{"id":27551,"date":"2025-04-22T23:48:07","date_gmt":"2025-04-22T22:48:07","guid":{"rendered":"https:\/\/hangar.com.pt\/?p=27551"},"modified":"2025-06-01T15:02:51","modified_gmt":"2025-06-01T14:02:51","slug":"f-a-c-e","status":"publish","type":"post","link":"http:\/\/hangar.com.pt\/en\/f-a-c-e\/","title":{"rendered":"F – A – C – E"},"content":{"rendered":"

[vc_row][vc_column width=”1\/2″ icons_position=”left”][vc_column_text css=””]Individual Exhibition | F – A – C – E<\/em> by Jo\u00e3o Ferro Martins<\/strong><\/p>\n

Artist: Jo\u00e3o Ferro Martins<\/p>\n

Duration: April 30th – June 28th<\/p>\n

Concert dates:
\nMay 15th – Quatroconnection
\nMay 22nd – Joana Guerra
\nMay 29th – Jejuno[\/vc_column_text][\/vc_column][vc_column width=”1\/2″ icons_position=”left”][vc_single_image image=”27553″ img_size=”full” onclick=”link_image” css_animation=”none” css=””][\/vc_column][\/vc_row][vc_row][vc_column icons_position=”left”][vc_separator][vc_column_text css=””]Based on the concept proposed by Hangar – Centre of Artistic Research, Notes from the Space, Jo\u00e3o Ferro Martins made some connections that easily matched his areas of symbolic and aesthetic interest, naturally revealing an image of what this exhibition could be. Notes from the Space – translated into Portuguese means something like: Notas a partir do espa\u00e7o or Notas do espa\u00e7o (notes from or within the space). This expression can be interpreted in different ways; from an architectural point of view, from a cosmic, choreographic and social point of view, among others; JFM moved on to what would be more natural within his work, the musical point of view. He realized that the notes from the space could be the notes that in the G cliff pentagram of musical notation are not on the lines but in the spaces between the lines, which in English terminology are: F, A, C and E – FACE.
\nCuriously, for the last six years, the artist JFM has been collecting vinyl records intending to produce a visual work in which the logic of the collection would be centered not on the musical content of these elements, but precisely on the image stamped on the cover. These are generally portraits of women, not used to embellish male recordings, but women authors, from all areas of music, who have used their faces to illustrate the cover of their work. In a nutshell, it’s a collection of portraits that peripherally promotes a discussion on photography using an object from the music industry. A ready-made in the context of portraiture.
\nIn the pre-production of this work, JFM took special care to maintain visual organics in which the format of these portraits obeys certain rules, such as the size of the face, position, etc. These same logics will finally inform groups of pictures and visual combinations to establish what is only the motto for an exhibition with other elements that, from this base, also branch out into different meanings, readings and effects, promoting, as is the hallmark of Jo\u00e3o Ferro Martins’ work, openness to modal circumstances in the realm of installation and other means that we find in his practice.
\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column icons_position=”left”][vc_separator][vc_column_text css=””]Following the line of thought that stems from the exhibition F-A-C-E<\/em> by Jo\u00e3o Ferro Martins and keeping in origin Hangar – Centre of Artistic Research\u00b4s proposal, Notes from the Space, the artist JFM proposes a set of parallel events. A short program of concerts in the area of improvised music. There will be four events taking place in the exhibition space, using an installation\/stage as a technical and scenic device. These concerts will be conceived and performed solo by four guests with different approaches, working in the domain of experimental music.
