‘Seeing Through’
2015; Routledge; Volume: 29; Issue: 4-5 Linguagem: Inglês
10.1080/09528822.2016.1163870
ISSN1475-5297
Autores Tópico(s)French Historical and Cultural Studies
ResumoAbstractIn the late 1950s, Portuguese artist Lourdes Castro migrated to Paris, where she lived until the early 1980s. This article examines the role of migration and transnational encounters in the construction of Castro’s artistic trajectory, with a particular focus on the 1960s and 1970s. More specifically, it explores the triangulation between the artist’s cosmopolitanism, the way space is materialised in her work of the 1960s and early 1970s – especially through the mobilisation of transparency – and processes of making and unmaking ‘home’ in contexts of dislocation. By analysing the interconnectedness of home and migration in the work of Castro, this article aims to contribute to the shaping of historically situated narratives of cross-cultural encounters within and beyond artistic communities whose mobility, temporal configurations and network articulations challenge any fixed and clear-cut division – or impermeability – between ‘centres’ and ‘peripheries’ in late modernity.Keywords: Giulia LamoniLourdes CastroJosé Maria BerzosaMadeiraRené BertholoGuy BrettManuel ZimbroNouveau RéalismeLa Figuration NarrativePop ArtKWYMarta MinujínJosé Augusto FrançaPortuguese artmigrationhospitalitybelongingfriendship I would like to thank Lourdes Castro for her generous collaboration, Centro de Arte Moderna/Fundação Calouste Gulbenkian, Galeria São Roque and Manuel Rosa at Documenta/Sistema Solar in Lisbon for providing me with images of the artist's work, as well as Institut national de l'audiovisuel in Paris. My research for this text has been supported by FCT Portugal and INHA Paris.Notes1 D’un pays l’autre, José Maria Berzosa, Director, Antenne 2, 20 August 1978. Episode: Retour au Portugal: Lourdes Castro de Madère. Digital archive of the Institut National de l’Audiovisuel, Paris. For a general description see: http://www.ina.fr/video/CPB78057103/retour-au-portugal-lourdes-castro-de-madere-video.html, accessed 16 June 2015.2 According to information provided by the Institut National de l’Audiovisuel’s website, the television programme D’un pays l’autre aimed to explore specific experiences of migration.3 ‘ … je m’étais demandée un jour que j’étais ici l’été … qu’est-ce que il y a de Madère, quel paysage est-ce que j’ai choisi, quel est le détail … que j’ai dans mes plexiglas? Et je crois que c’était la transparence, les ombres se renvoyaient, on voyait à travers. C’est ça: voir à travers’, ibid, author’s italics, all translations, unless indicated, are by the author.4 ‘cosmopolita preguiçosa e viajante do século XX’, Manuel Zimbro, ‘A sombra da flecha’, 1992, in KWY Paris 1958–1968, Lisbon, Centro Cultural de Belém/Assírio and Alvim, 2001, p 169. A previous, slightly different, version of this text was published in 1992: Manuel Zimbro, ‘A sombra da flecha’, in Lourdes Castro, ‘Além da sombra’, Lisbon, Fundação Calouste Gulbenkian, Centro de Arte Moderna, 1992, pp 15–20.5 Her tutor in Paris was the artist Arpad Szenes, husband of Portuguese expatriate artist Maria Helena Vieira da Silva.6 See Manuel Villaverde Cabral, ‘Paris, Portugal: dos anos de 1950 aos anos de 1970’, in KWY Paris 1958–1968, 2001, pp 53–597 ‘O partir não foi aventura nem paraíso buscado, nem internacionalização desejada … mas simples procura de possibilidade de existência – unificação com o ofício – jamais dada em Portugal e no entanto sentida pela necessidade em que se afirmava.’ Margarida Acciaiuoli, ‘KWY: a revista, as edições e o grupo’, in KWY Paris 1958–1968, 2001, p 27. In José Maria Berzosa’s 1978 film, D'un pays l'autre, Episode: Retour au Portugal: Lourdes Castro de Madère, Castro relates the difficulty of earning a living in Portugal in the late 1950s working exclusively as a painter. Artists of the previous generations often had a second job to provide for themselves. According to Castro, that was the main reason that led her, and other young artists, to migrate.8 ‘maneira de estar – não instalada’, Manuel Zimbro, ‘A sombra da flecha’ (1992), in KWY Paris 1958–1968, 2001, p 1709 ‘ … nunca ter estado instalada na pintura nem em coisa ou lugar algum’, ibid, author’s italics.10 ‘At that time (1958) we started the magazine KWY almost totally done by hand on screen prints by ourselves. Jan Voss and Christo joined us later, then also (issues 5, 6, 7 and 8) there was Escada, Costa Pinheiro, João Vieira and Gonçalo Duarte, and altogether we published twelve issues, which are now completely sold out, as we only had a run of about 300 copies.’ Lourdes Castro, ‘KWY’ in Lourdes Castro, Manuel Zimbro, À Luz da sombra, Porto, Fundação de Serralves; Lisbon, Assírio and Alvim, 2010, p 153 (English version). The magazine KWY has been the object of significant academic research in Portugal. In this context, one should mention the 2001 exhibition KWY Paris 1958–1968 at the Centro Cultural de Belém in Lisbon, curated by Margarida Acciaiuoli (and its excellent catalogue), as well as the 2015 exhibition ‘A Cosmopolitan Realism: KWY Group in the Serralves Collection’ curated by Catarina Rosendo at the Serralves Museum in Porto. While acknowledging the importance of the KWY project in shaping Castro’s cosmopolitan practice, this article will explore specific collaborations which, to my knowledge, have not yet been the focus of significant attention in the context of Portuguese art historical scholarship.11 René Bértholo (Portugal), António Costa Pinheiro (Portugal), Christo Vladimirov Javacheff (Bulgaria), Jan Voss (Germany)12 Guy Brett, ‘A Tale of Two Cities’, in Lourdes Castro, Manuel Zimbro, À Luz da sombra, 2010, pp 149–152 (English version)13 Guy Brett seems to make reference here to Thomas Hess’s 1964 text ‘A Tale of Two Cities’, quoted in Catherine Dossin, ‘To Drip or to Pop? The European Triumph of American Art’, Artl@s Bulletin, vol 3, no 1, Peripheries, 2014, p 80, http://docs.lib.purdue.edu/cgi/viewcontent.cgi?article=1049&context=artlas, accessed 22 November 2015.14 ‘Political solidarity’, Mohanty wrote referring to her own experience of dislocation and engagement with feminism, ‘and a sense of family could be melded together imaginatively to create a strategic space I could call “home”’. Chandra Talpade Mohanty, ‘Crafting Feminist Genealogies: On the Geography and Politics of Home, Nation and Community’, in Ella Shohat, ed, Talking Visions, Multicultural Feminism in a Transnational Age, New York, The New Museum, Cambridge, Massachusetts, MIT Press, 1998, p 491. An earlier version of the text, titled ‘Defining Genealogies: Feminist Reflections on Being South Asian in North America’, appeared in 1993.15 Sara Ahmed, Claudia Castañeda, Anne-Marie Fortier and Mimi Sheller, ‘Introduction’, in Sara Ahmed, Claudia Castañeda, Anne-Marie Fortier and Mimi Sheller, eds, Uprootings/Regroundings: Questions of Home and Migration, Berg, Oxford and New York, 2003, p 116 Ibid, p 217 Ibid, p 818 ‘A second spatiality of home is that home is multi-scalar … ’ observe Alison Blunt and Robyn Dowling, ‘for us senses of belonging and alienation are constructed across diverse scales ranging