No Entulho - Project by Artworks

Artists

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Year

Artists

Country

Materials

Partners

Andreia Santana

Portugal

iron, painting, audiovisual material, chamfering, copper, welding machine

Sonoscopia

Berru

Portugal

iron, electronic material, audiovisual material, welding machine

Escola das Artes - Universidade Católica do Porto

Carlos Arteiro

Portugal

glass, expanded polystyrene, painting, suction cups

Mala Voadora

Catarina Real

Portugal

steel, aluminium, drill, painting, grinder, metal workshop, 3D print

Charity Hamidullah

USA

acrylic, aluminium, drill, chamfering, cardboard, iron, fiberglass, stainless steel, painting, grinder, welding machine, handsaw, resin, metal workshop, painting booth

Atlanta Beltline

Christian Lagata

Spain

drill, chamfering, plasma cutting, expanded polystyrene, iron, wood, stainless steel, painting, bender, grinder, circular saw, welding machine, metal workshop

Cristina Mejias

Spain

glass, wood, iron, electronic material, brass, polyurea paint

Matadero Madrid, BF Glass Studio, Eneida Tavares

Dayana Lucas

Venezuela, Portugal

plasma cutting, laser cut, expanded polystyrene, iron, painting, composite workshop, welding machine, glass

CIAJG

Dayana Lucas

open house / Cifra

Dayana Lucas (b. Caracas, 1987; lives and works in Porto) develops practical research in the field of drawing, focusing on the transition to sculpture, using different materials such as concrete, wood and metal. She also works as a designer for cultural projects and has worked with musicians, visual artists and various Portuguese cultural institutions. She co-founded the Oficina Arara, where, until 2017, she worked in the field of design and printing, using various handcrafted media and organised exhibitions, workshops and meetings with Porto's artistic community. Since 2010, she has worked with the SOOPA collective and in 2019 created the ORINOCO project, dedicated to publishing books and other artist's publications.

Her solo exhibitions include "Um" (One) at the Wrong Weather Gallery (2018), “Manual Spirit” at the Serralves Museum (2018), "Pedra em Flor" (Blossoming Stone) at Sismógrafo (2019) and "Negro Secreto" (Secret Black) at the Lehmann + Silva Gallery (2019). In recent years she has also taken part in various group exhibition, at venues such as the CIAJG - José de Guimarães International Centre for the Arts (Guimarães, Portugal); Maia Contemporary Art Biennial (Maia, Portugal); PORTA33 (Funchal, Portugal) and Sesc Pompéia (São Paulo, Brazil).

(This residency happended in partnership with CIAJG and ended with an exhibition at this Center)

The ancients used the entrails of animals to communicate with the gods. The Latin term for this art of decipherment was "haruspice" - which means the inspection of entrails or the revelation of that which is not immediately apparent. The modern perception of our existence is based on reality as an abyss, labyrinth or fold - that which Drummond de Andrade called the "clear enigma" of language.
Between opacity and transparency, between the visible and the invisible, exploring the nuances of a path that has two extremes, Dayana Lucas (born in 1987 in Caracas; lives and works in Porto) elevates the act of inscribing, graphing, drawing to ritual. There is an initiatory dimension to her gesture, in which drawing is like a machine for seeing and feeling. The invention of a never-ending line, in Dayana Lucas’ work, explores not only the closure of the gesture, but also its beginnings, since the imagination gives shape to a thread that is constantly starting over, without either beginning or end - an ideal suspension of death.
Faced with the current impoverishment of language, signs and flat, algorithmisable messages, this exhibition highlights the desire to retreat from that which has already been said. We could even say that it seeks to surrealise things. The heart of the exhibition is the glass house, an (in)decipherable nodal point that harbours enigma. Synonymous with protection and delicacy at the same time, the glass house can mean being naked within ourselves. It is where the artist makes her fragility (and her strength) visible.
The group of works and interventions on display at the CIAJG highlight the artist’s transition from drawing to three-dimensional form, and how she has been influenced by music and solitary landscapes. Visitors to this exhibition can thereby sense the transformation of drawing into sculpture, into a transparent house, without any mediation. We are the house. We have no glass ceilings.

