ARCOMADRID 2012

CARLOS CARVALHO ARTE CONTEMPORÂNEA

(Lisbon, Portugal)

Booth: 10f28

15<19 Feb 2012 Ifema, Feria de Madrid, Spain

ARTISTS AT ARCOMadrid HIGHLIGHTED Susana Gaudêncio (1977, Lisbon, Portugal) Ricardo Angélico (1973, Angola) Daniel Blaufuks (1963, Lisbon, Portugal) Manuel Caeiro (1975, Évora, Portugal) Javier Núñez Gasco (1971, Salamanca, Spain) José Lourenço (1975, Lisbon, Portugal) José Batista Marques (1975, Lisbon, Portugal)

SUSANA GAUDÊNCIO

SUSANA GAUDÊNCIO, Elsewhere, 2012, site specific installation, variable sizes. Comprised by Houyhnhnm, 2009, Vídeo animation, 3’’07’

Addressing questions about utopia and the main narratives, Elsewhere is a site specific project to ARCO 2012 comprised by Houyhnhnm and Cadmus which are two projects already presented by the artist.

Reviews Author: Miguel Amado 10.23.09-11.20.09 ISE Foundation http://artforum. com/archive/id=24170 http://susanagaudencio.com/houyhnhnm/

“Houyhnhnms” are the acutely rational race that Jonathan Swift envisages as archetypes of purity in Gulliver’s Travels. The reference serves as a counterpoint to the animations, where loaded societal icons inhabit a strange world. Urban spaces, amassed crowds, and orators are rendered in full cinematic action, alongside the colorful and idiosyncratic excesses caused by the animation process.

“Cadmus” represents the formal and programmatic construction of the city according to its maps and organization of its basic needs such as energy and communication.

Houyhnhnm was presented at Res Publica (curated by Leonor Nazaré and Helena de Freitas), CAM – Fundação Calouste Gulbenkian, from October 2010 to January 2011.

Reviews José Marmeleira in Público Presented also at ISE Foundation, New York in October 2009.

Cadmus, 2010, Drawings, Gouache and inkjet print on paper, 29,7 x 21 cm (each)

Susana Gaudêncio was born in Lisbon in 1977 and works and lives in Lisbon.

She has studied Fine Arts at Faculdade de Belas Artes da Universidade de Lisbon and at Hunter College in New York and has been exhibiting regularly since 2000. About her solo exhibitions we have to mention Chamber of Execution (Carlos Carvalho Arte Contemporânea. Lisboa Lisbon, Portugal, 2011), Chamber of Invention (Drawing spaces.

Lisbon, Portugal, 2011) Chamber of Examination (Galeria Presença. Porto, Portugal, 2010), Stout Cobweb (organized by Mafalda Santos and Daniel Pires, Maus Hábitos – Espaço de intervenção cultural . Porto, Portugal, 2010), Agonized Humor II (The Mews Project Space, London, United Kingdom, 2010), Agonized Humor I (NOGO – Project room for architecture, contemporary art & experimental cinema, Lisbon, Portugal), Front Project Space (ISE Cultural Foundation. New York, United States, Library of Sorts (Bowery Poetry Club . New York, United States, 2009), Blocking (Carlos Carvalho Arte Contemporânea . Lisbon, Portugal, 2007), Agent Provocateur (curated by Miguel Amado e Filipa Oliveira, Carlos Carvalho Arte Contemporânea - Sala Zoom . Lisbon, Portugal), What time is this place (Chashama Gallery Visual Arts Program . New York, United States, 2007), Project Room (CAV - Centro de Artes Visuais. Coimbra, Portugal, 2004), A/C #1Arte Contempo . Lisbon, Portugal), Técnicas de Auto-defesa (Gallery Arte Periférica, Lisbon, 2001, Susana Gaudêncio (Project Room programme) (Centro de Artes Visuais, Coimbra, 2004), Susana Gaudêncio (Arte Contempo, Lisbon, 2004) and Mnemónica de lugares (Gallery Pedro Cera, Lisbon, 2005). About her most recent exhibitions we have

