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pORTUGAL TOUR IN A GAZEBo

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Centro de arte oliva, s. joão da madeira, 2019-2020

© Photo credits: Tiago Madaleno

Dedicated to Natália de Andrade (2016-2019)   

Wallpainting (acrylic paint on wall (310 x 287 x 53 cm)) with drawings and paintings (graphite, marker, pen, colour pencil and acrylic paint on paper) and Gazebo prototype (145 x 139,5 x 135 cm).

View of the colective exhibition TRABALHO CAPITAL # ENSAIO SOBRE GESTOS E FRAGMENTOS, a project by Paulo Mendes, 2019-2020

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© Photo credits: Tiago Madaleno

Dedicated to Natália de Andrade (2016-2019)   

Wallpaper (310 x 287 x 53 cm)) with painting (oil on canvas) (61,7 x 48 cm), serie 10 paintings (acrylic paint and white glue on canvas) (35 x 25,8 cm) and Gazebo prototype (145 x 139,5 x 135 cm).

View of the collective exhibition TRABALHO CAPITAL # ENSAIO SOBRE GESTOS E FRAGMENTOS, a project by Paulo Mendes, 2019-2020

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© Photo credits: Tiago Madaleno

Dedicated to Natália de Andrade (2016-2019)   

Wallpaper (310 x 287 x 53 cm)), flyers on a shelf (16,2 x 27 cm) and Gazebo prototype (145 x 139,5 x 135 cm).

View of the collective exhibition TRABALHO CAPITAL # ENSAIO SOBRE GESTOS E FRAGMENTOS, a project by Paulo Mendes, 2019-2020

© Photo credits: Tiago Madaleno

Portugal Tour in a Gazebo (2020)   

Posters that compose a wallpaper (310 x 287 x 53 cm).

View of the collective exhibition TRABALHO CAPITAL # Greve Geral, a project by Paulo Mendes, 2020

   Imagined to be a public monument that payed homage to the amateur performer, this gazebo is connected with an event:

in 1982, the opera diva Natália de Andrade, public known by her tuning dificulties, was invited to sing in the portuguese television show Passeio dos Alegres, in RTP. In the middle of her performance, a rain of rose petals, that should crown her  at the end, starts falling over her head. This production error transformed the performance into a tragic-comic spectacle - in the spotlight, there was the singer struggling between the attempt to project her voice and the need to avoid the petals to fall inside her mouth.

   The project's premisse, that was initially intended to be an homage gesture to the singer, with the title Dedicated to Natália de Andrade, came from thinking how to transform that rain of petals from a ridiculous phenomenon into a cathartic symbol, how to transform a laughable moment into the center of a community celebration. In that sense, the gazebo appears to the project as the ideal stage, to act as the bridge between that original event and the amateur performer. Having Natália de Andrade voice as the center of the project, a musical score of her voice was used as a map to cut in the ceiling of the gazebo several petal shaped holes. Throug the incidence of sun light, the gazebo recovers metaphorically the original presence of the rain of petals, making the voice of the singer a kind of blessing for the potential amateur singers. The project ends in a street performance where the itinerant gazebo visits several regions in Portugal to invite amateur singers to perform inside its structure. 

   Portugal Tour in a Gazebo focus upon the idealization, construction and public intervention of that gazebo. Through various phases, the project suffers many metamorphoses thanks to the contribution of several mediums: from the idealization of the arquitectonic structure, to the speculation around symbols from Natália de Andrade's life, to the industrial production of the gazebo, to the execution of the perfomative event, to the installation of the project in different exhibition contexts.

   Portugal Tour in a Gazebo reflects upon the relation between monument and public space, on how to include a community into an artistic pratice, on technic, connected with manual labor, using the reflection on the desapreciation of the ornament and the kitsch as a central element in the research, and on the use of translation and contamination between several medium - as painting, as drawing, as photography, as performance, as arquitecture, as typography and text - as a narrative tool. 

This project was supported by Artworks and Appleton Associação cultural.

Portugal Tour in a Gazebo (memories 1) (2020)   

Graphite, marker and pen on paper, 61,3 x 43,9 cm

© Photo credits: Inês Oliveira

Bons sons, cem soldos, tomar, 2019

© Photo credits: Tiago Madaleno

© Photo credits: Tiago Madaleno

© Photo credits: Tiago Madaleno

© Photo credits: Inês Oliveira

Bons Sons - 1
Bons Sons 4
Bons Sons 5
Bons Sons 2
Bons Sons 3
Bons Sons 6

© Photo credits: Tiago Madaleno

Portugal Tour in a Gazebo (2019)   

Documentation of street performance on Bons Sons, Cem Soldos Tomar, 2019.

In collaboration with locals and the team festival.

Credits of the project: 

Street animator: Márcia Gomes, Peter Castro 

Photography: José Costa, Inês Oliveira, Tiago Madaleno

Video: Adriana  Romero, Bruno Lança, Joana Patrão, Inês Oliveira

Production: Paloma Bernaudeau, Tiago Madaleno

Supported by: Artworks and Appleton Associação Cultural

artworks, pÓVOA do Varzim, 2018

Dedicated to Natália de Andrade - prototype

© Photo credits: Tiago Madaleno

Dedicated to Natália de Andrade - prototype (2018)   

Gazebo prototype - Aluminum sheet and tube, dry point, prolypropilene handles

View of the collective exhibition Wrong Way Up (artistic residency No Entulho #01), 2018

© Photo credits: Bruno Lança

Dedicated to Natália de Andrade - vocal pattern (2017-2018)   

Oil on canvas, 125 x 110 cm

View of the collective exhibition Wrong Way Up (artistic residency No Entulho #01), 2018

© Photo credits: Bruno Lança

Dedicated to Natália de Andrade - rain (2018)   

25 heliographies, sun on emulsioned paper (17,4 x 24 cm each), 125 x 110 cm (total)

View of the collective exhibition Wrong Way Up (artistic residency No Entulho #01), 2018

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© Photo credits: Tiago Madaleno

Dedicated to Natália de Andrade - dance (2018)   

Graphite, marker and rose pen on Fabriano paper 120 g, 394 x72,5 cm

View of the collective exhibition Wrong Way Up (artistic residency No Entulho #01), 2018

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© Photo credits: Bruno Lança

Dedicated to Natália de Andrade (2016-2018)   

Two tables with drawings, paintings and models, serie of heliographies (125 x 110 cm), seven drawings (42 x 59,4 cm (each).

View of the collective exhibition Wrong Way Up (artistic residency No Entulho #01), 2018

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Galeria painel, porto, 2016

© Photo credits: Tiago Madaleno

Dedicated to Natália de Andrade (2016)   

Wallpaper, k-line furniture, music box and brochure.

View of the collective exhibition , (coma), 2016