Curated by the contemporary artist Max Frisinger, the 1940s property designed by Raul Lino is the stage for the group exhibition for the first time CROWNSHY AT OUTPOST, which will integrate the work of thirty portuguese names, from which we highlight Dalila Gonçalves, Henrique Pavão, Joana Gonçalves Pereira, Jorge Queiroz, Patrícia Geraldes, Rui Calçada Bastos and Rui Matos, as well as international names, throughout seven luxury apartments and 9000 m2 of a stunning garden.
CROWNSHY AT OUTPOST arises from the intention to explore art and architecture as figuratively symmetrical, celebrating the space definitions, from borders and the inexistence of these. In a unique exhibition, the pieces should be seen as if they were part of the house, as if they were in its habitat natural.
But it’s not just the works of art that are unique. The very designation of CROWNSHY AT OUTPOST holds a je ne sais what, because there is a double meaning. On the one hand, it refers to the natural phenomenon of crown shyness (“shyness of the crown”), which Frisinger observed in Penedo, where trees grow without the upper branches touching. Frisinger saw this singularity as something that perfectly describes what he wants to achieve at OUTPOST, according to the information provided in a statement.
On the other hand, the exhibition refers to the constant battle of artists who live confronted with the idea that they can be geniuses in art, but have failures as human beings, leading them to an “incessant rhythm between accepting and neglecting a crown or its most obvious connotation”.
Currently living in Portugal, Max Frisinger resorts to the discipline of lost and found (found art) to create installations site-specific, that is, works made for a specific location, with raw materials ranging from cast iron radiators to table legs or plastic tubes.
When: November 5th to 7th. Ticket: Free entry. Where: OUTPOST – Casa das Arribas. Rua Dr. António Brandão de Vasconcelos, 35. Azenhas do Mar.
Source: Jornal de Negócios by www.must.jornaldenegocios.pt.
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