The Foundation adopted the Portuguese Health Authority’s guidelines for cultural facilities to prevent the spread of the Covid-19. The audience is placed two seats apart, and mask use is mandatory throughout the show. Moreover, strict cleaning and disinfection guidelines were implemented on the venues. Read the complete access conditions.
An essential voice in the landscape of contemporary Portuguese singer-songwriting music, Maria has just made a safe and very important step towards the affirmation of her art having released her first solo album last year (Chove Na Sala, Água Nos Olhos), after a long militancy with her sister in the band Pega Monstro. Song by song, she drifted away from rock to a territory where pop music is used to cure her malaise and bless what life throws in her direction.
It is an immaculate album made up of seven songs capable of hammering memories to the floor with a lyricism as real as allusive and melodies that last in their sweetness or in a certain bitterness that makes everything more vivid and tangible. “Chove Na Sala, Água Nos Olhos” is as firmly independent as communal in its calling. Maria will be presenting her music solo but in the company of a string trio, proving that these songs are very capable of speaking for themselves.
Maria Reis – vocals and electric guitar
António Quintino – double bass
Joana Correia – cello
Catarina Marques – guitar
Sara Graça – scenography
‘Ruin Marble’ by Alexandre Estrela and Gabriel Ferrandini with Pedro Tavares
This will be the presentation of a piece animated by the drummer Gabriel Ferrandini, the prodigy of electronic music Pedro Tavares and the plastic artist Alexandre Estrela. When writing about ‘Ruin Marble’, Estrela says that it is “the animation of a landscape on a blade made of ruin marble through the inscription made by a liquid influx of mineral salts, iron oxides and magnesium. The sound releases tectonic plates, causes the contraction and the expansion of the geological layers of the time that that stone holds within”. The stone is the landscape in the background, a scenario for the emanation of sound waves with a physicality capable of catapulting us back to a time when ruins preceded men.
Three figures with different life experiences and journeys reunited under this sign with their own techniques and histories. Ferrandini already has a vast and enviable curriculum and has played with numerous musicians from different genres – mainly jazz, free improvisation, but also musicians with a more liquid approach like rock or electronic. He is getting closer to his very own language which will soon result in his solo debut album with Pedro Tavares’ contribute. Although Pedro Tavares is noticeably young, he has been developing firm work in the field of electronic music through his solo work with Funcionário and the duo Império Pacífico. Finally, Alexandre Estrela, who brings along his extensive experience working with images as resonant matter through his art and the simultaneously celebrated and idiosyncratic pieces that have turned him into a singular artist.
Alexandre Estrela: visual conception
Borja Caro: programmer and audio-visual technician
Gabriel Ferrandini: sound conception, amplified drums
Pedro Tavares: electronic
Maria Reis released her new record “Chove Na Sala, Água Nos Olhos” in the end of 2019. This is her first album after the EP “Maria” released by Cafetra two summers ago and a glorious path with Pega Monstro. She has been collaborating with musicians like Sara Graça, Joana da Conceição, Gabriel Ferrandini, Miguel Abras and Rui Brito in concerts, multimedia artistic presentations, music production and poetry. “Chove Na Sala, Água Nos Olhos” comes before us in a marvellously straightforward way, it is direct, animated by the truths and doubts that crossed her path in this life , by human actions and experiences that are expressed in brief and elegant songs. That which is wise or ridiculous, the joy and the sadness, the melodies and the rhythms, the sewing and the arrangements, everything in this collection Maria made points us towards her gift of shedding some light over the permanent and timeless core of human reality. It is from all of this that she draws her identity and topicality.
Alexandre Estrela (Lisbon, Portugal. 1971). Alexandre Estrela’s work is an investigation on the essence of images that expands spatially and temporally through different supports. In his videos and installations Estrela examines the subject’s psychological reactions to images in their interaction with matter. Each piece has several layers to which we are initiated step by step. The works are not just there to be watched, but rather to be unfolded. Each piece convokes synesthetic experiences, visual and sound illusions, aural and chromatic sensations that function as perceptive traps, leading the subject towards conceptual levels. With this strategy Estrela is constantly problematising the elements that constitute the act of perceiving, splitting vision into further sensible dimensions towards the unseen and the unheard.