from the body and the household to the city, nation and globe’. Alison Blunt and Robyn Dowling, Home, Routledge, London, New York, 2006, p 27. See also the chapter ‘Transnational Homes’, pp 196–252.19 Meanwhile, its approach to cosmopolitanism in the arts is exploratory and rooted in art historical research, assuming, with Sheldon Pollock and the other authors of Cosmopolitanism (Duke University Press, 2002), that ‘new descriptions of cosmopolitanism as a historical phenomenon and theoretical object may suggest new practices, even as better practices may offer a better understanding of the theory and history of cosmopolitanism’. Carol A Breckenridge, Sheldon Pollock, Homi K Bhabha and Dipesh Chakrabarty, Cosmopolitanism, Duke University Press, Durham and London, 2002, pp 1–2. The input that led me to this volume comes from Marsha Meskimmon, Contemporary Art and the Cosmopolitan Imagination, London, Routledge, 2010. The reading of Meskimmon's work in general has been particularly fecund for my research practice.20 Published in Jean-Paul Ameline, Bénédicte Ajac, eds, Figuration Narrative: Paris 1960–1972, Paris, RMN/Centre Pompidou, 2008, pp 86–87.21 Although Castro is not mentioned in the caption, she is clearly recognisable at the centre of the photograph.22 In the context of this text, I will not be able to address this question in a detailed, in-depth form, but will attempt to propose some lines of analysis that may help to shape further discussions.23 Her name, along with that of René Bertolo, is mentioned, for instance, in Lucy Lippard’s early account of international Pop Art, in Le Pop Art, Fernand Hazan, Paris, 1969, p 194.24 An interesting example of this ambiguity is the chronology of Figuration Narrative published in Figuration Narrative: Paris 1960–1972, 2008. Unlike her partner, Bertholo, Castro is not listed as part of this tendency. At the same time, the chronology in the catalogue consistently highlights her participation in group exhibitions during the 1960s, thus implicitly acknowledging the relevance of her contribution.25 ‘My works do not coincide perfectly with this tendency. Those who look at them superficially talk of “nouveau realism”, although I do not feel at all linked to this movement. In “nouveau realism” … there is no intervention by the artist, the real is shown as it is, and for me the objects included in the works are just means and do not [constitute] ends in themselves; the objects are just pretexts, and sometimes I only use their image, their outline and shadow directly.’ ‘Os meus trabalhos não são perfeitamente coincidentes com esta tendência. Quem olha superficialmente para eles fala de “nouveau réalisme”, embora não me sinta de todo ligada ao movimento. No “nouveau réalisme” … não há intervenção do artista, mostra-se o real tal qual é, e, para mim os objectos integrados nos trabalhos são apenas meios e não fins em si; os objectos são meros pretextos e sirvo-me, por vezes, apenas da sua imagem, directamente do seu contorno e da sua sombra.’ Lourdes Castro in ‘Entrevista com Lourdes Castro e René Bertholo’ in Jornal de Letras e Artes, 31 July 1963, p 16. Quoted by Rita Macedo, Desafios da arte contemporânea à conservação e restauro. Documentar a arte portuguesa dos anos 60/70, doctoral dissertation, Universidade Nova de Lisboa FCSH, 2008, p 141.26 Sarah Wilson, ‘Paris in the 1960s: Towards the Barricades of the Latin Quarter’, in Paris: Capital of the Arts 1900–1968, Royal Academy of Arts, London, 2002, p 33127 I am partially paraphrasing art historian Sarah Wilson; Sarah Wilson, ‘Art, Artefact and Empire: Thirty Glorious