_GaleríaÁngelesBaños_Susanne S.D. Themlitz_Dossier Susanne S.D.Themlitz_The silence near the line_01/11/19_03/03/19

Conversation of João Mourão & Luis Silva with Susanne Themlitz You speak of the idea of empty space, which is quite present in your new and JM & LS _Your work has been gradually moving in the direction of what seems to be a drawings. So does this also removing characters until there is nothing left but to become a certain formal impulse. While previously we felt directly confronted by the possibility of landscape, also take place with your new sculptures? parallel worlds, where never-ending landscapes, inhabited by strange creatures in constant movement, seemed to invite us to inhabit them as well, now it seems that narrative has Indeed. I understand a support (in the case of sculpture it will be space or a site, for which I think given way to form. Do you feel more attracted to the expressive possibilities of and of a sculpture or installation, or paper for a drawing, for example) for one form rather similar to drawing than their potential to create fictions? any other support. I define how it is all held together, and how it is shaped. This is the case for these sculptures as well: they already have their own support-features, as well as their moulding ST _Well I am still doing landscapes, where the principal figures have disappeared. I never into the space of the gallery and in relation to the other pieces. As layers, as a network, system or thought of my works as narratives, I saw them more as states or moments. Now the inhabitation landscape. I do not understand the void so much as void, but rather as the necessary space that takes place in the moment of perception, as if the gaze had become a main character of the is as valid and existent as any other space expressed by other existences. They might be equa- piece. This could seem like a reduction to form, it could be taken as an absence, and in fact this lly introverted. This is why I spoke of a void or abyss without gravity, without the ground below, focus fascinates me and allows me to make a deeper reflection. It is a more like intense voyage. where everything exists in a moment of suspension. It is clear that in the exhibition, the montage Any being whatsoever would disturb the concentrated quality of the site. Or perhaps a being of sculptures and drawing will be consistent with this way of viewing, with this norm, just as the would be replaced by other beings, mere existences of one or another feature, reference or form. works are in relation to each other. I don’t know if this is less fictitious and more real. I think microscopically and feel attracted to use drawing to dissect the thought of sculpture or installation. You speak of the design of the show as a reproduction of what the work itself seeks to attain. From this point of view do you see the exhibition as a large installation where the This notion of the landscape as a state or a moment is rather interesting, especially if we constituent features (the characters, we might say) are your very works? Do you think that view it as a mental state or moment. From this perspective, there is a direct relationship we can speak of scenography, where your pieces are staged in the exhibition space? Would between interiority (subjectivity) and exteriority (what surrounds us). If we were to be a bit they then be the characters which at one point in time began to disappear? more radical about this, it could be said that your work ends up moving from one side to the other of the same thing, so that there is really no distinction between what is yours and There was no reason for them to be there, they weren’t necessary. I don’t think of staging or of what belongs to the world. Does that make sense? scenography, perhaps I think of silence and resonance, of the connections, of the ambivalent network. I seek to express a hybrid kind of logic. Of course, nothing is mine. I simply gather, attempt, name, connect, separate, find and even state. What I gather rests on a very subtle levitation. Around it there is only space, emptiness, the abyss, What do you mean that it involves the search for a hybrid kind of logic? Something is without gravity. All I do is try to perceive and name what I have harvested. Sometimes what could always more than what we can see, and what draws our attention in your comments be called landscape appears. It is fine if they call this, as they say, the world and not just a parallel is what appears to be a certain distancing, however momentary and non-linear, like in world, merged again into a system. I like the idea where we say that my work is setting out on everything that you do, relative to an idea of installation that seems very close to your way a walk. In fact, I see it as something autonomous. I like the idea/image of my work as an inde- of working artistically. Is this the right way to see things? pendent being that is walking on its own, walking along a path somewhere in the landscape, with everything around it and where it stumbles. It is me along this path by mere chance. Yes, in fact this fascinates me: my working/thinking/seeing can be largely seen as an installation, even when I work with two dimensional supports. I do not feel this is like scenography. I work with each feature, every detail, with everything, in the alteration of perspectives. That’s why I referred to hybrid logic. At that moment there is perhaps this momentary distancing, of a non-linear character, as you say, as an expansion of a tentacular microcosm, which has to do with the title of one of my installations from 2004 (Oh la la,... oh la balançoire / Microcosmos tentacular [Oh la la … oh the Swing / Tentacular Microcosm). I also love the moment I see a space for an installation, to see how the project begins to grow, taking on form, how it is transformed up to the moment of its very installation.

