ALCINO CARDOSO COLLECTION
1st part -» Paths of the Figurative
The exhibition begins with the placement of the works to be presented within the general context of the collection; as noted overleaf there are artworks assigned to museums, others are in traveling shows. Each is represented by a box/frame inside which there is information about the piece: catalogs, photographs, articles about the artist and the card that Vantag published within the series “Imagine postcards” dedicated to this collection.
But besides these, there are other works in museums, from Jean-Paul Riopelle to Arpad Szenes. And since a collection is a living, evolving entity, with inputs and outputs, it is historically necessary to mention Karel Appel, Picasso, Antoni Tàpies, Miquel Barceló, Almada Negreiros and Francis Smith.
The exhibition continues with a group of works that have been selected to illustrate a theme - in this first part, the Figurative.
And we suggest a path along the gallery starting in the passage from Joaquim Rodrigo’s box to the corresponding painting: we discover the animal figuration but the human is also there… just check! In the following diptych - by Penalva – animals have a symbolic function … almost logotypical. The human figuration starts with Jorge Pinheiro and the Palestinian woman: that contorted face carries the plight of the refugees and migrants that currently reach the old continent. In contrast we have the carefree women of Elvira Leite. In the two following pieces there is no opposition but compliance: Jaime Isidoro and José Rodrigues surrender to the feminine charm they place in the foreground … in Rodrigues she is the focus of attention of the surrounding male figures … in Isidoro she wins the battle against the usual elements of the cityscape: the monuments!
On the wall at the far end of the gallery Lopez Herrera introduces a turning point in the representation of humans, animals and objects: we move into a world of pseudo-infantile fantasy that evokes both the Pinocchio figure and Hitchcock’s film Psycho.
And now we start the return trip: first with Eduardo Luiz where figuration reaches the symbols; and what better signs are there than the pieces of the game of chess with the pawns as victims and evidence of the conflict between the powers of the army, the church and royalty. Finally, you may see the outline of a summary within the next painting by José de Guimarães: two layers of figuration are present; first the usual creatures of his imagination which can be human, animals, but even more likely mythological … the eyes, the red head, arms and legs in black (aggressive forms with edges). But in the background, all silhouette and smooth curves in light gray, we have a more realistic human figuration … as two layers of the same species … as if one became the other … as if one was a projection of the fears of the other.
R. Miguel Bombarda, 578 (pedestrian zone), Porto
GPS: N 41º 8' 57.65'' W 8º 37' 24.41''
From october 29th through December 29th 2015
(15h-19h30 Monday to saturday inclusive)
The Alcino Cardoso Collection, assembled in Porto since the 1980s, is one of the most interesting in Portugal. It includes artworks by the most important Portuguese and European artists of the twentieth century and that is why some are lent to museums in Porto (Museu de Serralves) and Lisbon, (CAM F.C.Gulbenkian, Museu da F. A. S. Vieira da Silva).
ALCINO CARDOSO COLLECTION -» 1st part -» Paths of the Figurative