to mention Rádio Europa Livre (Plataforma Revólver . Lisbon, Portugal, 2011), ResPublica 1910 e 2010 face a face (curated by Leonor Nazaré e Helena de Freitas Edifício sede da Fundação Calouste Gulbenkian . Lisbon, Portugal, 2010), Bio Arte 10 + 1 (São Vicente . Madeira, Portugal, 2010), 700IS Experimental Film and Video Festival, Egilsstaðir, Islândia Iceland, 2010), Seven Easy Steps for Social Improvement (curated by Amanda Schmitt, Galeria Hortin & Lui . New York, United States, 2009), NYC Visions (curated by Maurizio Pellegrin, Milbank Chapel and Macy Gallery Columbia University . New York, United States), A Escolha da Crítica (curated by Lígia Afonso, Plataforma Revólver / Edifício Transboavista . Lisbon, Portugal), Opções e Futuros - Colecção da Fundação PLMJ (Museu da Cidade . Lisbon, Portugal), Artistas Portugueses Lá Fora (curated by João Pinharanda, Museu da Electricidade. Lisbon, Portugal), Group (curated

by Emma Spertus, Subletters gallery . Brooklyn, New York, Estados Unidos, 2008), How we Know (Beta Spaces 08, Arts in Bushwick . Brooklyn, New York, United States), Enganar a Fome (Espaço Avenida . Lisbon, Portugal), Cut! (curated by Tiffany Sum e Yuka Yokoyama, Monkey Town . Brooklyn, New York, United States), MFA thesis Show (Hunter College, Times Square Gallery . New York, United States), Artistas Portugueses Lá Fora (curated by João Pinharanda, Edifício da Praça da Liberdade . Viana do Castelo, Lisbon, Portugal ), The Equestrian Project (Hunter College, Times Square gallery . New York, United States, 2007) and Pirate radio (Bienal de Liverpool, The Walker Art Gallery . Liverpool, United Kingdom, 2002).

SUSANA GAUDÊNCIO, Views of the exhibition Chamber of Execution Carlos Carvalho Arte Contemporânea . Lisbon, Portugal

SUSANA GAUDÊNCIO, Views of the exhibition Chamber of Execution Carlos Carvalho Arte Contemporânea . Lisbon, Portugal

RICARDO ANGÉLICO

RICARDO ANGÉLICO, Estudo para instalação #7, RICARDO ANGÉLICO, Estudo para instalação #4, 2011, Gouache on paper, 75 x 110 cm 2011, Gouache on paper, 75 x 110 cm

Ricardo Angélico was born in Angola in 1971 and works and lives in Póvoa de Varzim.

He has studied Fine Arts at Faculdade de Belas Artes da Universidade do Porto and has been exhibiting regularly since 1995. About his solo exhibitions we have to mention There will be no safety zone (Carlos Carvalho Arte Contemporânea . Lisbon, Portugal, 2011), God is great, but God is greater (Galeria Adhoc . Vigo, Spain, Portugal, 2010), Pele, Plinto e Pelicano (Galeria Gomes Alves 1 . Guimarães, Portugal, 2009), The aronburg mystery (Carlos Carvalho Arte Contemporânea . Lisbon, Portugal, 2008), St. Adolf II – Um arquitecto em Waldau, (Biblioteca Municipal da Póvoa de Varzim. Póvoa de Varzim, Portugal, 2005), Caro Jünger/Caro Nabokov (Museu Nacional de História Natural, Sala do Veado. Lisbon, 2004), Museu de Cera – Imagens da Colecção Christian D. Karloff, (Fundação D. Luís . Cascais, Portugal, 2003), Tlön para principiantes – uma história natural, (Galeria Ara . Lisbon, Portugal, 2003) and Novas espécies alimentares (Galeria Ara. Lisbon, Portugal, 1999). About his most noteworthy group exhibitions we have

