2025 - 2026
GROUP SHOW • ATTO 2/3: COL TEMPO
BIGAIGNON x RHINOCEROS GALLERY, ROME, ITALY
OPENING: THURSDAY 26 NOVEMBER 2025 (6-8PM)
EXHIBITION FROM 26 NOVEMBER 2025 TO 14 JANUARY 2026
Artists: Juan Couder, Harold Feinstein, Yannig Hedel, Hideyuki Ishibashi, Lab(Au), Morvarid K, Fernando Marante, Chris McCaw, Thomas Paquet, Olivier Ratsi, Charles Xelot
Time — invisible and elusive — forms the fabric of all human experience and stands as one of art’s essential materials. If photography is defined by light and space, it is equally defined by time: photography cuts it, suspends it, transforms it into a tangible substance. Every image is a fragment of duration frozen in its momentum — a moment that refuses to disappear.
Artists have long sought to understand what time does to form, to the body, to memory. Heraclitus saw the world as a perpetual flow, while Saint Augustine, meditating in Rome itself, marveled at this paradox: time exists only within human consciousness, stretched between the memory of the past and the anticipation of the future. In Rome, this reflection takes on a special resonance. Here, time becomes visible, almost tangible. Layers of history overlap like strata of memory: ruins converse with the present, ancient stones meet the light of a new day. The Eternal City reminds us that time is not only what passes, but also what endures.
The artists gathered for this exhibition explore this invisible, fluid, and persistent material. Through trace, layering, repetition, or, conversely, the brilliance of a single fleeting instant, they probe the tension between transience and permanence. Thomas Paquet captures the trace of time over an entire year using cyanotype — as does Spanish artist Juan Couder, though in a different way. Morvarid K, through performance, kneads her photographic paper with temporal traces. Hideyuki Ishibashi, in his Latent series, evokes time through memory. In a more conceptual yet equally powerful approach, the Belgian collective Lab(au) presents a monochrome that seems to take the form of a two-tone painting. Using uranium powder on one side and lead on the other, it is time itself that will turn this work into a monochrome — for the only thing separating these two materials is time (millions of years, in this case!). French artist Yannig Hedel and American artist Chris McCaw both offer masterful compositions that poetically evoke the inscription of passing time. As philosopher Henri Bergson reminds us, lived time — duration — cannot be measured but rather felt; it contracts or thickens according to our emotions and memories. Guest artist Charles Xelot makes this duration visible. Finally, Portuguese artist Fernando Marante and American photographer Harold Feinstein invite us to contemplate time as a living substance: in one’s work, it stretches like a tranquil wave; in the other’s, it unfolds image after image, like a cinematic sequence.
In an era saturated with instant images and fleeting information, to rethink time — its slowness, its depth, its density — becomes an almost political act. Perhaps, in the end, art’s true purpose is to give form to time, so that, for just a moment longer, we may inhabit it differently.
In parallel, since last September and continuing through March 2026, Bigaignon has occupied a space on the first floor of this historic building with a major installation by Olivier Ratsi. A true synthesis of the three exhibitions planned at Rhinoceros, this immersive work brings together the three themes that the French gallery seeks to explore during its residency in Rome: light, time, and space.
GROUP SHOW • ATTO 1/3: SOTTO LA LUCE
BIGAIGNON x RHINOCEROS GALLERY, ROME, ITALY
OPENING: FRIDAY 19 SEPTEMBER 2025 (6-8PM)
EXHIBITION FROM 19 SEPTEMBER TO 18 NOVEMBER 2025
Artists: Anne-Camille Allueva, Rossella Bellusci, Anne Blanchet, Rachelle Bussières, Máté Dobokay, Renato D’Agostin, Mireille Fulpius, Ralph Gibson, Yannig Hedel, James Howell, Fernando Marante, Chris McCaw, Thomas Paquet, Olivier Ratsi, Elyn Zimmerman
Light, the foundation of all creation, has always been one of the most sought-after and explored themes in art history. In photography, it is inseparable from the medium itself — created through it and shaped by it. This group exhibition brings together 19 works (photographs, paintings, sculptures & installations) by 15 artists of the gallery, each interpreting light as the central theme.
Among the featured artists, Thomas Paquet presents three works, including a monumental piece that resonates with those currently on view at PM23, Valentino Garavani & Giancarlo Giammetti’s foundation in Rome. Italian photographer Renato D’Agostin unveils a striking installation of 15 silver gelatin prints that reveal the subtle transformations of light across the urban landscape, while Portuguese visual artist Fernando Marante explores the interplay between light and movement.
The show also creates a compelling dialogue between the works of Hungarian artist Máté Dobokay and American painter James Howell, whose retrospective will be held simultaneously at the Parrish Museum in New York. Chris McCaw, known for his work with sunlight itself, presents a previously unseen triptych.
More delicate approaches to light are also present: from Rossella Bellusci’s ghostlike portrait to the minimalist works of Anne-Camille Allueva, Rachelle Bussières and Anne Blanchet, and the wall sculptures of Mireille Fulpius. An original dialogue is also created between the photographs of French artist Yannig Hedel and those of Elyn Zimmerman, one of the pioneering figures of the 1970s Light & Space movement. The exhibition culminates with Ralph Gibson’s iconic photograph The Priest, a striking finale for this first act, on view from September 19 to November 18, 2025.
