Exhibition Views
contemporary art gallery
Pedro Cabrita Reis
Flores
29 SEPTEMBER - 27 NOVEMBER 2023
I'm using photography as a way to investigate and try to understand these seas. I attempted to make them more artificial and less natural.
Nuno Cera in conversation with Miguel Nabinho
Photographic documentation
Among the one-person exhibitions we can single out: “Drawings”, CAM, Gulbenkian Foundation; “Body Building”, Loja da Atalaia, Lisbon; “Rui Sanches, Retrospective”, CAM, Gulbenkian Foundation and “Museum”, Museu Nacional de Arte Antiga, Lisbon. Some important group-exhibitions were: the 19th São Paulo Bienal; “PASTFUTURETENSE”, Winnipeg Art Gallery and Vancouver Art Gallery; “Tríptico”, Europália 91. Museum van Hedendaagse Kunst, Ghent; “From Silence to Light”, Watari-Um, Tóquio; “Abstract/Real”, Museum Moderner Kunst Stiftung Ludwig, Viena; “Dentro y Fuera” Cáceres and “Serralves 2009 – The Collection”, Museu de Serralves, Porto. During the 1980’s his work was based on the deconstruction of paintings and genres of painting.
Cabrita was born in 1956 in Lisbon, the city where he currently lives and works. His work has steadily received international acknowledgement, thus becoming crucial and decisive for the understanding of sculpture from the mid-1980’s onwards. His complex work can be characterized by an idiosyncratic philosophical and poetical discourse embracing a great variety of means: painting, sculpture, photography, drawing, and installations composed of industrial and found materials and manufactured objects. By using simple materials that are submitted to constructive processes, Cabrita recycles almost anonymous reminiscences of primordial gestures and actions repeated in everyday life.
The complex theoretical and formal diversity of the work of Cabrita proceeds from an anthropological reflection, which is contrary to the reductionism of sociological discourse. In fact, it is on silences and indagations that the work of Cabrita is based and built on.
Pedro Cabrita Reis participated in important international exhibitions, such as Documenta IX and XIV in Kassel in 1992 and 2017, the 21th and 24th São Paulo Biennales, respectively in 1994 and 1998, in the Aperto of the Venice Biennale in 1997. In 2003, he represented Portugal in the Venice Biennale, in 2013 he presented “A Remote Whisper”, 55th Biennale de Venezia and participated in the Xème Biennale de Lyon, “The Spectacle of the Everyday”, Lyon, 2009. In 2022 Cabrita presented in the Tuileries “Les Trois Grâces” commissioned by the Louvre Museum, and on the occasion of the 59th Venice Biennale Cabrita Reis presents “Field” at Chiesa di San Fantin.
Artist Bio
from an anthropological reflection, which is contrary to the reductionism of sociological discourse. In fact, it is on silences and indagations that the work of Cabrita is based and built on.
Pedro Cabrita Reis participated in important international exhibitions, such as Documenta IX and XIV in Kassel in 1992 and 2017, the 21th and 24th São Paulo Biennales, respectively in 1994 and 1998, in the Aperto of the Venice Biennale in 1997. In 2003, he represented Portugal in the Venice Biennale, in 2013 he presented “A Remote Whisper”, 55th Biennale de Venezia and participated in the Xème Biennale de Lyon, “The Spectacle of the Everyday”, Lyon, 2009. In 2022 Cabrita presented in the Tuileries “Les Trois Grâces” commissioned by the Louvre Museum, and on the occasion of the 59th Venice Biennale Cabrita Reis presents “Field” at Chiesa di San Fantin.
Patrícia Garrido graduated in painting at the Escola Superior de Belas-Artes in Lisbon (ESBAL). She has participated in numerous group exhibitions which include: Mais Tempo, Menos História, Serralves Foundation, Porto (1996); O Império Contra-Ataca, Galeria ZDB, Lisbon (1998); Squatters, Galeria do CRUARB, Porto (2001). Solo exhibitions include: T1, Serralves Foundation, Porto (1998); Móveis ao Cubo, Desenhos ao Acaso, TREM Galeria Municipal de Arte, Faro (2009); Peças Mais ou Menos Recentes, EDP Foundation, Museu Nacional Soares dos Reis and Galeria Fernando Santos, Porto (2013).
Cabrita was born in 1956 in Lisbon, the city where he currently lives and works. His work has steadily received international acknowledgement, thus becoming crucial and decisive for the understanding of sculpture from the mid-1980’s onwards. His complex work can be characterized by an idiosyncratic philosophical and poetical discourse embracing a great variety of means: painting, sculpture, photography, drawing, and installations composed of industrial and found materials and manufactured objects. By using simple materials that are submitted to constructive processes, Cabrita recycles almost anonymous reminiscences of primordial gestures and actions repeated in everyday life.
The complex theoretical and formal diversity of the work of Cabrita proceeds
Artist Bio
Cabrita was born in 1956 in Lisbon, the city where he currently lives and works. His work has steadily received international acknowledgement, thus becoming crucial and decisive for the understanding of sculpture from the mid-1980’s onwards. His complex work can be characterized by an idiosyncratic philosophical and poetical discourse embracing a great variety of means: painting, sculpture, photography, drawing, and installations composed of industrial and found materials and manufactured objects. By using simple materials that are submitted to constructive processes, Cabrita recycles almost anonymous reminiscences of primordial gestures and actions repeated in everyday life.
The complex theoretical and formal diversity of the work of Cabrita proceeds from an anthropological reflection, which is contrary to the reductionism of sociological discourse. In fact, it is on silences and indagations that the work of Cabrita is based and built on.