The narrative of the installation is fundamental for your work, just as thinking in terms of the space that it will end up occupying. It is also related to the idea of the installation as an organising principle, of the way you create your work, especially three-dimensional pie- ces, based on everyday elements, those that would not be automatically associated with a sculptural or installation practice. The sculptures you are here presenting are an example of this. What is it that interests you about these everyday objects? An example of this, and one that is quite clear, is the tripod, which appears repeatedly in your work.

With this tripod what happens is this: first I thought back on the condition and history of sculpture and monument, in general terms. Then of the possibilities of physically raising an object. Af- terwards I defined the support, which always, unconditionally, must make up part of the sculpture. I ended up choosing this tripod for its shape, materiality and lightness. I was not at all altered by the fact that there is this suggestion of insect legs, of a part spider. I also like the idea that the tripod can be adjusted to various heights and that this feature is inherent to it. It means the possibility of a shifting perspective, a questioning of sizes, and of our own size and dimension, a subject I like to explore. The brass features on the tripod also link in to the memory of sculptures (for example certain modernist pieces), while the thin lines of the tripod legs remind me of line drawings in pencil or ink. And then there had to be a connection with ceramics, like that matt grey stoneware-like glaze, or oyster shell. I’m thinking of a hermaphrodite oyster that at times was an oyster, at times its shell, structured in three layers, an excuse for a life, outside its environment, like an absence- but in truth I am not entirely comfortable speaking about these ideas. If the sculpture can work without them, all the better, especially since later on, one or another reading of the piece can be added to this puzzle I’ve put together out of these decision points.

Autorretrato (versión extrovertida). Trípode, cerámica, concha de ostra. 122 x 38 x 38 cm. 2018

That patient labyrinth_Angeles Baños Gallery_09/05/15_11/04/15 “A man proposes the task of drawing the world. Over the years he fills a space with images of provinces, kingdoms, mountains, bays, ships, islands, fish, rooms, instruments, stars, horses, and people. Shortly before his death, he discovers that that patient labyrinth of lines traces the image of his face.”

The maker, Jorge Luis Borges

With the title of That patient labyrinth, the artist Susanne S.D. Themlitz has created a project of drawings, sculptures, and paintings with which interweaves a map full of images that, as she says in a recent interview “we could call mental landscapes through which to navigate… stories of my work, visual interpretations of what I do, trips or exhibitions that I visited, memories of my past. Images that feed and feed each other back”.

Thus the artist unfolds through multiple perspectives and disciplines interested in recreating a “halftime” in the gallery. Your tools: fragments and remains that you claim make up images, elements with the appearance of rocks, Earth, branches or our own body.

As if he were an alchemist transforms the matter on the basis of conceptual reflections about the tradition of Visual Arts. The result is robust and fragile parts at the same time. This evokes a tireless gaze between the things, the concern and the intrigue of watching and, next to the calm that transmits the work.

In That patient labyrinth, at the Ángeles Baños Gallery, silence is maintained and its echoes as well.

Still Alive_Angeles Baños Gallery_02/01/13_03/13/13 For his first exhibition in our gallery of Luso-german artist Susanne S. D. Themlitz (Lisboa, 1968) presents his latest drawings and sculptures. Looking at his work we find an explanation for the title of this exhibition. All the elements seem to be suspended in space and in time. Perspectives, lands- capes, objects, lines, spots or vestiges are merged.

