sexta-feira
Marcos Marinheiro | 1965
Education /
Professional Experience
- Degree in Philosophy – Faculty
of Letters, Universidade de Lisboa
- Lecturer of Philosophy and Psychology, focusing
in particular on the field of delinquency (social reintegration).
- Connected to painting for several years, having
had lessons with the teacher and visual artist Carlos Franco as part of
two courses on drawing and painting, and later attending Ar.Co - Centro de
Arte e Comunicação Visual, in Lisbon.
Background and Research
His painting,
contemporary in language and urban in inspiration, is inscribed in an itinerary
of formal research, both visual and emotional, in which the image (of
reality, of the mental world) constitutes the territory in which the
relationship with the Other is expressed: the Other as an individual,
the Other as the world. This research has been developed at two integrated
levels: the investigation of the dynamics of mental life (in various pictures there
appear inscriptions with the type of mental dialogues which we experience in
day-to-day life, of which we are only vaguely aware: "I want you",
"do you remember the first time we went out together?", "that’s
true", "okay, let’s see", ”come back” – in essence, the inner
conversations by which we try to organise our experience, mainly of
relationships) with reference to what he has called the
discourse of the city (returned to the subject,
namely via inscriptions on walls: “Sem título (Volta)” - 2013, mixed media on canvas; “Ainda Há Amor” - 2013, oil on canvas; “Sem Título (És Frio)” - 2012, oil on
canvas; “Your Brain Is Not A Game” - 2012, oil on canvas; “Frágil” - 2012, oil on canvas). Individual solitude and urban
solitude, both searching for a form of expression, in forms which are both
considered and impulsive, which may not be able to communicate but which
inevitably question the Other.
Exhibitions
2015 – Coletiva de Pintura e Escultura, LM Galeria de Arte
Contemporânea, Sintra; 2015 – Involvement in the permanent
exhibition at the FABULA URBIS bookshop/gallery, Lisbon; 2014 – Participation in
CREATIVE ’14 3ª Exposição Internacional de Arte e Letras do Coninter, Lisbon;
2014 – Participation in the tribute to the painter José Pádua – canvas 0 Figura / Galeria Artur Bual / Amadora;
2014 – solo exhibition, “ArtWorks”, at the Palácio dos Aciprestes / Linda-a-Velha; 2014 – Coletiva de Pintura, Escultura e Cerâmica, LM Galeria de Arte Contemporânea, Sintra; 2013 – Galeria Arte G,
Viseu; 2013 Coletiva de Pintura, Escultura e Desenho, LM
Galeria de Arte Contemporânea, Sintra; 2012 – solo exhibition, “Imaginação e Memória”, at the Centro Cultural do Bom Sucesso / Alverca, Vila
Franca de Xira; 2012 – “Salúquia às Artes”, painting and
sculpture collective, Moura; 2012 – Psychoanalysis Gathering, an exhibition of
work at the University of Évora; 2011 – XVII Edição da Galeria Aberta, Beja; 2011 – solo exhibition, “Vestígios”, Biblioteca Operária Oeirense, Oeiras; 2011 – selected to take part in
the “50 Anos 50 Quadros” painting collective to commemorate the 50th anniversary of Amnesty
International, Sintra; 2011 – selected to participate in the visual
arts show “20 Anos, 20 Obras, 20 Artistas”, Oeiras; 2010 – exhibition at the Faculty of
Psychology, Universidade Lusófona; 2009 – painting collective at Ar.Co;
2006/2007 – painting collectives as part of the painting and drawing courses.
(Represented in the art collections of the Municipal
Council of Vila Franca de Xira, Fundação Marquês de Pombal,
Amnesty International - Portugal and other private collections)
Prizes
- Special
mention at the event CREATIVE ’14” 3rd INTERNATIONAL
ARTS AND LITERATURE EXHIBITION OF THE CONINTER, Oeiras - Portugal
Critiques
Marcos Marinheiro, in developing a fascination for this peculiar world, has
invested a great deal of himself in the formation and experience of the
paintings he creates. The search for and study of archetypes has delimited his
trajectory and added craft to the pleasure of communicating via images.
Learning about the figure and the freedom of forms, experimenting and making, constructing
and cancelling with the vision of a now more acute eye are achievements which
we regard as noteworthy. Recognising the qualities and talent of this painter
is thus a highly gratifying and just act.
Edgardo Xavier / International Association of Art Critics / A.I.C.A.
Portugal
TEXT PUBLISHED BY AMNESTY INTERNATIONAL ON ITS BLOG
ABOUT THE WORK “2011, oil on canvas, 80 x 70 cm (MM)”, produced at the time of Portugal’s economic bailout)
- 2011
A man with no face, at the window of a grey world, with
green and red threads which could symbolise either dashed hopes or blood
flowing from his shoulders. His face once expressed something – but no longer.
He would have smiled – but he now has no eyes or lips. He has lost his face. He
is reduced to the importance of his tie, which seems to have been of little
value to him – and which here in fact suffocates him.
After having had an identity, and apparently some luck, he is faceless, a non-identity, the remains of a life. After having been born, struggled, protested, given in and, finally, screamed and gone mad, his words have been reduced to four numbers: "2011".