In parallel, we will also take over a space on the first floor of the historical Rhinoceros building until March 2026, to present a major installation by Olivier Ratsi. This immersive piece serves as a synthesis of the three exhibitions planned at Rhinoceros, encompassing the three key elements we have chosen to highlight during our Roman residency: light, time, and space.
GROUP SHOW • LIGNE(S) DE MIRE
OFF-SITE EXHBITION - BONISSON ART CENTER
FROM 8 FEBRUARY TO 22 JUNE 2025
ARTISTS : ANNE-CAMILLE ALLUEVA, ANNE BLANCHET, RENATO D’AGOSTIN, MÁTÉ DOBOKAY, HAROLD FEINSTEIN, MIREILLE FULPIUS, VITTORIA GERARDI, YANNIG HEDEL, BERNARD JOUBERT, MORVARID K, DENIS MALARTRE, FERNANDO MARANTE, CHRIS MCCAW, THOMAS PAQUET, JEAN DE POMEREU, OLIVIER RATSI, MARCO TAGLIAFICO, BERNAR VENET, ALEKSANDRA VAJD, ELYN ZIMMERMAN
Henri Cartier-Bresson once said: “To photograph is to put the head, the eye and the heart on the same sight line”. This exhibition, entitled ‘Ligne(s) de Mire’ (sight line), refers both to the history of photography, and to an element that is so essential to every artist, across all media: the line. At times the starting point of all creation, and so often an obsessive element in the artist's work, the line is here shown through a selection of exceptional works (photographs, drawings, paintings and sculptures, from the 1970s to the present day) by artists represented or supported by the gallery. the exhibition takes us on a journey following lines, sometimes as multi-layered as they are hypnotic.
Bigaignon is a contemporary art gallery. The gallery's line is rooted in the avant-garde movements of minimalism, conceptual art, light & space, abstract art, and the fields of experimental and conceptual photography, in which it has played a leading role for almost 10 years. Deeply committed to promoting artists who work with the fundamental elements of light, space and time, whatever the medium used, the gallery contributes to the emergence of a new avant-garde. Thus, with a strong international orientation, the gallery defends and promotes the unique vision of the artists it represents or supports, whether emerging, mid-career or established worldwide, in their quest to propose a new visual vocabulary, to foster a radical approach to art, to question their own medium and explore the full extent of its possibilities.
A contemporary art center near Aix-en-Provence dedicated to artistic exploration and research, the Bonisson Art Center enables artists to develop and showcase their projects. The free, open-access nature of this venue means that a wide public can enjoy this artistic profusion, giving access to an 'extra-sensory' culture, and opening up a new perspective to the minds of those who know how to get lost in it. The Bonisson Art Center is part of the Réseau Plein Sud, a network of over 70 contemporary art venues in the South of France. Its aim is to promote contemporary art throughout the South of France. Art venues to explore in the South of France, an immense artistic journey from Sérignan to Menton.
ART PARIS
Blending historical pieces and recent works, the selection of artworks presented for the 2024 edition of Art Paris is characterized by three elements: the relationship to material, the importance of light, and a certain idea of lightness. Thus, in an intergenerational and multi-medium dialogue (photography, painting, drawing, and sculpture), the gallery honors the works of seven artists: Bernard Joubert, Olivier Ratsi, Mireille Fulpius, Thomas Paquet, Fernando Marante, Morvarid K, and Catherine Balet.
Paris, Grand Palais Éphémère Champs-de-Mars
April 4 - 7, 2024
Booth B2
SOLO SHOW
FERNANDO MARANTE ︎ BALLET MÉCANIQUE
BIGAIGNON PARIS
An exhibition with the exceptional participation of Hans Kooi
OPENING : TUESDAY 18 APRIL 2023 (6-9pm)
EXHIBITION: 18 APRIL - 28 MAY 2023
OPEN ON SUNDAY 28 MAY 2023 (2-6pm)
PARIS GALLERY WEEKEND : 26-27-28 MAY 2023
It is with great excitement that we prepare to introduce you to the work of Fernando Marante, shown for the first time at the gallery, in an exhibition focused on movement, named after Fernand Léger's famous experimental film (1924). This “Ballet Mécanique”, driven by the need for research, invention and experimentation with the very materiality of the cinematographic device, perfectly illustrates the intention of transfiguring time and movement into a visual essay that the images of Fernando Marante evoke. His work will dialogue with a couple of works by Hans Kooi, a Dutch artist of the kinetic movement.
In his quest, Fernando tries to demonstrate visually, in a unique manner, the fact that existence is only a speculation, that an image would not be visible between two given times. Through movement, the artist uses time as a tool to formally play with variation, multiplication and addition, contraction and distension, accumulation and disintegration. He creates images that are patterns of intent, visual imprints of all the decisions made during the photographic process.
