It is one of the founders of the movement of experimental Portuguese poetry. It is a performer who seeks to address the conflict of the artistic process through different materials. It is an artist who transports the imagination of a rock in the sea and interprets as a works of art. Is Silvestre Pestana, who returns his Atlantic memories again and again through these art installations.

How would you define the work you created for this show?
Silvestre Pestana: It's a different work comes from a line that is photography. It comes in the tradition of the first performers of the sixties. At that time there was no such designation for these social artistic problems performances. After returning from Sweden in 1970 went back to fine arts. Back in the eighties it become widespread this artistic movement. We developed a process and an action that is similar to the theatrical, but the plot is not as psychological theater, but using materials that make up this artistic conflict. I left the island in 1969 to pursue fine arts in Porto and after 40 years I am institutionally invited to participate in a project and then send one original to be presented in size and later enlarged. I put this question to me then, what do I have to say after all those years? I didn't want to talk about my work, not wish to be an artist who sends this works of arts to anywhere. I decided to create a work embedded in the tradition of the performer, a performance art related to the body. The matter of art and artistic action is the issue of body and I present in this work only the chest. On the one side de boy who left with the body of 20 years old and returns as a man of sixty years old.
So is my body, my figure is my digital print, because this is the man that returns and not the other. On the other hand, I had to have a second degree problem, which was the conflict or reference that had to build. If you want a plot. What I had to tell? It is the spirit of an object in this case is serving a vest to wear on the trunk, on the bare. Being inflatable is the extension, but at the same time is a lifesaver. I have just a basic vest with the colors of the island that is yellow and blue and the other with the national flag colors. I am not speaking of states, or political. I emphasize the colors of identity. What remains is a memory of yellow, blue, green and red. I open the range; they are inflatable and are directed to children, because if you notice they are tiny. A child who has been, the man who goes away and the child picks the one that comes with air. This is the interpretation of the artist. And here begins the ambiguity of art that are ten meanings for the same purpose. A work of art that is nominalistic does not reach the degree of clarity. As science. In the first case, it serves a statement; the statement of accuracy is declamatory. In other words, that is! Art can be a range of possibilities. The same story can be told with several elements that are proposed by the artists and people read as they please.

It recently opened a small exhibition of the work of this artist of Madeira, rank in the Hall of Prazeres in Calheta.

Any excuse is good to address the work of Lourdes de Castro, to talk about her very personal world. It is an artwork that is based, according to the study of Marcia Oliveira, "Lourdes de Castro, a path of shadow," an aesthetic line associated with the "readymade," Duchamp, producing collages, assemblages and objects painted with aluminum paint, which emerged from a three-dimensional horizontal or vertical space. It was this that led her to what would become the core of his artistic activity: a constant search around the shade. The contours of the objects painted with aluminum paint would eventually lead to the first shadows made by the artist in serigraphy. Posteriorly, these shadows initial acquire new forms, beginning with the projected shadows and contours and passing the "Great Herbarium of Shadows" or its known "Family Albums", started in the sixties and continue today to be completed. "A phase that longtime friend and gallerist, Arlete Maria Alves da Silva, accompanied and recalls with emotion, "besides being drop-dead gorgeous, always managed to create a magical world. She was a determining factor in my life, because we can be happy and make others happy with very little. "Her work is proof of that, continues "there is a stripped to the essentials. She began by joining everyday objects such as spoons, ladles of soup and paints it with silver paint. Then she began to paint only the contours of the parts and increasingly was only the shadow of everything. I still am extremely touched by this clearance. "
The genesis of his work reflects her point of view, her intimate theater that manipulates with great simplicity and humility, because as Lourdes Castro recently said, "no one cares about the shadows, they are discarding, always liked the unimportant things. I've chosen according my way. Everything is impermanent and there is no one like another. We need to be aware of things and not to repeat. "And this definition is what "breathes" thru her work, of the unchangeable that is immortalized in the matter and for the artist in the end is to understand that "we are nature. We are part of this world, there is no separation". She also claims that is not a mere vague concept, as it continues painting in her one hectare, "is my speech. My home, my life, my real work".
http://ceh.ilch.uminho.pt/Pub_Marcia_oliveira.pdf

The Koollook is a brand that combines the ancient with the future. A retro-futuristic vision of its creator, Ana Magalhães, which is reflected in jewlery with mechanical gears very unique.

