one on one looked on by many (2014)IMG_8413

Installation effecting relations of power and presence through exposure and control. The artist, as Pieta, facing members of the public individually, while the rest, as a
group, can observe the action, through a glass. Observed and observers switch roles, performing rules, limitations and exposure by the other, themselves and the group.

Thanks to Verónica Metello

credits: Nuno Viana


you the me the (2014)

you the voyeur me the objectIMG_8214

you the wachter me the watched

you the witness me the action

you the brigde me the passage

you the expectant me the one waiting

you the one invited me the host

you the one concealing me the one receiving

you the one laughing me the one confortableIMG_8243

you the one with time me the one in time

you the one here me the one there

you the one with sight me the one with thought

you the eye me the i

you the i me the eye

Location: a glass is completely covered, containing only one opening through which the viewer can observe. Through. On the other side the artist, and looking at symmetric spatial restriction situation. Who is the spectator? The meeting – between the two viewers one to another and what is to happen, spatially caught in a medium, which defines geography, the extending glass barrier, the body in space. The barrier between both is where the bodies communicate, encounter one another. What is such an encounter with a stranger? The communicating bodies and looks? What mobilized us to meet?

How do encounters with others whom we recognise as strangers take place at the level of the body? (Biddle, 1997)

Thanks to Verónica Metello

credits: Nuno Viana


Looking Out (2012)

“There are things that only a fool can say, see, feel and do.”

Quoting Italo Calvino.vaniaTAGV050

In the presence of simplicity – where nothing is filtered and all are welcome: this is where there is no room for misunderstanding as there is nothing to be understood

In idiot, moron presence, living truths, as absurdities and fears, redundancies and all prisons. Where is expected meaning. The blockages to any movement, either to step up or down to the recent past, actual.

Thanks to Verónica Metello

credits: João Paulo Simão


no title of animality (2012)

no title of animality surges from the investigation centered upon the archaic body and its regime of intensity and modes.

20130727_AXA_NEC_SSilva(10)A process activated in time as a live installation created for the gallery space since 2007 in Berlin. The implied process involves the establishment of various intensity and representation schemes, experiencing the limits and corporeal characteristics that updates through lived experience (erlebnis).

The public circulate freely, playing and experiencing in their own time.

Thanks to Verónica Metello

credits: S. Silva


no title of objectivity (2012)

no title of objectivity, sets in motion a set of polarized relations by dichotomies and flow resistance, strength and fragility, mobile body and inert body, showing the modeling and consistently, resulting between the two.NO OBJECTIVITY

The work reflects the relationship of the artist with the socio-cultural environment in a country – Portugal, the moment when it ceases to have a Ministry of Culture. In this, what is proposed is to try and present a possible set of an artistic creation conditioned by the rule and norm: the annihilation, overcoming or adaptation.

Thanks to Verónica Metello

credits: Alexandre Azinheira


wondering act of attachment (2011)

AASB_1– excert of curator’s declaration

Vânia Rovisco (PT / ZA) and Athi-Patra Ruga (ZA), the two artists that will be presented at Glockengasse No 9 in November 2011 in the framework of the famous Vienna Art Week, oscillate between personal, spatial and social proximity.

The curatorial concept of the curator Claudia Marion Stemberger concentrates video/performances that do not only focus on normatively informed subjets in public space but also challenge our perception of mentally and socially coded art / space.

Besides concerning spatial discourse, reflecting proximity also affects on the concept of community. In her live installation / performance wondering act of attachment, Vânia Rovisco proves possible interaction between the performer and the visitors of the exhibit. By means of putting the muscles of her vagina into use, the artist is about to start a dialogue with the audience that radicalizes categories of proximity and community – that relate to the art world as well as to society.

Link by critic Helmut Ploebst (in German)

credits: Paulo Melo


Metaphysical Materia (2011)

A work ou experiment reflecting upon the imposed social female body condition(s)

The proposal. The juxtaposition of the two existent parties (audience and artist) that make up the contract for the “spectacle” to occur, putting both in direct dialogue with one another.

I understood then that if anything where to happen, i was completely dependent on the aid and protection of the audience. At that moment i had offered myself, the understanding / perception of this act and the potential risk embedded was overwhelming.”

When Anneleen returned with a member of the public and together they began untying me, it was clear that it could be done in this manner, since the responsibility had been handed to them.”

“…potente movement, seemingly tied up, “stilled” body finding itself in full dance!”

Thanks to Anneleen Mahy

credits: Paulo Melo


Impure Thoughts Looking, a trilogy (2009)

Trilogy as a core construction. Where public and performers were to experience the installation in very different manners.

Untitled place

The construction of Untitled place, a shelter type container, where both public and performers meet on the limiar of space, surfaced walls. The public restricted to the outer gallery area, performers to the inner worlds of the installation. A work composed from the relations on perceptions of both witnessing and presenting.

Untitled place a construction which’s highest point held at about 3m, its lowest around 1,30m.

Thanks and Recognition to Eduardo Balanza, João Gridfonte, Verónica Metello

credits: Eduardo Balanza


approach and enter (2008)

The body is also considered as surface to renounce, give thought, manifestate – by resorting to the strong sence of stillness and silence.

“How do strangers encounters, encounters in which something that cannot be named is passed between subjects, serve to embody the subject?”

J. Biddle, 1997.

Work embodying the second series where the installation approach movements between subjects are explored and bodies, the limits of intimacy, physical proximity and body as sense enrollment surface. The use of word, reduced and minimal registration is used as visibility device, opening the public mobilization light of the foregoing naked body as offered, inert, in terms of its look. The artist uses silence, the stillness exposure of the body – as developing mechanisms of surface condition, both desire projection as social inscription. The word, in turn, is used as the catalyst of the relations between pictures, sensations and all the bodies involved.

In addition to the bodies and words, images, and conduct, how the unknown are? To what extent these meetings involve not only read the stranger’s body, but to define the contours and boundaries of the familiar body, through gestures that allow their location in a given space over?

own video works projected onto the artists body entitled Objects | Airport and Harbor

Thanks to Verónica Metello

credits: Abraham Hurtado


No Title but Layers | Hans Demulenare & Vania Rovisco (2007)

No title but layers 4

Registration Layer ###

Rovisco’s first installation was in collaboration with Belgium plastic artist Hans Demeulenare, where she conceived a dislocating object, a body in movement, entitled The Frame (5mx6m) which suspended as it’s first position at a height superior to 20m and lowest was a 1m from the ground.

Part of the installation the video Between space and places, footage of filming the simple action of sitting, while constantly repeating the score of Samuel Beckett’s Quad during 10 hours, which later edited into a work dealing with composition of form to a 17 minutes video (consult VIDEO)

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