years in France’, in Oxford Art Journal, vol 36, no 2, 2013, p 311. Available online: http://adsina.free.fr/sw/publications/2013_Artefact.html, accessed 23 November 2015.28 Lourdes Castro, ‘Objects’ [1961], in Lourdes Castro, Manuel Zimbro Á luz da sombra, 2010, p 153 (English version)29 Works of the early 1960s, like Contornos Fundo Beige (Outlines with Beige Background, 1961), manifest an interest in silhouettes before their conceptualisation as shadows.30 Lourdes Castro, ‘The Silkscreen’ (not dated), in Lourdes Castro, Manuel Zimbro, À Luz da sombra, 2010, p 154 (English version).31 See for instance, Lourdes Castro, Ciudad Bolivar, Venezuela, Museo de Arte Moderno Jesus Soto, October 1976.32 ‘un usage de la trace, de l’empreinte et du corps’, Cécile Debray, ‘Du Nouveau Réalisme’, in Cécile Debray, ed, Le Nouveau Réalisme, Paris, RMN/Centre Pompidou, 2007, p 2333 ‘le procédé de l’empreinte constitutif du Nouveau Réalisme dès ses débuts’, ibid, p 2734 Jean-Paul Ameline, ‘Aux sources de la Figuration Narrative’, in Jean-Paul Ameline and Bénédicte Ajac, eds, Figuration Narrative: Paris 1960–1972, p 19. See also: http://archives.biennaledeparis.org/fr/1961/pays/grandebretagne.htm, accessed 24 November 201535 Catherine Dossin, ‘To Drip or to Pop? The European Triumph of American Art’, op cit, p 95; José-Augusto França in René Bertholo Lourdes Castro, Lisbon, Galeria Divulgação, 196436 I am paraphrasing Jean-Paul Ameline, ‘Il y a ainsi, dans la figuration narrative, à la fois le projet d’une réinvention de la peinture par la prise en compte de ces images qui la révolutionnent et le sentiment que celles-ci peuvent mettre en cause son existence même’. Jean-Paul Ameline, ‘Aux sources de la Figuration Narrative’, p 18.37 Lourdes Castro, ‘Sombras projectadas e contornos (Projected Shadows and Outlines)’ (1963), in Lourdes Castro, Manuel Zimbro Á luz da sombra, 2010, p 154 (English version).38 See Brett, ‘A Tale of Two Cities’, op cit, p 15039 Ibid40 José Augusto França, untitled text, in Lourdes Castro, René Bertholo, Galeria Divulgação, Lisbon, 1964, no pagination. In a later text, written in 1970, França observed that ‘The shadow, the presence of an absence or the absence of a presence, plays between both situations, passing from one to the other according to an optical effect ontologically motivated…’. ‘A sombra, presença de uma ausência ou ausência duma presença, joga entre ambas as situações, passando de uma a outra conforme um efeito óptico motivado ontològicamente,se até aí quisermos ir.’ José Augusto França, untitled text, in Lourdes Castro, Galeria 111, Lisbon, 1970, no pagination. Since the 1960s, the invocation of Pliny’s narrative has been a constant feature in art writing dedicated to the work of Castro.41 ‘os artifícies da nova iconografia’, Pierre Restany, ‘Lourdes Castro: a prensença da ausência’ [1965], in Lourdes Castro, Além da Sombra, Lisbon, Fundação Calouste Gulbenkian, Centro de Arte Moderna, 1992, p 36. First published, in German, in Lourdes Castro, Buchholz Gallery, Munich, 1965.42 ‘Lourdes Castro soube apreender este elemento primordial da comunicação, o traço de uma incrição que liberta o passado de uma presença, um contorno sem sombra (a sombra é viva, marcando a dança das horas e o movimento da vida) – a presença de uma ausência.’ Ibid, p 37. More recent readings have highlighted the role of indexicality in Castro’s shadow works – thus stressing the importance of the fact that these works document, or rather attempt to present, the mark of a real presence of something or someone – or have discussed the complex relations that these works weave between painting and drawing. See Bruno Marques, ‘Crise do retrato: dissolução ou deslocamento do género? O estranho caso de Lourdes Castro’, 2012, paper presented at the IV Congresso da Associação de História de Arte Portuguesa/Homenagem a José-Augusto França, Fundação Calouste Gulbenkian, Lisbon, 2012. Unpublished; Márcia Oliveira, ‘Lourdes Castro: Um caminho de sombras’, in VI Congresso Nacional Associação Portuguesa de Literatura Comparada/X Colóquio de Outono Comemorativo das Vanguardas, Braga, Universidade do Minho, 2009/2010. Accessible online at http://ceh.ilch.uminho.pt/publicacoes/Pub_Marcia_oliveira.pdf, accessed 6 June 2015. Bruno Marques also insists on the affective dimension associated with Castro’s depiction of shadows.43 ‘Henceforth, in her Plexiglass cut-outs, the emptied contours are diluted to infinity, leaving only a “drawing” in the transparent edge of the cut … .’ ‘Doravante, nos seus recortes de plexiglas, os contornos, esvaziados, diluem-se até ao infinito, apenas deixando um “desenho” na aresta transparente do corte…’ Pierre Restany, ‘Lourdes Castro: a prensença da ausência’ [1965], in Lourdes Castro, Além da Sombra, op cit, p 3744 Manuel Zimbro, ‘Base of a world’ [2001], in Lourdes Castro, Sombras à volta de um centro, Assírio and Alvim, Lisbon, 2003, p 124 (English version). For a further discussion of Zimbro’s use of the notion of dilution, see Márcia Oliveira, ‘Lourdes Castro: Um caminho de sombras’, in VI Congresso Nacional Associação Portuguesa de Literatura Comparada/X Colóquio de Outono Comemorativo das Vanguardas, 2009/2010.45 Lourdes Castro, ‘Projected Shadows and Outlines’, in Lourdes Castro Manuel Zimbro. Á luz da sombra, 2010, p 154 (English version).46 ‘les Anthropométries ne figurent ni ne représentent rien: qu’elles soient synthèse formelle du corps ou sublimation de la chair, ce sont des “arrachements” d’un “état-moment de la sensibilité”’. Camille Morineau, ’De l’imprégnation à l’empreinte, de l’artiste au modèle, de la couleur à son incarnation’, in Camille Morineau, ed, Yves Klein: Corps, Couleur, Immatériel, Paris, Centre Pompidou, 2006, p 12247 Original: ‘le Monochrome figure, l’Anthropométrie abstrait’, ibid48 See the interview, ‘Lourdes Castro: “A minha pintura é esta: o viver, o estar cá”’, O Público, 3 March 2010. Accessible online at http://www.publico.pt/culturaipsilon/noticia/lourdes-castro-quota-minha-pintura-e-esta-o-viver-o-estar-caquot-251893, last accessed 16 June 2015. As noted by Guy Brett, an interest in zen constituted a common ground among artists of different nationalities in the 1960s. Brett, ‘A Tale of Two Cities’, op cit, p 149.49 D'un pays l'autre, Episode: Retour au Portugal: Lourdes Castro de Madère, directed by José Maria Berzosa, Antenne 2, 20 August 197850 Pierre Restany, ‘Lourdes Castro: a prensença da ausência’ [1965], in Lourdes Castro, Além da Sombra, op cit, p 3751 Lourdes Castro, ‘Plexiglas shadows’ [1966], in Lourdes Castro Manuel Zimbro. Á luz da sombra, 2010, p 155 (English version)52 Ibid53 Svetlana Boym, ‘On Diasporic Intimacy’, in The Future of Nostalgia, Basic Books, New York, 2001, pp 251–258. My thanks to Aliza Edelman, art historian and curator, for suggesting the connection with Boym’s text.54 Ibid, p 25155 Ibid56 Ibid57 See, for instance, Manuel Zimbro, ‘Uma entrevista com Lourdes Castro’, KWY Paris 1958–1963, 2001, pp 164–165. Also, my interview with the artist, during the winter of 2014.58 See for instance Castro’s participation in the restaging of the 1967 Salon the Mai in Cuba. Castro travelled to Havana with many other artists and took part in the