Selected solo exhibitions include All and Everything, Rufino Tamayo Museum, Mexico City, 2020; Um Mês Acordado, curated by Gerard Faggionato at Indipendenza, Rome, 2019; All and Everything, Den Frie, Copenhagen, 2019; Volta Grande, curated by Luiza Teixeira de Freitas at Pivô, 2019, São Paulo; Métal Hurlant, curated by Sérgio Mah at Fondation Gulbenkian, Paris, 2019; Lua Cão (with João Maria Gusmão + Pedro Paiva), a project initiated in 2017 by Galeria ZDB in Lisbon, that traveled to the Kunstverein München, and concluded at La Casa Encendida in Madrid in January 2019; Knife in the Water, 2018, at Travesía Cuatro, Madrid; Ouro Mouro, 2018, at the Quetzal Art Centre, Vidigueira, Portugal; Baklite, 2017, at CAV Centro de Artes Visuais, Coimbra, Portugal; Cápsulas de silencio, 2016, within the Fisuras Program, at the Reina Sofía Museum, Madrid; Roda Lume, 2016, at the Museum of Contemporary Art of Antwerp, MHKA, Belgium; Meio Concreto, 2013, at Museu Serralves in Porto, Portugal; Um homem entre quatro paredes, 2013, at the Pinacoteca do Estado de São Paulo, Brazil; The Sunspot Circle, 2013, at The Flat Time House, London, United Kingdom,'Viagem ao Meio' 2010, at Galeria ZDB, Lisbon. Curated by Natxo Checa, among others.
The artist has also participated in numerous group shows in institutions and biennales such as: Anozero – Bienal de Arte Contemporânea de Coimbra, 2017, curated by Luíza Teixeira da Freitas; L’exposition d’un Rêve, 2017, at Gulbenkian Foundation Paris, ACMI Melbourne and TATE Modern, a project by Mathieu Copeland; Hallucinations, Documenta 14, 2017, Athens, a festival curated by Ben Russel, etc.
Gabriel Ferrandini A tireless drummer always filled with ideas and visions to keep on making progress in his musical work, Gabriel Ferrandini has been building a superb curriculum through his participation and essential work in bands like RED Trio or Rodrigo Amado Motion Trio. He collaborated regularly with countless other musicians like Alexander Von Schlippenbach, Axel Dörner, Elias Bender Rønnenfelt, Evan Parker, Thurston Moore, John Butcher, Nate Wooley, Alex Zhang Hungtai or Peter Evans. They are too many to mention, but they all share the world of jazz and free improvisation, and that of other forms of rock without a name, in a free and fascinating process of continuous exploration.
Because of his beautiful album “Volúpias”, his style of composition is already somehow clear for us. He works in a classic jazz formation with drums, double-bass and saxophone, and creates an incredibly unique language where tempo seems to disappear, always trailing a risky path and discarding all sorts of easy virtuosity despite his prodigious technique. Ferrandini pushes his drums and himself to the limit to create a state of confluency between rhythm, texture and harmony. His style is closer to some genres of contemporary music or electro-acoustic, than it is to jazz, although it never abandons its aspiration for freedom and life. Ferrandini’s solitary music is exploratory and open to the lyricism of drum skins, cymbals and other matter weather it is trough amplification, electronics or silence management, in a search for a precise balance, in between containment and fire. “Tudo Bombo” and “Rosa. Espinho. Dureza” were two key moments in his path towards affirmation and he is now preparing a new album. This is the possible portrait for posterity of a very personal facet only ever capable of being witnessed on stage.
Pedro Tavares (b. 1997, Setúbal, Portugal) graduated in Multimedia Arts, specialized in audio-visuals and did a post-graduation in Sound Art in Faculdade de Belas Artes da Universidade de Lisboa. He mixes visuals and sound in his videography work and the musical projects he takes part in: Funcionário (solo) and Império Pacífico (duo). He has always been driven to express his day-to-day life in all its twists and turns, not as a continuous narrative but as a bridge between memory and the imagination interpreting it. He is also the co-founder of the collective Colinas and the co-organizer of the festival A Colina, in Setúbal.
The Calouste Gulbenkian Foundation reserves the right to collect and keep records of images, sounds and voice for the diffusion and collective preservation of the memory of its cultural and artistic activity. For further information, please contact us a [email protected]