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South Wing is about exclusion, rejection, about being outcast. Its a fragile, precarious
construction impossible to be inhabited. It might have been constructed by someone
alone or by a group, we will never know. To protect? To hide? To survive?
For this sculpture, old doors found by chance in demolitions, coming from places formerly
inhabited, have been used. I would say, they were abandoned, they were left behind, they
are nothing but a mere few anonymous old doors no longer in use.
Formerly, they could have been used in a housing project, apartments in the periphery of
far away cities, perhaps had belonged to a detention facility, an asylum, an hospital. Who
knows? Now, its impossible to be sure about their origin, the scars on their skin remain
silent, mute, we cant see through, one cant see the other who might perhaps be listening
to our rumors behind the wall. A place of sadness where the other side looks like this
side. Its also about loneliness.
Lisbon, April 2016
South Wing sobre excluso, rejeio, sobre ter sido posto de parte. uma construo
frgil e precria, impossvel de ser habitada. Pode ter sido construda por algum sozinho ou
por um grupo, nunca saberemos. Para proteger? Para esconder? Talvez para sobreviver?
Para esta escultura foram utilizadas portas velhas encontradas por acaso em demolies,
ou vindas de stios antes desabitados. Eu diria que foram abandonadas, deixadas para
trs, que agora nada mais so alm de meras portas annimas e j sem uso.
Anteriormente podem ter sido utilizadas num projecto de habitao social, em algum
lugar na periferia de cidades longnquas, talvez tenham pertencido a uma priso ou
um asilo, um hospital. Quem sabe? Agora, impossvel ter a certeza da sua origem,
as cicatrizes na sua pele permanecem silenciosas, mudas, no conseguimos ver atravs
delas, impossvel ver o Outro que poder estar atrs da parede escuta dos nossos
rumores. Um lugar de tristeza onde o outro lado se parece com este lado. Afinal tam-
bm sobre solido.
Lisboa, Abril de 2016
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pe d ro
cabrita
reis
south wing
text
Jos Miranda Justo
D O C U M E N TA
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1.
Long, long ago did Pedro Cabrita Reis discover the value of ob-
scurity in art. But because he is the opposite of a sedentary artist, he
lives permanently on the move. Physical and mental move. We hold
on to mental move. The obscurity that once captivated him still feeds
his thought, but at the same time it has learned to articulate
with many other instances. From the absurd to the ideal, from nega-
tion to the minimal point, from circularity to totality. And also with
that harder, more dated instance which is light.
But what kind of articulation can there be between obscurity and
light? The question does not concern the chiaroscuro of other lan-
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2.
This is what these 54 doors stand up to, lined one against the
other, so that, each time, we may have the illusion of being able to
join them together in only one gaze, and simultaneously, walk around
them as a whole, as if we were strolling around a classical group sculp-
ture. Luminosity is intense, but it comes strictly from matter, from
the body of each door, from the reverberations that each element and
all elements together send us back as continuous luminescence. Ob-
scurity is a kind of beyond separated from this insisting matter. It
originates from a second gaze, or perhaps better said, from the atten-
tion that overcomes gaze itself, grabbed by the objective strangeness
of the whole. It is the moment of estrangement which gives rise to the
possibility of the idea.
Each door (each and every one of those inserted crossways in the
set) carries with it the potential to mystery. Where does it come from,
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who crossed it, what hid or will forever be hidden on the other
side? None of these questions will be answered. Or, another way of
saying the same, the answer will be silence. And silence is the com-
plete obscurity of speech. Speech that turned into murk. This is where
the overwhelming effectiveness of obscurity reveals itself. Its ultimate
productivity. A tender thread of another light in open conflict with
the first, because it is now a unique, singular scintillation, situated
beyond all that materiality might ever show us. Scintillation of the
idea.
3.
Having reached this point, we can catch sight of the almost un-
namable reach of such a work. The scintillation of the idea is no longer
merely an absolute. It is the other of the absolute. An absolute of an-
other order situated in the furthest extreme of thinking. An extreme of
thinking situated at the edge of the impossibility of thinking.
The absolute, the simple absolute, would result from the leap of
matter into obscurity and its openness to the totality of creative expe-
rience. Whereas the other of the absolute is not even a result. The al-
ter-absolute let us call it this way generates from the eternal re-
turn (the one that is eternal before being a return). A return because
the scintillation of the obscure idea will always return. Eternal because
obscurity has already returned infinitely even before its return and
will always return even after it has returned. Eternity in art is not the
eternity of a deity; it is the eternity of the artistic idea. And it should
be stressed that it is not timeless, exactly because only each time that
the idea returns does this singular event take place, revealed as it is in
Pedro Cabrita Reis. The art event beyond art; but also the event of
the other absolute beyond the absolute.
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1.
Lange schon hat Pedro Cabrita Reis die Bedeutung der Dunkel-
heit in der Kunst entdeckt. Aber als das Gegenteil eines sesshaften
Knstlers lebt er in stndiger Ortsvernderung. Geistig und physisch.
Bleiben wir bei der geistigen Ortsvernderung. Die Dunkelheit, die
ihn einst fesselte, nhrt weiter sein Denken, aber gleichzeitig
lernte sie, sich an viele andere Instanzen anzuschlieen. Vom Absur-
den bis zum Ideal, von der Materialitt bis zum Erhabenen, von der
Negation bis zum kleinsten Punkt, vom Kreisfrmigen bis zur Ganz-
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2.
