Pedro Lapa | Faculdade de Letras da Universidade de Lisboa (original) (raw)
Books by Pedro Lapa
Pedro Lapa, História e Interregnum. Três Obras de Stan Douglas. Lisboa: museu Coleção Berardo, 2015
Pedro Lapa, History and Interregnum. Three Works by Stan Douglas. Berlin, Lisbon: Archive Books: , 2015
In this work, Agamben undertakes a commentary on the "constitutive cobelonging of power and impot... more In this work, Agamben undertakes a commentary on the "constitutive cobelonging of power and impotence," in relation to the "Book IX-Theta" of Aristotles' Metaphysics, where he states that "every potentiality is impotentiality of the same and with respect to the same." For Agamben, "the thesis thus defines the specific ambivalence of all human potentiality, in the original structure, is maintained in relation to its own privation, and is always-relative to the same-the potency to be or not to be, to make or not to make. This is the relation that constitutes, for Aristotle, the essence of potency/potentiality." Giorgio
Der Sondmonn foi realizado em i 995 na DoKFILNI onde se situavam também os antigos estúdios da LJ... more Der Sondmonn foi realizado em i 995 na DoKFILNI onde se situavam também os antigos estúdios da LJFA, em Babelsberg nos arredores de Potsdam, conhecidos como um dos principais centros de produçâo do cinema alemão na década de 20 do século XX'.
Der Sondmonn was Íl med in 1995 at the D0KFILN/], where the forrner UFA studlos were also located... more Der Sondmonn was Íl med in 1995 at the D0KFILN/], where the forrner UFA studlos were also located, lr'r Babe sberg on the outskirts of Potsdam, known as one of the maln centers for the productlon of German cinema in the nlreteen-twenties'. When Stan Douglas had the opportunity to visit them, some of these studios, which sÌnce the beginning of sound filrn had been losinq theÌr Ìmportance, were now included on a stofbuildingsfordemoitiondefinedbythe remode lng of the area, cârrled out after German reunification. Wlthin the scope of the same prograÌn, the civic gardens surrounding the area lsch/ebe/90lten, originally called Armengdrten) w?re now destined for the houslng mârket. ln a certaÌn rnanner the site appeared as the persistence of a rnemory that the Ìrew historical airns lntended to inexorab y erase.
Por isso é fácil reconhecer muitas situações que a rotina das nossas vidas se esqueceu de questio... more Por isso é fácil reconhecer muitas situações que a rotina das nossas vidas se esqueceu de questionar mas que apresentadas no contexto de 12
2. Desdc os primeiros ÂLnes de James Colemàn, como Pump, t97z, ot ?Ìafuacft afa Daldream, 1974, a... more 2. Desdc os primeiros ÂLnes de James Colemàn, como Pump, t97z, ot ?Ìafuacft afa Daldream, 1974, a presença do projector de 16 mm dìante das ìmagens projecradas náo se linrit" a relorç:r uÍÌ .enr'do.-r.olog'.o rFlrri\rrrenr( Jo cJe rconle\e ìr' irr:gen. . m morim.rro.
List of works in the exhibition 27 53 t2t t23 r25 73 Mediumspe ctrologies Pedro Lapa r. James Col... more List of works in the exhibition 27 53 t2t t23 r25 73 Mediumspe ctrologies Pedro Lapa r. James Coleman's work offers a profound consideration of the image, both as temporal substance and as the perception of movement. From the start of his career in the r97os, perception and its linguisric contextsthe contexts that simultaneously shape and are shaped by itopened úe way to â new conception of the artistic medium, not only defining it physically but, more complexly, involving acts ofperception themselves in the very constitution ofthe medium. In refusing to submit these constitutive aspects of the medium to a central organizing principle, looking instead to some of the irreducible differences between them, Coleman was led to experiment with the medium as a difference-producing mechanism. Thus, his work inaugurates a whole new condition within the discourse ofart history. \lorking often with film during the initial phase of his career, movement and the still image, the visible and the invisible, and the physical conditions of the perceptual space ofthe image were among Colemant concerns.