I noticed that in your collections is inspired by retro, the gothic, cyberpunk and the Victorian style, why these names?
Ana Magalhaes: All have a common bond, are revival styles. Intend to associate the past with the future. The proposal to create a retro-futuristic look. Like a plane running on steam. It is inspired by the Victorian era in the eighteenth century, these gears that  we transport to our days. In other words, instead of computer chips would be using mechanical devices. The vintage collection seeks to enhance the revival look, it has a lot to do with the spirit of bygone days.

I noticed that these mechanisms are parts of watches, also aims to recycle these mechanisms?
AM: Yes, exactly. I do not use only clock mechanisms, but also keys of old typewriters. I do a search on the internet because in Portugal you cannot get those parts. I try to buy old engines that no longer work without any kind of utility, nor even the one that they were created. So I can integrate them into jewelry. Get, for example, the keys, they are removed from the machines and are recycled, thus creating a new fashion accessory.

How long has Kollook?
AM: Koollook is recent. It is about one year. Although I had other pieces, there was no such differentiation. From the moment I registered the mark, I started creating these jewels, because I like it and because I understood that at the national level, there was a niche market for this type of accessories. Hence the bet in this differentiation.

And what has been the public acceptance for these jewels?
AM: In terms of public acceptance has been good. I have the jewelry on sale in some stores in Porto, Coimbra, Figueira da Foz and Marco de Canavezes. They have gone very well, because they are so different from the rest, in my view, this is what captivated people. So much so that some stores contacted me just to expose my work.

Ara Gouveia paints for more than forty years. An impulse that he took full consciousness off. Since his teens and fills his day even today. Although his paintings are abstract, he likes to say that makes dolls. He paints for pleasure and because he wants to. Likes colors in its more vivid expression, because he does not enjoy the dull tones, both in his painting, and in life.

Do you think your work is influenced by nature; you live and work in Porto Santo?
Ara Gouveia: If it seems that way is unconscious. If you see inspiration in nature is possible, but I do not think much about it. I look at nature, I'm an observer naturally and for defect, because I am a teacher of drawing and I have to dissect the natural environment. So is what we see more and I am also talking about everything that surrounds us. Like the sun, the wind, like plants and animals. All this impresses me. If this is reflected when I paint, perhaps, I do not say no.

So what inspires you to paint?
AG: Nothing inspires me. I do what crosses my mind. I do not know what inspiration is. I intend to make a working group of up to ten at most. After a while, can be changed. It is planned with my feelings, with my heart and my stomach. Then I start painting and forget the rest. I remember having lived in Calheta and the landscape that was in front of me was the sea and the sky. It was 180 degrees of landscape, from sunrise to sunset. All that shifting, all use of color impressed me a lot. I took many pictures and colors on the plans. I can say that in those days, I could have been influenced by nature, more so. It was very flat and smooth colors.

Color is important in his work, they are very much alive. Have something against the dull colors?
AG: Yes. Just as I am against people who are dull. (Laughs)

You have a long career ...
AG: I started with fifteen, already in high school, I exposed a few risks. Then later, a year or two later, I had my fists show in a gallery. From there forward I went to Porto and follow the path of any artist.

The fact of living in Porto Santo influences your painting?
AG: They are much more intimate. Even that does not appear. They are very experienced, highly reflective. Before deciding what to do and the line of work, I reflect a lot. When he was invited to this event, I decided to make a puppet, not something with legs and arms, but in the end is a stick figure in blue. Angelo de Sousa, who is an artist who has already died, he used to say about his works that he drew dolls and I also like to use this expression to define what I do.

