Say what you have to say, put it on the table and walk away... and see what it does is an exhibition of objects made by three artists. LÚCIA PRANCHA and SARA NUNES FERNANDES have been collaborating under the moniker “Negociatas” since 2010. Both live abroad, in São Paulo and
London respectively, and have been discussing the possibilities of shared process in a long-distance collaboration. For this exhibition they have decided to show pieces made individually and invited artist and friend SÉRGIO CARRONHA to exhibit with them. They met Sérgio at
Faculdade de Belas Artes de Lisboa [trans. Lisbon Faculty of Fine Arts] and since then Sérgio has retreated into his studio in Alcabideche, away from the Portuguese capital. This exhibition proposes the dialogue between process, intuition and formal serendipities between three individual practices. Say what you have to say, put it on the table and walk away... and see what it does is taken from a publication in tribute to Lawrence Weiner prepared by Ana Baliza. Copies of such publication had been gifted to some of her friends during the summer of 2010.
LÚCIA PRANCHA was born in 1985 in Coruche (PT) and lives and works in São Paulo (BR). She studied Visual Arts at the Faculty of Fine Arts, University of Lisbon, PT (2009) and completed a Masters degree in Visual Poetics from the University of São Paulo, BR, (2012). Her work seeks a new idea of the real by an articulation of facts, fictions and significant characters and historical events. By associating the latter she invents new meanings for them as images, which she
transforms into her own "objects-phenomenon". Her first solo show O sol que emite uma luz negra was shown at Red Bull House of Art, Lisbon, PT, 2012. Recent group shows are Princípios Flexor, Galeria Gramatura, São Paulo, BR, 2012; TEXT ́o-&-figura, Museo Nacional de Costa Rica (Museo de los Niños), San José, CR, 2010 (organized by Rolando Castellon). Residencies: Red Bull House of Art, Lisbon, PT, 2012; FAAP, Fundação Armando Álvares Penteado, São Paulo, BR, 2010; Residências ZDB, Zé dos Bois, Lisboa, PT, 2009.
Sara Nunes Fernandes was born in 1985 in Setúbal, Portugal. She studied at the Faculty of Fine Arts in Lisbon (2005) and Goldsmiths College (2009) in London, where she lives and works. Her sculptural works bounce back and forth between their complicity and their critique, or their irony and their sincerity perhaps, taking a retreat into studio practice and materiality as a rustic attempt at making ideas tangible. She has presented performances like The sideways boy and the levitating granny, the frontal man and the backside woman, The upside-down man and his wife who had her feet on the ground that attempt to demystify her own artistic processes by
fabrication of new myths and narratives. Colin Min Sai is the moniker for her solo musical project and she also collaborates in other musical ventures with Jack Barraclough and Rachel Marie Horwood. Recent shows include: Young London 2012, V22 Collection, London, UK, 2012; Go Deep or Go Home, ASC Gallery, London, UK, 2012; 128kbps objects, or-bits.com, 2012; What's In A Band? Eyes, Ears, Mouth & Nose!, Corner College, Zurich, CH; The Drawing Room, Grand Union,
Birmingham, UK; FOREHEAD 2, SAUNA, London, UK.
Sara and Lúcia also collaborate since 2010. Together they have presented video and performance work in Lisbon (PT), London (UK) and Sao Paulo (BR). They maintain “Negociatas”, negociatas.vivyanefernando.info, a blog where both artists inputbparaphernalia necessary to both their collaborative and individual practices. Recent projects include Goodbye, Laika, ZDB, Lisbon (PT), 2011 and Uma exposição de Lúcia Prancha e Sara Nunes Fernandes, Sopro Projecto de Arte Contemporânea, Lisbon, PT, 2010.
Sérgio Carronha (Cascais, PT, 1984) studied at the Faculty of Fine Arts in Lisbon between 2004 and 2010. Since then Sérgio has retreated into his studio in Alcabideche, away from the Portuguese capital. In 2010 he organized PLAY! with Guillaume Vieira, an exhibition at Fabrica
Features, Lisbon (PT) where he presented 'sculptures that have a clear conscience on their aesthetic role while leaving it open to acquire a musical significance as an instrument'.