ARCO Lisboa 2025

As humans enter an age beyond their control with the introduction of AI, our paths are becoming unclear as we regress into fantastical ignorance in search of belligerent plains evading an escalation of our self-eviction and existence from Earth. Still, there exists a gift and pleasure in experiencing what is touched and crafted by our hand. The imperfections that appear as the result of something physically made by us as opposed to the precision of machine made, become more desirable as they appeal as more authentic. In this notion, we explore the practices of seven artists whose works clearly reveal the touch of their hands.

Claire de Santa Coloma’s (1983, Buenos Aires, AR/FR) sculptural work is concerned with formal questions that focus on the primordiality of matter (usually wood) and the theme of sculpture itself. The economy of means is one of the governing principals in Santa Coloma’s practice, oftentimes dictating the final shape of the object. The relationship between the viewer and the sculpture is yet another important layer in the reading of her work. Conceptually, it has been the common thread amongst her latest solo shows.

Fernando Mello Brum’s (Rio de Janeiro, 1989) paintings come from an attentive observation of everyday life; however, they do not represent an objective reality, incentivizing instead a subjective reading of the landscape. His work also explores subjects inherent to painting, such as the overlap of layers, colour balance and materiality.

Inês Brites’ (Coimbra, 1992) work refers to what is familiar, starting from found and produced objects, in an exploratory conversation about materials and their purpose. Using unorthodox techniques, the artist questions the meaning of objects, analysing the impact of these bodies on the individual, society, and culture, through the memories of our daily lives and intimacy.

João Ferro Martins’ (Santarém, 1979)  work is characterised by its multidisciplinary approach and the use of found objects. Working with painting, installation, drawing, performance and music, the artist appropriates everyday objects or images, from both collected and personal sources, in turn, attributing new meanings, translating ideas and memories into what is real and concrete.

Juan Tessi’s (Lima, Peru, 1972) work has developed around the observation of the body. Not necessarily the human body, but rather the elements that compose any figure. In the same way, he explores painting itself using, other than the paint, the canvas and its limits as components of its morphology.

Nuno Sousa Vieira’s (1971, Leiria, Portugal) work has been developed in close articulation with the former plastics factory SIMALA, where he established his studio between 2001 and 2021. His sculptures, composed of a vast array of industrial materials, architectural elements, and neglected furniture, result from a process of translating the workspace into work material, and later into work subject.

Tiago Baptista’s (Leiria, 1986) painting is “At first glance (…) like a sequence of landscapes that confront us with images with a powerful cinematographic component, in the sense that each painting is like a moment in a narrative within the spectrum of other narratives.” (João Silvério, 2017).