{"id":43,"date":"2021-11-26T14:08:26","date_gmt":"2021-11-26T14:08:26","guid":{"rendered":"https:\/\/www.mvac.pt\/?page_id=43"},"modified":"2021-12-03T12:19:43","modified_gmt":"2021-12-03T12:19:43","slug":"10-arte-vida","status":"publish","type":"page","link":"http:\/\/www.mvac.pt\/en\/10-arte-vida\/","title":{"rendered":"10. Art and Life"},"content":{"rendered":"
\"Alberto
Alberto Carneiro, Opera\u00e7\u00e3o Est\u00e9tica em Vilar do Para\u00edso – vers\u00e3o amarela, 1973, Funda\u00e7\u00e3o de Serralves<\/figcaption><\/figure>\n\n\n\n

The 1970s was filled with radicalization of experiences, this can be seen by analyzing the materiality of the pieces. Photography started to gain some reputation, and started to be taken into account as an artistic medium by law, the same thing happened with film, first with the 8mm film cameras and then, when video started to become increasingly popular (however, this would take time to deploy in Portugal), this opened the possibility of capturing time events that, otherwise, wouldn\u2019t overcome the ephemerality of times and would eventually not be known. This new technological paradigm triggered the proliferation of dematerialized pieces that thus ensured permanence and continuity through records and its dissemination. Happenings and performances, often in public spaces or in unusual locations, attracted the less accommodating artists and implicated the audience in a direct way, that was never seen before. Often, the destruction of the pieces was part of the project, so these only lived through the records.<\/p>\n\n\n\n

It was in these times that the desire to establish a profound and intense relationship between art and life came true, a relationship that in its full form would culminate in the reorganization of the places each one occupied, this would give the artist a more interventive role in the society.<\/p>\n\n\n\n

The 70\u2019s were marked by the dynamic and agglutinating role of Ernesto de Sousa who, besides many other less-known initiatives, organized the exhibition \u201cDo vazio \u00e0 pro-voca\u00e7\u00e3o\u201c (From emptiness to teasing)<\/em>, in 1971, and the exhibition that would turn into the most disruptive and marking exhibition of the Portuguese arts, \u201cAlternativa Zero\u201d<\/em> (Zero Alternative) in 1977. These initiatives represented the peek in a collective movement in the Portuguese art scene, and broadened not only the audience\u2019s universe, but the way that they would hand themselves into the artistic fruition.<\/p>\n\n\n\n\t\t\n\t\t

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Leonel Moura<\/strong>
Potlatch ou a Morte do Artista, 1979
Papel Fotogr\u00e1fico,\u00a0Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Jorge Pinheiro<\/strong>
Partitura para um canto livre,\u00a01976
Pautas de m\u00fasica, estantes (7 elementos), Colec\u00e7\u00e3o da Funda\u00e7\u00e3o de Serralves<\/div>\n\n\n\t
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Alberto Carneiro<\/strong>
Uma floresta para os teus sonhos, 1969
Troncos de madeira de pinho tratados
(Vista de Alternativa Zero<\/em>)<\/div>\n\n\n\t
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Alberto Carneiro<\/strong>
Uma floresta para os teus sonhos, 1970
Troncos de madeira de pinho tratados, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Alberto Carneiro<\/strong>
Trajeto dum Corpo 1976
Fotografia p\/b (46 elementos) e fotografia a cores (2 elementos)Ed. 2\/2,\u00a0Colec\u00e7\u00e3o da Funda\u00e7\u00e3o de Serralves<\/div>\n\n\n\t
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Clara Men\u00e9res<\/strong>
Mulher-Terra-Vida 1977
Acr\u00edlico, terra, relva<\/div>\n\n\n\t
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Ana Hatherly<\/strong>
Rotura (performance na galeria Quadrum), 1977\u00a0
Arquivo Fernando Aguiar<\/div>\n\n\n\t
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Ana Vieira<\/strong>
Ambiente \u2013 Sala de Jantar 1971
Rede, prato em loi\u00e7a, copos de vidro, faca em inox, madeira pintada de branco, nylon pintado a spray azul e algod\u00e3o pintado. Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Ana Vieira<\/strong>
Oculta\u00e7\u00e3o\/Desoculta\u00e7\u00e3o, 1978
Tijolos, letra em vinil, Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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Ana Vieira<\/strong>
Mesa-Paisagem, 1973
Mesa de madeira, pintura a spray sobre tecido, metal, cer\u00e2mica, tecido e objectos (1 prato, talheres, argola de guardanapos, guardanapo, areia, barco). Colec\u00e7\u00e3o da Funda\u00e7\u00e3o de Serralves<\/div>\n\n\n\t
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Ernesto de Sousa, Noronha da Costa e outros<\/strong>
Encontro do Guincho, 1969<\/div>\n\n\n\t
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Helena Almeida<\/strong>
Tela rosa para vestir 1969
Fotografia p\/b,\u00a0Colec\u00e7\u00e3o da Funda\u00e7\u00e3o de Serralves<\/div>\n\n\n\t
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Helena Almeida<\/strong>
Sem t\u00edtulo,\u00a01967
Tinta acr\u00edlica sobre tela, volumes em tela pintada a tinta acr\u00edlica dentro de bolsa de PVC.
Colec\u00e7\u00e3o da Funda\u00e7\u00e3o de Serralves<\/div>\n\n\n\t
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Helena Almeida<\/strong>
Sem t\u00edtulo,\u00a01968
Tinta acr\u00edlica sobre tela e madeira.
Colec\u00e7\u00e3o da Funda\u00e7\u00e3o de Serralves<\/div>\n\n\n\t
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Helena Almeida<\/strong>
Pintura habitada,\u00a01975
Tinta acr\u00edlica sobre fotografia p\/b.
Colec\u00e7\u00e3o da Funda\u00e7\u00e3o de Serralves<\/div>\n\n\n\t
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Helena Almeida<\/strong>
Tela habitada 1976
Aparite e Cart\u00e3o,\u00a0Fotografia.
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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\n\t\t\t\t\t\"\"\n\n\t\t\t\t\t
Helena Almeida<\/strong>
Ouve-me 1979
V\u00eddeo Super 8, V\u00eddeo DVD e V\u00eddeo VHS
Colec\u00e7\u00e3o Gulbenkian<\/div>\n\n\n\t
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