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There is something thunderous to be discovered in serenity. Poetry has an essential role to play in any discovery of this nature, and the work of José Pedro Croft (Porto, 1957), widely known internationally and built up over a good many years on this kind of poetic tensions and on a deep reflection, in which place and time are conjugated, is no stranger to any of this.
Founded on these bases, FIELD/COUNTERFIELD is a project, which has grown out of the Portuguese artist’s study of the relationship between the exhibition space of the Fundación Cerezales Antonino y Cinia [FCAYC] and its surroundings. This intense relationship in the form of a fugue is one in which the presence of the exhibition space is itself an exercise of possibility, a field of intersection sensitive to other oscillations and potentialities in the face of the cyclical continuity of what takes place outside it.
From these premises FIELD/COUNTERFIELD accrues to itself the character of a reflective work rooted in a research process, which resonates with previous projects that have taken place in the FCAYC’s spaces. It looks deep into the (not only) architectural root of the place – the cabin, the refuge in which to think – and condenses into a large-scale temporal intervention. It has its starting point in the FCAYC, in Cerezales del Condado, and not only does it not end here but it evolves and modulates over the course of its trajectory, in which the Círculo de Artes Plásticas de Coimbra is incorporated, each with its own personality.
In engaging in this reflection, José Pedro Croft has drawn on the most significant and emphatic elements of his formal vocabulary: the construction of spaces on the interface between architecture, engineering and art, the incorporation of industrial processes, and the search for new relationships by way of colour. In this way, scales, tensions and balances are materialized in the three different settings of FIELD/COUNTERFIELD, embodied in sheets of lacquered iron and accompanied in good measure by other materials such as engravings, drawings, sculptures, models and videos, which extend the context of the work and ensure that the visitor is an indispensable part of that living relationship between artwork, place and viewer which is present in each and all of the artist’s interventions.
Curated by: Área curatorial FCAYC y Círculo de Artes Plásticas de Coimbra
Coproduction: Fundación Cerezales Antonino y Cinia // Círculo de Artes Plásticas de Coimbra
Coordination: Galería La Caja Negra
Production and installing: Art Works
Graphic design: Atelier Pedro Falcão
This post is also available in: Spanish