References to prints and drawings of the History of Art are intertwined with characters, plants, spiral bodies or volumes of color. It turns out to be a relation between the known and the unknown, in some cases, between abstraction and reality. These landscapes and this alive still lifes (Still Alive – Still Life) of Themlitz there are somewhere between perception and memory.

Ci intriga ci turba / Caro Signore 40 x 50 x 10cm. 2017

Detalle Ci intriga ci turba / Caro Signore T. 40 x 50 x 10cm. 2017

Detail E i suoi occhi, smisurati occhi sferici da farfalla, abbracciavano tutto l’orizzonte. / Caro Signore T. Pencil and acrilic an oil on canvas. 180 x 270cm. 2017 Detail Subversión de la línea en el espacio. Oil, graphite and acrilic on cavas / graphite, watercolor and ink on paper. 29,7 x 63,5 cm. 2018 Dietro di lui respirava silenziosa la fonda notte / Caro Signore T. Pencil and oil on canvas 160 x 190cm. 2017 After The Journeys In Between Mr Tabucchi’s Pages (Monument). Mixed technique. 200 x 56 x 52cm. 2017 Diary of an Island / 1,2 qm. Mixed technique. 100 x 120 cm. 2016 …he awoke; he looked, no longer alarmed, at the dim things that surrounded him…/ Horizontal With A3 Vertical“. Mixed technique. 137 x 50 x 15,5 cm. 2015 The Dormouse’s Dream (Monument). Mixed technique. 218 x 87 x 35 cm. 2015 Another Moment. Pencil and oil on canvas. 190 x 240 cm. 2015 From the series Bonjour Monsieur G. Acrilic, pencil and oil on engraves of J. J. Grandville “Les Fleurs Animées” (1867). 25 x 15,5 cm. 2013

