Notícias

Fóruns da ARCOlisboa online edition - As ideias chave

Para aqueles que não puderam acompanhar os últimos fóruns da ARCOlisboa - online edition, aqui fica um mosaico de ideias extraídas destas conversas. Física ou digitalmente, estes fóruns sempre ambicionaram ser uma plataforma de reflexão e troca de ideias, um exercício que nesta edição foi inevitavelmente condicionado por uma agenda submersa nas circunstâncias atuais. De algumas destas citações saem claras tentativas para traçar um primeiro esboço do que será o futuro próximo das artes plásticas, com um foco particular em Portugal.

11 jun 2020

Optámos por manter o inglês original em que decorreram as conversas, traduzindo apenas o tema de colecionismo que foi debatido em português.

Todos os temas foram mediados por um grupo de curadores independentes que têm colaborado ativamente nas ultimas edições da ARCOlisboa.

O lugar onde nos encontramos / The place where we find ourselves

“The Covid has reinforced something that is quite obvious: we need art. In periods of crisis, people ground themselves in to their culture and art. This time really showed how necessary institutions like museums are to the construction of a community. Either you live in LA, Porto or Lisbon, the centrality or art and culture became so clear.”

Philippe Vergne
Diretor, Museu Serralves, Porto.

“Is it even possible to rethink a business model for a museum, taking this situation as a starting point?”

Beatrice Leanza
Diretora executiva, Museu de Arte, Arquitetura e Tecnologia (MAAT), Lisboa.

“One of the gains of this process was the fact that it brought to surface issues that the sector was experiencing. Independent artists, agents and cultural workers were experiencing these problems for years, and this moment brought them to surface in a very vivid and violent way. So, I think that amongst all, this was a success, it made us all - and by all I mean the Portuguese society – to came across this problem with a big wave of solidarity, and for the first time in years, the sector joint forces to shout”

Guilherme Blanc
Diretor, Arte Contemporânea e Cinema, Galeria Municipal do Porto.

“This crisis is much deeper than the previous that occurred in 2009, when I started to work as the cultural councillor for the city hall. This crisis will bring a change in the paradigm of the whole society. Also, the whole cultural system is much bigger, dynamic and diverse than it was before, so it is harder to understand what we should do to sustain it.”

Catarina Vaz Pinto
Vereadora da Cultura/Câmara Municipal de Lisboa.

“It’s funny, at the beginning of all this two months seemed so long, and now one year is not that much.”

Nadia Belerique

Artista

“This is a time to take action. It’s a time where you either try go back to normality or implement a new normality.  This is a crucial moment to define what we want for this sector and what has real meaning to us.

Guilherme Blanc - Participantes
Diretor, Arte Contemporânea e Cinema, Galeria Municipal do Porto.

“It is actually interesting to understand how as an artist you can interact right now and make things work out.

In the current situation, we have to change the way we work. Traveling with our works, for instance, is not sustainable right now.

Nadia Belerique

Artista

During this time, I rediscovered the real inter-institutional collaboration, and this is the direction I would like to take from now on.”

Barbara Piwowarska 

Curadora e historiadora; Directora artística, Casa São Roque, Porto.

“More than talking about the reality of workers in culture – a discussion that is already going on all over the world, I would focus on the condition between the local and the international institutions and organizations. How to keep this relation active?”

Inês Moreira

Editor, researcher and architect

“Our purpose is to fund cultural production but what we have now is not a problem of that nature, but a problem of social existence and survival.

Within this, what could we do to amplify our ways of support, and continue our mission?”

Guilherme Blanc
Diretor, Arte Contemporânea e Cinema, Galeria Municipal do Porto.

“In some ways, this a bit of a gift. Having time to process during this extension of two years could be good. Some projects do need more time. I can do more research, I can read more, I can fundraise my projects better.”

Nadia Belerique

Artista

“We don’t get the opportunity to really deconstruct because of what the creative industry has partly transformed the museums in to, and I believe that this is truly an opportunity to let go some things that we already wanted to let go, and improve others.”

Beatrice Leanza
Diretora executiva, Museu de Arte, Arquitetura e Tecnologia (MAAT), Lisboa.

“It’s been a crisis since I started. The depression was in 2009, the time when I started my career. That crisis shaped the way of artists to be in the art world, in a good and a bad way.