\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column icons_position=”left”][vc_separator][vc_column_text css=””]Jo\u00e3o Ferro Martins<\/strong> (Santar\u00e9m, 1979), graduated in Fine Arts from ESAD, Caldas da Rainha. Lives and works in Lisbon. His installation and sculptural work is developed predominantly around the universe of Sound and Music, its formality is characterised by the use of trivial objects and his work on Painting is dominated by simplicity and chromatic synthesis. He also produces in theatre, film, video and photography. Recent solo exhibitions include: It’s painted on her shirt in capitas, 3+1 Arte Contempor\u00e2nea, Lisbon (2024) Objectos em Eterno Colapso, Pavilh\u00e3o Branco (Galerias Municipais de Lisboa), Lisbon (2020); condition report, 3+1 Arte Contempor\u00e2nea, Lisbon (2020); Fermata, CAPC, Coimbra (2019); Sotille sfumatura di rumore, 3+1 Contemporary Art, Lisbon (2020). He has participated in group exhibitions such as: Garganta – Ciclo Voz Multiplicada, CIAJG Guimar\u00e3es (2022); Pintura: Campo de Observa\u00e7\u00e3o Parte II, Cristina Guerra Contemporary Art, Lisbon (2021); Ensaio para uma Comunidade, MAAT, Lisbon, PT (2021); Constela\u00e7\u00f5es III, Museu Berardo, Lisbon (2020); Wait, Museu Berardo, Lisbon (2019); Ciclo Cosmo\/Pol\u00edtica #2 – Conflito e Unidade, Neo-Realism Museum, Vila Franca de Xira (2018); THEM OR US! A Social and Political Science Fiction Project, Galeria Municipal do Porto, Porto (2017); Compromised Artists? Maybe, Calouste Gulbenkian Foundation, Lisbon (2014); EDP New Artists Award, EDP Foundation, Porto (2013); Vis\u00f5es do Desterro, Caixa Cultural do Rio de Janeiro (2013); I wish this was a song, Music in Contemporary Art, Nasjonalmuseet, Museet for samtidskunst, Oslo (2012); 7 Artists at 10 Month, F.C.Gulbenkian, Lisbon (2008). For the stage he co-created and performed: O Declive e a Inclina\u00e7\u00e3o, A Morte nos Olhos and Lebre – Lances de Hermes; with Alexandre Pieroni Calado. He did set design for O Susto \u00e9 um Mundo (2020) and set design with costumes for the play O limpo e o sujo (2016), both by Vera Mantero. He is the founder, together with Hugo Canoilas, of the collective A kills B with which he was present at the Nam June Paik Art Centre, Seoul (2008); he exhibited the project A kills B at the F.C.Gulbenkian, Lisbon (2012) and presented it at the Palais de Tokyo, Paris (2013). He produces individual music and recording work on a regular basis and is a member of the improvised music project Catarata and the group Casal do Leste.[\/vc_column_text][vc_column_text css=””]Quatroconnection<\/strong>
\nWith focus on contemplative forms of living and sculpting sound, Carla Santana creates
\nsoundscapes with field recordings, electro-acoustic instruments, analog and digital synthesis and the processing of the most diverse sound sources.
\nWith years studying music and arts and an university degree in Interior Design, she lives sound through its musical potential, but also as an artistic object. Her solo creations (concerts, audio-visual compositions, sound acts, manifestos) appear under the
\nname Quatroconnection. Composes for dance and theatre.
\nIn the improv music scene, plays regularly in live concerts with musicians of the most diverse sonic spectrums. Participates in the ensembles Variable Geometry Orchestra, IKB, Isotope Ensemble. Is member of Quarto Com Luz (with Samuel Gapp, Michael Schiefel, Helena Espvall, Jo\u00e3o Valinho), Rodrigo Brand\u00e3o (with Rodrigo Amado, Hern\u00e2ni Faustino, Jo\u00e3o Valinho), Defiant Illusion (with Gon\u00e7alo Almeida, Maria do Mar, Jos\u00e9 Lencastre) and the experimental improvisation collective Lantana (with Joana Guerra, Maria do Mar, Maria Radich, Helena Espvall, Anna Piosik).[\/vc_column_text][vc_column_text css=””]Joana Guerra<\/strong> (Lisbon, 1983) is a cellist, composer and improviser whose restlessness and passion for experimentation have led her to collaborate with numerous musicians, as well as with dance, performance and theater projects, weaving a unique and ever-expanding universe. She has worked in diverse contexts, both solo and collectively, moving freely between artistic disciplines. Joana incorporates a wide range of influences, including noise, improvisation, folk, jazz, experimental music, traditional and minimalist sounds, unifying these references into a distinctive approach.
\nShe has released four solo albums, with the most recent, “Ch\u00e3o Vermelho”: impressionistic and experimental songs, aligned by the hypnosis of the cello.