Oporto (PT) Susanne S.D. Themlitz O Estado do Sono (The State of Drowsiness), Paiol / Museum for Contemporary Art, Elvas (PT) Lisboa. 1968 2009 www.susannethemlitz.net At Eye Level, Vera Cortês Art Agency, (PT) SOLO EXHIBITIONS 2008 O Estado do Sono (The State of Drowsiness), Pavilhão Branco / Municipal Museum, Lisbon (PT) 2020 Upcoming: Sismógrafo, Oporto (PT) 2007 Vertebrados e Invertebrais II (The Vertebral & The Invertebrate II), MCO Arte Contemporânea, 2019 Oporto (PT) The Still Life of Landscape , Matjö Raum für Kunst, Cologne (DE) El Silencio cerca de la Línea, Ángeles Baños Gallery, Badajoz (ES) 2006 Extroversão (Extroversion), Vera Cortês Art Agency, Lisbon (PT) 2018 O Estado do Sono (The State of Drowsiness), Culturgest, Oporto (PT) Três linhas, um canto vezes quatro. E uma paisagem., Vera Cortês Gallery, Lisbon (PT) Of Subterranean Life, Casa da Cerca, Almada (PT) 2016 Themlitzarium, Casa das Artes, Tavira (PT) Breath. Pause – Between Two Points, Vera Cortês Art Agency, Lisboa (PT) 2005 2015 Metamorphopsia Two Thousand and Five, Carmona e Costa Foundation, Lisbon (PT) Ese paciente laberinto, Ángeles Baños Gallery, Badajoz (ES) Vertebrados e Invertebrais, Ponte de Sor Municipal Library, Ponte de Sor (PT) Le Loir est rendormi, Galerie Houg, (FR) 2004 Um A4 encostado à parede, no lugar da ilha um ponto vazio, MCO Arte Contemporânea, Oporto Zeit Paradies, Carla Stützer Gallery, Cologne (DE) (PT) Paraíso Público / Zeit Paradies, Emmerico Nunes Cultural Centre, Sines (PT) 2014 Anthropophobies & Etholomanies / Anonymous Rivals Borderers, Flottmannhallen, Herne (DE) Lá em baixo fica iluminada a sombra, Vera Cortês Art Agency, Lisbon (PT) 2003 2013 Modus Vivendi. Genus Mutabile / Anonymous Venetical Creatures, Luís Serpa Gallery, Lisbon (PT) À la poursuite d’un papillon / Sans doute l’horizon était là-haut, Houg Gallery, Lyon (FR) Ignoramus et Ignorabimus / Lunar Documentation, Promontório Gallery, Lisbon (PT) Oh!, Aranapoveda Gallery, Madrid (ES) Video, Slowmotion, ESTGAD, Caldas da Rainha (PT) Still Alive (se bifurcan y solapan), Ángeles Baños Gallery, Badajoz (ES) 2001 2012 From the Private Life of the Parasites, Outsiders and Borderes, Carla Stützer Gallery, Cologne (DE) Drei Zeichnungen und ein Wesen, Galerina Steiner, Berlin (DE) 2000 2011 The Egomaniacs and the Imperfects, Manuel Ojeda Gallery, Las Palmas, Gran Canária (ES) Entre o Tempo (Between the Time), Vera Cortês Art Agency, Lisbon (PT) The Egomaniacs and the Imperfects, Gallery Luís Serpa Projectos, Lisbon (PT) Entre el Tiempo (Between the Time), Museum of Modern and Contemporary Art Santander (ES) 1999 2010 Quiproquo • After the Marvellous Travels of Georges Méliès, Chiado Museum, Lisbon (PT) 4 Containers, 1 Drawing and One Landscape / On Board of Victor Hugo, P28, Lisbon (PT) The Good, the less Good and other Survivors, Schneiderei Gallery, Cologne (DE) Silence / 5 elements in bronze and aluminium, probably detached from a graphite and oil 1998 drawing, yet to be realized, Ermida Nossa Senhora da Conceição, Lisbon (PT) Portable Landscapes • Strange Things Happen When You Are Abroad, Bores & Mallo Gallery, 2009 Cáceres (ES) Migratory Landscape / Quand le chat est parti, les souris dansent, MCO Arte Contemporânea, 1997 Für Fremde, Gallery Konrad Mönter, Meerbusch (DE) The Sibyl’s Gaze / Corporality and Tranfiguration, Museum Oriente Foundation, Lisbon (PT) 1996 MACE - 10 Years of the Museum for Contemporary Art, The Cachola Collection, MACE, Elvas Sculpture, Schneiderei