Movement, duration and accumulation are manifestations of time. Time flows voraciously, unwinding an endless line of perpetual "nows." It is a powerful abstraction and yet we feel it in every aspect of our lives and thoughts. If we experience time as an uninterrupted fugue, and we know that the camera allows us to capture this movement to some extent, how can we use it to reveal the persistence of the things around us? In other words, how do we find the images we assume exist between the thin slices of existence that snapshots offer us?
These are the questions that lead Fernando Marante to want to fix the visual manifestation of an idea, transferring a speculation born of language into a medium that belongs to the world of the senses. To bridge the two realities, each series begins with a possibility: What happens if an object is subjected to a reaction related to time? To initiate the process, the Portuguese artist builds temporary devices to induce movement to pieces of paper, plastic, glass, metal cables or lights, using electric motors, fans or his own body. And then he waits for an image to occur, unpredictable. These uncontrollable variables generate what he calls his "image-hypotheses ».
He is interested in creating in the viewer the perception that there is a process. Ultimately, each image is a map of the decisions he makes in creating them and that is the only narrative he allows in his photographs.
From Calder's mobiles to the optical-kinetic works of Vasarely or François Morellet, kinetic art encompasses a wide variety of overlapping techniques and styles, and with his post-photography, Fernando Marante approaches the possibilities of materials, questioning the mechanics of visibility while exploring what remains between the possible and the desired.
Alongside the images of Fernando Marante will be exhibited, with the collaboration of the Denise René gallery, a couple of works by Hans Kooi, a Dutch artist of the kinetic art movement.
THE SEARCH FOR A HYPOTHESIS IMAGE
VISUAL ESSAY
ARCHIVO PAPERS
As in most of the experimental photographic practices, the subject of my work is the process itself. My series are about the semantics and the syntax of the images and how they become necessarily contaminated by my private formal obsessions with repetition, variations, distention and accumulation. For me, rather than a destination, the photographic device is a tool, like a pencil or a chisel. I’m not worried if the images I create look like photographs and I do not have a fetishism with the medium. Thanks to post-photography, that seems no longer to be a problem. What drives me is approaching the possibilities of the materials, questioning the mechanics of visibility while exploring what remains between the possible and the desired (EXCERPT. Full article here).
31.03 – 14.05.2022
COLLECTIVE EXHIBITION
BIGAIGNON PARIS
Perspectives Radicales
(FR) Qu’est-ce que la photographie ? C’est de cette question, simple de prime abord et à laquelle tout un chacun semble avoir une réponse toute trouvée, qu’est parti Thierry Bigaignon pour construire cette exposition collective d’envergure. Une exposition qui réunit pas moins de dix artistes, hommes et femmes de tous horizons, qui par leur pratique et les pièces qu’ils et elles produisent, tordent le cou aux idées préconçues que l’on pourrait avoir de la photographie.
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(EN) What is photography? This question, which seems both simple and obvious at first glance, was the starting point for Thierry Bigaignon in building this large-scale collective exhibition. An exhibition which gathers no less than ten artists, who, by their practice and the artworks they produce, challenge the preconceived ideas that one could have of photography.
NEW REPRESENTATION
SOUS LES ÉTOILES GALLERY, NEW YORK
#slegallery is pleased to announce the representation of Fernando Marante.
The work of Fernando Marante (b.1973) deals with the implications of time while building the photographic image. With an abstract and very painterly language, his vocabulary draws its inspiration from a melting pot of sources that combine such different territories as the avant-gardes of the 20th century, musical language and philosophy. His work process is very manual and experimental and often resorts to electrical and light devices the artist builds in his studio. As he frequently says, his images should be seen as maps of the decisions taken during his work sessions. His interest in grammatical possibilities like variation, declination, overlapping, contraction and distention, disintegration and multiplication are always present in his photographs.
NEW REPRESENTATION
BIGAINON, PARIS
We are delighted to announce that Fernando Marante is now represented by the gallery.
Born in 1973, Fernando Marante is a visual artist whose experimental work explores the effects of time in the construction of the photographic image.
Fernando’s quest is an attempt to reveal visually, outside the territory of language, something whose existence is only a speculation, to unveil the hypothesis-images which remain invisible in between two points of time. Through movement, the artist uses time as a tool to formally play on variation, multiplication and addition, contraction and distension, accumulation and disaggregation. He creates images that are maps of intentions, visual fingerprints of all the decisions taken during the photographic process.
Fernando lives and works in Lisbon, Portugal.
09.07 – 31.07.2021
COLLECTIVE EXHIBITION
COLECTIVA DE VERÃO
MÓDULO, LISBON
A exposição reúne 16 artistas da galeria em diferentes linguagens, pintura, escultura, fotografia e desenho. A maioria das obras são inéditas e são expoentes importantes nas linguagens de cada artista.
Artistas: Ana Mata, Ana Romãozinho, Anabela Maravilhas, Brígida Mendes, Carlos Alberto Correia, Catarina Osório de Castro, Fátima Frade Reis, Fernando Marante, Joana Hintze, Juliana Julieta, Mafalda Marques Correia, Nuno Gil, Pollyanna Freire, Rui Neiva, Tiago Santos e Tito Mouraz.
