Silvestre Pestana

  • Sufoco, 2015
    installation view, Múrias Centeno, Lisboa | photo credits: Bruno Lopes

  • Sufoco, 2015
    installation view, Múrias Centeno, Lisboa | photo credits: Bruno Lopes

  • Sufoco, 2015
    installation view, Múrias Centeno, Lisboa | photo credits: Bruno Lopes

  • Sufoco, 2015
    installation view, Múrias Centeno, Lisboa | photo credits: Bruno Lopes

  • Sufoco, 2015
    installation view, Múrias Centeno, Lisboa | photo credits: Bruno Lopes

  • Sufoco, 2015
    inkjet print | 100 x 100 cm | 1/1 + 1 PA

  • Sufoco, 2015
    inkjet print | 100 x 100 cm | 1/1 + 1 PA

  • Sufoco, 2015
    inkjet print | 100 x 100 cm | 1/1 + 1 PA

  • Sufoco, 2015
    inkjet print | 100 x 100 cm | 1/1 + 1 PA

  • Sufoco, 2015
    inkjet print | 100 x 100 cm | 1/1 + 1 PA

  • Sufoco, 2015
    inkjet print | 100 x 100 cm | 1/1 + 1 PA

  • Sufoco, 2015
    inkjet print | 100 x 100 cm | 1/1 + 1 PA

  • Sufoco, 2015
    inkjet print | 100 x 100 cm | 1/1 + 1 PA

  • Sufoco, 2015
    inkjet print | 100 x 100 cm | 1/1 + 1 PA

  • Beam Me Up 1/4, 2015
    3D print, acrylic and MDF | 30 x 122 x 200 cm | unique edition

  • Beam Me Up 1/4 (detail view), 2015
    3D print, acrylic and MDF | 30 x 122 x 200 cm | unique edition

  • Beam Me Up 1/4 (detail view), 2015
    3D print, acrylic and MDF | 30 x 122 x 200 cm | unique edition

  • Beam Me Up 1/4 (detail view), 2015
    3D print, acrylic and MDF | 30 x 122 x 200 cm | unique edition

  • Beam Me Up 1/4 (detail view), 2015
    3D print, acrylic and MDF | 30 x 122 x 200 cm | unique edition

  • Beam Me Up 1/4 (detail view), 2015
    3D print, acrylic and MDF | 30 x 122 x 200 cm | unique edition

  • Beam Me Up 1/4 (detail view), 2015
    3D print, acrylic and MDF | 30 x 122 x 200 cm | unique edition

  • Sufoco, 2015
    3D print, acrylic and MDF | 30 x 122 x 200 cm | unique edition

  • Sufoco, 2015
    installation view, Múrias Centeno, Lisboa | photo credits: Bruno Lopes

  • Sufoco, 2015
    Video, color, sound, 2`48 | bot wearing three heli-drones during 24h / 7 days at Angel Isles, 82, 67, 282 in Secondlife platform | unique edition

  • Sufoco, 2015
    Video, color, sound, 2`48 | bot wearing three heli-drones during 24h / 7 days at Angel Isles, 82, 67, 282 in Secondlife platform | unique edition

  • Sufoco, 2015
    Video, color, sound, 2`48 | bot wearing three heli-drones during 24h / 7 days at Angel Isles, 82, 67, 282 in Secondlife platform | unique edition

WHAT A BODY CAN
Text: Eduarda Neves
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Regarding Lewis Carroll and the main reasons in order to change the initial title from “Alice´s adventures in wonderland” to “Through the looking glass”, Gilles Deleuze invites us to think that there is no “Alice´s adventures, but a single adventure: Alice´s rise to the surface, the demystification from the false depth, the discovery that everything happens at the border”. Still reminds us of the preconception in associating superficial to low depth, not to vast dimension. On the contrary, we associate profound to great depth, not to frank surface.
The images in SUFOCO/SUFFOCATION materializes the will not to operate beyond the image`s surface, as if the subject was merely a pretext to display the series and the surface. The unique individual, when grouped into series, dissolves in anonymity.
Dissociating from 19th Century tradition of the psychological portrait and the understanding of the portrait as a way to bring to the image´s surface any secret to unravel, SUFOCO distances itself from any intimate component. The images produced affirm the primacy of the surface, activating a kind of deconstructive operation of the optical realism. The uniqueness of the images is expressed in a typological logic reinforced by the exhibition´s device. The portrait in the series makes the portrayed similar, lacking his own likeness, its origin. By the series the meaning takes on the role of the signifier, and the significant takes on the role of meaning. It ensures the simultaneity but not equality. Repetition and not reproduction. A series makes sense in another series function, as the identity subsumes the multiplicity: “The serial form is, therefore, essentially multiserial. Already is in math, where a series built in the neighborhood of a point has no interest except as a result of another series, built around another point and which converges or diverges from the first.”
Impossible task, the one of identity. Impossible to subtract ourselves to the surface: an image is an image is an image, Kosuth would say.
The apparent simplicity of the images associated with the lack of spontaneity, locates does images in a fundamentally analytical dimension,
whose political meaning and only apparently recreational, is incorporated in the subjective memory of the body. Objectivity is not assumed as a mere formal language but as a critical approach to the historical-political reality. The trivialization of war is expressed in the apparent banality of the surface and mobilizes the strategy for objectivity construction. Therefore, SUFOCO its still a micro-political operation, which, making visible the relations of domination, causes the resistance of the ways to subjectivation.
Between the artist and his designs, the author and his anonymous, leaves margin to go through, a surface unfolding. So we can equate the impossibility of representation.

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Playing reality: invasion of physical space and virtual space exploration
Text: Casimiro Pinto
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Each artist chooses from the material reality, social and cultural, the adequate combinations depending on the final purpose, or simply, of possibilities to provide aesthetic enjoyment experiences, combining multiple possibilities for experimentation of possible realities. To create is, in this sense, the creative ability to develop ideas, by the artist, in order to give reality and value to the experience of aesthetic experience, making manifest out of the hypothetical repertoire of actions, sensations, emotions and feelings contained in the exploration of the shuttle space inter@Mundos, virtualizing it in a deterritorialised universe. It is from the characteristics of derealization and the action of deterritorialisation that unify the work of art that the artist begins establishing the network connections between the “things of creation” and the ”things of the world”. Let it be the SUFOCO/SUFFOCATION, by vertigo, of someone who observes a representative device, that opens to include the beholder, with co-creator status, and the art gallery, in the represented world – only actors do metaverses, only through them art is intervention, only then reality is a game, it is more real.
Only actors do metaverses, intervening in the flow of events and exploring the creation of spaces, influencing how the aesthetic objects prepare their meanings, subduing to the aesthetics of the immediate enjoyment.
Only through them art is shared intervention of its co-creators, by the possibilities of intellectual engagement and aesthetic performance, forged in the relation that inter@Mundos establishes with their residents and of these with each other, subjectively.
Only then reality is a game, it is more real by the effect of contamination that a world spread on the other. In the limit, the extreme challenge promoting the encounter between the space inter@Mundos and its resident consists in achieving this experience sensation of “being there”, with no mediation, inside the own graphical environment that perhaps for that purpose, consumes realism in its representation.
The possibility of our avatar to give us emotional responses, with which you may or may not agree, puts us in a moral position that detach us from our physical identity, allowing us to play with our public identity and to test and extend our subjective knowledge, but not the order of our lives, reminding us that the virtual will always miss what grant his strength to aesthetic production and life. The irreversibility of the facts and the artist expiry, but not the art. That is the discussion which of course will always stand.