Credits

partnership with CIAJG

resources: iron, glass, styrofoam, welding
format: open house
photo & video: Bruno Lança, Bernardo Bordalo

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Diogo da Cruz

Portugal

plasma cutting, iron, welding machine

Revista Umbigo

Edgar Pires

Portugal

iron, welding machine

Filipa Tojal

Portugal

chamfering, aluminium, drill, plasma cutting, iron, stainless steel, audiovisual material, painting, glass, metal workshop

Escola das Artes, Un. Autónoma de Lisboa

Francisca Carvalho

Portugal

iron, welding machine, glass

Câmara Municipal Póvoa de Varzim

Frida Baranek

Brasil

steel, stainless steel, brass, iron, cement, rubber, electronic material, bituminous, motorization, stone, welding machine, glass

Gil Madeira

Portugal, Switzerland

glass, painting

Guilherme de Sousa & Pedro Azevedo

Portugal

aluminium, glass

Guilherme Figueiredo

Portugal

chamfering, ceramic, laser cut, iron, wood, audiovisual material, metal workshop, carpentary

Igor Jesus

Portugal

audiovisual material

João Pedro Trindade

Portugal

iron, plastic, aluminium

Jérémy Pajeanc

França, Portugal

glass, aluminium

Kyra Nijskens

Netherlands

drill, chamfering, expanded polystyrene, fiberglass, painting, composite workshop, grinder, bender, plastic, welding machine, resin, metal workshop, carpentary

Luísa Jacinto

Portugal

iron, painting, bender

AiR 351

Maria Constanza Ferreira

EUA, Venezuela, Portugal

aluminium, laser cut, audiovisual material, motorization, painting, glass

Covipor

Maria Trabulo

Portugal

plasma cutting, painting, aluminium

Correntes d'escritas

Marryam Moma

Tanzania, Nigeria, USA

glass, fiberglass, iron, aluminium, drill, chamfering, plasma cutting, painting, grinder, circular saw, handsaw, welding machine, resin, metal workshop, painting booth

Atlanta Beltline

Marta Bernardes

Portugal

sand

Correntes d'escritas

Mauro Ventura

Portugal

steel

Pedro Moreira

Portugal

aluminium, laser cut, grinder, welding machine, metal workshop

Festival Barlos

Rafael Yaluff

Chile

painting, glass, aluminium, plaster, electronic material

Rita Morais

Portugal

audiovisual material

Porto Post Doc

Rudolfo da Silva

Portugal

laser cut, iron, painting, wood, welding machine, acrylic, resin, metal workshop, carpentary, composite workshop

Sara Bichão

Portugal

iron, stainless steel, textil, rubber, welding machine, painting, motorization, acrylic

Porto Post Doc

Sebastián Baudrand

Chile

fiberglass, iron, glass, audiovisual material

Galeria Lehmann + Silva

Sofia Mascate

Portugal

glass, acrylic, painting, aluminium, iron

Revista Umbigo, Covipor

Tiago Lêdo

Portugal

iron, electronic material, painting, audiovisual material

Pedreira

Tiago Madaleno

Portugal

aluminium, audiovisual material, laser cut

Tiago Ângelo

Portugal

audiovisual material, iron, laser cut, electronic material, copper, welding machine

Sonoscopia

Tomás Abreu

Portugal

iron, wood, electronic material, stone

Tyries Holder

England, Jamaica

glass, painting, resin

Home by Ronan Mckenzie

Vera Mota

Portugal

fiberglass, iron, metal workshop, resin, laser cut, welding machine, chamfering, grinder

No Entulho is open to visitors, if you want to know more please contact us.

Parque Industrial Amorim 
Rua Manuel Dias, 440 
4495-129 Póvoa de Varzim

+351 252 023 590
info@noentulho.com