10.05.2021 SHORT-LIST PRIX MENTOR #MONTPELLIER
Incubateur de nouveaux talents, le Prix Mentor fournit aux lauréat·e·s les moyens de développer leur projet photographique dans les meilleures conditions depuis 2015.
Créé à l’initiative de Freelens, le Prix Mentor est attribué chaque année en partenariat avec la Scam, la Copie Privée et le CFPJ Médias. Il s'agit d'une dotation de la Scam et de la Copie Privée pour la production d'un projet, d'une formation d'une valeur de 2 500 euros du CFPJ Paris ainsi que de l’accompagnement personnalisé du lauréat·e par un ou plusieurs expertes.
20.05 – 30.06.2021
SOLO SHOW
MÓDULO LISBON
Fernando Marante / The Divergent Image Pt. I Landscapes and Constellations
For the text about Fernando Marante's exhibition (titulo da expo) at Módulo Gallery, I shall start with a quote from the author and critic Marc Lenot, and proceed to add other points resulting from several conversations with the artist, I the hope for a better understanding of the artists visual and creative universe and to create a bridge with the observer.
When addressing the subject of experimentation in photography, Lenot proposes a definition with which I fully agree: "... experimental photography can be defined as a deliberate act of critical refusal of the rules of the photographic production device, through which the photographer questions one or more of the established parameters of the photographic process."[1] I consider that Fernando Marante’s work indicates similar concerns to this proposed line of thinking by Lenot. In fact, the artist’s work process does not emerge from any Western cultural category of visual representation of painting, drawing or even cinema, such as landscape, architecture or a narrative process. Instead, Fernando Marante composes his works with rhythmic influences and generated by patterns that, once discovered, lead him towards his new works. Experimentation is implicit. The work develops and is consolidated by not having as its ultimate goal a previously planned composition, but something that is characterised as non-representational and with the sense of movement. On the other hand, the practice of photography and the countless variables that condition the final result, allow Fernando Marante to create and develop his interest in this experimental direction. Error and chance are an important part of the images created. There are numerous examples, in the history of art, of "photographer" artists who transgressed the established methods of representation and develop their work towards other less "academic" paths such as Man Ray (1870-1976) with his Photograms (or Rayographs in the words of Tristan Tzara)[2] or even Lucia Moholy (1894-1989) and László Moholy-Nagy (1895-1946) with the "Photograms", in which the use of the camera lens was dispensed with in the production of images.
In this sense, Fernando Marante also mentions that he does not employ any genre of the history of contemporary art as a starting point, but develops from the idea of working with images that he collects in his daily research and that often end up being worked on in order to accentuate an abstract nature. For example, one of the works in the exhibition, apparently abstract, emerges from the observation of the traces of light left by aeroplanes in the night sky and therefore generating a work with of all these luminous traces.
In this exhibition we can see fields of light, worked by the artist in an experimental way, which indicate and strong sense movement. Fernando Marante consolidates here, through light, fixed images, but full of movement. The process dragging or the rhythmic repetitions of some lines point in this direction and, like Naum Gabo (1890-1977). Fernando Marante sculpts light and develops a whole technique of representing movement in an absolutely static support.
Lisbon, May 2021
Lourenço Egreja
[1] Lenot, Marc “Jouer contre les Appareils” , Éditions Photosynthèses, 2017
[2] AAVV, Photography in the Modern Era, European Documents and Critical Writings, 1913-1940, The Metropolitan Museum of Art/Aperture, 1989, p.4.
24.09 – 26.09.2021
TALK AT LESMA - SLOW PHOTOGRAPHY FESTIVAL
TIME INCORPORATED IN PHOTOGRAPHY OR PHOTOGRAPHS MADE WITH TIME
A LESMA é uma iniciativa da Tira-Olhos - Associação de Fotografia Experimental, que celebra a fotografia lenta (artesanal e/ou mecânica, histórica e/ou alternativa), convocando autores e educadores cujos modos de expressão realçam o carácter processual da criação fotográfica.Programado como um evento pontual, a LESMA apresenta-se em 2021 com a realização de um Festival de Fotografia Lenta, criando durante três dias uma zona autónoma, temporária, que promove a mostra e a partilha de saberes e fazeres no espaço centenário da Cooperativa A Padaria do Povo, em Lisboa.Entre os dias 24 e 26 de Setembro, a LESMA apresentará um conjunto de obras (exposições, instalações e site specific works), uma feira, um ciclo de conversas, bem como um conjunto de oficinas e demonstrações.
03.07.2020
SHORT-LIST PRIX MENTOR #ARLES
Incubateur de nouveaux talents, le Prix Mentor fournit aux lauréat·e·s les moyens de développer leur projet photographique dans les meilleures conditions depuis 2015.
Créé à l’initiative de Freelens, le Prix Mentor est attribué chaque année en partenariat avec la Scam, la Copie Privée et le CFPJ Médias. Il s'agit d'une dotation de la Scam et de la Copie Privée pour la production d'un projet, d'une formation d'une valeur de 2 500 euros du CFPJ Paris ainsi que de l’accompagnement personnalisé du lauréat·e par un ou plusieurs expertes.