RICARDO ANGÉLICO, Estudo para instalação #5, 2011, Gouache on paper, 75 x 100 cm

RICARDO ANGÉLICO, Estudo para instalação, 2011, Gouache on paper, 75 x 110 cm

to mention his regular participations on ARCOMadrid, 20 anos da Sala do Veado (Museu Nacional de História Natural, Sala do Veado . Lisbon, Portugal, 2010, O Desenho Dito, 2009 (Casa da Cerca – Centro de Arte Contemporânea . Almada, Portugal, 2009), À volta do papel, 100 artistas (Centro de Arte Manuel de Brito . Algés, Portugal, 2008), V Prémio Fidelidade Jovens Pintores, (Culturgest . Lisbon, Portugal, 1998). He is represented in the following collections, Caixa Geral de Depósitos, Lisbon, Portugal, Fundação D. Luís I, Cascais, Portugal, Fundação PLMJ, Lisbon, Portugal, Centro de Arte Manuel de Brito, Algés, Portugal

RICARDO ANGÉLICO, Untitled, 2011, Acrylic and China ink on paper, 130 x 144 cm

DANIEL BLAUFUKS

DANIEL BLAUFUKS, Mão com pistola de brincar, (from the series O Ofício de Viver), 2010, C-Print, 70 x 100 cm

DANIEL BLAUFUKS, Um copo de água, (from the series O Ofício de Viver), 2010, C-Print, 70 x 100 cm

Daniel Blaufuks was born in Lisbon in 1964. He graduated in Photography Studies by Ar.Co., Lisbon, 1989, Royal College of Art, London, 1993 and Watermill Center, New York, 1994. He was one of the founders of the visual arts school Maumaus and has worked as a teacher at Maumaus, Ar.Co, ETIC, EPI, all in Lisbon, and SESC, in Rio de Janeiro. About his individual exhibitions we have to mention Três quartos de memória (Fundação Eva Klabin, Rio de Janeiro, Brasil, 2011), Hoje é sempre ontem (comissariada por Luiz Camillo Osório, MAM, Museu de Arte Moderna, Rio de Janeiro, Brasil, 2011), Perecs Büro (curated by Sérgio Mah, Kunstverein Ruhr, Essen, Germany, 2010), Viagens com a minha tia (Solar Galeria de Arte Cinemática . Vila do Conde, Portugal, 2009), Album (Centro Cultural Vila Flor . Guimarães, Portugal, 2008), Cinema Motel, (Elga Wimmer PCC, New York City, 2006), No Próximo Sábado, (Gallery Carlos Carvalho Arte Contemporânea, Lisbon, 2006), A Perfect Day, (Museu do Chiado, Lisbon, 2005), Tomorrow is a Long Place, (Lurixs Arte Contemporânea, Rio de Janeiro, 2004), Collected Short Stories, (Centro de Arte Moderna, Fund. Calouste Gulbenkian, Lisbon, 2003), Exile, (Image Galery, Aarhus, 2001), Tasso, (Mois de la Photo, Paris, 1996) and Ein Tag in Mostar, (Haus der Kulturen der Welt, Berlin, Goethe-Institut, Madrid, 1996). As far her exhibitions in a group, we have to mention his work in Staging the Archive (MACE – Museu de Arte Contemporânea de Elvas . Elvas, Portugal, 2011), Between Times, Instants, intervals, durations (Photoespaña.Teatro Fernán Gómez, Centro de Arte . Madrid, Spain, 2010), Da outra margem do Atlântico, alguns exemplos da fotografia e do vídeo português (curated by Paulo Reis, Centro de Artes Hélio Oiticica . Rio de Janeiro, Brazil), 50 Anos de Arte Portuguesa, (Fundação Calouste Gulbenkian, Lisbon, 2007), BES Photo, (Centro Cultural de

DANIEL BLAUFUKS, Aula de anatomia, (from the series O Ofício de Viver), 2010, C-Print, 70 x 100 cm

DANIEL BLAUFUKS, Panorama de Veneza, (from the series O Ofício de Viver), 2010, C-Print, 70 x 100 cm

