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Pedro Cabrita Reis 

das águas e outros lugares

8 November 2024 - 18 January 2025

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Cabrita was born in 1956 in Lisbon, the city where he currently lives and works. His work has steadily received international acknowledgement, thus becoming crucial and decisive for the understanding of sculpture from the mid-1980’s onwards. His complex work can be characterized by an idiosyncratic philosophical and poetical discourse embracing a great variety of means: painting, sculpture, photography, drawing, and installations composed of industrial and found materials and manufactured objects. By using simple materials that are submitted to constructive processes, Cabrita recycles almost anonymous reminiscences of primordial gestures and actions repeated in everyday life.

The complex theoretical and formal diversity of the work of Cabrita proceeds

from an anthropological reflection, which is contrary to the reductionism of sociological discourse. In fact, it is on silences and indagations that the work of Cabrita is based and built on.

Pedro Cabrita Reis participated in important international exhibitions, such as Documenta IX and XIV in Kassel in 1992 and 2017, the 21th and 24th São Paulo Biennales, respectively in 1994 and 1998, in the Aperto of the Venice Biennale in 1997. In 2003, he represented Portugal in the Venice Biennale, in 2013 he presented “A Remote Whisper”, 55th Biennale de Venezia and participated in the Xème Biennale de Lyon, “The Spectacle of the Everyday”, Lyon, 2009. In 2022 Cabrita presented in the Tuileries “Les Trois Grâces” commissioned by the Louvre Museum, and on the occasion of the 59th Venice Biennale Cabrita Reis presents “Field” at Chiesa di San Fantin.

" Some people that have seen this work before say that it is another one of my self-portraits. It probably is, everything always ends up being a self-portrait. There is nothing that we do that is not the projection of our own cutout of the world"

Pedro Cabrita Reis in conversation with Miguel Nabinho 

" SUM QUOD SUM"

Augustine's sermon n. 76 

Isto

“- Well, this is all a big confusion!”

It was all I could hear from a group of six men, still quite young, that spoke lively, close to Savoy hotel’s entrance, in Fasanenstrasse, Berlin. They all spoke at the same time; the only exception was one, maybe the youngest, which seemed alien to what the others were saying, and whistled. Whistled with conviction and persistence. The others seemed not to notice, as if the whistling was a natural companion to what they were saying. 

The figure of the spirit who denies immediately came to my mind…

By that time, I smoked cigars, always with big vitolas, that I am certain of, and I remember I always searched for places that were well adjusted to the smoke and its lengthy time. I had my burrow in each city. 

This is all I imprecisely remember of that scene, which might as well have happened in another city or at another hotel or, even, in another time. At the end I might have actually been inside the Savoy hotel, in a spacious room, and that conversating group was in the table next to mine. 

And I, very comfortably installed, always imagine that a sudden interruption shakes the scene, leaving nothing but the appetizing cigar, the phrase I retained and the whistle. Like a clear image which suddenly becomes clouded and fragmented in a unexpected quake. 

And then everything is unrealized. 

 

It is like this almost every night. The confusion, the places, the smoke and the whistle on repeat. As I have mentioned before, all of this could merely be one of those dreams which repeat themselves and occur throughout our lives. Their inhabitants are not necessarily inexistent, but their mixture and their solidity have an equivocal balance. 

I think about this many times, in this powerful force we have to combine things which reach us from such different origins and are of such different natures. 

There seems to be an excipient of an obscure provenance which connects all, combines  everything and escapes us, without us ever noticing its powers and effects. It is these approximations or, perhaps, attractions that give life to what we imagine. Like the paw of a cat which catches - hunts? 

Not that everything that comes close is a part of that which we don’t quite know what it is. There are the things we don’t know, it is true, but there are also the ones we summon with knowledge, by suspicion, by intuition, and still by who knows what. 

Nothing is that easy, as the Genie would say. 

It is a doing or happening that accompanies us, but that can also go back, an understanding that something escaped it or a power of finding what it does not know. 

This is the way things go around us. Why do things go around us? On the one hand, we don’t know, it is part of a mystery; on the other hand, we are almost certain that it is about our stubbornness in not being able to exist without dragging what we catch with us, even without knowing why. 

 

But let us get back to the beginning. There I was smoking a nice cigar at the Ritz hotel in Madrid, or in some other place, I don’t remember it well, when I heard a conversating group say: “- Well, this is all a big confusion!”.

I never knew what confusion was that, even though it deserved my full agreement. 

Of the boys of the group, the one that whistled remains. I recognised the melody immediately, it was familiar and I never forgot it. Nor will I ever forget it. 

Jorge Molder, translated by Luna Dimas 

Artworks

Exhibition Views

Photographic Documentation

Photographic documentation 

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