CAPITI CHARITY AUCTION
PALÁCIO DO CORREIO VELHO AUCTION HOUSE, LISBON
Obras de artistas portugueses em leilão solidário com Associação para Desenvolvimento Infantil
Os artistas Ana Jotta, Jorge Molder e Julião Sarmento são alguns dos criadores que cederam obras para o leilão solidário com a Associação Portuguesa para o Desenvolvimento I
nfantil CAPITI, que trabalha para a saúde mental de jovens e crianças.
De acordo com a organização, o leilão “Dar a Luz a esta Causa” tem início 'online', no dia 01 de outubro, no site do Palácio do Correio Velho, www.pcv.pt.Organizado na proximidade do Dia Mundial da Saúde Mental (10 de outubro), o leilão tem por objetivo angariar fundos para a associação. As obras ficam disponíveis de 01 a 15 de outubro, no 'site' da leiloeira, altura em que podem ser feitas as licitações.
André Cepeda, António Júlio Duarte, Fernando Marante, Noé Sendas, Nuno Cera, Pauliana Valente Pimentel, Pedro Cabrita Reis são outros dos artistas que se associaram ao projeto, assim como Artur Carvalho, Assunção Castelo Branco, Catarina Osório de Castro, Duarte Amaral Netto, Fernando Guerra, Francisco Osório, Henrique Pavão, Inês Subtil, Joana Bastos, João Silveira Ramos, João Simões, José Pedro Cortes, Luísa Cunha, Maria Santo, Michael Malina, Paulo Simão, Ricardo Cruz, Rui Calçada Bastos, Salvador Colaço e Tomás Paiva Raposo.
As peças cedidas podem ser vistas presencialmente no dia 15 de outubro, no Museu da Eletricidade, na Sala dos Geradores, em Lisboa, entre as 13:00 e as 21:00. Por motivos de segurança, a visita é realizada em grupos de 25 pessoas, a cada duas horas. (Agência LUSA)
03.2020
COLLECTIVE EXHIBITION
MUSEUM OF THE CITY OF LISBON
Ar.Co - Exposição Bolseiros & Finalistas ’19"
Inauguração 3ª feira, 10 de Março às 18h no Pavilhão Preto do Museu de Lisboa
A presente iniciativa de divulgação pública de resultados escolares, evento que desde há muito se tornou anual, reúne uma selecção de trabalhos de finalistas e/ou alunos bolseiros do ano lectivo 2018/19. Vinte e quatro participantes representam as áreas departamentais de Desenho, Pintura, Cerâmica, Fotografia, Ilustração/B.D, Cinema/Imagem em Movimento e Joalharia. A exposição estará patente até 29 de Março de 2020.
07.2020
COLLECTIVE EXHIBITION
MÓDULO, LISBON
"É pelo olhar que muda o homem e o mundo."
Fernando Marante é mais um dos artistas presentes nesta colectiva do Módulo. As imagens expostas pertencem à última série que foi mostrada na individual da galeria no ano passado, The question concerning the thing, e que recebeu o prémio Carte Blanche ÉtudIants do Paris Photo sendo exposta em dois locais da capital francesa, Gare du Nord e Grand Palais e entretanto escolhida para ser mostrada em 2021 no Les Boutographies-Rencontres Photographiques de Montpellier.
03.2020
COLLECTIVE EXHIBITION
CARPE DIEM ARTE E PESQUISA MULTIPLE EDITIONS
EXCAVO GALLERY, LONDON, CANADA
On March 5, EXCAVO will open Carpe Diem: Múltiplos. Carpe Diem Arte e Pesquisa (CDAP) is a contemporary art nonprofit and multidisciplinary visual arts structure based in Lisbon, Portugal with the aspiration to generate an international network of exchange between artists, critics, students and the public.We are delighted to feature 100 limited editions that were produced as a result of Carpe Diem’s residency program at the Palácio Pombal in Lisbon, curated by Lourenço Egreja. Meant to be accessibly priced while maintaining high standards of quality, these prints are developed emerging artists to generate the interest of both new and established collectors of contemporary international art. The Curatorial Program consists of exhibitions as a result of residencies by national and international artists accompanied by conferences, talks, workshops and guided tours. Since 2013 CDAP has presented these editions in a range of over 30 spaces globally including Paris, Berlin, Athens, Seoul, New York, London, Barcelona, Madrid, Rio de Janeiro and Buenos Aires.
09.2019
WINNER PARIS PHOTO CARTE BLANCHE ÉTUDIANTS PRIZE
UNE PLATEFORME POUR LA PHOTOGRAPHIE ÉMERGENTE
Paris Photo, Picto Foundation et SNCF Gares & Connexions s’associent pour la 3ème année consécutive pour développer une plateforme de de découvertes, de visibilité, d’échanges et de rencontres destinée aux jeunes talents, en master ou licence des écoles de photographie et d’arts visuels européennes.
