REVIEWED: 14th Exhibition Programme at Carpe Diem Arte e Pesquisa
By Sandra Camacho
 |
| Raúl Hevia and Antonio Díaz Grande, M.U.S.E.A., 2013 Courtesy of the artists |
Held from 8 June
- 17 August, the 14th Exhibition Programme
at the art and research platform Carpe Diem Arte e Pesquisa features works of
different media - predominantly photography and video - by a remarkable array
of artists from Portugal, Brazil and Spain. Like its previous iterations, the
programme lacks a central curatorial concept so one must instead focus on particular works
and/or artists. Despite the lack of curatorial cohesion, a few pieces keep the
exhibition exciting and relevant.
Founded in 2009
and housed in central Lisbon’s imposing Pombal Palace, Carpe Diem is one of the
capital’s most innovative exhibition spaces. Originally built in the 16th
century, it was remodelled by the powerful Portuguese statesman, the Marquis of
Pombal after the great earthquake of 1755. What remains of the palace itself is
relatively small so to accommodate the display of contemporary art, the building has been altered and whilst the architects have attempted to keep as much as
possible in its raw state, some interior walls have been brought down to allow
for larger, brighter areas. As a result, visitors can engage with contemporary
art in a modern space that simultaneously breathes history.
 |
| Heleno Bernardi, Enquanto Falo, as Horas Passam, 2009 -2013 Courtesy of Carpe Diem |
 |
| Catarina Branco, Caligrafia, 2013 Courtesy of Carpe Diem |
Carpe Diem’s
exhibitions have always been interesting, yet the sheer volume of showcased
artists in each programme can be somewhat overwhelming. The current iteration is no
exception and this is exacerbated by the fact that not all the works are displayed
simultaneously. For instance, the installation by Brazilian artist Heleno Bernardi (b.1967), Enquanto Falo, as Horas Passam (2009-2013) - intertwined
human-shaped pillows placed on the main staircase inviting visitors to re-arrange the work or simply rest on it - is displayed on the show's opening day and then again after 3 July.
Moreover, Caligrafia (2013) by Catarina Branco (b.1974) has been on view since 22 June. The piece is a beautifully constructed pattern of colourful confetti occupying the entirety of a large room. In some way, it enters into dialogue with the traditional azulejos (Portuguese tiles) that still today cover some of the palace’s walls.
Moreover, Caligrafia (2013) by Catarina Branco (b.1974) has been on view since 22 June. The piece is a beautifully constructed pattern of colourful confetti occupying the entirety of a large room. In some way, it enters into dialogue with the traditional azulejos (Portuguese tiles) that still today cover some of the palace’s walls.
 |
| Raúl Hevia and Antonio Díaz Grande, M.U.S.E.A., 2013 |
 |
| Raúl Hevia and Antonio Díaz Grande, M.U.S.E.A., 2013 |
M.U.S.E.A. (2013), a project by the Spanish artists, Raúl Hevia (b. 1965) and Antonio Díaz Grande (b.1968), makes its debut here, and quite frankly, stands out as the most interesting, thought-provoking and humourous work on display. Consisting of an installation of around 20 shopping bags from museums the world over, a series of photographs of bags in different settings and a video that works in tandem with a pile of contemporary art fair bags, M.U.S.E.A. reflects on the notion of the museum whilst also presenting a critical view on the current commercialisation of art.
 |
| Raúl Hevia and Antonio Díaz Grande, M.U.S.E.A., 2013 Courtesy of Carpe DIem |
The word museum comes from the Latin Musaeum, referring to the Temple of the
Muses, a space where art in all its forms can be experienced and even revered.
By calling their project M.U.S.E.A.,
Hevia and Díaz Grande are therefore deconstructing the word itself, turning it
back to it’s feminine roots and also mimicking the use of acronyms by major
international museums such as MoMA or LACMA. At the same time, the Spaniards
are attempting to break down the almost reverential status of museums, for
if the bags carry museum branding, they are in fact standing in for each
individual institution. The question arises, is everything that is put into
these receptacles an extension of the museum and consequently a work of art?
This message is
particularly clear in their photographic works whereby the bags hold items as
varied as books, clothes or even fruit. An additional factor to consider in the
artists’ careful collection of museum bags is that museums are becoming ever
more focused on merchandising as museum stores take over ever-larger spaces. The
extent of this becomes stridently obvious when bags from both large and small institutions
are placed side by side.
 |
| Raúl Hevia and Antonio Díaz Grande, M.U.S.E.A., 2013 |
 |
| Raúl Hevia and Antonio Díaz Grande, M.U.S.E.A., 2013 |
Piled on tables in a
smaller room are dozens of canvas and plastic bags
from fairs and various events that mark the art world calendar. They appear to
function in conversation with a video piece in the adjacent room. In the video,
two men in the centre of a long room face the viewer expectantly. They suddenly
receive a “go sign” and launch themselves on a pile of art fair bags that stands
just outside the video’s frame – a pile that may very well be a reflection of the
real heap of bags the viewer has just encountered.
 |
| Raúl Hevia and Antonio Díaz Grande, M.U.S.E.A., 2013 Video stills |
 |
| Raúl Hevia and Antonio Díaz Grande, M.U.S.E.A., 2013 Video stills |
Carrying
one bag at a time, the men run to deposit these bags on the other side of the
room. This continues as they become breathless and tired. Some logos are
discernible on the bags – an endless list of required travels and visits in
today’s art world agenda. Having completed their movements, the men stand again
in the middle of the room facing the viewer, gasping for air. They are placed
in the exact same spot as when they started and one wonders what, if anything
has changed – what have they achieved?
In the end, M.U.S.E.A. strikes a cord with anyone
that is even marginally aware of what is going on in the art world. The fact
that this project is making it’s debut in an off-centre city – Lisbon rather
than London or New York – and in a venue that is marked by time and history,
might lead the viewer to reflect on what the must-see events, exhibitions and
“scenes” are really about.
All in all, Carpe
Diem’s new exhibition programme is complex and requires more than one viewing. The more one gets to know the palace’s
space, history and architectural details, the more connections with the
artworks begin to emerge. And while coherence is never really attained, the
quality of the art and the projects presented more than make up for this issue.
 |
| Cristina Lamas, Untitled, 2013 Courtesy of Carpe Diem and the artist |
14th EXHIBITION PROGRAMME, CARPE DIEM ARTE
E PESQUISA
LISBON, PORTUGAL. 8 JUNE - 17 AUGUST, 2013.
* Pesquisa is the Portuguese word for
research
Participating artists: Heleno Bernardi,
Videobrasil Colecção de Autores, José Pedro Cortes, João Grama, Catarina Botelho,
Raúl Hevia + Antonio Díaz Grande, Cristina Lamas, Catarina Branco, Ana Léon +
José Pedro Croft.