O trabalho de Carla Filipe tem privilegiado a apropriação de objetos quotidianos, que são desloca... more O trabalho de Carla Filipe tem privilegiado a apropriação de objetos quotidianos, que são deslocados para o espaço expositivo e trabalhados como o material das suas composições. Se um eco inevitável do readymade de Duchamp se faz ouvir num extremo possível da sua genealogia, já que os objetos das suas instalações iniciam com elas uma segunda vida, decidida pela própria artista, depois de uma existência dedicada à sua função utilitária, ulteriores desenvolvimentos da estratégia do readymade podem ser convocados para esta linha genealógica com um século de manifestações. Comum a muitos desenvolvimentos é a perceção de que estes objetos apropriados transportam consigo uma carga ideológica implícita, pelo que o seu reenquadramento através de um contexto artístico permite detonar a pretensa naturalização dessa ideologia subjacente, como Roland Barthes o demonstrou há muito. Mais recentemente vários artistas têm trabalhado com estes objetos apropriados enquanto conjuntos, grupos ou coleções formados por diversos saberes. Se este modelo de organização disciplinar implica um arquivo e consequentemente este determina o que pode ser dito ou visto, como Michel Foucault definiu, estes artistas estão interessados em experimentar o que não pode ser dito pelo arquivo, pelo que apropriam o seu indizível para o manifestar. É de facto a partir destes dois signoso arquivo e o indizível -que podemos analisar muitos trabalhos de Carla Filipe e em particular da cauda à cabeça, embora este convoque outros aspetos menos declarados da sua obra, como a exposição enquanto medium, mas nem por isso menos latentes e significativos. Pelos Caminhos de Ferro que tinham aberto a Península, rompiam cada dia, descendo da França e da Alemanha (através da França), torrentes de coisas novas, ideias, sistemas, estéticas, formas, sentimentos, interesses humanitários. Cada manhã trazia a sua revelação, como um sol que fosse novo.
Papers by Pedro Lapa
This two volume catalogue for the 49th Venice Biennale, the major theme of which is represented b... more This two volume catalogue for the 49th Venice Biennale, the major theme of which is represented by the phrase “Plateau of Humankind,” features the work of artists from 64 countries and texts by more than 175 authors. The first volume includes a curatorial essay by Szeemann, and documentation of selected works. The second volume focuses on the work of artists who were chosen to represent the countries participating in the biennial. List of works. List of illustrations. Bio-bibliography 159 p. 19 bibl. ref.
Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990, 2020
The Great War coincided with a period of great changes and conceptions as regards artistic trends... more The Great War coincided with a period of great changes and conceptions as regards artistic trends. The official nomination of painter Sousa Lopes to represent Portugal in the global conflict followed the precepts of traditional history painting; however, the results reveal a limit to its realization. In turn, modernist artists distanced themselves from the war-only soldier Christiano Cruz would produce non-state-commissioned paintings from a modernist perspective that allowed a reflection on modern art and war. 1 Introduction 2 Modern Art and Politics 3 Sousa Lopes between History Painting and an Expressionism for Catastrophe 3.1 Art as the Language of Catastrophe 3.2 History Painting 4 Christiano Cruz, a Modernist in the War 5 Commemorative Monuments 6 Conclusion Notes Selected Bibliography Citation In this article, we will try to understand how the various artistic positionings of the time approached the war phenomenon. There are several recent studies on the period's art history which use war depictions as references.
This two volume catalogue for the 49th Venice Biennale, the major theme of which is represented b... more This two volume catalogue for the 49th Venice Biennale, the major theme of which is represented by the phrase “Plateau of Humankind,” features the work of artists from 64 countries and texts by more than 175 authors. The first volume includes a curatorial essay by Szeemann, and documentation of selected works. The second volume focuses on the work of artists who were chosen to represent the countries participating in the biennial. List of works. List of illustrations. Bio-bibliography 159 p. 19 bibl. ref.
