COSMOGONIA A ALASTRAR NO CANTO DA SALA by Nuno Viegas
12 Maio a 25 Junho
NUNO VIEGAS | "Cosmogonia a Alastrar no Canto da Sala"
OPEN | May 12 – June 25, 2022
SCHEDULE | Thu-Sun, 4:00 pm to 8:00 pm
LIVE PAINTING | 12-13-14-15 May, 16:00-20:00
GUIDED TOUR | 15 May, 18:00
SUPPORT | República Portuguesa – Cultura / Direção-Geral das Artes
ENTRY | Free
SCHEDULE | Thu-Sun, 4:00 pm to 8:00 pm
LIVE PAINTING | 12-13-14-15 May, 16:00-20:00
GUIDED TOUR | 15 May, 18:00
SUPPORT | República Portuguesa – Cultura / Direção-Geral das Artes
ENTRY | Free
“I spread out the toys and search, without foreshadowing or inciting too much the purpose, I return to that time when the world was reduced to a prolix box of pieces and the permanent reconstitution of the meaning in them, the imagination has always taught the way, starting with the ingenuity of the steps and the coordination of the body, that the legs and arms and hands do nothing more than serve their purposes of extrapolation of what reality ended up with among finite humans, their tiny quarrels, misfortunes and ambitions.
From the corners and right angles where life is underestimated, like unforeseen humidity slowly corroding the architectural fiction of eternity, I put one foot after the other, in that cosmogonic impulse that antagonizes the void meticulously and feverishly, without promising exits, entrances perhaps, guessing hatches to peek beyond the mists, holes in the ubiquitous blanket that hardens the view and blurs the discernment, to be the acting principle that observes the act, the first spectator and interpreter, an ignitor and receptacle of that furious explosion that has been spreading the cosmos, it is said. It seems that a dot is the beginning and I avoid the end dot.” (Nuno Viegas, March 2022)
From the corners and right angles where life is underestimated, like unforeseen humidity slowly corroding the architectural fiction of eternity, I put one foot after the other, in that cosmogonic impulse that antagonizes the void meticulously and feverishly, without promising exits, entrances perhaps, guessing hatches to peek beyond the mists, holes in the ubiquitous blanket that hardens the view and blurs the discernment, to be the acting principle that observes the act, the first spectator and interpreter, an ignitor and receptacle of that furious explosion that has been spreading the cosmos, it is said. It seems that a dot is the beginning and I avoid the end dot.” (Nuno Viegas, March 2022)