Rita Ferreira
Loves-me-not

Exhibition view, Mal-me-quer, 2020, Oil on paper, steel cables, cable clamps and iron structure, 6 drawings, 339 x 244 x 864 cm (installation), (photo: Bruno Lopes)

Exhibition view, Mal-me-quer, 2020, Oil on paper, steel cables, cable clamps and iron structure, 6 drawings, 339 x 244 x 864 cm (installation), (photo: Bruno Lopes)

Exhibition view (photo: Bruno Lopes)

Exhibition view (photo: Bruno Lopes)

Mal-me-quer, 2020, (Instalation detail), (photo: Bruno Lopes)

Mal-me-quer, 2020, (Instalation detail), (photo: Bruno Lopes)

Exhibition view (photo: Bruno Lopes)

Exhibition view (photo: Bruno Lopes)

Mal-me-quer, 2020, (Instalation detail), (photo: Bruno Lopes)

Mal-me-quer, 2020, (Instalation detail), (photo: Bruno Lopes)

Exhibition view (photo: Bruno Lopes)

Exhibition view (photo: Bruno Lopes)

Mal-me-quer, 2020, (Instalation detail), (photo: Bruno Lopes)

Mal-me-quer, 2020, (Instalation detail), (photo: Bruno Lopes)

Exhibition view, Mal-me-quer, 2020, Oil on paper, steel cables, cable clamps and iron structure, 3 drawings, 339 x 244 x 330 cm (installation), (photo: Bruno Lopes)

Exhibition view, Mal-me-quer, 2020, Oil on paper, steel cables, cable clamps and iron structure, 3 drawings, 339 x 244 x 330 cm (installation), (photo: Bruno Lopes)

Mal-me-quer, 2020, Oil on paper, steel cables, cable clamps and iron structure, 270 x 244 x 217cm (photo: Bruno Lopes)

Mal-me-quer, 2020, Oil on paper, steel cables, cable clamps and iron structure, 270 x 244 x 217cm (photo: Bruno Lopes)

Mal-me-quer, 2020, Oil on paper, steel cables, cable clamps and iron structure, 270 x 244 x 217cm (photo: Bruno Lopes)

Mal-me-quer, 2020, Oil on paper, steel cables, cable clamps and iron structure, 270 x 244 x 217cm (photo: Bruno Lopes)

A 3+1 Arte Contemporânea proudly announces the opening of Mal-me-quer, the latest solo exhibition by the artist Rita Ferreira.

The painting of Rita Ferreira extracts ephemeral items and old memories from her personal archive, transforming them into visual representations whose legibility is often excluded and deferred. The singularity of oil on paper juxtaposed with rejection of the traditional frame, almost always in favour of iron or brass supports, creates a play on contrasts between the gestural brushstrokes, the fragility of the paper and the weight of the metal structures.

In Mal-me-quer, Ferreira continues to explore the archive format by using the entire area of the gallery as a container of drawings which visitors will be allowed to flip through. The artist will present various largescale paintings based on sketches and works which have been at some point rejected or undeveloped, supported by iron structures that are suspended from the gallery ceiling. The works allow just enough space for viewers to browse between one drawing and the next. The installation takes over its surroundings, thus resuming the artist’s research on parasitic plants (whose starting point was in 2019 with the exhibition Parasita, in Travessa da Ermida), which have in one way or another prospered in the imagination and personal history of the artist.

Rita Ferreira (Óbidos, 1991) lives and works in Lisbon. She obtained a BA in Painting at the Lisbon School of Fine Arts (University of Lisbon). In 2016 she was awarded the grant “Bolsa Jovens Criadores do Centro Nacional da Cultura”. Solo exhibitions: Parasita, curated by João Silvério, Travessa da Ermida, Lisbon (2019); Tara, Galería F2, Madrid (2019); Anexo B – Rita Ferreira, curated by Ana Cristina Cachola, Lisbon (2018); Boca Seca Coluna Húmida, curated by Ana Cristina Cachola, Galeria Diferença, Lisbon (2017). Collective exhibitions include: Mais nada se move em cima do papel, curated by Sara Antónia Matos, Centro de Arte de Águeda (2020);  2012-2020: Obras da Coleção António Cachola, Museu de Arte Contemporânea de Elvas, Elvas (2020); A Terceira Margem, Anozero’ 19 Bienal de Coimbra, Coimbra (2019); FOCUS: Portugal, curated by João Ribas, Art Toronto 2019, Toronto (2019); Chama, Atelier-Museu Júlio Pomar, Lisbon (2018); 1000 anos depois entre Vénus e Marte, works from the Antonio Cachola Collection, Galeria Municipal do Porto, Porto (2017); A coisa está preta, curated by Pipi Colonial (Ana Cristina Cachola, Daniela Agostinho and Joana Mayer), Bregas, Lisbon (2017); Primeira Página, Galeria Módulo, Lisbon (2014); O Papel do desenho. O mundo é a minha imaginação, Galeria Angeles Baños, Badajoz (2014) ; Finalistas de Pintura, SNBA, Lisbon (2014) ; Ninguém diz nada, Quinta da Alagoa, Carcavelos (2013); FUSO- Anual de Video de Arte Internacional de Lisboa, Museu da Electricidade, Lisbon (2013); Summer Calling, Sala do Veado – MNHNC, Lisbon (2013); Piquete, Residências Coop, Lisbon (2012) and GAB-A, FBAUL, Lisbon (2012). In 2016 she published an interview with artist André Romão, titled A política sente-se nos ossos, in magazine Revista Contemporânea and was on the editorial board of Revista Marte#05 – Os processos da arte along with Catarina Rosendo, Igor Jesus, Ligia Afonso and Sara Brito; in the same magazine she had published an interview with artist José Loureiro titled A pintura é uma sardinha in 2014. Her work is part of various national and international collections such as: Lisbon City Hall Collection, Portugal; Coleção António Cachola, Portugal; De Bruin-Heijn Collection, Netherlands; Fernando Ribeiro, Portugal; Coleção PLMJ, Portugal; Coleção Norlinda e José Lima, Portugal; Fundação Millennium BCP, Portugal; other private collections in Portugal, Spain, Denmark, USA and Canada.

20.11.20 → 30.01.21
Opening 20.11.20, 14h → 20h

Room sheet

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