Belem, Lisbon, 2007), Del Zero al 2005, (Fundacion Marcelino Botin, Santander, 2005), Erich Kahn, (Museu de Arte Moderna – Colecção Berardo, Sintra, 2005), 20 + 1, (Centro Galego de Arte Contemporânea, Santiago de Compostela, 2004), We Are The World, (Chelsea Art Museum, New York City, 2004), RE-Location Shake, (National Museum of Contemporary Art, Bucharest, 2004), Pallazzo delle Libertà, Palazzo delle Papesse, Siena, 2003, Arquivo e Simulação - Archive and Simulation, (LisbonPhoto, Centro Cultural de Belém, Lisbon, 2003), Artists in Residence 2002-2003, (Location One, New York, 2003), Open Studios, (International Studio and Curatorial Program, New York, 2002), London Art Biennale,(Shoreditch Town Hall, London, 2000), O Autoretrato na Colecção, (Fundação Calouste Gulbenkian, Lisbon, 1999), Linha de Sombra, (Centro de Arte Moderna, Lisbon, 1999), Biennale Internazionale di Fotografia, (Palazzo Bricherasio, Torino, 1997), En la piel de Toro, (Centro de Arte Reina Sofia, Madrid, 1997), Carnets de Route, (Galerie Contretype, Bruxelas, 1997), Imagens para os Anos 90, (Fundação de Serralves, Porto, Culturgest Lisbon, 1993).

He is represented in various public and private collections such as Byrd Hoffman Foundation, New York, Centro de Arte Moderna da Fundação Calouste Gulbenkian, Lisbon, Centro Cultural de Belém, Lisbon, Centro Galego de Arte Contemporânea, Santiago de Compostela, Centro Português de Fotografia, Porto, Centro de Artes Visuais, Coimbra, Colecção BES, Lisbon, Fundação PLMJ, Lisbon, MEIAC, Badajoz, Museu de Arte Contemporânea, Funchal, Museu de Arte Contemporânea - Colecção Berardo, Sintra, O Museu Temporário, Lisbon, Museu da Cidade, Lisbon, Palazzo delle Papesse, Siena, Sagamore Art Collection, Miami and The Progressive Collection, Ohio.

DANIEL BLAUFUKS, Untitled, (from the series Endless End), 2005, C-Print, 30 x 40 cm, Ed. 5

DANIEL BLAUFUKS, As moedas de ouro, (from the series O Ofício de Viver), 2010, C-Print, 70 x 100 cm

DANIEL BLAUFUKS, Untitled, (from the series Endless End), 2005, C-Print, 30 x 40 cm, Ed. 5

DANIEL BLAUFUKS, Untitled, (from the series Endless End), 2005, C-Print, 30 x 40 cm, Ed. 5

We may define Daniel Blaufuks as an artist capable of contradicting the norm, who expandes and deformes the landscape in order to allow different levels of reading that will in many cases elude his initial intentions. To a certain extent, almost all of Daniel Blaufuks´s works are in the manner of a polyphonic experiment, from arranged ideas; a montage of sequences in a cinematic style, independently of the fact that in many cases it does not valorise a narrative linearity, but, rather, a game of language in the sense of Wittengenstein. In Blaufuks´s work everything has to do with the evolution of the thought process, like a river capable of shaping its own course and ending at the right place.

Everything is the product of an event about which we know nothing and in which it doesn´t matter who the protagonists are. Everything is true, and what is not, is pure imagination.

Or, in any case, a series of notes that will be of use to him in another story in images, one of those stories capable of building itself. Blaufuks is interested in that suspended moment, that is his decisive moment, precisely the non-decision, the event resulting from the space between two virtual events, the moment of lack of communication in this universe of continuous communication, of saturation of apparently decisive instants, that do not allow the encountering of meaning, at every second, in a simple gesture. Thus, each photograph points out an option, a choice, a phrase, word or story. DAVID BARRO

MANUEL CAEIRO

MANUEL CAEIRO, Views of the exhibition 12 000m2 dentro de um T0 Carlos Carvalho Arte Contemporânea . Lisbon, Portugal

