[vc_row][vc_column][vc_empty_space height=”5px”][vc_separator color=”black”][vc_empty_space][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]<\/p>\n
Opening: February 10th, 2017 | 7pm
\nExhibition\/Screening: from February 11 to March 18, 2017
\nWednesday to Saturday | 3pm to 7pm<\/p>\n
Curator:<\/strong> Bruno Leit\u00e3o<\/p>\n<\/div>\n [\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_column_text]<\/p>\n Two daily sessions with a 5-minute break between movies. From Wednesday to Saturday.<\/p>\n 3:00pm – Amsterdam, 2013 – 20min. 5:00pm – Amsterdam, 2013 – 20min. Hangar presents, for the first time in Portugal, three films by Carlos Amorales. The trilogy, began in 2013 with Amsterdam, followed by El Hombre Que Hizo Todas Las Cosas Prohibidas (The Man Who Did All the Prohibited Things), from 2014 and culminated in 2015 with El No Me Mires (The Eye-Me-Not).<\/p>\n The cycle \u201cIdeological Cubism – Carlos Amorales, a trilogy\u201d is part of one of the programmatic lines of the Hangar – Art and Politics, whose focus is on the possibilities of art as a critical activity. Immersing himself in a myth of the Inuit people, which the protagonist becomes invisible in the eyes of European merchants, the artist makes an inquiry on the paradigms of political art. In doing so, he allows himself to use his own symbolic language, that which supports his films and serves as a script for the actors, thus opening the poetic possibilities of narrative.<\/p>\n \u2018Ideological Cubism\u2019 is also the manifesto created by Carlos Amorales, Elsa-Louise Manceaux and Philipe Eustachon, which promises the possibility of thinking multiple political perspectives simultaneously, and at the same time reaffirms the need to rethink anarchy for the possibilities it holds in creating meaning both inside and outside art.<\/p>\n [\/vc_column_text][vc_column_text]Programme supported by Dire\u00e7\u00e3o Geral das Artes\/Governo de Portugal and inserted in Lisboa Capital Ibero-americana de Cultura 2017<\/em>[\/vc_column_text][\/vc_column][vc_column width=”1\/2″][vc_empty_space height=”10px”][vc_single_image image=”6781″ img_size=”large” add_caption=”yes” alignment=”center”][vc_column_text]\u00a9Carlos Amorales,\u00a0El No me Mires, 2015,\u00a0v\u00eddeo HD, color, sound, 49 min.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_column_text]<\/p>\n Carlos Amorales was born in Mexico City in 1970. He traveled to Amsterdam in 1992 to study at the Gerrit Rietveld Academie and then at the Rijksakademie van Beeldende Kunsten (1996\u201397). He has completed residencies with Atelier Calder, Sach\u00e9, France (2012); Mac\/Val, Val-de-Marne, France (2011); and the Smithsonian Artists Research Fellowship, Washington, D.C. (2010). Since 2008 Amorales has been a tutor at the Rijksakademie van Beeldende Kunsten in Amsterdam and member of the Mexican National System of Art Creators.<\/p>\n Amorales\u2019s practice encompasses animation, drawing, installation, video, and performance; he also collaborates with professional animators, composers, designers, musicians\u2014and even wrestlers. Having matured under the influence of both Mexican and European cultures, Amorales frequently explores the commonalities and disparities of the two milieus by juxtaposing their distinctive vocabularies. His work is also deeply personal\u2014reflective of emotional introversion and at times obscure, it journeys into a dark world of fantasy, blurring the line between the real and the imagined.<\/p>\n Amorales has had solo exhibitions at the Museo de Arte Latinoamericano de Buenos Aires, Argentina (2006); Philadelphia Museum of Art (2008); Kunsthalle Fredericianum, Kassel, Germany (2009); Palazzo delle Esposizioni, Rome (2010); Centro Fotogr\u00e1fico Manuel \u00c1lvarez Bravo, Oaxaca (2011); and Museo Tamayo, Mexico City (2013).<\/p>\n His work was also included in the Venice Biennale (2003); Mercosul Biennial, Porto Alegre, Brazil (2005); Performa, New York (2007); Havana Biennial (2009); and Sharjah Biennial, United Arab Emirates (2013).<\/p>\n Carlos Amorales lives and works in Mexico City.<\/p>\n [\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":" February 10th – March 18th 2017<\/p>\n","protected":false},"author":8,"featured_media":6781,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[171,165],"tags":[243,286],"class_list":["post-6793","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibitions","category-news","tag-2017-en","tag-previous"],"_links":{"self":[{"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/6793","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\/8"}],"replies":[{"embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/comments?post=6793"}],"version-history":[{"count":2,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/6793\/revisions"}],"predecessor-version":[{"id":20288,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/posts\/6793\/revisions\/20288"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/media\/6781"}],"wp:attachment":[{"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/media?parent=6793"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/categories?post=6793"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/hangar.com.pt\/en\/wp-json\/wp\/v2\/tags?post=6793"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}SCHEDULE<\/h5>\n
\n3:25pm – El Hombre Que Hizo Todas Las Cosas Prohibidas, 2014 – 40min.
\n4:10pm – El No Me Mires, 2015 – 50min.<\/p>\n
\n5:25pm – El Hombre Que Hizo Todas Las Cosas Prohibidas, 2014 – 40min.
\n6:10pm – El No Me Mires, 2015 – 50min.[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column width=”1\/2″][vc_column_text]<\/p>\n
\nThroughout this trilogy, suggestions start from the forms of silent film evolving towards color, reflecting on the political importance of the word, on linguistic signs and the political reach of art. Crossing references as disparate as Roberto Bola\u00f1o\u2019s novel \u201cEstrella Distante\u201d to the set and costume designs of Kazimir Malevich, Carlos Amorales also revisits political and artistic events in Chile, where he recorded the second film of the trilogy.<\/p>\nBiography<\/h4>\n