There was a kind of a natural selection at that time, that made my generation of artists a bit more humble and grounded. All of a sudden being an artist wasn’t so much fun. But it was  also time to realise that if being an artist is what you really want to do, you just need to keep on doing it”.

(…) Right now I don’t know what will happen, but I believe that the goal for us artists should be to continue to be free.”

Eugénia Mussa

Artist

“We will experience a shortage of visitors for sure, so the way we deal with our strategy to reach, accessing and communication with people will have to change, and that needs to happen immediately.”

Guilherme Blanc
Diretor, Arte Contemporânea e Cinema, Galeria Municipal do Porto.

“For me what this crisis has been doing is reinforcing the core values of what institutions are standing for: giving creative voice, alternative voice, coming for artists because that’s what the community expect from us”

Philippe Vergne
Diretor, Museu Serralves, Porto

“One of the possible effects that I am afraid that might happen is having the immigrants escaping from our country. I am afraid of the impact of this economical condition on the Brazilians artists and students who came to live in Porto, attributing an international sense of living to the city. I am afraid that this situation could generate an impact on the immigration reality in general too. This is not just about local communities”

Inês Moreira

Editor, researcher and architect

What I am learning from being in Serralves is that I am learning from a model that it is totally inserted in the civic fabric, more than in any other place I have worked in.

Philippe Vergne
Diretor, Museu Serralves, Porto.

Olhando para o futuro / Looking at the future

“I think it is also important to open up questions like: How can a museum behave or appropriate methodologies from other type of collective cultural consumptions, like streaming services, or on demand contents?”

Beatrice Leanza
Diretora executiva, Museu de Arte, Arquitetura e Tecnologia (MAAT), Lisboa.

“I lot of the work that I do is based on the space itself, and a lot of it is done in installation form that has me present as part of the scene coming together. This kind of work won’t be an option in the foreseeable future. (…) As an artist, the idea of not being able to see the space or the show, is a very strange concept.”

Nadia Belerique

Artista

“Mainly, what the policy makers should do is to invest and promote the artistic education at different levels. It is thought the artistic education that people can enjoy and understand art, therefore creating a need for art, awareness and sensibility. This is what generates audiences for the overall system, and here, we are at a level where we still have a lot to do.”

Catarina Vaz Pinto
Vereadora da Cultura/Câmara Municipal de Lisboa.

“We were worried about economy of the cultural workers for a long time, and somehow the boom of tourism was allowing us to cover the situation. (…) Now, after the closure of the pandemics, what we drew was not culture but mostly tourism, so this is a lose - lose situation to the art scene.”

Inês Moreira

Editor, researcher and architect

“Some things we had conceived and planned will have to be conceptually revisited and re-contextualized within today’s concerns. I think this process may happen organically, it won’t be imposed. Curators and artists will figure urge to adapt and rethink the processes.”

Guilherme Blanc  
Diretor, Arte Contemporânea e Cinema, Galeria Municipal do Porto.

“What will happen in the future and what we are already seeing, is an important development of the digital contents. All the artistic areas will have to develop their online tools and some are not technically qualified to do it. This should be one of the areas where we should invest. But the physicality remains paramount, and the solutions to present now in physical events are not evident.

The whole question of the economical sustainability of the sector is crucial. We need to look and take care of the artists as a whole, as an ecosystem, including its diversity of areas, different business models, and solidarity between the different sectors since some have public support but others lost their income from night to day.”

Catarina Vaz Pinto
Vereadora da Cultura/Câmara Municipal de Lisboa.

“I don’t believe in this digital transformation. For my side, representing a small institution, it’s all about a site-specific experience. It’s very difficult to imagine transforming the experience of Casa de São Roque – the house and the park, in to a digital content. But hopefully the pandemic is getting over and we won’t need to do that conversion.”

Barbara Piwowarska 

Curadora e historiadora; Directora artística, Casa São Roque, Porto.

“What it will change is the way we (museums) communicate to the outside.”

Philippe Vergne
Diretor, Museu Serralves, Porto.

“One of the big issues in young artists is wanting to become an artist itself. if becoming an artist is the ultimate goal, that will create a lot of issues, because then you have to think of what you need to do, or how to create a formula for that. You can see this effort reflected on the works, but the process should be effortless. (…)

My advice for young artists would be: go live your life a bit and come back with the story that you have to tell. Express it from yourself and do not compromise!”