[There is a small eclipsed moon.]
Is that what this painting says? Perhaps, perhaps not. It is a theory just like many others, but the important thing is to look it straight in the eyes without turning one’s head and to see it as a warning against a world that nobody wants – a world of faded colours, of people imprisoned in silence, of dead smiles, of dashed hopes, a world without expression, a world without light and without rights. An anonymous world.
It was with intentions similar to these that Marcos Marinheiro painted it, one of the participants in the Exposição Coletiva de Pintura 50 Anos, 50 Quadros, an exhibition to commemorate the birth of Amnesty International in 1961.
After having had an identity, and apparently some luck, he is faceless, a non-identity, the remains of a life. After having been born, struggled, protested, given in and, finally, screamed and gone mad, his words have been reduced to four numbers: "2011".
[There is a small eclipsed moon.]
Is that what this painting says? Perhaps, perhaps not. It is a theory just like many others, but the important thing is to look it straight in the eyes without turning one’s head and to see it as a warning against a world that nobody wants – a world of faded colours, of people imprisoned in silence, of dead smiles, of dashed hopes, a world without expression, a world without light and without rights. An anonymous world.
It was with intentions similar to these that Marcos Marinheiro painted it, one of the participants in the Exposição Coletiva de Pintura 50 Anos, 50 Quadros, an exhibition to commemorate the birth of Amnesty International in 1961.
EXCERPT FROM A TEXT WRITTEN ABOUT THE ARTWORK “UM MERGULHO EM SI MESMO, 2014 – oil on
canvas, 30 x 24 cm (MM)”
In this work, the
painter leads us slipping and sliding through hues of blue, drags us
intentionally from one place to another, provokes us and questions us: “Get out
of your comfort zone. Get out and don’t be afraid. Take the plunge and jump.
Find yourself and live!”
Ana Batarda, Portugal / psychoanalyst
SOME COMMENTS FROM THE WEB
About the work “SEM TÍTULO, 2012 – oil on canvas, 70 x 70 cm (MM)”
“Cette œuvre me touche vraiment , par
sa profondeur et son mystère . La lumière sourde , comme venue des profondeurs , et c'est
toute la vie qui frémit à l'envers . Superbe !!!”
Martine Moreau, France (fine arts graduate)
“Une bien belle recherche. Le résultat est magnifique !”
Marie Claude Baldi, Geste,
France (visual artist)
About the work “SEM TÍTULO, 2014 – oil on canvas, 30 x 24 cm (MM)”
“Nice composition of coloration!! Besides, good construction!! So cool!!!”
Choko Nakazono, Japan (artist)
About the work “O DESPERTAR, 2014 – oil on canvas, 100 X 80 cm (MM)”
“Good light for this awakening! Great art!”
Jeannette ALLARY,
France (watercolourist,
photographer)
About
the work “SEM TÍTULO, 2013 – oil on canvas,
73 x 60 cm (MM)”
“Excellent use of colours and
forms. A beautiful abstract! Congratulations Marcos...”
Angel Estevez, Spain (lives and works
in Rio de Janeiro) – autodidact
Contact details: tel. 966276809
A BLACKBIRD WITH A VIBRANT, CURIOUS AND
INTELLIGENT GAZE
The eye of the painting
A simple motif can serve as an impulse for the
adventure which is that of approaching a blank canvas and creating upon it
something which did not exist there before. In this process of appearing, there
will always reside the fascination of the artwork as an entity which nature has
not foreseen and in that sense something which might never have existed. A luxury then.
The motif can be a detail in the landscape, a
combination of colours, a contrast, an association of ideas or an emotion, or
even something unusual which hurts our sensibilities, which Roland Barthes
called the punctum when analysing the photographic image.
Something which touches us, something more or less undefined but which
cannot be explained by experience; it may even be something which the
mechanisms we use to deal with and filter reality identify as a matter of “no
interest”, “irrelevant” or “absurd” and which, as a result, “we don’t see”.
In painting it is frequent for there to be a
specific starting point: the fence around a building site; a derelict house;
the tone of a conversation between two people; a present-day image published on
the internet; the appearance of objects in the night; contrasting points of
brightness on a mirrored floor; the shadow of a tree on a white wall; or just a
blackbird resting on a branch on the balcony where I’m reading and where it
remains for a few moments and questions me with its vibrant, curious and
intelligent gaze.
Each work is always the result of the dialogue
established during the process of its execution: there are artworks which react
well from the beginning to what I have in mind for them and which cooperate,
helping me to find the way to discover their truth; for others, the way is more
arduous and the task of resolving the problems that arise more complex. These
are dense and labyrinthine works which offer no helping hand and where I often
lose my way because their truth is concealed. They very often operate between
despair and challenge, since finding the way out means above all not giving up
on the idea that a way out always exists.
In all of my work I always seem to pour myself,
even when I do not intend to or even do not want to, into the subject matter in
question: the relationship between people, solitude, the fragility of that
which we are, the impermanence of all places and experiences, the problem of
memory, but also the consistency of the emotions, the care for others, joy,
hope and love.
Marcos Marinheiro
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