Les projets des 4 étudiants sélectionnés, parmi plus de 200 écoles européennes, seront présentés au public dans le cadre d’une exposition/projection sur écrans géants à Paris Gare du Nord (du 10 octobre au 20 novembre), ainsi que pendant Paris Photo dans un espace dédié de la foire.
4 LAUREATS CARTE BLANCHE ETUDIANTS 2019
• Samuel FORDHAM : UWE Bristol – UK
• Chris HOARE : UWE Bristol – UK
• Fernando MARANTE : Ar.Co - Centro de Arte e Comunicação Visual – Portugal
• Giulia PARLATO : Royal College of Art – UK
Le jury est composé de Sylvain Bailly (directeur des affaires culturelles de SNCF Gares & Connexions), Quentin Bajac (directeur, Jeu de Paume - Paris), Marisa Bellani (galeriste, Roman Road Gallery - Londres), Vincent Marcilhacy(directeur de Picto Foundation), Laure Tiberghien (artiste), Christoph Wiesner (directeur artistique, Paris Photo), Marie-Ann Yemsi (commissaire d’expositions).
26.01-10.03.2019
BIENAL DE FOTOGRAFIA DE VILA FRANCA DE XIRA
OFFICIAL SELECTION
"BF18 - Bienal de Fotografia de Vila Franca de Xir 26 janeiro, 16h00 - Celeiro da Patriarcal
Cristiano Luís, Diogo Duarte, Eduardo Sousa Ribeiro, Fábio Cunha, Fernando Marante, José António Quintanilha, Leonor Fonseca, Marta Leite, Nuno Andrade e Rodolfo Gil são os 10 candidatos ao Prémio da BF18.
O seu trabalho será mostrado na exposição que se apresenta no Celeiro da Patriarcal. A seleção dos candidatos esteve a cargo de um Conselho de Curadores formado por António Júlio Duarte, José Luís Neto, Maria do Mar Fazenda e Paula Parente Pinto. A partir dos projetos apresentados nesta mostra, o Júri de Premiação delibera o vencedor do concurso, que será anunciado no dia da inauguração.
Dando continuidade à vertente curatorial encetada na edição de 2016 da BF, têm lugar, paralelamente à mostra da Patriarcal, duas exposições. No Museu Municipal, em “Espaço Comum” ganha destaque uma abordagem documental à realidade, com a apresentação de trabalhos de Margarida Correia, Rodrigo Tavarela Peixoto, Tito Mouraz e Valter Vinagre; já na Fábrica das Palavras, através de “Imagens com Vida Própria”, procura-se um espaço de representação para a fotografia de natureza mais ensaística e reflexiva, com projetos de João Paulo Serafim, Duarte Amaral Netto, Mariana Gomes Gonçalves e Soraya Vasconcelos.
Contamos com a vossa presença!
Link: http://bfvfx.cm-vfxira.pt/
01.2019
CARPE DIEM JOVENS ARTISTAS PRIZE
FINALIST
LISBON + CASCAIS
A exposição dos artistas selecionados para a exposição do Arte Jovem Millennium BCP 2018, que esteve no espaço Águas Livres em Lisboa em Julho, encontra-se agora no edifício do LACS em Cascais.
Sofia Mascate, Maria Von Hafe, Beatriz Coelho, David Dançante, Fernando Marante, José Taborda, João Miguel Ramos.
Exposição do Prémio Arte Jovem Millennium BCP – Concurso para alunos de Artes Visuais 2018 Carpe Diem Arte e Pesquisa
O Carpe Diem Arte e Pesquisa (CDAP) inaugura no dia 14 julho a exposição dos trabalhos dos candidatos selecionados do Concurso-Prémio Arte Jovem Millenium BCP 2018.
O Júri desta edição - constituído por Semíramis Gonzáles, Bruno Leitão e Pedro Calapez – selecionou, de entre as 130 candidaturas recebidas, sete artistas para exporem as suas peças. A exposição decorrerá no espaço Água-Livres 8 que generosamente acolheu esta iniciativa, local onde serão apurados os vencedores dos dois prémios Arte Jovem 2018.
O concurso visa dar a conhecer as propostas dos artistas que acabam de entrar no mundo arte, contribuindo para uma visão mais alargada da produção artística nacional; criar a oportunidade de realizar a primeira exposição de apresentação de trabalho, com acompanhamento curatorial, vendas e catálogo; propor uma dinâmica mais competitiva entre escolas e cativar o mercado da arte, criando, assim, novas possibilidades de aquisição por colecionadores e investidores em novos artistas.
O prémio da edição 2018 conta o apoio da Fundação Millennium BCP e do Centro Português de Serigrafia. O primeiro prémio será uma viagem a uma capital Europeia, num contexto de um evento artístico, com o intuito de complementar a formação do premiado com visitas programadas a galerias, museus e outros agentes culturais. O segundo prémio será uma residência artística a realizar no Centro Português de Serigrafia.