Manuel Caeiro´s work is based on a constructive principle, giving emphasis to the cromathics, the texture, interrelating drawing, architecture and painting. He focuses in compositive order coming through the classical roles of perspective, and disorders it, dismantling it. This kind of intervention is also seen in the way he uses tonal and material changes, 2 and 3 dimensions, that show us more than the classical balance and symmetry. Between the years 1999 and 2000 he centres his work in a research process about the weathering of tiles and walls of the typical Lisbon taverns. From 2001 he has leaning over around the house concept, through Cenas Domésticas (Gallery Ara, 2001), Neighbourhood (Gallery Évora Arte, 2002) and the group of exhibitions Dream Houses (gallery Ara, 2003), Inbox (Gallery Paços do Concelho de Torres Vedras, 2004), Outside Door (Palácio da gallery, Tavira, 2004) conceiving spaces as geometricaly progressive structures, based on drawing as a structural principle of volumetry.

From his solo exhibition we have to distinguish Down side up (Lurixs-Baró) (Galeria Baró . São Paulo, Brasil, 2011), 33’ de fama (Carpe Diem Arte e Pesquisa . Lisbon, Portugal, 12 000m2 dentro de um T0 (Carlos Carvalho Arte Contemporânea . Lisbon, Portugal, (Domestic Viability, Crown gallery . Bruxelas Brussels, Bélgica Belgium), DownTown (Lurixs Arte Contemporânea . Rio de Janeiro, Brazil), Manuel Caeiro (Palácio Vila Flor . Guimarães, Portugal), Welcome to my loft (Carlos Carvalho Arte Contemporânea, 2008), Reconstruyendo el Vacío (Cubo Azul, Léon, Spain) and Deconstruction and Rebuilding (Galeria Gomes Alves, Guimarães, Portugal). As far his exhibitions in a group, we have to mention his work in the many ARCO art fairs, Terceira Metade (curated by Marta Mestre e Luiz Camillo Osório, MAM Rio de Janeiro . Rio de Janeiro, Brazil, 2011), Processo e Transfiguração (Casa da Cerca . Almada, Portugal, 2010), Fiat Lux – Iluminación y creación (curated by Paulo Reis, MACUF – Museo de Arte Contemporáneo . Coruña, Spain, 2010), Parangolé: Fragmentos desde los 90

MANUEL CAEIRO, National Geometric, 2012, Acrílico s/ linho, 150 x 200 cm

en Brasil, Portugal Y Espanha (Patio Herreriano – Museo de Arte Contemporânea Español . Valladolid, Spain, 2008), Surrounding Matta-Clark (Carlos Carvalho Arte Contemporeânea), Prémio Ariane de Rothschild (Palácio Galveias, Lisbon, Portugal) and Outras Arquitecturas, Outros Artistas...Outras Alternativas (Carlos Carvalho Arte Contemporânea, Lisbon, 2005). He is represented in various public and private collections such as Barclays Bank, Sociedade Nacional das Farmácias, Tipografia Fernandes & Terceiro, Eastécnica, Fundação PLMJ, Francisco Pimentel & Associados SADV, Serralvarez Arquitectos, Aires Mateus Arquitectos, CGD - Culturgest, CME - Lisboa, Faculdade de Direito – Universidade Clássica de Lisboa, Vítor Pinto da Fonseca, Banque Privée Edmond de Rothschild Europe, Lisboa, OPCA, BES Vida, Colecção Manuel de Brito, Fundació Banc Sabadell, Barcelona, Spain, Colecção AIP – Associação Industrial Portuguesa, Lisboa, Câmara Municipal de Tavira, Banco Mais.

