"Longe dos métodos tradicionais de ensino, o laboratório enfatizou a prática, a improvisação, o debate e a colaboração. A discussão das obras de arte, as suas qualidades formais, o significado que cria, o ambiente envolvente, o trabalho do artista e o do espectador - todos estes assuntos têm características educacionais e são exemplos da abordagem curatorial de Zaratan às atividades de formação. Não se trata apenas de organizar a troca de saberes, mas antes de tudo, criar espaços discursivos: um contexto aberto para a existência da prática artística contemporânea.
Após um intenso período de trabalho coletivo com 5 artistas / formadores, a galeria da Zaratan configura-se num palco para os participantes partilharem com o público as atividades desenvolvidas durante o workshop, onde o espaço físico é preenchido com pensamento e produções transversais, individuais e coletivas."
Após um intenso período de trabalho coletivo com 5 artistas / formadores, a galeria da Zaratan configura-se num palco para os participantes partilharem com o público as atividades desenvolvidas durante o workshop, onde o espaço físico é preenchido com pensamento e produções transversais, individuais e coletivas."
"Far from traditional teaching methods, the laboratory emphasized practice, improvisation, debate and collaboration. The discussion of works of art, their formal qualities, the meaning it creates, the surrounding environment, the work of the artist and the spectator - all these subjects have educational characteristics and are examples of Zaratan’s curatorial approach to training activities. It is not just about organizing the exchange of knowledge, but first of all, creating discursive spaces: an open context for the existence of contemporary artistic practice.
After an intense period of collective work with 5 artists / trainers, the Zaratan gallery is set on a stage for participants to share with the public the activities developed during the workshop, where physical space is filled with thought and transversal, individual and collective productions."
After an intense period of collective work with 5 artists / trainers, the Zaratan gallery is set on a stage for participants to share with the public the activities developed during the workshop, where physical space is filled with thought and transversal, individual and collective productions."
DRAWING AS A RADICAL SPORT | João Fonte Santa
"Reclaiming the Subvertising strategies developed from the end of the last century and crossing them with the actions of São Paulo graffiti artists, we try to perceive drawing no longer as an artistic discipline, either an art in itself or as an aid to the composition process of other arts, but rather as an action that seeks to reoccupy the social and political space. This exploration will lead to the execution of collage and graffiti exercises from databased of images compiled by the participants themselves."
Final exhibition pieces, in the form of an open to the collaboration of the public mural collage
ARENA _UTOPIA | Vasco Costa
"The mood for this action days, will be debating ideas and strategies of action, creation and possibilities on art forms, around the input basis of an arena place. What could happen on this kind of place? How artistic strategies could operate on this condition? How inspiring can be a round and symbolic space like an arena could also activate utopias, debates, talks and resonate about society nowadays?
After sharing ideas on this topic, with dialogues, debates and a physical visit to an arena site, on the second day we are going to produce visual material, from drawings, collages, writings, scores, choreography’s, photo-assemblage, whatever content that could show an idea to the others. We would like to make and print a publication out of this."
Some of the pictures I took during the journey around Vila Franca de Xira bullfighting arena
The resulting exhibition piece, scanned and assembled plates in a video to be reproduced in loop
A KIT IN THREE PARTS | Isobel Atacus
"Over two days we will be interpreting and creating artist kits. We’ll draw on instruction work and the more informal (and possibly performative) prompt, to think about start points and end points of a work. Moving between poetic and the more practical, this session sets out to de-construct the boxed up format of a kit, to play with different ways to activate our ideas of ‘work’. What is the temporality of a piece, who carries out the work, how open-ended can this be? The session will be collaborative with opportunity for more individual response. The final kits and pieces will be installed in the exhibition, or left as a set of instructions for others to install…"
The instructions I wrote for the final kit for the exhibition, that were recited and recorded to be held in a speaker hidden inside the piece
The final exhibition piece
THE VIEWER'S PLACE IN THE WORK OF ART | Susana Borges
"Our look sees and touches the pieces of art, invades the space of the works and is returned to us. The space that is ours is stolen from us and we take over the space we see. Our limits and the limits of things is called into question. The worlds get involved. Laying with multimedia devices, in this workshop we are going to think about the spectator's place and how the works of art transform him into a part of the work."
Slides found at a flea market intervened with mixed media for a perforative slideshow
PLACE OF OTHER | Nuno Direitinho
"The workshop will focus upon the use of one’s intentions towards space, context, assimilation and projection of ideas in different environments. Set as tender ground for the realisation of a project, ideas tend to lead us onto projecting materials to support them. Using time to mark an encounter between the artist and the space that supports these ideas, I suggest the group looks towards the threshold of the usable space and treat it in the same way objects break from ideas, memories and context.
By making use of one another to break free from originality and context, the slot of time allocated for the workshop will also strive to put in motion the ability to translate experiences into different aspects of the gallery space.
Homework: Development of lens based media concerned with the concepts of: private action, public reaction and spatial interaction. Each participant is required to make/collect 10 representative images of one’s idea of these subjects."
Individual project, 'Zaratan Safe Inside', fictional zine-like instruction manual for a desired but impossible site-specific installation, based on the mental configuration of spaces, inner and outer in respect to those constructions we associate with the notion of home, as the embodiment of a safe place