
Objects: Painted plaster
“To live is to offer all things an oblique worship, that proceeds as if they were Gods and part of our freedom towards the divine.”
Agustina Bessa Luís, Longos Dias têm Cem Anos Tigre, Bernardo Simões Correia’s first solo exhibition, reveals, right from the title, a deep view of the interstices between images and words. In an insistent way, the drawing is now shown, a ponder that results from seeing — an oblique shock against the obdurate nature of things and the ways some objects invade and occupy us, becoming anchors with which we provide ourselves with meanings, just by gazing. The line, the smear and the form , understood in a broader sense, appear in the encounter – there is a search for a first gesture that unravels in the vibration of the visible. The drawing is uncovered, made object-trouvé, either to be stolen or given, what matters is the encounter with the image-gesture-vibration. Children fill their pockets and hands with rocks, shells, and sticks while they walk – their eyes browse the ground in an oblique worship, giving each object a particular value – This is necessary. This needs to be kept and to accompany me. These become signals of their encounter with the vibration of things, as if they responded to their presence, making them part of themselves in that relationship. Bernardo Simões Correia’s path has been consistently outlining that reciprocity where the drawing surprises as a sign, be it in the latency of the ambiguous forms ((botos-montanhas1; tigre-gato-leopardo2) or in the discovery that everything emerges from that ambiguity, having within it something essential that provokes laughter. The objects that embody Tigre are like hooks that guide the drawing and shapes that get locked behind the eyes. Pela boca morre o peixe (The fish dies by the mouth) – and because it sees, the fish pounces over the bait and is fatally deceived by the artefact ( be it a simple worm or the more elaborate phosphorescent imitation of creature). What is important to highlight is the power of the shape, that in this case is body, and that demands a place, that vibrates and shines forth, becoming vital in its relationship with the world. Because the hook and the bait are to the fish essential signs of its vitality – the trap lives of that essential ambiguity inverting its function. The way Bernardo Simões Correia discovers shapes, in that exercise that disregards everything, is imbued with that duplicity, starting with the tracing of doodles and drawings found on school desks that present themselves as discoveries of a common trace to all of us that unites and at the same time highlights the singularity of each and every one of us. In those objects one can find the encounter with the gesture of the impulse to register, that becomes secret and at the same time announces the community that looks and reads. This is exactly the invitation these objects offer us with their simplicity; they are proposals that seek the glare that finds them, not in a structural complexity but through the doubt of its latency and ambiguity. And lets get back to the Tiger that does not live in these images. Luisa Metelo Seixas, Lisboa, 2015 |
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