Gallery, Cologne (DE) (PT) Espectros, Luís Serpa Gallery, Lisbon (PT) VER – Travessa da Ermida, Lagar das Varas, Idanha-a-Velha (PT) Fontes, Associação dos Arquitectos de , Lisbon (PT) Imago Mundi - Mediterranean Routes, ZAC – ZISA ZONA ARTI CONTEMPORANEE, Palermo (IT) 2016 GROUP EXHIBITIONS Second Nature, MAAT, Lisbon (PT) 2020 Summer Guests, Calouste Gulbenkian Museum, Lisbon (PT) Upcoming: O Pequeno Mundo, MACNA / Museu de Arte Contemporânea Nadir Afonso, Chaves Inselunendlichkeit, Galerina Steiner, Berlin (DE) (PT) Shadows, Masks and Puppets from the Puppet Museum, Cordoaria Nacional, Lisbon (PT) Blue is Hot and Red is Cold, Frank Schlag Gallery, Essen (DE) Der Flug der Königinnen. Women at work, Rompone Kunstsalon, Cologne (DE) 2019 The Travessa da Ermida Project, Arts’ Centre, Sines (PT) Blue is Hot and Red is Cold, Kunsthalle Düsseldorf (DE) There is no Why, there is no I - Body and Physicality in the Norlinda and José Lima Collection, Blue is Hot and Red is Cold, Kulturbahnhof Eller, Düsseldorf (DE) Centre for Contemporary Culture, Castelo Branco (PT) De outros espaços, The MAAT Collection, Municipal Gallery, Oporto (PT) XXV Aniversary of ARTSANTADNER, Municipal Exhibition Palace, Santander (ES) The Collection, Gulbenkian Museum, Lisbon (PT) Periplos Arte portugués de hoy, CAC Centro de Arte Contemporáneo Málaga (ES) E livres habitamos a substância do tempo, Casa da Cerca, Contemporary Art Centre, Almada (PT) 2015 Half The Sky, Arpad Szenes - Vieira da Silva Foundation, Lisbon (PT) Perfilar la Idea, Huelva Museum (ES) Studiolo XXI: Drawing & Affinities, Eugénio de Almeida Foundation, Évora (PT) Um horizonte de proximidades, Arquipélago - Centre of Contemporary Art , Azores (PT) 2018 Cadavre Exquis, Casa das Artes, Tavira (PT) The Conspiracy of Forms: Works from the Serralves Collection, Terminal de Cruzeiros do de Moderno & Medieval Camuflado, Grão Vasco Museum, Viseu (PT) Leixões, Matosinhos (PT) Entre Milenios, Museum of Contemporary Arta Santander (ES) Second Nature / Portuguese Contemporary Art from the EDP Foundation Collection, The Kreeger 2014 Museum, Washington (USA) Alligators all Around / 5 x 3, Kunstraum, Düsseldorf (DE) Intersticial: Diálogos no Espaço entre Acontecimentos, The Norlinda e José Lima Collection, Oliva Acervo, The Navacerrada Collection, Art Centre Alcobendas, Madrid (ES) Creative Factory, S. João da Madeira (PT) Printing Matters, Graphik-Kabinett, Bachnang (DE) Field of View / Nucleus of Contemporary Art of the Lisbon City Council, Cordoaria Nacional, The António Cachola Collection at the Museum of Contemporary Art MACE, Elvas (PT) Lisbon (PT) Shown or to be Shown, Houg Gallery, Lyon (FR) Variations Portugaises, Abbaye Saint Andre - Contemporary Art Centre, Meymac (FR) 2013 Drawing Correspondences, Drawing Now / Carreau du Temple, Paris (FR) Sentido em deriva | Works from the Collection Caixa Geral de Depósitos, Culturgest, Lisbon (PT) MACE - 10 Years of the Museum for Contemporary Art, The Cachola Collection, MACE, Elvas 2Q13 Women Artists | Women Collectors, Lloyds Club, London (GB) (PT) It’s a Women’s World II, Martina Kaiser Gallery, Cologne (DE) 2017 Private Appearences, Apard Szenes - Vieira da Silva Foundation, Lisbon (PT) Construcción: Fondo y Figura, Ángeles Baños Gallery, Badajoz (ES) Um retrato quase apagado, Cerveira Biennal Foundation, Vila Nova de Cerveira (PT) Art as an Experience of the Real / Personal collection of Ivo Martins from the Serralves Mu- Foundation, Casa das Artes, Tavira (PT) seum, International Arts Centre José de Guimarães CIAJG, Guimarães (PT) Collecting Mushrums is a Dangerous Attitude, Luís Serpa Gallery, Lisbon (PT) Os deuses debruçam-se do parapeito da escada, Casa Fernando Pessoa, Lisbon (PT) 2012 Kino, Kunst, Kalkohol, Galerina Steiner, Berlin (DE) Artist’s Books, Ángeles Baños Gallery, Badajoz (ES) The Brocense Art Award, El Brocense, Cáceres (ES) Bichos, Entre o Homem e Animal, Rafael Bordallo Pinheiro Museum, Lisbon (PT) Infinite Tasks. When Art and Book Unbind Eachother, , Calouste Gulbenkian Museum, Lisbon (PT) 2007 Dyssomnia / Experimentierzimmer, Hans-Peter-Zimmer Foundation, Düsseldorf (DE) Banyan Project: BHU University, Varanasi (IN), Meta House, Phnom Penh (KH) Otras Flores del Mal, Aranapoveda Gallery, Madrid (ES) Open Garden, Palácio de Belém, Lisbon (PT) O Fim do Mundo, Neumünster Abbey, Luxembourg (L) Amadeo de Souza-Cardoso Award, Municipal Museum, Amarante (PT) Outdoor, Lisbon & Oporto (PT) O Banquete, Vera Cortês Art Agency, Lisbon (PT) 2011 Transfer, Palácio da Galeria, Tavira (PT) Todo lo visible mi afecta, Ángeles Baños Gallery, Badajoz (ES) BES Photo, Centro Cultural de Belém, Lisbon (PT) Roads to Whatever / Works from the CAM Collection, Calouste Gulbenkian Fundação, Lisbon (PT) Watercolour Show, MCO Arte Contemporânea, Oporto (PT) Eu Podia Fazer Isto, Espaço Atmosferas, IPA, Lisbon (PT) Armanda D Ângela F Ana V Fernanda F Maria L Susanne T, Centro Cultural de Lagos, Lagos (PT) Gabinete de Curiosidades #1/ Constkamer, Luís Serpa Projectos Gallery, Lisbon (PT) 2006 2010 Über Kopf, Flottmannhallen, Herne (DE) The Collection of António Cachola, Berardo Museum, Lisbon (PT) Acchrochage 2, Palácio de Santos, French Embassy, Lisbon (PT) And Than Again, Pavilhão Preto, Municipal Museum, Lisbon (PT) Finalmente, Carla Stützer Gallery, Cologne (DE) Invisible Lines, Rua Cavaleiros Espora Dourada, Torres Vedras (PT) The Social Contract, Bordallo Pinheiro Museum, Lisbon (PT) Banyan Project: Kunstgalerie Fürth (DE), Fiji Museum (FJ), Cook Islands Museum (CK) 2005 Marginália, d’aprés Edgar Allan Poe, Plataforma Revólver, Lisbon (PT) Imaginary Lives, Calouste Gulbenkian Museum, Lisbon (PT) O dia mais longo do ano, Municipal Theatre, Almada (PT) Platen, Themlitz, Walter, Boisseréestraße 5, Cologne (DE) 2009 Finalmente, Carla Stützer Gallery, Cologne (DE) She is a Femme Fatale, Berardo Museum, Lisbon (PT) Entre Duas Luzes, Parliament, Lisbon (PT) BES, Lisbon (PT) 2004 Além do Tempo, dentro do Museu, Nacional Museum Soares dos Reis, Oporto (PT) Horizonte(s), 20 Years Luís Serpa Projectos Gallery, Cordoaria Nacional, Lisbon (PT) Dialogue Boxes on Street Windows / Allgarve, Faro (PT) Die Jägerprüfung, Peter Tedden Gallery & Kunstverein Oberhausen, Oberhausen (DE) Our Time / Video Screening Project, Smallbox, Psychiatric Hospital Centre, Lisbon (PT) Wild Life, Sommerpalast, Neuss (DE) 16 Anos de Cumplicidade na Arte, Arts’ and Culture Centre, Ponde de Sor (PT) 2003 Diferença e Simulacro, Junho das Artes, Óbidos (PT) Videolounge, part of the exhibition of Hans-Peter Feldmann, Museum Ludwig, Cologne (DE) Banyan Project: The Paul Gauguin Museum / Centre des Metiers d´Art Tahiti (PF), Körnerpark Colecção de Arte Contemporânea da Caixa Geral de Depósitos, MEIAC, Badajoz (ES) Gallery, Berlin (DE), National Gallery Bangkok (TH) 2002 Lá Fora, Electricity Museum, Lisbon (PT) Zum Jahresende, Carla Stützer Gallery, Cologne (DE) 2008 Drawing Award, Vieira da Silva Museum, Lisbon (PT) Dibujo Contemporáneo, Centenera