creation of a collective mural painting. See Jill Carrick, ‘The Assassination of Marcel Duchamp: Collectivism and Contestation in 1960s France’, Oxford Art Journal, vol 31, no 1, March 2008, pp 1–25.59 Manuel Zimbro, ‘Uma entrevista com Lourdes Castro’, KWY, 165. The title KWY is significant as it is composed of letters that do not exist in the Portuguese alphabet. As stressed by art historian Margarida Acciaiuoli, the question of friendship, in a context of migration, was indeed at the core of the creation and development of the KWY magazine in the late 1950s and early 1960s. Margarida Acciaiuoli, ‘KWY: a revista, as edições e o grupo’, in KWY Paris 1958–1968, 2001, pp 17–3360 The design of the small catalogue was created by Venezuelan artist Carlos Cruz-Diez. See Marta Minujín, Lourdes Castro, Alejandro Otero, Paris, 1963, Biblioteca Fundação Calouste Gulbenkian Archive.61 See a more detailed account of this happening in Andrea Giunta, Avant-garde, Internationalism and Politics, Argentine Art in the Sixties, Duke University Press, Durham, North Carolina and London, 2007, pp 147–151.62 See the description of the happening on Minujín’s website: http://webs.advance.com.ar/martaminujin/obras/ladestruccion.htm, accessed 16 June 2015.63 José Augusto França, untitled text, in Marta Minujín, Lourdes Castro, Alejandro Otero, 1963, no pagination. Another version of this text, titled ‘L’autre vie des objets morts’ was published in Aujourd´hui Art et Architecture 45, Paris, April 1964, p 35.64 ‘Far from declining, Paris gained a new cosmopolitanism in the late 1950s and early 1960s, with a particular influx of young artists from Latin America, drawn by the desire to see first-hand the work of artists like Mondrian, Brancusi, Vantongerloo and Klein.’ Brett, ‘A Tale of Two Cities’, op cit, p 149. See also Damián Bayón, ‘El estado del arte latinoamericano en Europa’, Plástica Latinoamericana, San Juan, Puerto Rico, vol 1, no 12, September 1984, pp 35–38. Accessible online at: http://icaadocs.mfah.org/, accessed 6 June 2015; dossier ‘Reflexões sobre Meeting Margins’ by Valerie Fraser, Michael Asbury, Maria Iñigo Clavo and Isabel Whitelegg, Concinnitas Revista do Instituto de artes da UERJ 12, vol 1, no 18, Rio de Janeiro, June 2011.65 Isabel Plante, ‘Les Sud-américains de Paris, Latin American Artists and Cultural Resistance in Robho Magazine’, Third Text 105, vol 24, no 4, July 2010, p 447. See also Carlos Cruz-Diez’s evocation of artistic cosmopolitanism in Paris: ‘What I found here was exceptional. I don’t have any other explanation for it other than generational coincidences. Why did I come up with ideas in Caracas at the same time that artists in Brazil, Argentina, Israel, England, and Italy were also having them? We all happened to coincide here in Paris. And, of course, there was an abundance of Latin Americans, which is curious. An entire generation was having similar thoughts.’ Interview by Estrellita Brodsky, ‘Carlos Cruz-Diez by Estrellita B. Brodsky’, Bomb Magazine 110, winter 2010, accessible online at http://bombmagazine.org/article/3372/carlos-cruz-diez, accessed 9 June 2015.66 Isabel Plante, ‘Les Sud-américains de Paris, op cit, p 44767 See Rita Macedo, Desafios da arte contemporânea à conservação e restauro. Documentar a arte portuguesa dos Anos 60/70, 2008, p 144.68 Carlos Cruz-Diez took part in the last number of the magazine KWY, in 1963, by publishing some works in postcard format. See KWY 12, winter 1963.69 See for instance Kalliopi Minioudaki, ‘Pop’s Ladies and Bad Girls: Axell, Pauline Body and Rosalyn Drexler’, Oxford Art Journal, vol 30, no 3, 