Und das geschieht mit diesen 54 Tren, die so gereiht sind, dass
wir jedesmal die Illusion haben, sie mit einem Blick erfassen zu kn-
nen, und gleichzeitig knnen wir um sie in ihrer Gesamtheit herum-
gehen wie auf einem langsamen Gang um eine klassische Skulpturen-
gruppe. Die Leuchtkraft ist intensiv, aber sie kommt strikt von der
Materie, dem Krper jeder Tr, der Rckstrahlung, die jedes Element
und alle zusammen uns als stndiges Leuchten zurckgeben. Die
Dunkelheit ist ein Jenseits dieser insistenten Materie. Sie entsteht aus
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einem zweiten Blick oder vielleicht besser gesagt aus einer Auf-
merksamkeit, die ber den Blick selbst hinausgeht und die durch die
objektive Fremdheit des Ganzen hervorgerufen wird. Es ist dieser Mo-
ment der Entfremdung, der die Mglichkeit der Idee auslst.
Jede Tr (selbst jede von denen, die kreuzweise in das Ganze ein-
gefgt sind), fhrt potentiell ihr Geheimnismit sich. Woher kommt
sie, wer ist durch sie hindurchgegangen, was war oder wird fr im-
mer sein verborgen auf ihrer anderen Seite? Auf keine dieser Fra-
gen gibt es eine Antwort. Oder um dasselbe auf andere Art auszu-
drcken, die Antwort ist Schweigen. Und das Schweigen ist die
vollkommene Dunkelheit des Redens. Das schwarz gewordene Re-
den. Und hier zeigt sich die erdrckende Wirkung der Dunkelheit.
Ihre letzte Produktivitt. Ein feiner Faden eines anderen Lichts im of-
fenen Konflikt mit dem ersten, denn jetzt handelt es sich um ein ein-
ziges Flackern, singulr, jenseits von allem, was die Materialitt des
Lichts uns zeigen knnte. Flackern der Idee.
3.
Aber hier angekommen, knnen wir die fast unbenennbare
Reichweite eines solchen Kunstwerks erahnen. Denn das Flackern der
Idee ist nicht mehr nur ein Absolutes. Es ist das Andere des Absoluten.
Ein Absolutes von anderem Rang, am entferntesten Ende des Den-
kens. Ein uerstes des Denkens, am Rande der Unmglichkeit des
Denkens.
Das Absolute, das einfach Absolute, ergibt sich aus dem Sprung
der Materie in die Dunkelheit und der entsprechenden ffnung zur
Ganzheit knstlerischer Kreativitt. Whrend das Andere des Abso-
luten nicht einmal ein Ergebnis ist. Das Alter-Absolute um es so
zu nennen erschafft sich ausgehend von der ewigen Wiederkunft,
die, die bevor sie Wiederkunft ist, ewig ist. Wiederkunft, weil das
Flackern der dunklen Idee immer zurckkommt. Ewig, da sie schon
unendlich zurckkam, bevor sie zurckkam und weiterhin immer zu-
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1.
Desde h muito que Pedro Cabrita Reis descobriu o valor da obscu-
ridade em arte. Mas, sendo o oposto de um artista sedentrio, vive em
permanente deslocao. Fsica e mental. Retenhamos a deslocao men-
tal. A obscuridade que em tempos o cativou continua a alimentar-lhe o
pensamento, mas ao mesmo tempo ela aprendeu a articular-se
com muitas outras instncias. Do absurdo ao ideal, da materialidade
ao sublime, da negao ao nfimo ponto, da circularidade totalidade.
E tambm com essa instncia mais difcil, mais datada, que a luz.
Mas que articulao possvel entre obscuridade e luz? A per-
gunta no recai sobre o claro-escuro de outras linguagens artsticas.
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2.
isto que se passa com estas 54 portas enfileiradas de modo a
que, de cada vez, tenhamos a iluso de poder reuni-las num s olhar
e, em simultneo, possamos contorn-las no seu conjunto, como num
caminhar lento volta de um grupo escultrico clssico. A luminosi-
dade intensa, mas estritamente da matria, do corpo de cada porta,
das reverberaes que cada elemento e todos em conjunto nos devol-
vem como luminescncia contnua. A obscuridade um para l dessa
matria insistente. Ela nasce de um segundo olhar, ou dizendo tal-
vez melhor de uma ateno que ultrapassa o prprio olhar e que
suscitada pela estranheza objectiva do conjunto. o momento de
estranhamento que desencadeia a possibilidade da ideia.
Cada porta (mesmo cada uma das que esto transversalmente in-
seridas no conjunto) transporta consigo a sua potencialidade de mis-
trio. De onde vem, quem a cruzou, o que esteve ou estar para
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3.
Mas chegados aqui, podemos entrever o alcance quase inomin-
vel de uma obra como esta. que a cintilao da ideia j no so-
mente um absoluto. o outro do absoluto. Um absoluto de uma ou-
tra ordem, situado no extremo mais distante do pensar. Um extremo
do pensar situado beira da impossibilidade do pensar.
O absoluto, o absoluto simples, resultaria do salto da matria para
a obscuridade e para a respectiva abertura totalidade da experincia
criativa. Ao passo que o outro do absoluto no sequer um resultado.
O alter-absoluto chamemos-lhe assim gera-se a partir do eterno
retorno, aquele que antes de ser retorno eterno. Retorno, porque a
cintilao da ideia obscura regressar sempre. Eterno, porque ela j
regressou infinitamente antes de ter regressado e continuar sempre a
regressar depois de ter regressado. A eternidade em arte no a eterni-
dade de uma divindade, a eternidade da ideia artstica. E, sublinhe-
-se, no intemporal, precisamente porque s de cada vez que a ideia
regressa se d este acontecimento singular que se revela em Pedro
Cabrita Reis. O acontecimento da arte para l da arte, mas tambm do
outro absoluto para l do absoluto.
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