Jaraba Foundation, Alovera (ES) Acchrochage/Sculpture, Luís Serpa Gallery, Lisbon (PT) Aquilo Sou Eu, Carmona & Costa Foundation, Lisbon (PT) Acchrochage/Drawing, Luís Serpa Gallery, Lisbon (PT) Domésticos e Selvagens, MCO Arte Contemporânea, Oporto (PT) Contemporary Art • Acquisitions of the Caixa Geral de Depósitos, Culturgest, Lisbon and Oporto Sovereign European Art, Sommerset House, London (GB) (PT) X Mostra International Union Fenosa, MACUF, A Coruña (ES) Some People, Carla Stützer Gallery, Cologne (DE) Quel Air Clair.../ The Ar.Co Collection, Pavilhão Preto / Municipal Museum, Lisbon (PT) 2001 Lá Fora, Museu da Presidência, Viana do Castelo (PT) Köln Kunst 6, Josef-Haubrich-Kunsthalle, Cologne (DE) Parangolé, Museum of Contemporary Art Patio Herreriano, Valladolid (ES) A Imagem do Momento, Pavilhão Branco, Municipal Museum, Lisbon (PT) 4 aus Lissabon, Janine Mautsch Gallery, Cologne (DE) Sculpture Award, D. Luís I Foundation, (PT) 1992 2001: Odisseia no Tempo, Luís Serpa Projectos Gallery, Lisbon (PT) Ar.Co.’s Awardees in the Royal College of Art, Calouste Gulbenkian Foundation, Lisbon (PT) 2000 Depósito, Casa Fernando Pessoa, Lisbon (PT) GRANTS Spanding an Intire Ocean, Culturgest, Lisbon (PT) 1997 - 98 Centro Nacional de Cultura: Portable Landscapes O Centre de Art em Montrouge, Sociedade Nacional de Belas Artes, Lisbon (PT) 1997 Deutsch-Französisches-Jugendwerk: Quiproquo • After the Marvellous Travels of Georges Sala do Veado, Natural History Museum, Lisbon (PT) Méliès Salon D’Art Contemporain, Centre Culturel et Artistique de Montrouge (FR) 1993-95 Calouste Gulbenkian Foundation: Meisterschüler at Kunstakademie Düsseldorf 1999 1992 Calouste Gulbenkian Foundation: Exchange Program with The Royal College of Art, London Le Dernier Cri 99/00, Carla Stützer Gallery, Cologne (DE) Accrochage, Luís Serpa Projectos Gallery, Lisbon (PT) 1991 - 93 Ar.Co.: Sculpture and Drawing Review • Preview, Gallery Schneiderei, Cologne (DE) 1988 EC: Sculpture in Italy The Good, the less Good and other Survivors, Bienal da Maia (PT) Marae, Enschede (NL) AWARDS 1998 2012 Drawing: The Brocense Art Award (ES) Seltsam, part of the exhibition Lieblingsort Köln, Schnütgen-Museum, Cologne (DE) 2008 Drawing: Centenera Foundation (ES) A Figura Humana na Escultura Portuguesa do Séc. XX, Oporto (PT) 2007 Video: Amadeo de Souza-Cardoso (PT) Drawing, Schneiderei Gallery, Cologne (DE) 2002 Video: Figueira da Foz International Film Festival (PT) 1997 2001 Sculpture: City Desk (PT) Imagem sem Imagem, Museu de Évora (PT) 2000 Video: Dr. Best Foundation, Cologne (DE) ..., expecting, from where the wind blows, Bremen (DE) 1999 Video: 4th National Video Festival, Ovar (PT) Hors Catalogue, Maison de la Culture d’Amiens (FR) 1993 Drawing: V Biennial, Caldas da Raínha (PT) 1996 Artists’ Books, National Library Austria, Vienna, Austria (A) ART FAIR PARTICIPATIONS Bildloses Abbild, Gütersloh (DE) Kunstaanmoedigingsprijs Amstelveen, Amsterdam (NL) 2020 ARCO, Madrid: Vera Cortês Art Agency 1995 Paula Soares & Susanne Themlitz, Luis Serpa Gallery, Lisbon (PT) 2019 VI Bienal Caldas da Raínha, Caldas da Rainha (PT) Estampa, Madrid: : Ángeles Baños Gallery ARCO, Lisboa: Vera Cortês Art Agency 1994 ArteBa, Buenos Aires: Ángeles Baños Gallery Luisenstraße 25, Studios A.R. Penck, Düsseldorf (DE) Formas únicas da Continuidade no Espaço, Luis Serpa Gallery, Lisbon (PT) 2018 Salon D’Art Contemporain, Centre Culturel et Artistique de Montrouge (FR) arARCO, Madrid: Vera Cortês Art Agency