MANUEL CAEIRO, 12 000m2 dentro de um T0 #5, 2011, Acrílico s/ linho, 140 x 200 cm

JAVIER NÚÑEZ GASCO

JAVIER NÚÑEZ GASCO, Miedo Escénico, 2012, Project in cooperation with André Teodósio and Companhia Nacional de Bailado of Portugal in the theatrical performance Perda Preciosa Teatro Camões, Lisbon, 2012

Javier Núnez Gasco is looking for tenants who wish to rent 4m2 of the stage of Teatro Camões during ballet dance “Perda Preciosa”, performed by CNB/ Companhia Nacional de Bailado (authorship André E. Teodósio, Rui Lopes Graça and Massimo Mazzeo) from April 19 to 22 and 27 to 29 between 9:30 and 11:00pm. The artist is giving the opportunity to any person who wishes to make anything of what will be presented in such rented space. The project will first be presented and advertised as a house model in real property rental at Carlos Carvalho Arte Contemporânea’s booth in ARCOMadrid. An enormous outdoor will be placed along with a photo of the exact space to be rented in order to catch both costumers and art viewers attention. Five photo views of the stage shows the space to be rented. An advertising campaign and other promotional activities will be organized in order to run an effective communication operation.

The rented space will be separated from the wooden floor of the stage by a thin layer of transparent thermoplastic holding the marks of people who have visited the booth in order to establish a different zones. Therefore, what the artist is trying to investigate is

how to rent the time of the play by renting the space.

The artist plays with objects presented in real life putting them in stage performance, sharing artistic with conventional space.

Taking the subject of authorship more deeply by addressing legal and social questions, Javier Núñez Gasco opens a gap on an established authorship as of the choreografers and creators of “Perda Preciosa” by offering the tenant the possibility to be an artist (or not). For that matter, althought he is driving attention on setting and determine conditions of the legal right to use 4m2 of the stage, Javier Nuñez Gasco by expanding his authorship, chooses not to control creatively the entire artwork. However Javier Núñez Gasco, as the artist will take and include photos of the performance in the final artwork project.

For more information please visit http://miedoescenico2012.blogspot.com/

Javier Núñez Gasco was born in Salamanca, Spain in 1971. About his solo shows we have to mention Misérias Ilimitadas, Lda. Pantallas sensibles (curated by Javier Panera, DA2 Domus Artium 2002 – Centro de Arte de Salamanca . Salamanca, Spain), Tu Creador no te olvida, Espaço Land, Lisbon, Portugal) Registros (2004, curated by por Javier Panera, DA2 Domus Artium 2002 – Centro de Arte de Salamanca . Salamanca, Spain), VIII Edição do Concurso Bienal de fotografia Purificación Garcia (Museu da Cidade . Lisboa Lisbon, Portugal and Palácio de Cristal . Porto, Portugal, 2011), Abismos Contemporâneos I Look Up! Natural Porto Art Show (2010, comissariado por curated by David Barro, Fundação da Juventude – Palácio das Artes . Porto, Portugal), Spain on the Edge – Limits of a Narrative Conflict NEXT: the invitational Exhibition of Emerging Art (2010, curated by Nacho Ruiz), No future Art Bus (2008, comissariada por curated by Raúl Martínez e Michele Robecchi, Monkey Town . New York, United States), Idílios (2007, curated by Javier Panera, DA2 Domus Artium 2002 – Centro de Arte de Salamanca . Salamanca, Spain, “War trade…” (2006, curated by por Ramón Mateos), “Video Lounge”, La Constancia, “Plataforma Puebla 2006” (curated by Priamo Losada and Barbara Perea, Puebla, México), Luzboa – Bienal Internacional da Luz (curated by Mário Caeiro; organización Extramuros – Associação Cultural para a Cidade, Lisbon, Portugal), Sin

Miramiento Alguno – Arte Iberoamericano Actual (curated by Omar-Pascual Castillo; organización: Alexis Esquível, Martha Elizabeth Laguna, Raúl Genaro), Bienal de la Habana Playa, Havana . Havana, Cuba), Making Life Come to Life: Ben d’Armagnac (curated by Claudine Hellweg, Ardi Poels, Stedelijk Museum . Amsterdam, The Netherlands), Videomix: Geometrías del Deseo (curated by Javier Duero, La Casa Encendida . Madrid, Spain Resonance (curated by Dominique Busch, The Netherlands Instituut voor Mediakunst, Montevideo . Amsterdam, The Netherlands Seducidos por el Accidente (curated by David Barro, Fundación Luis Seoane . La Coruña, Spain). He is represented in the following collections: Junta de Castilla y León, Spain, Museo de Salamanca, Salamanca, Spain Instituto de la Juventud, Ministerio de Trabajo y Asuntos Sociales, Madrid, Spain, Ayuntamiento de Leganés, Madrid, Spain, Centro Fotográfico Universidad de Salamanca, Salamanca, Spain, DA2 Domus Artium 2002 – Centro de Arte de Salamanca, Salamanca, Spain, ADIAC – Associação para a Difusão Internacional da Arte Contemporânea, Lisbon, Portugal, COFF – Centro Ordóñez-Falcón de Fotografía, San Sebastián, Spain, O Espaço do Tempo, Montemor-o-Novo, Portugal.

