Concrete work, part 2
July 2010
Casa do Conto
Porto, Portugal
Photo: Pedra Líquida
AGI Open Porto 2010
11—12 October 2010
Lectures + Workshops
Casa da Música, Porto · Portugal
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Typeface on AGI Open, New Rail Alphabet by Margaret Calvert & Henrik Kubel (A2), London
Sem Título
Serie of books of essays about modern and contemporary art
Museu Colecção Berardo
2009—
Dois tempos
— September 10, 2009 — April 2010
R2 instalation on Ermida Nossa Senhora da Conceição, Lisbon
© Photo: Tiago Pinto
We gathered news headlines, from The Guardian, NYT, Liberation…they have in common a reference on time and in most of the case somekind of humour.
Lit up at night by a projector that goes out temporarily, they surprise with the own light of the letters and the wall painted in two kinds of photo-luminescent ink, that keeps them lit for a few moments, like a typographic digital clock counting the hours to indifference.
People also can do "temporary tags" with a flash light or a mobile phone
Named “Dois Tempos” (Two Times) may be visited until January 31st 2010.
Take a look at the pictures at Fernando Guerra website:
more photos
Albarracin 2009
—24 to 28th June
Albarracin, Spain 2009
Lecture + workshop
Photo: Étienne Mineur
Invited by Isidro Ferrer and Carlos Grasa Toro, to give a lecture and four days workshop at Fundacion Santa María de Albarracín, in Albarracín (Spain). Invited people: Etienne Mineur, Max, Meritxell Durán, Pati Núñez et Mandana Sadat.
Arriscar o Real
— 8th June 2009, Museu Berardo, Lisboa
Exhibition design and headline and volumetric typeface
The Arriscar o Real (Risk the Real) exhibition focuses on various artists who have explored the mimesis of reality and transformed this question into a paradox. Divided into three sections with corresponding spaces, the dominant concept was associated to the meaning of the real and figurative in space.
The exhibition’s design was not restricted to a merely informative aspect, it intervened directly in the museum’s space. The typography — normally associated to a 2-dimensional format — was materialised in the form of a genuine object of design.
We attempted to use colour to guide visitors’ movement through the exhibition. The impact of red, in the entrance hall, was progressively attenuated through recourse to shades of grey, applied in the different sections of the museum. In this manner, the visitor’s itinerary evolved from darker to lighter shades.
3-dimensional letters were placed on the entrance hall floor, forming the words — “Arriscar o Real”. However the manner in which these letters were read altered in accordance with the observer’s viewpoint. The letters were red - like the colour of the Museum’s entrance hall — and the public could lean against them while admiring the works of art.