CCL - Centro Cultural de Lagos / 6 to 9 APR OPENING - Thu 6 APR 17h30 Galeria Alfaia, Loulé / 13 to 16 ABR OPENING - Thu 13 APR 18h00 Visual Arts / Free Admission
NO, FUTURE, NO CRY is a space of possibilities for this drifting present, showing manifold ideas and visions; portals for rediscovering immersive and innovative realities about being, and living, in an increasingly fast and refracted world. With works by David OReilly, Weisstub, Rui Palma, Fernando J. Ribeiro and Static Drama, this collective exhibition presents a convergence of these five artists who make art between the realm of sculpture and digital work, thus welcoming the 4th industrial revolution as a vehicle of immediate and poetic expression for a humanity in search of itself and renewing with every passing second.
So little darlin’, don’t shed no tears, cause everything’s gonna be alright.
David OReilly (born in Ireland, 1985) is an artist based in Tokyo, Japan. Creator of the influential short films Please Say Something and The External World, his animation work has won numerous awards and been the subject of several international retrospectives. He has written for TV shows such as Adventure Time and South Park and created fictional video games in Spike Jonze’s Academy Award winning film Her. His first interactive work, Mountain, was released in 2014, followed by Everything, in 2017. Breaking the boundaries between art, games and philosophy, Everything found wide popularity among gamers and non-gamers alike, and was most recently curated by David Lynch for his Festival of Disruption.
PLEASE SAY SOMETHING 2009 – A troubled relationship between a Cat and Mouse.
EXTERNAL WORLD 2011 – A boy learns to play the piano.
BLACK LAKE 2010 – Abstract loop, collaboration with Jon Klassen.
EVERYTHING 2017 – Whoever you are, whatever you are, wherever you are, you’re in the middle. That’s the game.
FERNANDO J. RIBEIRO
Fernando J. Ribeiro‘s work includes various media mediums, focusing on drawing, sculpture and performance. He has exhibited and performed in several galleries and events in Portugal and around Europe. His performances include, among others: HOME SWEET HOLE, at the International Performance Festival, Noseland, Zurich, 2015; TELL ME MY NAME, Contentores Project, Docas de Alcântara, Lisbon, 2010; BLIND DATE, Galeria Caroline Pagès, Lisbon, 2010. His recent group exhibitions include, among others, TRABALHO CAPITAL.GREVE GERAL, Oliva Creative Factory, São João da Madeira, 2020; THEM OR US, Galeria Municipal do Porto, 2017; ART STABS POWER. QUE SE VAYAN TODOS!, Bermondsey Project, London, 2014.
UNTITLED (EUROPEAN UNION) is about the falling stars of the Union, now transformed into manna coming from a sky-blue heaven. The projection collapsing into a promising and never-ending future brings back the overbearing weight of immediate consumption in a precarious food that tastes like smoked ham. The flag surface, inhuman, stands there, isolated, uninhabitable and nameless.
UNTITLED (SUNSET) marks the transformation from the infinite scale of nature to the tiny scale of a private intimate object. This reconstruction is made with the fewest Lego pieces, so as to always keep the construction process visible. The constant presence of the pieces underlines a material dimension that postpones the chance of imagining the sky as an image. Possessing the infinite is but a childish fantasy, and the construction materials lead us to ever-transforming mental images.
Rui Palma is a photographer based in Lisboa, experimenting with various printing materials. His work explores the space between documentary and fantasy, interested in the human body, with focus on portraying queer identities. He has participated in solo and collective shows in spaces such as Galeria Foco, Senhora Presidenta, Queer Lisboa, Rivoli – Teatro Municipal do Porto, Bienal Jovens Criadores, Encontros da Imagem and collaborated with Vogue Portugal, Mixte, FuckingYoung and Vice among other magazines.
WATER CHAIR is a piece from a series of photographs printed on various objects. The solidity of the support opposes the fluidity of the image of the reflection and refraction of the light in water.
HOLY DAYS is a series of photographs printed on beach towels. Initiated in 2018, having as reference the fabrics laying on balconies while the procession passes, religious flags or towel stands in beach car parks, the images evoque sacred iconography and pop culture symbols. The towel appears as a medium related to water, dries and embrace wet bodies while stamp its stain and ephemeral shape like a sudarium.
MAAYAN SOPHIA WEISSTUB
Maayan Sophia Weisstub (b. 1992) is an interdisciplinary artist, graduate of the Royal College of Art. Maayan has shown work in museums and galleries internationally, including: Saatchi Gallery (London), Christie’s (London), Omer Tiroche Gallery (London) and Pavlov’s Dog Gallery (Berlin). She was part in the 24th Gabrovo Biennial of Humor and Satire in Art and her work has also been featured in “WhiteHot” magazine, “Kaltbult” magazine, “Design Taxi” and many more.
This short video collage collection is made up of vintage erotic photographs, combined with videos of various daily events. The work carries a wide spectrum of playfulness, from Super Mario video games to a volcanic explosion. The contrast between the erotic base and the unexpected layer of happening, ignites in the viewer personal and collective associations, that range between uneasiness, humour, to sexual arousal. This work challenges sexual taboos and gives validation to fantasy play, which is a natural and valuable part of our life.
STATIC.DRAMA is a free mental state between being and no longer being.
In the visual arts, I go between the moving image and the fraction of a second.
As I study the history of movement, the everyday taking in of the surrounding environment is my mixing device in the media where I usually intervene.
FINIS TERRA – …and in the end there was the liquid poem.
TOURIST – This is a photo opportunity, you don’t want to lose them.