Pedro Pousada
Pedro Pousada (1970) is currently director of Colégio das Artes (UC). He's an Associate Professor at the Architecture Department of FCTUC., and one of the coordinators of the Contemporary Art PhD.He is also a visual artist with extensive experience in the field of Contemporary Art and member of the Círculo de Artes Plásticas de Coimbra (CAPC). His artistic work is regularly shown. He graduated in 1993 from the Curso Superior de Artes Plásticas/Pintura at the Faculdade de Belas Artes da Universidade de Lisboa (Painting M.A). Studied at the École Nationale Supérieure des Beaux-Arts de Paris, between 1995-1996 with Serbian painter Vladimir Velicovick. His pedagogical experience began as an Art and Geometry teacher in public schools of the metropolitan area of Lisbon (Cacém, Chelas) between 1996-1999. From 1999 till 2010 he was a Teaching Assistant at the Drawing curricular unit of the Department of Architecture of the FCTUC. He is currently a teacher of Drawing II and Drawing III and Art and Modern Culture graduate classes. He concluded his Phd in 2010 with the Thesis "A arquitectura na sua ausência" (Architecture in its absence), where he discussed para-architectonic spatial practices as an artistic phenomenon that became prevalent in Early Modernism (1916-1930) and developed into a focused item of post-conceptual and post-medium contemporary art practices. He did his Master in Art Theories with a research on Portuguese contemporary painter Jorge Pinheiro (1931) which reflected upon the development of anti-narrative and formalist pictorial images in the Portuguese artistic context of twentieth century late sixties and early seventies.
Address: Coimbra, Portugal
Address: Coimbra, Portugal
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— como lemos Ângela Ferreira
Procuraremos ao longo deste texto focar a inconformidade, e a “sobredeterminação” da Arte — o valor de uso, simbólico, levado até à exaustão — o que Thierry de Duve chama a singularidade reflexiva da arte — “(...) ser simbólica acerca do simbólico”. Faremos essa incursão a partir de um facto expositivo protagonizado por Ângela Ferreira.
POUSADA.Pedro (2017). O “Stimmung” pós-humanista ou the never ending story of a dream machine/The Post-humanist “Stimmung” or the never-ending story of the dream machine. In Desirée Pedro, Carlos Antunes e José Miguel Pinto, Still Cabanon-Projetos e Ensaios. Coimbra: CAPC, Bienal ANozero 2017, Amag, Editorial Sl.ISBN 978-84—697-8528-7.PP.176-189.
Stimmung
Pedro Pousada, 2014
“Perfection belongs to the man to whom the world is a foreign land.”
Hugh of Saint Victor (Saxon Theologian, 12th Century)
Fly-River-Land River
An airborne (unborn) river, an oxymoron of steam and stream; a strip of overlapping and reversible mediations giving us the full spectrum of twentieth century visual arts accomplishments: video, installation, sculpture, drawing, painting, architecture. The “habitat” of artistic condition exposing the cultural paradigm to the conceptual distortions and openings of its Fata Morgana (daily life, the non-transcendental, transient and repetitive “Beyt” deplored, beloved and re-represented by Russian modernists).The unwritten social pact between alterity (not-self, the cultural other) and permanence (self, the accepted identity) has to collide with the mundane facts of dirt and compulsion so Art can become a life factor. Here, at CAPC’s original dwelling in Rua Castro Matoso, the inadequate, unfinished , “over determined” noun that we call “Art” keeps pace with that pact and with that impact; it happens as a permanent mirroring back , as a self-emulation motivated to find its otherness.
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Hipótese: A obra de arte com a polícia para a fazer. Agarrar em pleno ar a felicidade egotista e esfregar o seu nariz em sangue e trampa e dizer-lhe: vê a tua obra e engole-a (Baudelaire). Artifício e sofrimento a atrapalhar o Sábado. Sudários com impulso auto-destrutivo. Filosofar para transformar não só o psicológico mas a droga da nossa vida. Um lobisomem à espera do luar para tocar na sua vítima (ele próprio). Abre a boca, caga a Verdade! Liga-te ao mundo nem que seja com os restos da tua digestão. És uma coisa.
Um objecto unitário, intacto (a Arte? A Técnica? A Poética?) foi retalhado e os seus pedaços irreconhecíveis, envoltos numa mortalha, perdem-se no barroco do fait-divers, do lustmord tropical; o excedente artístico atirou-se a um charco, naturalizou-se numa hipótese de cadáver anónimo, vaporizou-se na pretensa vítima de um homicídio à espera do piquete, da saúde pública, do repórter fotográfico, do transeunte, do voyeur-voyou.