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. 


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.