Musa paradisiaca is a dialogue-based project by Eduardo Guerra and Miguel Ferrão. Founded on temporary partnerships with individual and collective entities of varying competence, it assumes different shapes, while always maintaining a discursive reference. Hence, it proposes to gradually construct a thinking family which is revealed by many voices.
VIEWS ON MISUNDERSTADING, book launch at Galeria Municipal do Porto, Porto, Portugal, November 17, 2018, 4pm
ENTREVISTA A MUSA PARADISIACA, interview by Antonia Gaeta, Contemporânea, November, 2018
ANIMAL HUNGER, interview by Sofia Lemos, Vdrome, September, 2017
A CONVERSATION WITH MUSA PARADISIACA, interview by Claudio Zecchi, Drost Effect, April 14, 2017
OBJECTOS QUE SE ENCONTRAM. UM ENCONTRO NOS OBJECTOS (PODERIA SER OUTRO TÍTULO), review by David Revés, Contemporânea, March/April, 2017
CASA-ANIMAL : UM PALCO PARA O DIÁLOGO, PARA A EXPERIÊNCIA, PARA A RENOVAÇÃO, review by David Revés, BOCA, April 7, 2017
MUSA PARADISIACA'S "MASTERS OF VELOCITY", review by Ana Teixeira Pinto, Art-agenda, January 25, 2017
MUSA PARADISIACA AT CHIADO8, interview by Teresa Nicolau, RTP2/As Horas Extraordinárias, March 10, 2016
FAZER COMUNIDADE, review by Celso Martins, Expresso/Revista E, September 5, 2015
EVERY PICTURE TELLS A STORY : DISPOSITIVI DI NARRAZIONI NEL LAVORO DE ANDRÉ ROMÃO, PEDRO BARATEIRO E MUSA PARADISIACA, article by Claudio Zechi, Arte e Critica, 2014
THE “AUDITIONS” OF MUSA PARADISIACA AND THE STRATEGIES OF AGGREGATION / RESINGULARIZATION, review by Sofia Nunes, Revista4, November 2014
MUSA PARADISIACA, review by Filipa Oliveira, Artforum, November 2014
AS COISAS E OS SEUS NOMES, review by Nuno Crespo, Público/Ípsilon, June 13, 2014
AUDIÇÃO DAS MÁQUINAS, review by Celso Martins, Expresso/Actual, June 13, 2014- close
October 6 - November 18, 2018
Galeria Municipal do Porto, Porto, Portugal
Solo exhibition curated by Sofia Lemos
"Drawing from polyvocality and the coming-together of objects, forms and words, Musa paradisiaca conveys the diverse entities and tutelary figures the duo has incorporated into its practice. The artists recognised in its early stages that conversation can generate a singular entity that overflows any correlation between kin and kind. Conversation, which puts forth the sense of self—of one who speaks and another who listens—is also a word that derives from being together in conversion, giving way to a space in which each person, or each thing, emerges in a distinct albeit related manner.
A project about conversation as co-presence, Curveball Memory stages these elements as transitory memories and in-between states, materialising its continuous transformation through oral, textual, sound, film, sculptural and performance based objects. The exhibition departs from the potential of dialogue to emancipate language from the domain of human consciousness, listening to things that are often represented as silent."
Images by Dinis Santos
Courtesy of Galeria Municipal do Porto
June 15 — July 27, 2018
Colégio das Artes - Universidade de Coimbra, Coimbra, Portugal
October 5 - 8, 2017
Frieze London 2017, Focus Section (Galeria Múrias Centeno), London, UK
March 15 - April 15, 2017
Galeria Múrias Centeno, Lisbon, Portugal
"— Just arriving in town (Gwangju, South Korea), a man, meeting us for the first time, asked us to feel his hands just to confirm the softness of his skin. This principle of incredulity (one has to touch in order to believe) and the notion of intimacy driven by this gesture, completely amazed us."