Rethinking Postwar Europe
Pedro Lapa, História e Interregnum. Três Obras de Stan Douglas. Lisboa: museu Coleção Berardo, 2015
Pedro Lapa, History and Interregnum. Three Works by Stan Douglas. Berlin, Lisbon: Archive Books: , 2015
In this work, Agamben undertakes a commentary on the "constitutive cobelonging of power and impot... more In this work, Agamben undertakes a commentary on the "constitutive cobelonging of power and impotence," in relation to the "Book IX-Theta" of Aristotles' Metaphysics, where he states that "every potentiality is impotentiality of the same and with respect to the same." For Agamben, "the thesis thus defines the specific ambivalence of all human potentiality, in the original structure, is maintained in relation to its own privation, and is always-relative to the same-the potency to be or not to be, to make or not to make. This is the relation that constitutes, for Aristotle, the essence of potency/potentiality." Giorgio
Der Sondmonn foi realizado em i 995 na DoKFILNI onde se situavam também os antigos estúdios da LJ... more Der Sondmonn foi realizado em i 995 na DoKFILNI onde se situavam também os antigos estúdios da LJFA, em Babelsberg nos arredores de Potsdam, conhecidos como um dos principais centros de produçâo do cinema alemão na década de 20 do século XX'.
Der Sondmonn was Íl med in 1995 at the D0KFILN/], where the forrner UFA studlos were also located... more Der Sondmonn was Íl med in 1995 at the D0KFILN/], where the forrner UFA studlos were also located, lr'r Babe sberg on the outskirts of Potsdam, known as one of the maln centers for the productlon of German cinema in the nlreteen-twenties'. When Stan Douglas had the opportunity to visit them, some of these studios, which sÌnce the beginning of sound filrn had been losinq theÌr Ìmportance, were now included on a stofbuildingsfordemoitiondefinedbythe remode lng of the area, cârrled out after German reunification. Wlthin the scope of the same prograÌn, the civic gardens surrounding the area lsch/ebe/90lten, originally called Armengdrten) w?re now destined for the houslng mârket. ln a certaÌn rnanner the site appeared as the persistence of a rnemory that the Ìrew historical airns lntended to inexorab y erase.
Por isso é fácil reconhecer muitas situações que a rotina das nossas vidas se esqueceu de questio... more Por isso é fácil reconhecer muitas situações que a rotina das nossas vidas se esqueceu de questionar mas que apresentadas no contexto de 12
2. Desdc os primeiros ÂLnes de James Colemàn, como Pump, t97z, ot ?Ìafuacft afa Daldream, 1974, a... more 2. Desdc os primeiros ÂLnes de James Colemàn, como Pump, t97z, ot ?Ìafuacft afa Daldream, 1974, a presença do projector de 16 mm dìante das ìmagens projecradas náo se linrit" a relorç:r uÍÌ .enr'do.-r.olog'.o rFlrri\rrrenr( Jo cJe rconle\e ìr' irr:gen. . m morim.rro.
List of works in the exhibition 27 53 t2t t23 r25 73 Mediumspe ctrologies Pedro Lapa r. James Col... more List of works in the exhibition 27 53 t2t t23 r25 73 Mediumspe ctrologies Pedro Lapa r. James Coleman's work offers a profound consideration of the image, both as temporal substance and as the perception of movement. From the start of his career in the r97os, perception and its linguisric contextsthe contexts that simultaneously shape and are shaped by itopened úe way to â new conception of the artistic medium, not only defining it physically but, more complexly, involving acts ofperception themselves in the very constitution ofthe medium. In refusing to submit these constitutive aspects of the medium to a central organizing principle, looking instead to some of the irreducible differences between them, Coleman was led to experiment with the medium as a difference-producing mechanism. Thus, his work inaugurates a whole new condition within the discourse ofart history. \lorking often with film during the initial phase of his career, movement and the still image, the visible and the invisible, and the physical conditions of the perceptual space ofthe image were among Colemant concerns.