Eugénia Mussa

Artist

ARCOlisboa

“ARCOlisboa was a major step in terms of development of the contemporary art scene in Lisbon. Not only because of the fair itself, but also all the parallel events and programing created around it, and the international collectors that were attracted to Lisbon. We are involved in the organization since the beginning and, because we really wanted the fair to be a success, we have tried to help in different ways. One of them was the idea of starting a collection of contemporary art to the City Hall.”

Catarina Vaz Pinto
Vereadora da Cultura/Câmara Municipal de Lisboa.

Colecionismo

“Acredito cada vez menos na acumulação de objectos e cada vez mais no dialogo.”

“ A arte teve uma enorme influencia na minha orientação politica. Muita mesmo.”

“ Eu era um individuo muito quadrado antes de me interessar por arte contemporânea.”

Armando Cabral

Colecionador – Lisboa

“ Não tenho uma coleção de nomes mas sim de núcleos de trabalho. Gosto de colecionar as várias fazes de produção desses artistas.”

António Cachola

Colecionador – Elvas

“No século XXI colecionar arte não pode ser só acumular objetos. Queremos usar a coleção mais como uma desculpa para criar outras oportunidades para apoiar os artistas. O objetivo é alargar o leque das opções para apoiar o sistema que são geradas pelo facto de sermos colecionadores”

Armando Cabral

Colecionador - Lisboa

“ A responsabilidade e o respeito pelos artistas são consubstanciados numa politica que tem que existir de saber guardar as obras, saber estudá-las, saber exibi-las, e fazê-las circular. Quando isto tudo acontece de forma conjugada, começa-se a dar uma dimensão publica à coleção.”

António Cachola

Colecionador - Elvas

“Estes foram os livros que me formataram e que representam a procura de um mapa para o que eu via nos museus. Depois, com o tempo desisti de procurar um mapa. Percebi que ele não existe, e nem deve existir. Mas este processo de passagem - para um engenheiro que gostava dos aspectos mais ou menos quadrados do modernismo -  para o pós-modernismo, custou muito mesmo”.

Armando Cabral

Colecionador - Lisboa

“Os critérios da minha coleção? Artistas portugueses, que começaram a expor na década de 80. Comecei por colecionar apenas artistas consagrados que já tinham exposto, e depois procurei também os emergentes com alto potencial artístico.”

António Cachola

Colecionador – Elvas

“A ideia de que as obras de arte estão ao serviço e de que podem fazer sentido para uma coleção sempre me pareceu uma ideia completamente invertida, porque questiona a autonomia das próprias obras de arte. Eu vejo a questão ao contrário: algumas obras de arte chamam-me a atenção.”

Armando Cabral

Colecionador – Lisboa

“Sabia que de alguma forma começar uma coleção de arte contemporânea só com artistas portugueses podia ser considerado redutor, mas tive consciência de que havia vantagens fantásticas em poder pensar desta maneira já que reconhecia nestes artistas uma grande capacidade criativa e, sabia que que se me concentrasse apenas neles, o resultado final só poderia ser interessante. Por outro lado sabia que estaria a dar um contributo para a arte nacional.”

António Cachola

Colecionador – Elvas

“A minha forma, e a da minha mulher de pensar enquanto colecionadores de arte tem evoluído muito. Agora estamos a abrir ao público um espaço em que as peças expostas servem quase como um pretexto para falando sobre elas promover o diálogo. “

Armando Cabral

Colecionador – Lisboa

“A coleção (António Cachola) tem sido reconhecida publicamente porque existe nela um conjunto de muitas situações que faz com que quem está de fora tenha quase permanentemente uma ligação à coleção. Há uma proximidade aos artistas e à sua obra”.

António Cachola

Colecionador - Elvas

“ Acho que a única coisa ética que se pode fazer com uma coleção de arte é oferecê-la a um museu”.

Armando Cabral

Colecionador - Lisboa

“Para mim o aspecto mais interessante nos vídeos artísticos é o tédio. O facto dos vídeos serem longos, chatos e não serem feitos para entreter as pessoas. Esse aspecto para mim sempre foi muito interessante.”

Armando Cabral

Colecionador - Lisboa