\u201cWhere Do We Come From? What Are We? Where Are We Going?\u201d is the name of a very well-known painting by Paul Gauguin created in 1897. I think more about its title than about the painting itself when I now briefly present Carla Rebelo\u2019s approach to the archaeological collection of the Abade Pedrosa Municipal Museum \u2013 International Museum of Contemporary Sculpture, and to the archaeological remains in the municipality that range from the Paleolithic to the Contemporary Age. And I think, above all, that when we look at her work, we realize how the order of this triple question is not arbitrary. <\/p>\n\n
It reveals how her interest in matters, the way they transform into materials and then objects, is not casual, and how this attraction is based on an interest in the cumulative process of knowledge developed in the slow and long time of tradition, of the overlapping of cultures, in the adaptation and metamorphosis of collective memory, a much more dynamic reality than we often grasp and which decisively marks a place and its different times.<\/p>\n\n
Carla Rebelo knows that objects speak. They speak of their types of production, of who produced them, for whom they were produced. And she knows that discovering this is to find, in each time, an economic construction, a social organization, a political hierarchy, deeply rooted in historical processes and their contradictions. It is because of this delicacy and shrewdness with which she looks at the \u201cWhere do we come from?\u201d \u2013 which a museum with this historical depth obliges us to do \u2013 that her approach becomes intensely contemporary. Contemporary not because it emanates from the present, which in itself does not guarantee any contemporaneity, but because that first question is the key to answering the second: the very complex inquiry about \u201cwho are we\u201d; and the third, the most dramatic, but also the most hopeful desire to know \u201cwhere are we going?\u201d. <\/p>\n\n
\u201cWhere Do We Come From? What Are We? Where Are We Going?\u201d is the name of a very well-known painting by Paul Gauguin created in 1897. I think more about its title than about the painting itself when I now briefly present Carla Rebelo\u2019s approach to the archaeological collection of the Abade Pedrosa Municipal Museum \u2013 International Museum of Contemporary Sculpture, and to the archaeological remains in the municipality that range from the Paleolithic to the Contemporary Age. And I think, above all, that when we look at her work, we realize how the order of this triple question is not arbitrary. <\/p>\n\n
It reveals how her interest in matters, the way they transform into materials and then objects, is not casual, and how this attraction is based on an interest in the cumulative process of knowledge developed in the slow and long time of tradition, of the overlapping of cultures, in the adaptation and metamorphosis of collective memory, a much more dynamic reality than we often grasp and which decisively marks a place and its different times.<\/p>\n\n
Carla Rebelo knows that objects speak. They speak of their types of production, of who produced them, for whom they were produced. And she knows that discovering this is to find, in each time, an economic construction, a social organization, a political hierarchy, deeply rooted in historical processes and their contradictions. It is because of this delicacy and shrewdness with which she looks at the \u201cWhere do we come from?\u201d \u2013 which a museum with this historical depth obliges us to do \u2013 that her approach becomes intensely contemporary. Contemporary not because it emanates from the present, which in itself does not guarantee any contemporaneity, but because that first question is the key to answering the second: the very complex inquiry about \u201cwho are we\u201d; and the third, the most dramatic, but also the most hopeful desire to know \u201cwhere are we going?\u201d. <\/p>\n\n
Celso Martins<\/em><\/p>\n\n Carla Rebelo completed her degree in Plastic Arts \u2013 Sculpture from the Fine Arts Faculty of the University of Lisbon in 2000. She has training in Textiles, Set Design, and Drawing. She was awarded with a scholarship from the Calouste Gulbenkian Foundation in 2010\/11. She participated in artistic residencies in Portugal and also in Russia (2013); Madrid (2012); Berlin (2011); and Istanbul (2010) as part of the project \u201cJourney into the Interior of Lived Cities.\u201d <\/p>\n\n She has been exhibiting collectively since 1999. Her solo exhibitions include: \u201cA Cidade das Tecedeiras\u201d, CAAA, Guimar\u00e3es (2022); \u201cGeologia de um lugar\u201d, Casa A. Molder Gallery, Lisbon (2022); \u201cSegundo o seu pr\u00f3prio tempo\u201d, Diferen\u00e7a Gallery, Lisbon (2020); \u201cUm momento que se repete continuamente\u201d, \u00c1guas Livres 8 Gallery, Lisbon (2018); \u201cPaisagens Privadas\u201d, Diferen\u00e7a Gallery, Lisbon (2018); \u201cUm Pent\u00e1gono, um C\u00edrculo, oito Livros\u201d, S\u00e3o L\u00e1zaro Library, Lisbon (2017); \u201cMarca de \u00c1gua\u201d, Money Museum, Lisbon (2017); \u201cBecoming Water\u201d, Marqu\u00eas de Pombal Palace, Oeiras (2016); \u201cO destino seguia-nos o rastro como um louco com uma navalha na m\u00e3o\u201d Nogueira da Silva Museum, Braga (2015); \u201cUm movimento quase impercet\u00edvel que tem a ver com o voo\u201d, Monumental Gallery, Lisbon (2014). <\/p>\n\n She is represented in public and private collections, including: the Contemporary Art Collection of the Portuguese State; the Artist Book Collection of the Art Library of the Calouste Gulbenkian Foundation; Contemporary Art Center, M\u00e1laga; Luciano Benetton Imago Mundi Collection; Kronstadt History Museum, Saint Petersburg, Russia; Polish Art Foundation, Melbourne, Australia; MG Collection; Figueiredo Ribeiro Collection.<\/p>\n","protected":false},"featured_media":1715,"template":"","categoria-do-programa":[117],"class_list":["post-4667","exposicoes","type-exposicoes","status-publish","has-post-thumbnail","hentry","categoria-do-programa-exhibitions"],"_links":{"self":[{"href":"https:\/\/miec.cm-stirso.pt\/en\/wp-json\/wp\/v2\/exposicoes\/4667","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/miec.cm-stirso.pt\/en\/wp-json\/wp\/v2\/exposicoes"}],"about":[{"href":"https:\/\/miec.cm-stirso.pt\/en\/wp-json\/wp\/v2\/types\/exposicoes"}],"version-history":[{"count":1,"href":"https:\/\/miec.cm-stirso.pt\/en\/wp-json\/wp\/v2\/exposicoes\/4667\/revisions"}],"predecessor-version":[{"id":9315,"href":"https:\/\/miec.cm-stirso.pt\/en\/wp-json\/wp\/v2\/exposicoes\/4667\/revisions\/9315"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/miec.cm-stirso.pt\/en\/wp-json\/wp\/v2\/media\/1715"}],"wp:attachment":[{"href":"https:\/\/miec.cm-stirso.pt\/en\/wp-json\/wp\/v2\/media?parent=4667"}],"wp:term":[{"taxonomy":"categoria-do-programa","embeddable":true,"href":"https:\/\/miec.cm-stirso.pt\/en\/wp-json\/wp\/v2\/categoria-do-programa?post=4667"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n\n