JOSÉ LOURENÇO

José Lourenço was born in Lisbon in 1975 and works and lives in Lisbon. He has studied Painting at Faculdade de Belas Artes da Universidade de Lisbon and he has exhibiting regurarly since 1994. About his solo exhibitions we have to mention Anamorphosis (Marília Razuk galeria de arte, São Paulo, Brasil, 2010), Paisagens (Pavilhão de Portugal, Lisbon, 2007), Ao redor do teu corpo, (Carlos Carvalho Arte Contemporânea, Lisbon, 2006), Lugares (Gallery My name’s lolita art. Madrid, 2005) ¿Dónde os perdi? (Gallery Marisa Marimón. Ourense), Os teus segredos eram jardins (Gallery Ara. Lisbon, 2001). As far his exhibitions in a group, we have to mention his work in Lugares de incerteza / Look up! Natural Porto art show (Palacete Pinto Leite, Porto, Portugal, 2010), Ressonância Visual (curated by David Barro, Paços da cultura, S. João da Madeira, Portugal, 2010), Antes de ayer y pasado mañana; o lo que puede ser pintura hoy, (Museo de Arte Contemporáneo Unión Fenosa - MACUF . Coruña, Spain, 2009), Fragmentos desde os 90: Brazil, Portugal, Spain, (Museu Patio Herreriano de Valladolid, curated

by Paulo Reis and David Barro), 2º Prémio de Pintura Ariane de Rothschild (Gallery Municipal - Galveias, 2005), Outras Arquitecturas, Outros Artistas…Outras Alternativas (Carlos Carvalho Arte Contemporânea, 2005) Le Premier Dessin (Gallery Ara, 2004, Lisbon, with Manuel Caeiro and José Batista Marques). He is represented in various public and private collections such as Secil, Barclays Bank, Baviera, S.A., Câmara Municipal da Amadora, Colecção Norte de Arte Contemporânea. Governo da Cantábria, Diputación de Ourense, Faculdade Belas-Artes da Universidade de Lisbon, Fundação Baruch Spinoza. Barcelona, Fundação PLMJ . Lisbon, Instituto Cervantes and Museu de Belas Artes de Santander.

JOSÉ LOURENÇO, Untitled, 2008, Acrylic on canvas,120 x 120 cm

JOSÉ LOURENÇO, Untitled, 2008, Acrylic on canvas, 130 x 195 cm, detail

JOSÉ BATISTA MARQUES

JOSÉ BATISTA MARQUES, O Grande Livro, 2011, Oil and plaster, 97 x 57,5 x 41 cm

José Batista Marques was born in Lisbon in 1975. He graduated in Painting Studies by Faculty of Fine Arts of the University of Lisbon. About his individual exhibitions we have to mention A cor a terapia do impossível (Centre Municipal de Cultura La Mercê, Burriana, Castelo, Spain, 2011), O crime oculto (Galeria Gomes Alves, Guimarães, Portugal, 2010) e Odisseia Dor & Espanto (Carlos Carvalho Arte Contemporânea, Lisbon, Portugal, 2010).

As far his exhibitions in a group, we have to mention Muito Obrigado Arte Portugués del siglo XXI en la colección Coca Cola (DA2 Domus Artium, Salamanca, Spain, 2010), Jeune Création Européenne 2007/09 (Museu Municipal Amadeo de Souza-Cardoso, Amarante, Portugal, 2009), A imagem seguinte (Espaço Arte Tranquilidade, Lisboa, Lisbon, Portugal, X Mostra Internacional Unión Fenosa, Museu de Arte Contemporâneo Unión Fenosa .