Pedro Cabrita Reis participated in important international exhibitions, such as Documenta IX and XIV in Kassel in 1992 and 2017, the 21th and 24th São Paulo Biennales, respectively in 1994 and 1998, in the Aperto of the Venice Biennale in 1997. In 2003, he represented Portugal in the Venice Biennale, in 2013 he presented “A Remote Whisper”, 55th Biennale de Venezia and participated in the Xème Biennale de Lyon, “The Spectacle of the Everyday”, Lyon, 2009. In 2022 Cabrita presented in the Tuileries “Les Trois Grâces” commissioned by the Louvre Museum, and on the occasion of the 59th Venice Biennale Cabrita Reis presents “Field” at Chiesa di San Fantin.
Artist Bio
These are the flowers of a time that is still to come.
Pedro Cabrita Reis in conversation with Miguel Nabinho
Artworks
Among the one-person exhibitions we can single out: “Drawings”, CAM, Gulbenkian Foundation; “Body Building”, Loja da Atalaia, Lisbon; “Rui Sanches, Retrospective”, CAM, Gulbenkian Foundation and “Museum”, Museu Nacional de Arte Antiga, Lisbon. Some important group-exhibitions were: the 19th São Paulo Bienal; “PASTFUTURETENSE”, Winnipeg Art Gallery and Vancouver Art Gallery; “Tríptico”, Europália 91. Museum van Hedendaagse Kunst, Ghent; “From Silence to Light”, Watari-Um, Tóquio; “Abstract/Real”, Museum Moderner Kunst Stiftung Ludwig, Viena; “Dentro y Fuera” Cáceres and “Serralves 2009 – The Collection”, Museu de Serralves, Porto. During the 1980’s his work was based on the deconstruction of paintings and genres of painting.
"These flowers are frankly flowers, they’re not flowers disguised as, let’s say, abstract or conceptual art, they are, with great pleasure in their execution, true representations of what will be a concept of flower, not being a set of paintings that can be said to have a deep and unavoidable connection to Morandi, an artist for whom I have great admiration and delight.
I get the plant pots from Morandi and these impossible flowers that don’t exist from myself.
These are the flowers of a time that is still to come, that will probably have a connection and a rootedness that goes beyond the phases of the year, the seasons, they are flowers that while apparently recognisable as flowers are, however, perhaps even less likely to be identified with any reality. They were flowers in thought, apparently they seem to be flowers in the way they are made, the image that each canvas has is apparently the representation of some flower, but since it is certain that they are not the representation of any flower, we are only prepared to look at them as an expression of a thought, of a drawing on what is the material from which the artist’s work is made.
There is no botanist who could identify this flower, and yet we all know that they are flowers."
Pedro Cabrita Reis in conversation with Miguel Nabinho
identified with any reality. They were flowers in thought, apparently they seem to be flowers in the way they are made, the image that each canvas has is apparently the representation of some flower, but since it is certain that they are not the representation of any flower, we are only prepared to look at them as an expression of a thought, of a drawing on what is the material from which the artist’s work is made.
There is no botanist who could identify this flower, and yet we all know that they are flowers."
Pedro Cabrita Reis in conversation with Miguel Nabinho
Patrícia Garrido graduated in painting at the Escola Superior de Belas-Artes in Lisbon (ESBAL). She has participated in numerous group exhibitions which include: Mais Tempo, Menos História, Serralves Foundation, Porto (1996); O Império Contra-Ataca, Galeria ZDB, Lisbon (1998); Squatters, Galeria do CRUARB, Porto (2001). Solo exhibitions include: T1, Serralves Foundation, Porto (1998); Móveis ao Cubo, Desenhos ao Acaso, TREM Galeria Municipal de Arte, Faro (2009); Peças Mais ou Menos Recentes, EDP Foundation, Museu Nacional Soares dos Reis and Galeria Fernando Santos, Porto (2013).
"These flowers are frankly flowers, they’re not flowers disguised as, let’s say, abstract or conceptual art, they are, with great pleasure in their execution, true representations of what will be a concept of flower, not being a set of paintings that can be said to have a deep and unavoidable connection to Morandi, an artist for whom I have great admiration and delight.
I get the plant pots from Morandi and these impossible flowers that don’t exist from myself.
These are the flowers of a time that is still to come, that will probably have a connection and a rootedness that goes beyond the phases of the year, the seasons, they are flowers that while apparently recognisable as flowers are, however, perhaps even less likely to be
"These flowers are frankly flowers, they’re not flowers disguised as, let’s say, abstract or conceptual art, they are, with great pleasure in their execution, true representations of what will be a concept of flower, not being a set of paintings that can be said to have a deep and unavoidable connection to Morandi, an artist for whom I have great admiration and delight.
I get the plant pots from Morandi and these impossible flowers that don’t exist from myself.
These are the flowers of a time that is still to come, that will probably have a connection and a rootedness that goes beyond the phases of the year, the seasons, they are flowers that while apparently recognisable as flowers are, however, perhaps even less likely to be identified with any reality. They were flowers in thought, apparently they seem to be flowers in the way they are made, the image that each canvas has is apparently the representation of some flower, but since it is certain that they are not the representation of any flower, we are only prepared to look at them as an expression of a thought, of a drawing on what is the material from which the artist’s work is made.
There is no botanist who could identify this flower, and yet we all know that they are flowers."
Pedro Cabrita Reis in conversation with Miguel Nabinho
Exhibition Views
However, I like to paint flowers, my flowers don't exist anywhere, or they exist in the most important place, which is in thought.
Pedro Cabrita Reis in conversation with Miguel Nabinho
