CAM in Motion: Locus of Flight
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Centro de Arte Moderna Rua Dr. Nicolau de Bettencourt, LisbonA comic strip creator and illustrator, António Jorge Gonçalves was invited to develop a project for the hoarding that protects the renovation works to the CAM building and the extension of the Gulbenkian Park. For this first work, in place on Rua Dr. Nicolau de Bettencourt, he devised a series of 23 drawings which, based on the flight of the mallard, a species that is particularly well-adapted to the Park’s ecosystem, links to the present day the different periods, uses and events relating to this public space in Lisbon.
He was born in Lisbon. He graduated in Communication Design in Lisbon (Escola Superior de Belas-Artes) and completed a master’s degree in Stage Design in London (Slade School of Fine Art), with a grant from the Calouste Gulbenkian Foundation. He has created – alone and with other writers – graphic novels and books where text and image are combined in an experimental way, published and exhibited in Portugal, Australia, Belgium, Brazil, China, France, Macau, Mexico, Spain, South Korea and the United Kingdom.
He devised a method for Real Time Digital Drawing and object manipulation with an overhead projector, which he has used to create shows with musicians, actors and dancers in Portugal, Spain, France, Germany, Sweden, USA, Mexico, Brazil, Colombia, Argentina, Uruguay and Japan.
He created the project Subway Life, drawing people sitting on underground trains. He drew a weekly political cartoon for the newspaper Público (Inimigo Público), has published in Le Monde and Courrier International, and won an award at the World Press Cartoon. He won the National Illustration Prize in 2014 (DGLAB).
He currently teaches Comic Art at the Escola Superior de Belas-Artes (Lisbon).
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. More info
Credits
Curadoria
Ana Vasconcelos