1993 2017 V Bienal Caldas da Raínha, Caldas da Raínha (PT) Disegni / Artissima, Torino: Ángeles Baños Gallery Finalistas do Ar.Co., Ministry of Finance, Lisbon (PT) ARCO, Lisbon: Vera Cortês Gallery and Ángeles Baños Gallery 2016 Docks Art Fair, Lyon: MCO Arte Contemporânea ARCO, Madrid: Vera Cortês Art Agency 2006 Art Santander: Ángeles Baños Gallery Arte Lisboa, Lisbon: Vera Cortês Art Agency 2015 Art/Salamanca, Salamnca: MCO Arte Contemporânea Volta, Basel: Ángeles Baños Gallery Loop Video Art, Barcelona: Vera Cortês Art Agency 2014 2003 Ch.ACO, Santiago de Chile: Ángeles Baños Gallery Arte Lisboa, Lisbon: Luís Serpa Projectos Gallery Est Art Fair, Estoril: Vera Cortês Art Agency ARCO, Madrid: Luís Serpa Projectos Gallery sp-arte, S. Paulo: Vera Cortês Art Agency 2002 Drawing Now, Paris: Houg Gallery Arte Lisboa, Lisbon: Luís Serpa Projectos Gallery ARCO, Madrid: Vera Cortês Art Agency 2001 2013 ARCO, Madrid: Gallery Manuel Ojeda Art Santander: Ángeles Baños Gallery 2000 Volta 9, Basel: Aranapoveda Gallery Marca, Funchal, Madeira: Projectroom Luís Serpa Projectos Gallery Art 13, London: Aranapoveda Gallery ARCO, Madrid: Gallery Bores & Mallo & Luís Serpa Projectos Gallery ARCO , Madrid: Vera Cortês Art Agency 1999 Drawing Now, Paris: Houg Gallery ARCO, Madrid: Gallery Bores & Mallo (ES) 2012 1998 Slick Art Fair, Paris: Houg Gallery ARCO, Madrid: Luís Serpa Projectos Gallery (ES) Scope Basel, Aranapoveda Gallery ArtBa, Buenos Aires: Vera Cortês Art Agency Just Madrid: Ángeles Baños Gallery Art Santander: Ángeles Baños Gallery 2011 ArtRio, Rio de Janeiro: Vera Cortês Art Agency Arte Lisboa: Ángeles Baños Gallery ARCO, Madrid: Vera Cortês Art Agency 2009 Puro Arte, Vigo, MCO Arte Contemporânea Arte Lisboa, Lisbon: MCO Arte Contemporânea 2008 Arte Lisboa, Lisbon: MCO Arte Contemporânea Art Brussels: Vera Cortês Art Agency 2007 Arte Lisboa, Lisboa: Vera Cortês Art Agency & MCO Arte Contemporânea Foro Sur, Cáceres: Vera Cortês Art Agency ARCO, Madrid: Vera Cortês Art Agency www.galeriaangelesb.com Plaza Alféreces _11_06005_Badajoz_+ 34 606 088 965