2007, pp 402–430. As advanced by Minioudaki, I agree on the fact that Castro’s relation with ‘pop’ deserves a better exploration. See also Jessica Morgan, ‘Intercontinental Drift: Global Pop’, Artforum, February 2013, pp 222–229. A loose and partial association with pop had already been articulated by early narratives of this current such as Lucy Lippard’s 1965 book Pop Art. See Lucy Lippard, Le Pop Art, Paris, Hazan, 1969, p 194. Castro’s name is only mentioned by Lippard; no analysis of her work is proposed. The recurrent use of silhouettes approximates Castro to a number of pop artists from different cultural and geographical backgrounds working in the 1960s and whose practice is very diverse. I am referring, for instance, to US artist Idelle Weber’s black silhouettes of a variety of characters, realised in different media, to wooden silhouettes by Italian artist Mario Ceroli as well as to Gino Marotta’s Plexiglas sculptures and environments.70 See for instance Jesus Rafael Soto Retrospectiva, catalogue of an exhibition co-produced by L’Abbaye Saint-André CCA, Meymac (July–September 1992), Le Carré/Bonnat Museum, Bayonne (October–December 1992), Musée des Beaux-Arts, Pau (March–April 1993), and the Serralves Foundation, Porto (May–July 1993); texts by Fernando Pernes, Patrick Le Nouene, Daniel Abadie, Stephen Bann, Ariel Jimenez and Alfredo Boulton; includes list of exhibited works, biography and bibliography.71 See Estrellita Brodsky, Latin American Artists in Postwar Paris: Jesus Rafael Soto and Julio Le Parc, 1950–1970, doctoral dissertation, New York University, 2009, accessible at: http://pqdtopen.proquest.com/pubnum/3360462.html?FMT=AI, accessed 16 June 2015. See also: Julio Le Parc: Kinetic Works, Zurich, Daros Latinamérica AG, 2013.72 See KWY 12, winter 1963.73 It is important to note, though, that in the early 1960s, Otero and Soto, like Castro, partially engaged with the aesthetics of Nouveau Réalisme in Paris.74 In ‘Quebrar o isolamento deve ser o objectivo essencial dos pintores portugueses–pensam Lourdes Castro e René Bértholo’, Jornal de Letras e Artes, 31 July 1968, p 16. Quoted in Márcia Oliveira and Maria Luísa Coelho, ‘Lourdes Castro, Helena Almeida and their “Encounter with the World”’, in Diacrítica, Revista do Centro de Estudos Humanísticos da Universidade do Minho, 24 March 2010, p 314. Translation by the authors. Available on line at http://ceh.ilch.uminho.pt/publicacoes/Diacritica_24-3.pdf Accessed on 26 March 2016. This article is a significant and fertile exploration of the relations between artistic production by Portuguese female artists in the 1960s and 1970s and processes of migration to Paris.75 It is important to note that if the incorporation of a temporal dimension in the artwork, in conjunction with the elaboration of specific mechanisms to manipulate light and colour, also constituted a prerogative of the development of Castro’s shadow theatre, the participation of the viewer was not conceptualised by the artist on the same terms as in the works described above.76 The artist recounts that her first experiences with theatre took place in the German school in Madeira when she was a child. Interview with the artist, winter 2014.77 The play was presented again, by Castro, Miguel Amado and Zimbro, at the Centro de Arte Moderna of the Calouste Gulbenkian Foundation in Lisbon in 1984.78 Represented in Lisbon, at Nacional D Maria II, on 8 June 1956, by the group Teatro Universitário de Lisboa. Castro was part of the Teatro Universitário de Lisboa. Interview with the artist, winter 2014.79 Graziella Martinez was a vanguard dancer