Da Colecção Berardo no CCB

Aqui ficam algumas das obras, entre as que mais gostei.

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Amadeo de Souza-Cardoso, Pelas Janelas (Desdobramento - Intersecção) (1914)

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Maria Helena Vieira da Silva, Composition (1948)

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Man Ray, Café Man Ray (1948)

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Jean Dubuffet, Borne au Logos V (1967)

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Art & Language, Secret Painting (Ghost) (1968)

Diz aqui: «The content of this painting is invisible; the character and dimension of the content are to be kept permanently secret, known only to the artist.»

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Patrick Caulfield, Lit Window (1969)

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Robert Gober, Dollhouse 3 (1978)

Esta fotografia é minha, tirada com o telemóvel, por isso está fraquinha. Na página da Colecção Berardo tem uma fotografia a preto e branco.

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Jesus Rafael Soto, Cacique (1983)

Esta obra (em cima) foi a que o meu filho mais gostou.

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Jeff Koons, Bob Tail (1991)

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Larry Bell, Vertical Gradient on the Long Length (1995)

A minha fotografia mostra outra perspectiva:

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Frank Stella, The Broken Jug (1999)

A minha fotografia é um detalhe da escultura.

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Ângelo de Sousa, Sem título (1964-2005)

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Miguel Palma, Google Plane (2008)

No site da Colecção há outra perspectiva do mesmo avião:

Segundo o que está na legenda, este avião, se voasse, seria invisível: quem o visse de baixo confundia-o com o céu, quem o visse de cima confundia-a com a terra.

Algumas máscaras na arte

Pietro Longhi, Masked Party in a Courtyard (1755)

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Rosalba Carriera, Female Portrait with Mask

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Louise Élizabeth Vigée Le Brun, Count Grigory Ivanovich Tchernyshov Holding a Mask (1793, Hermitage Museum, Saint Petersburg)

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Charles Chaplin, Ready For A Masked Ball

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Columbano Bordalo Pinheiro, A Máscara (1899, Casa-Museu dos Patudos, Alpiarça)

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James Ensor, Self-Portrait with Masks (1899, Menard Art Museum, Komaki)

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Thomas Dewing, The mask (1902)

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Amadeo de Souza-Cardoso, Green eye mask (1915)

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Pablo Picasso, Musiciens aux masques (1921, Museum of Modern Art (MoMA), New York)

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Man Ray, Black an White (1926)

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Jose Gutierrez Solana, The Designer of Masks (1935)

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Isolino Vaz, Carnaval (Museu José Malhoa, Caldas da Rainha)

Inventar vs. acelerar

Man Ray, Invention (1916)

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«(…) When the whole environment is one in which inventiveness is being encouraged and paid for, there will be a great sense of shortage of time. It is not just a matter of rushing to catch and use a particular form of marking, while the season for it is on, though that may matter, too. In the top consumption class the attempts of some to control the information scene are being foiled by others who stand to gain by changing it. But since this is the class that both uses and fabricates the information, naturally they cannot help but outbid each other and speed up the game, turning the society into a more and more individualistic and competitive scene. (…)»

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Mary Douglas, Baron Isherwood, The World of Goods, Towards an Anthropology of Consumption, London, New York, Routledge, 1996 (1.ª ed. 1979), pp. 149-150

Tempo III

Man Ray, Clock Wheels (1925)

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«"If you knew Time as well as I do," said the Hatter, "you wouldn't talk about wasting it. It's him."

"I don't know what you mean," said Alice.

"Of course you don't!" the Hatter said, tossing his head contemptuously. "I dare say you never even spoke to Time!"

"Perhaps not," Alice cautiously replied: "but I know I have to beat time when I learn music."

"Ah! that accounts for it," said the Hatter. "He won't stand beating. Now, if you only kept on good terms with him, he'd do almost anything you liked with the clock. For instance, suppose it were nine o'clock in the morning, just time to begin lessons: you'd only have to whisper a hint to Time, and round goes the clock in a twinkling! Half-past one, time for dinner!"

("I only wish it was," the March Hare said to itself in a whisper.)

"That would be grand, certainly," said Alice thoughtfully: "but then—I shouldn't be hungry for it, you know."

"Not at first, perhaps," said the Hatter: "but you could keep it to half-past one as long as you liked."

"Is that the way you manage?" Alice asked.

The Hatter shook his head mournfully. "Not I!" he replied. "We quarrelled last March - just before he went mad, you know -" (pointing with his teaspoon at the March Hare,)" - it was at the great concert given by the Queen of Hearts, and I had to sing (...).

"Well, I'd hardly finished the first verse," said the Hatter, "when the Queen bawled out, 'He's murdering the time! Off with his head!'"

"How dreadfully savage!" exclaimed Alice. 

"And ever since that," the Hatter went on in a mournful tone, "he won't do a thing I ask! It's always six o'clock now."»

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Lewis Carroll, Alice's Adventures in Wonderland (1866).