Man with really soft hands is a portrait and a tribute departing from an event. It is an approach to a constellation of intuitions, relationships and obsessions, transversal to Musa paradisiaca's practice. It consists of a set of painted fiberglass sculptures presented with a set of drawings on acetate.
Images by Bruno Lopes / Renato Ghiazza / Vítor Garcia
Courtesy of Galeria Múrias Centeno / Colégio das Artes - UC
October 3 — November 18, 2017
Workplace Gallery, London, UK
Group exhibition curated by Hugo Canoilas, featuring "How to catch a fugitive" (2013-2017) by Musa paradisiaca
"(...) Musa paradisiaca's first sculptural objects appeared with their first experience of work in São Tomé (the small island off the Atlantic coast of Central Africa). Objects then would be named, however these names would carry other values that cannot be translated, instead expressed by a system of knowledge that is outside of Europe.
Musa paradisiaca's "How to catch a fugitive" starts from a collaboration with Tomé Coelho, an artist from São Tomé who "translates" specific words given to him by the artist duo into carved objects. The presentation of this series of objects implies their conception. The objects are reactivated by words that function as a rite de passage for the viewer. Musa paradisiaca's work dissolves the invisible relation between the word and the object, the magic and the artistic."
Images courtesy of Workplace Gallery
March 19 - April 7, 2017
BoCA - Biennial of Contemporary Arts, Lisbon, Portugal
The construction of a monument integrates (almost always) the implicit possibility of the permanence of a tribute. Architecture itself, its methods and forms, already anticipate a set of actions to be practiced and a time to be lived in and out of a given space. Taking the transience or the nomadism of this place, “Casa-animal” (Animal-house) is a monument defined for the public space.
Collapsible, transportable and adaptable, this sculpture-monument-stage is the result of the collaboration between Musa paradisiaca and the Architect Miguel Roxo, with the support of the Engineer Vasco de Barros. Built with a hybrid notion of scale, between man and animal, "Animal-house" is a place that shares qualities of shelter, chapel and stable. It presents unique sessions by Musa paradisiaca while it also houses a set of undefined events proposed through a public Open Call.
Images by Bruno Simão
Courtesy of BoCA - Biennial of Contemporary Arts
November 26, 2016 - February 11, 2017
Dan Gunn Gallery, Berlin, Germany
"Recently we met a group of monoplane pilots at a small private aerodrome. They usually gather there to fly and to watch others fly.
On this occasion, one of them was already in the air while the others on the ground were watching him.
The most experienced one was giving a lesson on why aeroplanes fall from the sky / how to escape from aircraft emergencies / when a pilot wishes to become the aeroplane / when an aeroplane wishes to become the ground. At the same time, the airborne pilot tried repeated landings, without success. Suddenly, the whole body of the speaking pilot was transformed and we stopped hearing him. Where once there had been flesh and bones, now there was metal and glass. Eventually, the pilot had to quit and try landing at the next aerodrome."
September 16, 2016 - January 22, 2017
Serralves Museum of Contemporary Art, Porto, Portugal
Group exhibition curated by Suzanne Cotter and Ricardo Nicolau, featuring "Ecstasy and Eden" (2014) and "Engine room" (2016), works by Musa paradisiaca in the Serralves Foundation Collection.
Images courtesy of Serralves Museum of Contemporary Art
July 1, 2016 - January 15, 2017
José de Guimarães International Arts Centre (CIAJG), Guimarães, Portugal
Group exhibition curated by f.marquespenteado and Nuno Faria, featuring a major selection of recent works by Musa paradisiaca.
