Artista

Pedro Calapez

1953 en Lisboa, Portugal

Datos generales
Algoritmo AI

Residencia:

Reside en Lisboa, Portugal

Exposiciones individuales vigentes:

Enquanto o espaço for

Profesionales que le han comisariado:

Filipa Oliveira en:

There is only drawing. Pedro Calapez, 2013

João Pinharanda en:

Perto da margem, 2021

João Miguel Fernandes Jorge en:

O segredo da sombra, 2016

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Premios ganados:

Prémio Projecto Artístico Destacado - Fundação Millennium bcp
XXII Premio Internacional de Gráfica Máximo Ramos 2012

Ferias en las que participa con OBRA :

ARCOmadrid 2024
ZONAMACO 24
Drawing Room Lisboa 2023

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Galerías y otras organizaciones que le representan:

Fernando Pradilla

Galeria Belo-Galsterer

Galeria Fernando Santos

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Organizaciones con obra:

Centro de Arte Contemporânea Graça Morais

Centro de Arte Dos de Mayo (CA2M)

Centro Galego de Arte Contemporánea (CGAC)

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Profesionales con obra:

José Antonio Trujillo y Elsa López

José Costa Rodrigues

Pedro Torcato Álvares Ribeiro - Colecção Peter Meeker

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Etiquetas:

Abstracción orgánica Abstracto Acrílico Acuarela Aluminio Cartón Pintura

Documentos relacionados:

Entrevista en 2018
pdf

Con una nube en el medio
pdf

CV completo

Enlaces oficiales:

Web

Descripción del Artista

" And there wasn’t anything that wouldn’t be a gaze”(1) I don’t know if everything originates in the gaze. At least my gaze frequently dazzles with unexpected images that in vain I try to engrave in my memory. The remains of those impressions appear in my paintings through my hands. I’m lost, running in circles, trying to organize these countless references. I believe that what I do depends on my gaze and what I achieve in painting is what arises from the contingency of living (what you experience, you may also not experience). The becoming of the gaze, knowing that it continuously balances between seeing and not seeing, explains why reality is so difficult to follow. Painting will always be in the contingency of a gaze, on the (im)possibility of understanding reality. Formal particularities allow the evaluation of different lines of work where painting relates intimately to its support and on the way ... it’s displayed on the wall. Abstraction is only one of the aspects of these works as the direction of the gaze and the relative position of the viewer to what he is seeing establishes important structural paths. Gesture defines the use of colour but gaze dominates the quest for meaning. Painting makes me a “flâneur” (for its responsiveness to movement, the relaxed gaze, its obsession for exploring reality, the translation to a new reality where time has no meaning) and this practice is what most matters to me. Pedro Calapez, 2015 (1) José Manuel dos Santos, excerpt from the book "Cesariny - em casas como aquela"