The exhibition explores what it is to lose something, someone, some direction and some sense of self. But is it so bad to be a flaneur, flaneuse, in wanderlust, in terra incognita, a nomad, a shaman, a drifter?
A fantastic array of international artists come together in one space to find lucidity in that loss. Through various retrieval methodologies the artists explore navigational strategies, emotional celibacy, memories, reinvention, survival skills and escapism. Work exhibited include film, animation, photography, installations, drawings, paintings and sculpture to keep hold of old ties, retrace steps and to experience the joy of retrieval.
The exhibition asks the audience how we find clarity and closure when the subject has ceased. It allows the artists to answer how the unforeseen is evitable not calculated or measured because ultimately our possessions may have disappeared but we are still here.
Translated into English.
Lisbon, August 7, 2019 - Fabrica Braco de Prata devote the months of August and September "the tension between appearing and disappearing that characterizes contemporary art", in the words of curador art and "materializing" factory, Professor Nuno Nabais Philosophy. The starting point is an exhibition, curated by British Diana Ali, entitled Loss & Lucidity. The collective, which brings together 59 artists of different nationalities and belonging to distant aesthetic traditions, “questions on how to find clarity and closure. It allows the artists to then find answers on how the unexpected can be avoided instead of calculated or measured, because ultimately, our possessions may have disappeared, but we are still here," says Diana Ali.
The full list of artists is https://losslucidity.blogspot.co.uk . Visitation August 8 and September 18.
Curator of art and "materializing" Factory Arm Silver, Professor of Philosophy Nuno Nabais writes about Loss & Lucidity. Read below:
"Art is what appears just to show up. Before having a meaning, a form, a story, each new object - created according to the aesthetic regime - mainly responds to a need for appearance. It is created to be seen, heard, touched or read. And what defines your work of art is precisely this ontological status of autonomy, that is the fact that the art object, be it beautiful, sublime, ugly or sinister, just the act of appearing. There is another way of thinking that is common to all the works that we recognize as art. Art is what appears and is conserved in this simple show, with no other purpose than to stay in this appearance (a museum, a computer monitor, a public place or a private place). Since Plato that this autonomy appears in art experience was disqualified as appearance. The West is defined largely by this double equation art = false appearance = / = real what-not-appears = true. You traverse so the pursuit of knowledge for the ideal sphere to the sphere of what is captured only by concepts. Only what can be learned out of any vision, hearing, or reading tangibility, is respected as real and as true.
The whole art of the twentieth century is crossed by the ruin of this evidence. On the one hand, bringing functional objects with an inherent meaning and usefulness of the system for the interior of the appearance of artistic objects. It was the famous case of urinal Marcel Duchamp. By the simple act of making appear as pure pop up a urinal sink by placing it in the center of an art gallery, Duchamp showed that anything could be transformed into art since it is subordinate to pure devices appear. On the other hand, especially in the field of performing arts, contemporary art work experience, not so much the appearance of something, but rather, to his disappearance. Extreme event is perhaps the film of João César Monteiro Snow White. Nothing appears. It is a film is a work of art yes, but that brings up your own demise.
The Silver Arm Factory wants to devote the months of August and September thinking this tension between appearing and disappearing that characterizes contemporary art. Your starting point is a group exhibition curated by Diana Ali. With the title "Loss and Lucidity", 59 artists of different nationalities and belonging to very distant aesthetic traditions, erode our concepts of "appearance," “look ".
The bottom line is, as it appears in the art what is lost, what happens as disappearance? Will lucidity before the loss, acute awareness of a void left by what has disappeared, now defines the appearance regime of artistic creation? And this clarity (at the same time as perceptual awareness mode and how ethical experience of mourning for the missing), it will have the status of "revealing" of what is to be seen in the artwork? "
The whole art of the twentieth century is crossed by the ruin of this evidence. On the one hand, bringing functional objects with an inherent meaning and usefulness of the system for the interior of the appearance of artistic objects. It was the famous case of urinal Marcel Duchamp.
By the simple act of making appear as pure pop up a urinal sink by placing it in the center of an art gallery, Duchamp showed that anything could be transformed into art since it is subordinate to pure devices appear. On the other hand, especially in the field of performing arts, contemporary art work experience, not so much the appearance of something, but rather, to his disappearance. Extreme event is perhaps the film of João César Monteiro Snow White. Nothing appears. It is a film is a work of art yes, but that brings up your own demise.
When somebody important leaves a child without saying goodbye, it can create an illusion of loss. When in fact it allows you to look up to role models who are in your life because they choose to be. Each role model I’ve looked up to has influenced my life in different ways and it is my choice of who I allow in to take their place.
Narratives of the Lost is a collaboration between Laurel Terlesky and Bren Simmers featuring photography, poetry, and drawing. The project began with pictures of lost objects taken on daily walks around Squamish, B.C., where they both lived. By framing these lost objects as art—gloves placed carefully on branches for their owners to reclaim—they become an entry point into narrative, sparking conversations about connection. Who did these items belong to and how do they reflect our changing community identity?
The Monarch butterflies do not understand ‘chair' but they do understand the structure of wood. I want to show the loss of functionality of a plain chair as the butterflies cover it, and how the butterflies have lost their way choosing to land on a chair instead of an Oyama tree.
St. Albans, UK'Fallen Leaf'Stainless steel & coloured stainless steel sculpture (53x10x7cm)
“The leaves were falling like notes from a piano. The abstract was suddenly there and gone again.” Wallace StevensInspired by nature, in my work I search for an illusive form. A form I come back to again and again, is the shape the wind makes on sand or the shape of a flame, a fish, a leaf. I claim it for my own but it exists everywhere.