"'Odd Objects: an essay on proto-sculpture' aimed to bring together a wide range of works from the local region’s religious, popular and archaeological heritage, and forged a dialogue with works by contemporary artists. In 2012, as part of the 'Beyond History' exhibition, which inaugurated the José de Guimarães International Arts Centre, we created a small unit, that we called 'Odd Objects: an essay in proto-sculpture'. It had an ironic and mysteriously literary title and combined a group of objects from various sources, that maintained a problematic relationship with the concept of sculpture: either because they had no clear shape, or because they were composed of small scattered fragments, without a unified body, or because they constituted the reverse image, the mould, of recognisable forms (e.g. human body parts)."Nuno Faria (July 2016)
March 7, 2016 - April 22, 2016
Chiado 8 - Espaço Fidelidade Arte Contemporânea, Lisbon, Portugal
Duo exhibition curated by Delfim Sardo, featuring works by Musa paradisiaca in António Cachola Collection.
"The works presented here by Musa paradisiaca are pieces that were recently included in the Cachola Collection and that belong to the duo’s most recent group of works. These are sculptural objects that configure bodies out of the trunks of holly oak trees, from which spring heads made of animal glue. The vernacular power of the images derives from their origin in people whom the artists met in their field work, forming a gallery of primary sources in their narratives (...). Their names refer to living individuals, metamorphosed into metamorphic creatures, in a game of hidden references to the individual, shared histories, which nonetheless remain in a nebulous limbo, only vaguely coming to the fore. It is from the gazes of these heads, the posture of the satiny oak bodies, that one can liberate a potential that seems to emerge from some sort of origin of discourse or perplexity."Delfim Sardo (March 2016)
November 21, 2015 - January 31, 2016
MNAC - Museu do Chiado, Lisbon, Portugal
Group exhibition curated by Emília Tavares, featuring "Canteen—Fable" (2015) and "Animal Hunger" (2015), works by Musa paradisiaca.
Images courtesy of MNAC - Museu do Chiado
October 18, 2015 - January 17, 2016
CRAC Alsace, Altkirch, France
Solo exhibition curated by Elfi Turpin
Talk with Tomé Coelho
"Your father was a sphinx and your mother a night."*
This is what springs to mind every time I get ready to talk about "Alma-Bluco", a Musa paradisiaca solo exhibition: a masking sentence, an enigmatic injunction, almost a spell, which so totally informs the genesis and the contours of this exhibition that it leaves room for not a single other word.
And yet things remain to be said: Musa paradisiaca is a project by Eduardo Guerra and Miguel Ferrão which tends towards the construction of a multivoiced family of thought. The "Alma-Bluco" exhibition is a family reunion: a coming-together of entities and tutelary figures which Musa paradisiaca has encountered and incorporated into its practice, into the shaping of a magical mode of thinking made of myths, stories and acts born of vernacular belief systems.
For some months now, Musa paradisiaca has been working in a bakery. (...) The bakery turns out to be the beating heart of a human activity that takes place when all the others stop: a place where a mysterious nocturnal force is capable of creating food. One evening the baker explained to them why large animals sleep standing up:
"When an animal lies down, its internal organs change place, causing suffocation. So an animal that falls over can never get up again."
The exhibition "Alma-Bluco" – "Raw Soul" – takes place at the junction of these observations and experiences, on the cusp between night and day. And CRAC Alsace, which has taken it under its roof, becomes the locus of apparition and transformation of the hybrid bodies of the Singer, Colina, Francisco, Nuna and Poppe, all of them – "Freebooter foreigner underdog bungler thief"** – sphinxes trapped between two worlds."
Elfi Turpin (October 2015)
* Guillaume Apollinaire, "Le Larron", Alcools – poèmes 1898-1913 (Paris: Éditions de la Nouvelle Revue Française, 1920).
Images by Aurélien Mole
Courtesy of CRAC Alsace - Centre Rhénan d'Art Contemporain
Supported by Camões, I.P. – Instituto da Cooperação e da Língua, Portugal
September 19 and 20, 2015
The Museum as Performance Cicle, Serralves Museum of Contemporary Art, Porto, Portugal
Programme of performances curated by Cristina Grande, Ricardo Nicolau and Pedro Rocha, featuring "Canteen—Machine" a performance/installation by Musa paradisiaca.