and partner of Argentinean artist Antonio Segui. She arrived in Paris in 1963. See Marie-Christine Vernay, ‘Graziella étoile dada’, Libération, Paris, 18 December 2003. Accessible online at http://www.liberation.fr/culture/2003/12/18/graziella-etoile-dada_455792, accessed 16 June 2015. Her collaboration with Minujín in Buenos Aires is described in the article by José-Augusto França, ‘“El nuevo mundo”, Danse, objet, musique’, Aujourd’hui Art et Architecture 45, Paris, April 1964, pp 30–31.80 According to Castro, everyone had his/her own ‘number’ in the show. In 1973, thanks to the artist’s mediation, Graziella Martinez was invited by the Calouste Gulbenkian Foundation to perform in Lisbon. Written correspondence with the artist, 9 September 2013. Some photographs of the show are available in Jacques Prayer, ‘Sainte Geneviève dans la bagnoire’, in Midi/Minuit fantastique 15/16, December 1966, pp 51–57. See also the French television programme 16 millions de jeunes, 4 January 1968 (interview with Graziella Martinez). Digital archive of Institut National de l’Audiovisuel, Paris. For a general description see: http://www.ina.fr/video/CPF86651396/l-avant-garde-video.html, accessed 16 June 2015.81 See Francis Marmande, ‘Mesdames, messieurs, les animaux tristes du Grand Magic Circus nous rendaient joyeux’, Le Monde, Paris, 6 March 2013. Digital Archives of Le Monde. See also the show’s press release in the digital Archives of the Theatre 140 in Belgium, http://theater.ua.ac.be/theatre140/html/1971-11-00_theatre140_magic-circus_pers.html, accessed 15 June 2015.82 Interview with the artist, winter 2014.83 Ibid84 The first lighting mechanisms were created by René Bertholo.85 ‘proposiciones cuotidianas’, Lourdes Castro in Lourdes Castro, Ciudad Bolivar, Venezuela, Museo de Arte Moderno Jesus Soto, October 1976, no pagination.86 Ibid, ‘lo maravilloso de lo sencillo’87 A diaporama of this show, realised by Catarina Mourão using photographic material by Claire Turyn, was presented at the Chiado 8 Gallery, Lisbon, 2013.88 ‘O fio condutor era a transformação’. Interview ‘Lourdes Castro: “A minha pintura é esta: o viver, o estar cá”’, O Público 3 March 201089 Michel Foucault, ‘Different Spaces’ [1967/1984], in James D Faubion, ed, Aesthetics, Method and Epistemology (Essential Works of Foucault, 1954–1984, vol 2), New York, New Press, 1998, p 18190 The Grand herbier d’ombres was first published in book format by Assírio & Alvim in Lisbon in 2002.91 Catarina Mourão, Lourdes Castro: pelas sombras, Lisboa, Midas Filmes, 201092 Lourdes Castro, ‘My painting is this’ (2007), in Lourdes Castro, Manuel Zimbro À Luz da Sombra, 2010, p 16293 Ibid, p 16394 ‘Queres dizer que: mais importante do que produzir uma coisa são são as relações que conduzem a uma produção’, ‘Uma entrevista com Lourdes Castro’, KWY Paris 1958–1963, 2001, p 16595 On these works see also Teresa Lima, ‘Erotismo e Quotidiano: A Experiência Interior como Transgressão nos Lençois Bordados de Lourdes Castro’, in Margarida Acciaiuoli and Bruno Marques, eds, Arte & Erotismo, IHA/Estudos de Arte Contemporânea, Lisbon, 2012, pp 193–19796 Lourdes Castro, ‘Lying Shadows’ [1969], in Lourdes Castro, Manuel Zimbro À luz da sombra, 2010, p 155 (English version)97 Giorgio Agamben, ‘The Friend’, in Giorgio Agamben, What Is an Apparatus and Other Essays, Stanford, Stanford University Press, 2009, p 3498 Ibid, p 3699 Leland de la Durantaye, ‘Friendship and Philosophy: An Interview with Giorgio Agamben’, Cabinet 45, spring 2012, p 54100 Giorgio Agamben, ‘The Friend’, op cit, p 31
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