• Carlos Nogueira

    Attributes

    • Male

    About the artist

    Conducted studies of sculpture and painting in the Schools of Fine Arts in Porto and Lisbon.
    1947: Carlos Nogueira born in Lourenço Marques

    Exhibiting since 1968, having received the Camões Prize in the Second Biennial Art Cerveira in 1980 (with the work you and the Camões), and integrated representations to the Portuguese Venice Biennale (1986), the Architecture Triennale of Milan (1996 ) and the Quadrennial Riga (2004). His works are represented in many public and private collections in Portugal and abroad. In addition to their artistic practice, has developed a continuous pedagogical activity (in Modern College and the School of Architecture of Universidad Autónoma de Lisboa) and collaborated on projects of architecture, cinema, dance and within the graphic design.

     

    His work is crossed by some conceptual concerns such as the investigation of forms of relationship with the other, and the everyday landscape, strategies for addressing the spectator, dismantling the copyright status of a work of art, questioning the ways of inhabiting the and interpenetration of spaces between words and images, or between the sayable and visible. Over the years has resorted to various means, first (until early 1980s) the performance or exhibition held in contexts acquiring anonymity in "street actions" and "actions by mail" (as the gray days / pencil paint the gray days of 1979, I love you or I could give you a piano, both of 1980).

     

    The fluidity of gesture and the transient nature of these works gives way gradually to strict geometries and an interest in the residence as a value that manifest, from the mid-1990s, and in facilities that occupy radically transform the exhibition space (ground Lime, 1994) and in large volumes and sculptural building with a floor blank from inside (1997), the night and White (2000) for construction or anywhere (2003). The drawing, collage, assemblages, photography and research to accompany the words always the most visible faces of his work. Its relevance is evident both in its variety both technical and procedural in character and projective prospetivo that significance, example of which are the body (undated), ocean (fragment) (1985) for studies or beyond the very edge of the earth (1997-1998), these drawings were made to stay in a sculpture installation in the public space (Brighton University).

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