"Canteen—Machine" is an installation composed by two wood and steel tables covered by burel, permanently displaying two ceramic objects, the ‘Regulator’ and the ‘Parallel’, later duplicated in bread, to be presented and eaten in two separated sessions (meals), served on the tables.
Both objects are based in two mechanical components of the steam machine Joseph Farcot (french model of the late 19th century), vital for its operational health and, as we suspect, protagonists of its sexual potential — the ‘Regulator’, responsible for the steam pressure control, feeding the machine and the ‘Paralell’, responsible for the energy transmission along the machine by performing constant round trips.
As sacrifices, each of these sessions (meals) constitutes a therapeutic action of protection agains external agents, that don’t belong directly to this stage. Joseph Farcot, as a sleeping beast-body is here presented by its force through the robbery of its own forms.
Images by Filipe Braga
Courtesy of Fundação de Serralves, Porto
April 18 — September 6, 2015
The Coming Museum, Fundação Eugénio de Almeida, Évora, Portugal
Group show curated by Filipa Oliveira
"In the installation "Cantina" (2015) [Canteen], created for this exhibition, Musa paradisiaca starts a new line of thoughts and work focused on an idea of meal-space that explores the sharing of the creative act to its limits. The entire installation is a complex and multifaced collaboration produced by the Grupo de Estudos Aplicados (Group of Applied Studies), created as a partnership between Alice Mantas, Bárbara Leal, Diogo Cavaleiro, Maria Quaresma, Pila Farrajota and Tomás Fonseca (a group of students from the Escola Secundária Artística António Arroio, in Lisbon), the artist and poet António Poppe, the sculptor Tomé Coelho, the bakers Ernesto Marujo and António Caldeira, and myself, as the project's curator.
In the "Cantina" [Canteen] the meal is appreciated as a social, mental, or spiritual digestive process, and seen in the perspective of the food (bread) and of the digestive organ (the stomach): a stomach-thought. The tables are set with bread-objects and other utilitarian shapes, evocative of the actions and devices usually associated with eating: a pot, a keg, a mixing bowl, a jar and a serving plate. The meal-installation is the cellebration of an encounter that is also an offering: everything is shared, including the food. The ceremonial table transforms into an inviting table that is open to the community, just like the Fórum. The exhibition room is a cantina, a manifestation of the timeless space and procedures we use to share and be together.
As we enter this canteen, we are received by the "Come-corais" (2015) [Coral-Eater], a full scale figure that results of the conjugation of several materials and voices, a collective construction that extends its arms towards us both as a beggar and as giver of gifts."
Filipa Oliveira (September 2015)
Images by Bruno Lopes
Courtesy of Fórum Eugénio de Almeida
March 24 — May 9, 2015
Le lynx ne connaît pas de frontières, Fondation d'Entreprise Ricard, Paris, France
Group show curated by Joana Neves
"(...) Fernando Calhau, Joana Escoval, OteloFabião, Ângela Ferreira, André Figueiredo, Carla Filipe, Igor Jesus, Musa paradisiaca, Oficina Arara, and Diogo Pimentão are artists of different generations with whom a dialogue is being ushered in around this desire for universalism for which abstraction and modernism offer an ideal solution; tradition (the family we have and the one we form) and idiosyncrasy as constructive desire.
The exhibition’s title itself comes from a conversation with a duo of Portuguese artists, Francisco Queimadela and Mariana Caló, about the video installation titled Efeito Orla (2013), whose premise was to set out in search of testimony about the last appearances of the lynx in the Malcata mountain range in Portugal. This mythical creature is not only absent in the film, but also in the region: it is in the process of disappearing.
I don’t know if Braidotti was thinking about animals when she wrote the first sentence of her latest book, but there is undoubtedly a dialectic that is established between these two species, man and lynx, which, at a given moment, have suffered the consequences of belonging, each in their own way, and together, to the territory bounded by Portugal’s borders."
*“Not all of us can say, with any degree of certainty, that we have always been human, or that we are only that”; Rosi Braidotti, The Posthuman, Cambridge, 2013.
