October 6 — November 18, 2018
Galeria Municipal do Porto
Porto, Portugal

Solo exhibition

Curated By Sofia Lemos

Curveball Memory operates as an installation structured around misdirection, interruption and delayed recognition, using memory not as a stable archive but as a system of displacement. The project approaches recollection as something that is continuously reconfigured by error, interference and unexpected deviation.

The exhibition combines sound, sculptural elements and textual fragments that circulate without stabilising into a linear narrative. Instead of constructing a coherent sequence of events, the work produces partial alignments between perception and recall, where meaning emerges through detours rather than continuity.

Within this framework, memory is treated as a volatile mechanism: a process that is shaped as much by what is forgotten or distorted as by what is retained. The “curveball” functions here as both metaphor and operative principle — an external disturbance that redirects attention and destabilises expectation.

Rather than offering access to a fixed past, the installation stages memory as an active and unstable field of reconstruction, in which each element modifies the conditions under which the next can be understood.

The viewer is positioned within this instability, not as a receiver of a completed narrative, but as an agent participating in the ongoing reorganisation of perceptual and mnemonic structures.

Curveball Memory thus proposes memory not as retrieval, but as continuous recalibration.

In Musa paradisiaca’s cosmogony, syllogisms move erratically, in conversation, in convertion, from A to B and anywhere in between — in this slithering resides the ambiguity, the arbitrariness of that which is transient, the wilfulness and volition of imagining communities otherwise.

Sofia Lemos

Views on Misunderstanding, published along with the exhibition