She works at the intersection of artistic practice and theoretical research in the expanded fields of painting, writing, and choreography, primarily in long-term collaborative projects that focus on questioning how we can live better collectively. She is a doctoral candidate at the Center for Humanistic Studies at the University of Minho, conducting research that intersects art, love, and capital. She maintains a commentary practice - including reflective texts, introductory texts for exhibitions, interviews, and conversation moderation - on the works and processes of artists within her generational cohort, aiming to contribute to a healthy environment of critique and collective, communal creation. She has been the vice-president of the French association Artistes en Résidence since 2019 and an editor at Edições da Ruína since 2022.
She has publicly presented her work at institutions such as Teatro Municipal do Campo Alegre, Galeria Municipal do Porto, Museu Amadeo de Souza-Cardoso, and others; independent spaces such as Rua do Sol, Campanice, Graciosa, Laboratório das Artes, Sol Pele, and more; and galleries like Kubik Gallery, Galeria Madragoa, No.no Gallery, and Galeria Graça Brandão. She has undertaken residencies at Espaço do Tempo, Gnration, Appleton Square, Fórum Dança, Artistes en Résidence, among others. Recent notable projects include organizing, in collaboration with David Revés, the conversation and podcast series Amor e Morte with various guests from the Portuguese cultural scene; a residency at Residency Unlimited (US) with a grant from Atelier Museu Júlio Pomar; the duo exhibition Things I've Seen with Gonçalo Duarte at Flux Factory (US); and the book "ISTO" published by Edições Senhor Teste.
At the beginning of May 2024, artist and researcher Catarina Real began her artistic residency at No Entulho with the intention of developing and producing some exhibition devices. Using leftover pieces and accessories from the manufacturing of frames and the production at ArtWorks, Catarina collected metal profiles, pre-frames, spacers, aluminum tubes, among many other pieces, from the factory containers, and repurposed them, creating various structures and compositions.
The creation of these structures with various configurations will be associated, in an initial phase, with her project “Color Therapy,” a long-term practice that explores color theory, mail art, and choreographic intuition. With this residency, Catarina intends for the structures created to continue the exploration of the choreographies of reading/seeing in the exhibition context.
Credits
Format: Short-Term Art Residency Photography & Video: Bruno Lança and Bernardo Bordalo