Joana Neves (March 2015)
Images courtesy of Fondation d’Entreprise Ricard
"As a “practical philosophy” seeking the invention of a cult and a community, Musa paradisiaca follows specific procedures and an ethics of observation towards the object in the symbolic space of art, deliberately mixing the artistic practice, its discourse and the energy associated to the production of thought. Thereby, a sensuality is enhanced, defined by a polivocal contribute of the invited narrators which establishes a parallel dialog defined by the stories of those forms and the materials under discussion (...).
The proposal therefore designed as a Principle of Restoration, further assumes the status of a “first supper” while acting as a double magic of attraction, both by the act of eating together and by the challenge of the meanings in the physical and metaphorical exploration of the meal exercise. Bread will be the “object”, the element of circulation, in the real or symbolic realm, between all the participants, performing that partition, that narrative and communitarian interaction. The thought will rise from this concrete digestion seeking the definition of a formative context, within the progressive integration of the primordial food and the diverse discursive contributions it has inspired. The final conclusion is naturally dependent on either, the appetite, or the boredom of those who meet the challenge of this unique table."
David Santos (March 2015)
November 22, 2014 — March 14, 2015
Dan Gunn Gallery, Berlin, Germany
Session with Heidi Ballet, March 7, 2015
"There was a man who wanted every woman he saw.
One day, a sorceress came, leading the man to an insane desire.
She advised him not to pursue his will — it would be too dangerous to be with her.
But he did not listen.
This show is based on a story we have heard about a sorceress and a man.
The story describes an impossible desire and a vanishing soul. Trapped between two worlds, we hear a final calling:
'Come back Sir, you’re not from that world / Please, come back Sir, you’re from this world'".
Images courtesy of Dan Gunn Gallery
June 19 — September 21, 2014
CRAC Alsace, Altkirch, France
Group exhibition curated by Filipa Oliveira and Elfi Turpin
"(…) The film commissioned for this exhibition — Ecstasy and Eden — narrates a symbiotic moment that unifies both plants and machine in what the artists call an energetic moment and is particularly focused on a line of thinking about mechanics as a specific way of questioning the relation between man and nature. The film's soundtrack is entirely made out of bruitage — in collaboration with the artist and poet António Poppe — as an attempt to create a mechanical language. This language, operating as an extension of the human body, is produced as pure act of ventriloquism, in the sense that it brings life into the inanimate characters, both machine and plants. Alongside the film, three sculptures are presented. They are copies of reality and realities in themselves. They are simultaneously objects and characters the ventriloquize a narrative a narrative together."
Filipa Oliveira and Elfi Turpin in "Der Leone Have Sept Cabeças" publication (June 2014)
Images by Aurélien Mole
Courtesy of CRAC Alsace - Centre Rhénan d'Art Contemporain, Altkirch
May 16 — June 28, 2014
3+1 Contemporary Art, Lisbon, Portugal
In "Flowers’ audition" and "Machines’ audition", Musa paradisiaca presents two sets of objects, assembled in two distinct families, although related to one another. Each cosmology of the machines and the flowers creates a point of view, while rescuing the qualities of each object and opening them up for discussion. Which qualities does each object have and how do these qualities inform the points of view presented? Which transformation operates each object in the group which it belongs to and how does it change by belonging to each of the groups? Machines and flowers are two limits of the same problem: the need to fulfill requirement between shapes or the necessity of the forms that is required, subscribing in conjunction. Each group has its own signature and each of these signatures reveals its mode of existence. Flowers’ audition, existed as a parallel exhibition to Machines’ audition, presented at Kunsthalle Lissabon between May 10 and June 28, 2014.
