Exhibition Views
contemporary art gallery
Artworks
Jorge Molder
Grandes Planos
14 April - 13 May 2023
I'm using photography as a way to investigate and try to understand these seas. I attempted to make them more artificial and less natural.
Nuno Cera in conversation with Miguel Nabinho
Exhibition Views
Photographic documentation
Among the one-person exhibitions we can single out: “Drawings”, CAM, Gulbenkian Foundation; “Body Building”, Loja da Atalaia, Lisbon; “Rui Sanches, Retrospective”, CAM, Gulbenkian Foundation and “Museum”, Museu Nacional de Arte Antiga, Lisbon. Some important group-exhibitions were: the 19th São Paulo Bienal; “PASTFUTURETENSE”, Winnipeg Art Gallery and Vancouver Art Gallery; “Tríptico”, Europália 91. Museum van Hedendaagse Kunst, Ghent; “From Silence to Light”, Watari-Um, Tóquio; “Abstract/Real”, Museum Moderner Kunst Stiftung Ludwig, Viena; “Dentro y Fuera” Cáceres and “Serralves 2009 – The Collection”, Museu de Serralves, Porto. During the 1980’s his work was based on the deconstruction of paintings and genres of painting.
Jorge Molder began his career as a photographer with a solo exhibition in 1977 dedicated to Vilarinho das Furnas, in which the nostalgic tendency that would guide his work was already evident, underlined by the use of black and white and the slight sfumatto that he would rarely abandon.
In 1980 he produces An Exhibition in collaboration with the poets João Miguel Fernandes Jorge and Joaquim Manuel Magalhães in which his interest in narrative insinuation and the cinematographic slant of his photography began to take shape. The “film-noir”, more precisely by the hand of Dashiell Hammett, aesthetically marks the abandoned places that Molder selects as settings in these early works.
The adoption of the series as a structuring category accentuates this cinematographic character. Allied to an almost obsessive interest in the practice of the self-portrait, the series will function as the most omnipresent device for the production of meaning in the course of his photographic career.
In Joseph Conrad (1990) or The Secret Agent (1991) we find a set of settings and props that evoke a suspended narrative, like clues in a detective novel or fantastic tale whose unfolding remains obscure.
The self-portrait, although present as early as 1981, will only later take on its present character. By being worked in series, the self-portrait assumes a status of self-representation, in which the self reveals and conceals itself through the assumption of another as the protagonist of the representation.
Between the film noir and the Victorian novel, between the secret agent and Mister Hyde, the other is the one who has freed himself from the body to fully embrace his spectral condition, this being the condition of the photograph itself. As the ultimate testimony to this condition one can see a series like Nox (Venice Biennale 1999) in which the density of black threatens to finally subsume his characters.
In 1999 he represented Portugal at the Venice Biennale with the series Nox. Since then he has exhibited in the largest national and international institutions and has been the subject of study by the greatest critics of contemporary photography.
Artist Bio
The self-portrait, although present as early as 1981, will only later take on its present character. By being worked in series, the self-portrait assumes a status of self-representation, in which the self reveals and conceals itself through the assumption of another as the protagonist of the representation.
Between the film noir and the Victorian novel, between the secret agent and Mister Hyde, the other is the one who has freed himself from the body to fully embrace his spectral condition, this being the condition of the photograph itself. As the ultimate testimony to this condition one can see a series like Nox (Venice Biennale 1999) in which the density of black threatens to finally subsume his characters.
In 1999 he represented Portugal at the Venice Biennale with the series Nox. Since then he has exhibited in the largest national and international institutions and has been the subject of study by the greatest critics of contemporary photography.
Patrícia Garrido graduated in painting at the Escola Superior de Belas-Artes in Lisbon (ESBAL). She has participated in numerous group exhibitions which include: Mais Tempo, Menos História, Serralves Foundation, Porto (1996); O Império Contra-Ataca, Galeria ZDB, Lisbon (1998); Squatters, Galeria do CRUARB, Porto (2001). Solo exhibitions include: T1, Serralves Foundation, Porto (1998); Móveis ao Cubo, Desenhos ao Acaso, TREM Galeria Municipal de Arte, Faro (2009); Peças Mais ou Menos Recentes, EDP Foundation, Museu Nacional Soares dos Reis and Galeria Fernando Santos, Porto (2013).
Jorge Molder began his career as a photographer with a solo exhibition in 1977 dedicated to Vilarinho das Furnas, in which the nostalgic tendency that would guide his work was already evident, underlined by the use of black and white and the slight sfumatto that he would rarely abandon.
In 1980 he produces An Exhibition in collaboration with the poets João Miguel Fernandes Jorge and Joaquim Manuel Magalhães in which his interest in narrative insinuation and the cinematographic slant of his photography began to take shape. The “film-noir”, more precisely by the hand of Dashiell Hammett, aesthetically marks the abandoned places that Molder selects as settings in these early works.
The adoption of the series as a structuring category accentuates this cinematographic character. Allied to an almost obsessive interest in the practice of the self-portrait, the series will function as the most omnipresent device for the production of meaning in the course of his photographic career.
In Joseph Conrad (1990) or The Secret Agent (1991) we find a set of settings and props that evoke a suspended narrative, like clues in a detective novel or fantastic tale whose unfolding remains obscure.
Artist Bio
Jorge Molder began his career as a photographer with a solo exhibition in 1977 dedicated to Vilarinho das Furnas, in which the nostalgic tendency that would guide his work was already evident, underlined by the use of black and white and the slight sfumatto that he would rarely abandon.
In 1980 he produces An Exhibition in collaboration with the poets João Miguel Fernandes Jorge and Joaquim Manuel Magalhães in which his interest in narrative insinuation and the cinematographic slant of his photography began to take shape. The “film-noir”, more precisely by the hand of Dashiell Hammett, aesthetically marks the abandoned places that Molder selects as settings in these early works.
The adoption of the series as a structuring category accentuates this cinematographic character. Allied to an almost obsessive interest in the practice of the self-portrait, the series will function as the most omnipresent device for the production of meaning in the course of his photographic career.
In Joseph Conrad (1990) or The Secret Agent (1991) we find a set of settings and props that evoke a suspended narrative, like clues in a detective novel or fantastic tale whose unfolding remains obscure.
The self-portrait, although present as early as 1981, will only later take on its present character. By being worked in series, the self-portrait assumes a status of self-representation, in which the self reveals and conceals itself through the assumption of another as the protagonist of the representation.
Between the film noir and the Victorian novel, between the secret agent and Mister Hyde, the other is the one who has freed himself from the body to fully embrace his spectral condition, this being the condition of the photograph itself. As the ultimate testimony to this condition one can see a series like Nox (Venice Biennale 1999) in which the density of black threatens to finally subsume his characters.
In 1999 he represented Portugal at the Venice Biennale with the series Nox. Since then he has exhibited in the largest national and international institutions and has been the subject of study by the greatest critics of contemporary photography.
Artist Bio
Exhibition Views
Selected Artworks
For many years there were no painters and at certain times painting was forgotten. It is a more lonely and time-consuming job and maybe many artists are not up to it or maybe everyone is sick of painting.
Pedro Casqueiro in conversation with Nuno Crespo for Público.
The images have been explaining to me that their dimension, the relation between us, is a relation of Grandes Planos.
Jorge Molder in conversation with Miguel Nabinho