A selecção para a exposição da edição do Concurso-Prémio Nacional Arte Jovem 2018 é a seguinte: Beatriz Coelho (FBAUL, Lisboa), David Dançante (Universidade de Évora), Fernando Marante (Ar.Co.), João Miguel Ramos (FBAP, Porto), José Taborda (FBAUL, Lisboa), Maria von Hafe (FBAUP, Porto) e Sofia Mascate (FBAUL, Lisboa).
O CDAP lançou, pela primeira vez em 2016, o concurso nacional Arte Jovem dirigido a alunos dos cursos de artes visuais finalistas ou que tenham terminado os cursos nos dois anos.
01.04.2019 NEW REPRESENTATION
MÓDULO - CENTRO DIFUSOR DE ARTE, LISBON
06.2019
DESCUBRIMIENTOS PHOTOESPAÑA, MADRID
Los participantes de Descubrimientos 2019 han sido seleccionados a través de una convocatoria abierta. Además algunos de ellos forman parte de las iniciativas It Makes Art y de Futures 2019. Todos ellos tendrán la oportunidad de ser el Ganador de Descubrimientos 2019, que supone tener una exposición individual en la próxima edición del festival. Instituciones amigas como la Embajada de Portugal e Instituto Camoes apoyan con la participación de dos fotógrafos portugueses, el Institut d’Estudis Baleàrics – IEB un año más se suma a la actividad con la movilidad de cuatro residentes o nacidos en las Islas Baleares y, gracias a la Embajada de Lituania, un fotógrafo del país podrá asistir al visionado de manera gratuita. Seleccionados Descubrimientos 2019: (...) Fernando Marante (...).
08.2019
DRAWING ROOM LISBOA
MÓDULO, LISBON
FERNANDO MARANTE
Matosinhos, Portugal, 1973
MODULO – CENTRO DIFUSOR DE ARTE
These series of images result from an experimental work that explores the apparent dissonance between what the human eye has accustomed us to consider real and the synthesis of accumulations and transitions of the reality that the mechanical eye of the camera allows us to obtain.
Starting from the premise that there are no abstract photographs, because all of them are affiliated to a referent of the physical world, these images operate a game that questions the attribute of representation of the photographs. We hesitate to codify these running images. They are the photographed object and, at the same time, they are not. They are hypothetical images, focused on a process of duration and randomness, ambivalent in relation to (photographic) language that they cannot fail to assume, but in search of plastic freedom.
It is in this tension of search and escape, of approach and detachment, that the proposal of these images lives.
01.2019
STUDIES ON THE POSSIBILITY OF MOVEMENT AND SERAFINA PUBLISHED IN MANIFESTO MAGAZINE
Neste número da revista sobressaem dois temas. Por um lado, o balanço prospetivo da solução política encontrada na sequência das legislativas de 2015, com a convergência inédita, na democracia portuguesa, dos partidos de esquerda. Por outro, a situação complexa e delicada que resultou das eleições no Brasil, no passado mês de outubro. Por isso, a MANIFESTO traz duas entrevistas: à Manuela D'Ávila, ex-candidata a vice-presidente do Brasil na "chapa" do Fernando Hadda, e ao Carvalho da Silva, para falarmos sobre o aprofundamento das políticas de esquerda.
Este número conta com os textos de mais de 30 autores, tais como Ana Drago, Daniel Oliveira, Farinha Rodrigues, Jorge Malheiros, José Reis, Paulo Areosa Feio ou Vítor Dias.
Completam ainda este número da revista o debate sobre a exploração de petróleo em Portugal, numa nova secção de contraditório; os textos de Luísa Costa Gomes e Regina Guimarães na secção Estórias; o portfólio de Fernando Marante, os trabalhos do Júlio Pomar e do Sérgio Condeço e a evocação de Piteira Santos (com um texto de Manuel Alegre), e do Paulo Varela Gomes (com a republicação de um texto sobre carros, cidades e passeios, de 1993, cuja atualidade não passa despercebida).
09.2018
PHOTOMATON, A PORTABLE MUSEUM SHOWS FACES THAT HISTORY FORGOT IN LISBON SUBWAY
A exposição PHOTOMATON, um projecto artístico em duas partes, que trabalha sobre fotografia de arquivo.
PHOTOMATON é composto por duas instalações simultâneas, que são inauguradas no mesmo dia em locais diferentes.
A primeira destas instalações, instalada na estação Cais do Sodré do Metropolitano de Lisboa (piso das bilheteiras), consiste numa cabine do tipo “photomaton”, construída propositadamente para o efeito e revestida no seu interior de antigos retratos de identificação.
A segunda destas exposições reproduz as mensagens dedicatórias escritas no verso de alguns destes retratos e é exposta no Baliza Café Bar, na Bica, em Lisboa.
PHOTOMATON é um trabalho sobre a memória e a identidade (ou a ausência delas) da autoria dos artistas Bruno Parente, Rossella Nisio e Fernando Marante (biografias no final).
“Quem são estas pessoas e que vida viveram?” é a interrogação que é deixada para a especulação, apesar dos múltiplos referenciais deixados nestas fotografias: a idade, o género, as mensagens dedicatórias, as datas manuscritas, os carimbos dos “Photomatons” e dos estúdios de fotógrafo.