Images by João Ferro Martins
Courtesy of 3+1 Contemporary Art
May 10 — June 28, 2014
Kunsthalle Lissabon, Lisbon, Portugal
Solo exhibition curated by Luís Silva and João Mourão
In "Flowers’ audition" and "Machines’ audition", Musa paradisiaca presents two sets of objects, gathered as cosmologies in two distinct, although related, families. Assembled under the alternating viewpoints of both machines and flowers, the two cosmologies rescue the features of each object, offering them up for discussion. What attributes does each object possess and in what way do these attributes inform the viewpoints presented by the objects? What kind of transformation is enacted by the object in the group it belongs to and in what way is the object changed by belonging to each of the groups? Machines and flowers embody two limits of the same problem: the need for adequacy between forms or the need of adequate forms that sign together as a group. Each group impresses a unique signature and with each signature, reveals its mode of existence. Machines’ audition was presented together with the exhibition Flowers’ audition, at 3+1 Contemporary Art, also in Lisbon, from May 16 to June 28, 2014.
Images by Bruno Lopes
Courtesy of Kunsthalle Lissabon
February 18, 2014, Palácio Foz, Lisbon, Portugal
Curated by Pedro Lapa and Sofia Nunes
"(…) "Comissão de almas" [Souls’ commission], 2013, [is] a tale that recovers orality as a practice, nowadays almost obsolete, to operate from the testimony. The structure of the tale consists of different phrases played by a sound track synchronized with a projection of hand-painted slides. The different testimonies were captured in conversations occurring in distinct times and spaces from 7 characters (Captain, Guide, Eater, Infiltrate, Seer and Vigilant). Each phrase raises a specific reflection on a peculiarity of life. Together they all arise as displaced references forming a context, since some of the phrases appear to mention different geographies and experiential habits and life forms (…).
The projected images that accompany the tale much help to clarify each phrase-example, as in the case of the tortoise/footballer or of the fish, while reinforcing its ambiguity and enigma, as in the lines or points that define semi-figures. The visual layout introduces therefore an add of depth which is, in turn, deepened by the effect of palimpsest generated by the projection’s support, a still life by Frank Snyders, from which emerges a scene populated by food and animals.
"Comissão de almas" [Souls’ commission] produces a community of ideas and images articulated in their uniqueness through various modes while refuting the institution of a major sign.”
Pedro Lapa and Sofia Nunes (February 2014)
This event was commissioned by Plataforma LX with the support of EDP Foundation.
December 13, 2013 — March 23, 2014
EDP Foundation Gallery, Porto, Portugal
Curated by Filipa Oliveira, João Pinharanda and Sérgio Mah
"FILIPA OLIVEIRA: In the sixteenth century, a text by Baltasar Dias — The Tragedy of the Marquis of Mantua and the Emperor Charlemagne — was brought to São Tomé [and Príncipe]. This work later came to form the basis of (…) the Tchiloli. In "Cena de caça" [Hunting scene], Musa paradisiaca appropriate a monologue from the play which is also (…) a prayer in which the actor dons the skin of a dying man. The belief that death was close by in this scene and the danger in which this places the actor caused it to be banned. Caustrino Alcântara, a São Tomé linguist and expert, is invited to recite the banned monologue. He chooses the place and, drunk on palm wine, moves closer to death. (…)
MUSA PARADISIACA: (…) In fact, we don't know yet who the priest is in this exorcism, as the three of us call it. We only know that we needed someone to do it and someone to watch it. (…) Ultimately, the film restores a feeling of this prayer, chaining it to make it personal. Only Caustrino, who knew the original version (…) could do it. (…) There is a default restoration of the words of the dying person, which are mixed up with those of Caustrino."
Filipa Oliveira and Musa paradisiaca in "Prémio EDP Novos Artistas - Fundação EDP" catalogue (December 2013)
Catalogue and brochures design by Raquel Pinto
Images courtesy of EDP Foundation
November 14, 2013
Performance Cicle, Calouste Gulbenkian Foundation's CAM – Centro de Arte Moderna, Lisbon, Portugal
Curated by Isabel Carlos and Rita Fabiana
"Depending on the situation, in order to imprison someone one needs the police – at the very least – to search for the fugitive, round him up and arrest him. In the olden days when "fugitives" were to be apprehended, during the colonial period, there would be holes opened up in the road, in the very middle, in order to catch pigs, and when one went after the fugitives they would fall into the holes and were caught that way. Perhaps in this way, right."