\nShe is also involved in several projects within the spectrum of exploratory and improvised music, such as The Alvaret Ensemble, Lantana, Tratado Ensemble (Cornelius Cardew\u00b4s Treatise inspired), Orquestra do Ru\u00eddo, etc. Additionally, she collaborates with various artists, including Jo\u00eblle L\u00e9andre, Surma, Gume, Jo\u00e3o Ferro Martins, Manja Risti\u0107, Victor Herrero, Ricardo Jacinto, Lula Pena, Mikhail Karikis, Yaw Tembe, Asimov, Tiago Sousa, Pop Dell\u2019Arte, among others.
\n[\/vc_column_text][vc_column_text css=””]Jejuno<\/strong>
\nSara Rafael (born in Lisbon in 1988 and living in Porto) is a visual and sound artist. In the area of sound, she presents herself as Jejuno and composes in real time \u2018musical pieces of brutalist contours full of dreams and romance, with all the utopia and atrocities that real things imply\u2019 – Jo\u00e3o Mo\u00e7o -, through a minimal setup of cascades of keyboards and samples from which ethereal melodies, subterranean drones and rhythms emerge that, over time, become stronger and faster.
\nJejuno performed live for the first time at Galeria Z\u00e9 dos Bois in 2014 and since then has played countless national and international venues. Almost always solo, it’s at concerts that you can get to know his work better.
\nSome of his work has been published by URUBU, Labareda, Nariz Entupido and Extented Records.
\nHe has collaborated as a duo with Raw Forest, Diana Policarpo, Odete, Filipe Felizardo and Maria Reis and as a trio with Olan Monk and Paul Abbott.
\nIn the field of visual and performing arts, she composed for Hugo Canoilas’ \u201cL’O\u201d at the Soares dos Reis Museum in Porto, Lydia Nsiah’s \u201cguts\u201d at the Hangar in Lisbon, \u201cPool u. Pool\u201d with Sara Gra\u00e7a for the TBA in Lisbon.
\nIn the field of experimental cinema, he did the sound design\/sound composition for \u2018to forget\u2019 (2019) and \u2018techno\u2019 (2023), by Lydia Nsiah, presented at international film festivals such as IDFA(NL), Diagonale(AT), Curtocircuito(ES).[\/vc_column_text][\/vc_column][\/vc_row][vc_row disable_element=”yes”][vc_column icons_position=”left”][vc_column_text css=””]Clothilde <\/strong>and her machines have an intimate relationship. Built from scratch by her partner Z\u00e9 Diogo these modular machines have their own identity and authenticity. Clothilde approaches them as equals and that resonates in the music she creates. She or they, because at some point you can\u2019t really differentiate one from another. That\u2019s the beauty of Clothilde\u2019s music, she has a unique empathy with the machines\/instruments she uses, and that relationship expresses itself in every moment. This creates music impossible to predict, not necessarily related to improvisation, randomness or chaos theory, but to the unknown dialogue between humans and machines. It is a primal sense of electronic music, but one that engages the listener into a constant idea of world building. Marvellous and intense. Releases like \u201cTwitcher\u201d (Labareda, 2018), \u201cOs Princ\u00edpios do Novo Homem\u201d (Holuzam, 2021), \u201cDownhill Vignettes\u201d (Self Release, 2023) and her latest release on LP \u201cCross Sections\u201d (Holuzam, 2024) shows how pure, transparent, organic direct Clothilde\u2019s sound is.[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

April 30th 2025<\/p>\n","protected":false},"author":14,"featured_media":27554,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[171,165],"tags":[262,286],"class_list":["post-27551","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions","category-news","tag-2025-en","tag-previous"],"_links":{"self":[{"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/27551","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/users\/14"}],"replies":[{"embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/comments?post=27551"}],"version-history":[{"count":5,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/27551\/revisions"}],"predecessor-version":[{"id":27628,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/27551\/revisions\/27628"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/media\/27554"}],"wp:attachment":[{"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/media?parent=27551"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/categories?post=27551"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/tags?post=27551"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}