Around the House(s)

Curator Patrícia Rosas reflects on the current reality of lockdown, on the role of the home and on the idea of human presence/absence.
Emmerico Nunes, Untitled, 1913. Modern Art Centre

At a time when lockdown has once again become reality, with communal places now restricted and people confined to a new ‘normal’ mobility, everyday life is lived in a predominantly virtual world. Quickfire images and troubling information seem to leave no room for contemplation, reflection or just being. But houses still stand out as places of intimacy, shelter and safety, spaces where memories are made, where now, more than ever, we share our personal life and professional reality, in an ambivalent register, burgeoning with ideas, a stage for re-reorganisations.

Artworks are filled with an avatar spirit, in which the encounter with home interiors might or might not be profitable. Human absence can make itself felt, or presence can be absence, as reflected in Filipa César’s diptych, Product Displacement (2002). In this video, people move through the house but they don’t communicate with each other, as if they merely fulfil the function of the objects around them. This human absence-presence is equally visible in Jorge Varanda’s isolated spaces, where the characters identify themselves in the raw, empty environment, in the very architectural matter of the pictorial space.

Filipa César, ‘Product Displacement’, 2002. Modern Art Centre
Jorge Varanda, Untitled, 1990. Modern Art Centre

 

The idea of apparent human absence can also be seen in the series of photographs Vita Brevis, by Maria Beatriz. Although the pumpkin and dishcloth sitting on the table allow us to guess at the movement of someone occupying that place, the photograph leaves an empty space, cleansed of poetry and curiosity.

Maria Beatriz, ‘Vita Brevis’ (series), 2000–1. Modern Art Centre

 

Emmerico Nunes’ intimacy is reflected in an amusing night-time scene whose characters fail to connect: the woman lying in the bed and the man sleeping on the floor, leaning against the bed, nonetheless convey some serenity.

Emmerico Nunes, Untitled, 1913. Modern Art Centre

 

As for Pierre Nora’s ‘places of memory’,1 sites of remembrance, where collective and individual memory crystallises, there is a general and personal identification. For Pierre Nora, memory and history reveal a confrontation between the two. Memory, with its origin in spaces, gestures, images and objects, is absolute; instead, history is the relationship between things in a temporal continuity, involving relativity. The idea of memory can become bound precisely because it is a space of identity, of places that are obligatory and necessary.

In the same vein as these places of memory, we find Penélope, a work made in 2000 by Ana Vidigal, formed of a mattress covered with letters, correspondence between the artist’s parents during the war. They are memories of life perpetuated in a personal space, a place of love and intimacy.

Ana Vidigal, ‘Penélope’, 2000. Modern Art Centre

 

In Tiempo Sosegado [Peaceful Time], from 1985, the Spanish artist Esperanza Huertas shows a large number of domestic objects scattered around the room, including antiques, flowers, books, games, a playful presence in disquieting colours, a necessary place

Esperanza Huertas, ‘Tiempo Sosegado’, 1985. Modern Art Centre

 

Functioning as a scenographic installation, Untitled (2007/8) by Heimo Zobernig is a large installation with long RGB curtains (red, green and blue – used as backgrounds for filming), which cut the space and create new spatial framing, where the curtains become the walls of the house on which paintings can be hung or against which shelves empty of books can be leant. Heimo Zobernig proposes the construction of a house, challenging but at the same time protective, with a specific functional identity.

Heimo Zobernig, Untitled, 2007/8. Modern Art Centre

 

Patrícia Rosas
Curator at the Modern Art Centre


  1. Pierre Nora, «Between Memory and History: Les Lieux de Mémoire», in Representations, No. 26, Special Issue: Memory and Counter-Memory, Spring 1989, pp. 7-24.
Updated on 18 may 2021

Cookies settings

Cookies Selection

The Calouste Gulbenkian Foundation uses cookies to improve your browsing experience, security, and its website performance. The Foundation may also use cookies to share information on social media and to display messages and advertisements personalised to your interests, both on our website and in others.