O trabalho de Carla Filipe tem privilegiado a apropriação de objetos quotidianos, que são desloca... more O trabalho de Carla Filipe tem privilegiado a apropriação de objetos quotidianos, que são deslocados para o espaço expositivo e trabalhados como o material das suas composições. Se um eco inevitável do readymade de Duchamp se faz ouvir num extremo possível da sua genealogia, já que os objetos das suas instalações iniciam com elas uma segunda vida, decidida pela própria artista, depois de uma existência dedicada à sua função utilitária, ulteriores desenvolvimentos da estratégia do readymade podem ser convocados para esta linha genealógica com um século de manifestações. Comum a muitos desenvolvimentos é a perceção de que estes objetos apropriados transportam consigo uma carga ideológica implícita, pelo que o seu reenquadramento através de um contexto artístico permite detonar a pretensa naturalização dessa ideologia subjacente, como Roland Barthes o demonstrou há muito. Mais recentemente vários artistas têm trabalhado com estes objetos apropriados enquanto conjuntos, grupos ou coleções formados por diversos saberes. Se este modelo de organização disciplinar implica um arquivo e consequentemente este determina o que pode ser dito ou visto, como Michel Foucault definiu, estes artistas estão interessados em experimentar o que não pode ser dito pelo arquivo, pelo que apropriam o seu indizível para o manifestar. É de facto a partir destes dois signoso arquivo e o indizível -que podemos analisar muitos trabalhos de Carla Filipe e em particular da cauda à cabeça, embora este convoque outros aspetos menos declarados da sua obra, como a exposição enquanto medium, mas nem por isso menos latentes e significativos. Pelos Caminhos de Ferro que tinham aberto a Península, rompiam cada dia, descendo da França e da Alemanha (através da França), torrentes de coisas novas, ideias, sistemas, estéticas, formas, sentimentos, interesses humanitários. Cada manhã trazia a sua revelação, como um sol que fosse novo.
This two volume catalogue for the 49th Venice Biennale, the major theme of which is represented b... more This two volume catalogue for the 49th Venice Biennale, the major theme of which is represented by the phrase “Plateau of Humankind,” features the work of artists from 64 countries and texts by more than 175 authors. The first volume includes a curatorial essay by Szeemann, and documentation of selected works. The second volume focuses on the work of artists who were chosen to represent the countries participating in the biennial. List of works. List of illustrations. Bio-bibliography 159 p. 19 bibl. ref.
Hot Art, Cold War – Southern and Eastern European Writing on American Art 1945–1990, 2020
The Great War coincided with a period of great changes and conceptions as regards artistic trends... more The Great War coincided with a period of great changes and conceptions as regards artistic trends. The official nomination of painter Sousa Lopes to represent Portugal in the global conflict followed the precepts of traditional history painting; however, the results reveal a limit to its realization. In turn, modernist artists distanced themselves from the war-only soldier Christiano Cruz would produce non-state-commissioned paintings from a modernist perspective that allowed a reflection on modern art and war. 1 Introduction 2 Modern Art and Politics 3 Sousa Lopes between History Painting and an Expressionism for Catastrophe 3.1 Art as the Language of Catastrophe 3.2 History Painting 4 Christiano Cruz, a Modernist in the War 5 Commemorative Monuments 6 Conclusion Notes Selected Bibliography Citation In this article, we will try to understand how the various artistic positionings of the time approached the war phenomenon. There are several recent studies on the period's art history which use war depictions as references.
This two volume catalogue for the 49th Venice Biennale, the major theme of which is represented b... more This two volume catalogue for the 49th Venice Biennale, the major theme of which is represented by the phrase “Plateau of Humankind,” features the work of artists from 64 countries and texts by more than 175 authors. The first volume includes a curatorial essay by Szeemann, and documentation of selected works. The second volume focuses on the work of artists who were chosen to represent the countries participating in the biennial. List of works. List of illustrations. Bio-bibliography 159 p. 19 bibl. ref.
Rethinking Postwar Europe