(Nicolau Lavres, Santo António, Príncipe Island, August 19, 2013).
Two commented sessions, open to public participation, held in order to define a character based on the objects made by Tomé Coelho, a sculptor from São Tomé and Príncipe.
Images by Paulo Costa
Vídeo by Resize - Pedro Reis, Rodrigo Peixoto, Tiago Sousa
Courtesy of Calouste Gulbenkian Foundation
June 13 / 14, 2013
Chantiers d'Europe, Palais de Tokyo, Paris, France
Curated by Vittoria Matarrese
"The Cenacle had a servant. I don't know on behalf of what rhetoric image he was known as Milky Way. This man came from the hoods of Setúbal. He was strong, he was thick and athletic. This was said to him: 'A hard, violent, but glorious work is awaiting for you.' And, with a great ancient integrity, he answered: 'I am ready'."
(Ramalho Ortigão  in As Farpas, vol. 1, Círculo de Leitores, Lisboa, 1988)
In two public sessions based on dialogue and drawing, a groups of volunteers, invited through an Open Call, answered one question per day, in order to offer their solutions to the Milky Way's problems.
Images by Corinne Janier Colombe
Courtesy of Palais de Tokyo
May 18 — June 15, 2013
Apesar de tudo, nunca se sentia só ou triste, o futuro fazia-lhe companhia ou Le petit Lenormand, Vera Cortês Art Agency, Lisbon, Portugal
Group show curated by Luís Silva, featuring "Army of figures" (2012—), a series of handpainted silver prints by Musa paradisiaca.
Images by Bruno Lopes
Courtesy of Vera Cortês Art Agency
April 10, 2013
Cinemateca Portuguesa, Lisbon, Portugal
Solo session featuring "Emulation play" (2013), a slide projection synchronized with audio track, by Musa paradisiaca.
As in an hypnotism session, led by a dominant voice, a group of characters links together different ways of relating to belief, as a common problem. The alternating viewpoints promote a myriad of arguments about faith, superstition and knowledge. Although, this distinction doesn't promote a clear distance among all.
Video by Susana Pomba
October 20, 2012 — February 23, 2013
Tem calma o teu país está a desaparecer, ZDB Gallery, Lisbon, Portugal
Group exhibition curated by Natxo Checa, featuring "The Talker and the Spirit", a slide projection synchronized with audio track, by Musa paradisiaca.
"The talker and the spirit" is a dialogue between three men that assume, one at a time, the roles of the talker and the spirit. The talker is also the one who invokes the spirit. The spirit is a guest but also an intruder. In this particular encounter, the dialogue is centered in the attempt to distinguish belief from conviction and dependence from affections.
September 26, 2012
Old School #14, Lisbon, Portugal
Solo presentation curated by Susana Pomba, featuring "Drop shooting" 2012), a slide projection synchronized with audio track, by Musa paradisiaca.
Drops, liquid and light; bullets, solid projectiles. Shoot at the drop is a project for hunting shapeless objects. A set of projected drawings, a series of hovering ideas and an attempt to fix a thought in action.
Video by Susana Pomba
Curator's Lab — Guimarães European Capital of Culture, Fábrica Asa, Guimarães, Portugal
Solo project curated by Lígia Afonso and Gabriela Vaz-Pinheiro, featuring a set of recorded sessions with volunteers and invitees, directed by Musa paradisiaca.
Images by João Covita / Luisa Seixas
Galeria Quadrum, Lisbon, Portugal
Event of Programa colateral, curated by Lígia Afonso and Catarina Rosendo, featuring a staged reading of "The Most Beautiful Party I've Ever Seen" (2011) by Musa paradisiaca, performed by João Vicente.
Giant head kindly provided by Clube Municipal e Recreativo Rerizense.
Images by Pedro Ferreira