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Solo show: Joćo Paulo Feliciano - I Got The Blues (over)

30 March 2006 until 29 April 2006
  Joćo Paulo Feliciano -  I Got The Blues
Joćo Paulo Feliciano, No Sound Is Innocent, 2005, MPEG-4 video file, I-Pod player, foam, pencil drawing on wall | 85 x 60 x 5 cms
  Cristina Guerra Contemporary Art

Cristina Guerra Contemporary Art
Rua Santo António ą Estrela 33
1350 - 291 Lisbon
Portugal (city map)

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tel +351 (0)21 395 95 59

Cristina Guerra Contemporary Art is pleased to present a solo exhibition by

I Got The Blues

Opening Reception on Tuesday, March 30 at 10 pm
March 30 through April 29, 2006
Tuesday to Friday 11 am > 8 pm
Saturday 12 pm > 8 pm

This spring Cristina Guerra Contemporary Art presents new work by Portuguese artist Joćo Paulo Feliciano. Drawing on themes of encoding and breakdown, this exhibition explores the artist's instrumentalization of objects, colour, light, sound and music. Feliciano's light-sculptures use sound - melody and the spoken work - and its breakdown, often into kaleidoscopic, sensuous, giddy, colourful products.
Joćo Paulo Feliciano is interested in random systems that open up the possibility for infinite combinations. His multi-disciplinary installations can be seen as starting points, triggers to a series of variations. The structure of the four works on display in this show marry high and low tech; designer objects and found, discarded, everyday pieces; sculpture, light and sound in mesmerizing performative compositions.
In his approach to techonology Feliciano eschews modernity's child, the productive mechanism, awakening it from monotony to a dream of creativity and wonder.
Feliciano's current exhibition not only reveals the artist as an engineer, but a musician in absence.

Wood, plexiglas, aluminium, various types of bulbs, tripods, sound-to-light modulators
190 x 190 x 220 cm

The Blues Quartet, a sound and light sculpture-installation and centerpiece of this exhibition, explores the crossover between aural and visual art. Four different lamps stand upright on the corners of a table-stage. On top of the table-stage, two planes of dark blue transparent perspex intersect to divide the space in four. The four lights blink in response to the sound of music playing, creating reflections, transparencies and juxtapositions; a bewildering choreography of light, colour and sound.
Designed to evolve in directions the artist may not have anticipated, Feliciano's Quartet is a spellbinding experience.
In 2007, THE BLUES QUARTET will tour the US on a co-production between Cristina Guerra Contemporary Art & the Contemporary Art Center, Cincinatt

DA DISCUSSĆO NASCE A LUZ (Discussion Brings Enlightenment), 2005
CD audio, stereo, 10 min., in loop.2 table lamps, 2 sound-to-light modulators, table variable dimensions (according to table size) edition of 3 - the table and one of the lamps (B) are different in each of the copies.
soundtrack: Rafael Toral; text: Octįvio Nunes; voices: Bruno Nogueira, Manuel Marques.

Quite often Feliciano makes use of simple technology to shape sound and light into sensuous, funny happenings, such as the nonsensical, jabbering lamps in 'Da Discussćo Nasce a Luz' (discussion brings enlightenment), where the artist anthropomorphizes these otherwise unthinking, unresponsive table lamps. Staging them on opposite sides of a table, Feliciano sets up a conversing pair: a Modernist and a Romantic, who engage in a dialogue of common-place expressions with their modified voices loosely representing the paradigms. Two idiots who offhandedly beat about the bush.

Wood (plywood), plexiglas, electrolitic condensers, copper wire
40 x 30 x 40 cm
Edition of 3

The sculpture Pequeno Poema Eléctrico is one of the show's most discrete pieces. A small optical trick is performed by two electrolytic condensers positioned on each side of a sheet of dark blue transparent perspex. Connected by a pair of electrical wires, the poles seem to cross the perspex sheet. According to Argentina-based art critic Claudia Laudanno, "Feliciano introduces us to a field of aesthetic chemistry where transgression and desire enhance the shifted order". The sculpture also harks back to the work of Portuguese artist Noronha da Costa and his explorations of reality and illusion, light and shadow, presence and absence.

MPEG-4 video file, i-Pod player. foam, pencil on wall
80 x 60 x 5 cm
Single copy

'No Sound is Innocent' was designed by the artist as an affective sculptural-piece evoking the power of music and its ability to remove us from presence, taking us back to important moments in our lives and preventing us from loosing their season, their atmosphere, their taste. This rapport is also simultaneously associated and prompted by the technology we use to play our favourite songs: for more than a century, advances in technology have shaped our intimacy with music. Whereas the physical size of LPs and record players was best suited for the experience of communal listening at home, the I-Pod gives us individuality, portability and unpredictability, providing us with a more pervasive and immersive relationship with music. The imagery associated with music has evolved accordingly: if the colourful printed cover of the LP was static yet large enough to imprint an affective image, the MPEG video file gives us a much smaller and less glamorous picture, yet it allows us to easily record and playback moments of our own lives, opening new dimensions to how we deal with our memories.

text & notes: Nancy Dantas

For further information, kindly contact Inźs Teixeira [] [+351 213 959 559]

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