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GIL HEITOR CORTESÃO - NASC. 1967, Untitled

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GIL HEITOR CORTESÃO - NASC. 1967

GIL HEITOR CORTESÃO - NASC. 1967
Untitled
oil on acrylic glass
signed and dated 1999 on the back
Dim. - 100 x 120 cm
Notes: it was part of the exhibition "Destruir, diz ela", held at Galeria Pedro Cera, Lisbon, 1999. Reproduced in "Gil Heitor Cortesão - Painting 1996 / 2001". Lisbon: Galeria Pedro Cera, 2002, p. 30. ...“This painting, like almost all of them, has no title, as if the artist sought to refer all the possibility of summoning to the visuality of the paintings, individually considered. The exhibitions where they were first seen have particularly suggestive names: “Rosas azuis”, “Dançam lebres na selva”, “Destruir, diz ela”, are titles that have two characteristics in common. They refer to imagined worlds and apparently have nothing to do with the paintings they title. They thus formulate an impossibility of equivalence between the real and representation, while at the same time adding a new layer of poetic disturbance. Perhaps we find here the programmatic knot of a poetics that with each element summoned wants to drag an infinity of others not visible”... Celso Martins - "Gil Heitor Cortesão, Pintura 1996 / 2001", Galeria Pedro Cera, Lisboa, 2002. Proveniência: Galeria Pedro Cera, Lisbon; Coleção António Bacalhau, Oeiras; Coleção Nuno Morgado, Lisbon.

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13 Dec 2021
Portugal, Lisboa
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[ translate ]

GIL HEITOR CORTESÃO - NASC. 1967

GIL HEITOR CORTESÃO - NASC. 1967
Untitled
oil on acrylic glass
signed and dated 1999 on the back
Dim. - 100 x 120 cm
Notes: it was part of the exhibition "Destruir, diz ela", held at Galeria Pedro Cera, Lisbon, 1999. Reproduced in "Gil Heitor Cortesão - Painting 1996 / 2001". Lisbon: Galeria Pedro Cera, 2002, p. 30. ...“This painting, like almost all of them, has no title, as if the artist sought to refer all the possibility of summoning to the visuality of the paintings, individually considered. The exhibitions where they were first seen have particularly suggestive names: “Rosas azuis”, “Dançam lebres na selva”, “Destruir, diz ela”, are titles that have two characteristics in common. They refer to imagined worlds and apparently have nothing to do with the paintings they title. They thus formulate an impossibility of equivalence between the real and representation, while at the same time adding a new layer of poetic disturbance. Perhaps we find here the programmatic knot of a poetics that with each element summoned wants to drag an infinity of others not visible”... Celso Martins - "Gil Heitor Cortesão, Pintura 1996 / 2001", Galeria Pedro Cera, Lisboa, 2002. Proveniência: Galeria Pedro Cera, Lisbon; Coleção António Bacalhau, Oeiras; Coleção Nuno Morgado, Lisbon.

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Time, Location
13 Dec 2021
Portugal, Lisboa
Auction House
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