Partindo da premissa de que as pessoas normais não têm direito à História, sendo devolvidas ao anonimato assim que todas as pessoas que as poderiam identificar desaparecem, PHOTOMATON é um museu em miniatura, que nos oferece representações fragmentadas de vivências que não sobreviveram à memória.
PHOTOMATON procura também homenagear uma era em que a imagem fotográfica (o objecto impresso) tinha uma raridade e uma carga de representação individual que desapareceu hoje em dia, numa era de excesso de estímulos visuais, e em que a própria fixação (a ida ao fotógrafo) era ritualizada.
O Photomaton é uma cabine fotográfica automática inventada em 1925 nos Estados Unidos por Anatole Josepho. Foi a primeira forma automática de produção de retratos de identificação. Rapidamente entrou no imaginário colectivo e a literatura e o cinema renderam-lhe homenagem repetidamente. Atingiu o seu apogeu a partir dos anos 50 do século passado, em plena “space age”, e é um dos símbolos do modo de vida americano, urbano e automático.
Artistas como Richard Avedon (Esquire, 1957) e Franco Vaccari (Bienal de Veneza, 1972) usaram-no como ferramenta. Ainda hoje, em versões contemporâneas, está presente em locais de circulação.
12.2018
CONFERENCE CICLE: CURRICULAR UNIT PHOTOGRAPHY
ARQUIVO FOTOGRÁFICO, LISBON
No próximo dia 4 de Dezembro, o Ar.Co será representado por Fernando Marante, Joana Hintze e Bénédicte Blondeau no Ciclo de Conferências de Fotografia III, que se realiza entre as 09h30 e as 17h30 no Arquivo Fotográfico de Lisboa.
10.2018
SCHOLARSHIP GRANT
Atribuição de Bolsas de Estudo 2018/2019
Bolsa Graça Costa Cabral - Madalena Caiado - Projecto Individual em Artes Plásticas
Bolsa Fundação Victor e Graça Carmona e Costa 2 – Fernando Marante, Projecto Individual em Fotografia.
http://arco.pt/site/pt/apoios-e-parcerias
05.2018
COLLECTIVE EXHIBITION
PANORAMA
LE CONSULAT GALLERY, LISBON
A partir desta sexta-feira mostro trabalhos novos na PANORAMA, eu e mais uns tantos. A exposição acontece na Galeria do Le Consulat, na Praça Camões, em Lisboa, e tem a curadoria de Adelaide Ginga.
10.08-23.09.2018
BIENAL INTERNACIONAL DE ARTE DE CERVEIRA
OFFICIAL SELECTION
"Artes Plásticas Tradicionais e Artes Digitais – O Discurso da (Des) Ordem"
Nesta época de transição tecnológica, a afirmação das tecnologias virtuais encontra-se cada vez mais presente na criação artística, sendo que as linguagens de comunicação atuais transvasaram as previsões da crítica a ponto de as deixar pouco afirmativas quanto à previsibilidade futura do conceito de qualidade, face aos mercados e às coleções de arte.
Em 1985 afirmava-se que o vídeo já era uma forma de arte, depois das experiências de ANDY WARHOL, apoiadas por um mercado elitista que dominou a promoção da pintura americana sobretudo a partir dos finais da segunda guerra mundial.
O conceito de “obra de arte” foi-se modificando entre a abstração pura e a Pop Art, até ao aparecimento dos gravadores vídeo portáteis que popularizaram a sua utilização por artistas, sob formas de diálogo entre as reportagens marginais e politizadas, até à criação de efeitos tecnológicos facilmente apetecíveis pela sua inovação nas formas criativas e de efeitos espetaculares conducentes ao maravilhamento das massas.
O desafio da XX Bienal Internacional de Arte de Cerveira é de provocar o confronto entre essas artes visuais e as artes de produção física, como análise da sua validade percursora da nossa época.
09.03-06.04.2018
COLLECTIVE EXHIBITION
9:3
OCUPART, LISBON
9:6 | EXPOSIÇÃO
INAUGURAÇÃO > Quinta-feira, 8 de março, 19h Exposição de 9 março a 6 abril 2018 | segunda a sexta, 11h – 18h30h
Ocupart | Espaço Camões da Livraria Sá da Costa | Praça Luís de Camões, 22, 4º andar, Lisboa
A exposição 9:6 reúne trabalhos de 9 artistas em 6 salas de um 4º andar da Praça Luís de Camões. A ideia da exposição surge da possibilidade de ocupar estas salas, temporariamente disponíveis, apresentando trabalhos de artistas de diferentes gerações e com diferentes percursos.
São 9 os artistas a marcar o seu lugar no olhar atento do público lisboeta: Fernando Marante, Filipa Roque, Isabel Almeida Garrett, Jorge Barrote, Josselin Bonnetain, Manuel Queiró, Margaridas Alves, Nina Fraser e Zizi Ramires – 9 partes que se complementam no cruzamento de técnicas diversas: pintura, desenho, escultura, fotografia e vídeo.
Com produção da Ocupart, 9:6 tem curadoria de Sofia Marçal.