CAM in Motion: Bruno Pacheco

In a shipping container installed in the Calouste Gulbenkian Foundation’s garden, you can view “Surrendering after Hamish” (2004) by Bruno Pacheco. From a mountainous and arid horizon line, a tiny human being appears and starts to descend towards the valley, a shadow that disappears at times, but keeps re-emerging. We realise that the figure’s hands are held behind its head, in a signal of surrender. The title suggests the kind of surrender we would associate with Hamish Fulton, the English artist who established walking as an art form, photographing and noting reflections and experiences as he walked. The surrender is literal, in the first instance, staged and represented; it is metaphorical, in the second, signifying a reference to another artist; it is ironic in the third, demystifying, trivialising or simply incorporating it with disconcerting simplicity.

Curator: Leonor Nazaré

Cycle of films: Is space real? 

The experience and instinctive interpretation of the spaces that each of us develops – spaces we inhabit, pass through or visit – is far less objective than we might first think: it results from a point of view and an inner disposition and purpose. The three moments of this cycle of films from the CAM Collection take us from real spaces in the Foundation, seen with a new and unexpected look, to spaces of assumed reverie and strangeness, through ways of fictionalising and narrating immersion in a natural space.

• Spaces in the Foundation: The first part of this cycle takes us directly to spaces in the Calouste Gulbenkian Foundation, as the films were made there, and have been acquired in recent years. Films: I gave my love a cherry that had no stone (2016) by Emily Wardill and Piso Térreo (2006) by Filipa César.
• Fictional approaches to nature: The second part of this cycle includes two films that relate to fictional approaches to nature. Films: Surrendering after Hamish (2004) by Bruno Pacheco and Golden Dawn (2011) by Salomé Lamas.
• The parallel worlds of the unconscious: The third part of this cycle includes two films that mark the reveries or parallel worlds that exist as we move form the conscious to the unconscious. Films: Hereditas (2006) by Vasco Araújo and Hypnotic Suggestion (1993) by Jane e Louise Wilson.

CAM IN MOTION

CAM in Motion is an ‘outdoor’ programme that brings together a series of site-specific interventions by artists and exhibitions with works from the Collection in different spaces in the city of Lisbon and its surroundings.