Musa paradisiaca




— “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 gathering a set of painted fiberglass sculptures, on the floor, and a group of drawings on plastic film, on the walls.

As animated clothes surprised in the act of becoming alive, these objects are a proof of an encounter, but also the evidence of an intimate relationship between elements of distinct nature. This intimacy shared between the shapes and its qualities can be seen to be as much in the hands skin as in the surprised wardrobe. ____________

Initiated in 2010, Eduardo Guerra (b. Lisbon, 1986) and Miguel Ferrãoʼs (b. Lisbon, 1986) collaboration, as Musa paradisiaca, developed through dialogue and the benefits of merging distinct perspectives and competencies. Given this experience they gather different collaborators, interlocutors, practitioners, experts or references, be they collective or individual, with whom they establish an affinity of thinking that shares and reveals many voices. Within exhibitions, or as artworks, Musa paradisiaca can be seen to produce sculptures, films, drawings, and performative actions. These objects however do not reveal the entirety of this practice. Rather, these outcomes are a product of the engagement of the many voices involved in the aforementioned process of creating an affinity of thinking. This ongoing process is an open-ended dialogue that brings together temporary interlocutors, activates longstanding references, benefits from occasional technical expertise, and relies on long-term complicities.