A Coruña, Spain, 2008), À volta do papel (CAMB – Centro de Arte Manuel de Brito, Algés, Portugal, 2008), Pretérito Perfeito (Museu de Francisco Tavares Proença Júnior . Castelo Branco, Portugal, 2008), XIII Premi D’Artes Visuals Ciutat de Burriana (C.M.C La Mercê . Burriana, Spain, 2008), IV Certamen Internacionat de Pintura de Castellón (Museu de Belles Arts de Castelló .

Espanha Spain, 2008), 3º Prémio de Pintura Ariane de Rothschild (Antiga gráfica de Mirandela Lisbon, Portugal, 2007), Outras Arquitecturas, Outros Artistas...Outras Alternativas (Carlos Carvalho Arte Contemporânea, Lisbon, Portugal, 2005), Wunderkammer II: paisages (Celebração do 15ºaniversário da galeria Nina Menocal . Cidade do México, 2005). He is represented in various public and private collections such as BES-Vida, Lisbon, Portugal, Barclays Bank , Lisbon Portugal, Câmara Municipal de Oeiras, Oeiras, Portugal, Eastécnica, Lisbon Portugal, Banque Privée Edmond de Rothschild, Lisbon Portugal, Banco Mais, Lisbon Portugal, Fundação Marquês de Pombal, Lisbon, Portugal, Faculdade de Belas-Artes da Universidade de Lisboa, Lisbon, Portugal and DA2 Domus Artium 2002, Salamanca, Spain

JOSÉ BATISTA MARQUES, O homem invisível, 2011, Oil and plaster, 120 x 15 x 15 cm

JOSÉ BATISTA MARQUES, Untitled, 2011, Oil and plaster, 120 x 15 x 15 cm

Imagens do stand Views from the booth

Imagens do stand Views from the booth

Imagens do stand Views from the booth

Imagens do stand Views from the booth

Imagens do stand Views from the booth

Imagens do stand Views from the booth

Imagens do stand Views from the booth

ARCOmadrid_2012 GALLERY ARTISTS Ricardo Angélico (1973, Angola) José Bechara (1957, Rio de Janeiro, Brazil) Daniel Blaufuks (1963, Lisbon, Portugal) Isabel Brison (1963, Lisbon, Portugal) Carla Cabanas (1979, Lisbon, Portugal) Manuel Caeiro (1975, Évora, Portugal) Catarina Campino (1975, Lisbon, Portugal) Mónica Capucho (1971, Lisbon, Portugal) Alexandra do Carmo (1966, Felgueiras, Portugal) Paulo Catrica (1965, Lisbon, Portugal) Sandra Cinto (1968, Santo André, SP, Brazil) Roland Fischer (1957, Saarbrücken, Germany) Javier Núñez Gasco(1952, A Coruña, Spain) Susana Gaudêncio (1977, Lisbon, Portugal) José Lourenço (1975, Lisbon, Portugal) José Batista Marques (1975, Lisbon, Portugal) Antía Moure (1981, Lugo, Spain) Álvaro Negro (1973, Lalín, Spain) Luís Nobre(1971, Lisbon, Portugal) Ana Luísa Ribeiro(1962, Lisbon, Portugal) Richard Schur(1971, Munich, Germany) Eurico Lino do Vale (1966, Porto, Portugal) Manuel Vilariño (1952, A Coruña, Spain)

CARLOS CARVALHO ARTE CONTEMPORÂNEA Rua Joly Braga Santos, Lote F R/C 1600 – 123 Lisboa Portugal Tel.+(351) 217 261 831 Fax+(351) 217 210 874 carloscarvalho-ac@carloscarvalho-ac.com www.carloscarvalho-ac.com Booth: 10f28

STAFF AT ARCOMadrid Director: Carlos Carvalho tel. +(351)919 728 575 Assistant: Isabel Amaral carloscarvalho-ac@carloscarvalho-ac.com