How you defined the art scene in Portugal?
AG: It is very good. In terms of innovation and quality of the galleries and the artists. Maybe I'm not the best person to talk about it, because I live in seclusion. I'm in Porto Santo. Although, I'm not far away, because I have access to the Internet and buy books. From the little I know and have seen there is a very good performance is not far behind the rest. From what is given me to do, groups of artists rooted in Germany and England; do not owe anything to others.

The production design is a key element in the creation of scenic environments.

Exceptionally in this article I will address the scenarios, although they are not art itself, are a key element in the re-creation of spaces where the film the actions occurs, where actors move on stage and also appear in the scenes of daily soap operas we watch at home. They are important because as mentioned earlier, help to contextualize a certain kind of environment, i.e., a nonverbal form to help, to situate the viewer in terms of time. It is a mix of illusion and reality that gains weight in the movies, the visual aspect inherent in this type of art and due to high demand from viewers. Props complement this universe and many of them end up becoming even iconic. To highlight, the laser swords of the Jedi in Star Wars. Or the famous bowler hat and cane that made Charlie Chaplin so notorious.

Currently all these elements of fiction are so important that there are already a number of design professionals who create these little notes that together serve to tell a story. The set design is a highly qualified trade, many of the spaces we see in television series or movies are idealized by so-called production designers. These professionals have to take account several important aspects: the lighting is one of the important because it highlights a particular detail for which we want to draw attention to, or instead may enhance it so unflattering; the actresses know this better than anyone. Noise in communication is another aspect to consider, for example, the famous stripes that are to be avoided, create visual clutter on the screen and distract the viewer from the essential message. The colors are also important, there are tones that tire the viewer if they are very much alive, or rather help to create an environment more fraught with drama, depending on the purpose of the scene. Finally, last but not least, the scale, a scenario can either be huge to the point of creating scenic cities that we see frequently in Brazilian soap operas. As may be tiny and filmed to appear larger. The famous battles in space of Star Wars were filmed with a very detailed small models made to look the most real possible. The fact is that all this work requires a thorough knowledge in various areas. Nothing can be left to chance, because the viewer most of the time finds the mistake, right?

http://www.pedromoura.co.uk/Screenshots.html
http://pilardaviga.blogspot.com/
http://falsificadora.blogspot.com/

Lonarte is an artistic event which aims to create a link between the public and art. They are giant tarps, a kind of banners of artistic expression that accompany the coastline of the beach of Calheta.

Why the choice of tarps?
Luis Guilherme Nobrega: The question of the tarps has to do with how easy it is to scale. When we want that art to reach an audience and we are talking about public art, on the street, we have to use a material that is sturdy and can match what we intend to present. If it's tissue is easily torn by wind. This area has that kind of weather conditions. It is a material that can be printed, move the project artist for the desired scale and expose it on the beach. This project has a lot to do with that. The Lonarte is therefore the use of canvas as a support for art. The name has to do with it.
After a first edition which is your perception of this second.
LGN: Won a lot from the experience. One is to add a second project, in addition to Lonarte that is specific to artists; Calheta More is another way of viewing. As we have seen that the initial project was successful because people came to the beach and the huge curiosity of the tourists towards the tarps and some surprise even by an event of this kind in a place like Calheta. This kind of artistic statement appears in somewhat avant-garde cities, where the public is more aware of such initiatives.

You created Lonarte thinking about a public that normally does not goes to the galleries? That's why you decided to bring it to the street?
LNG: I'm sure of it. It's a bit like what happened to the Galleria of Pleasure when suggested by Patricia Sumares. It was previously an area where people would not see art, but went to see animals and drink tea. If it takes place where the public already exists, that will create more attention to art and an impact on taste, as a habit. Or we can do something more risky, which is to create the space and attract the public and there we have to invest a lot and with great quality, because it takes years to educate an audience. A museum institution takes several years to build his public, just to name one example. Here, people see the pads, take a brochure to learn about the artist's work. Access to the link we provide. You create a taste for art.

The locals are sensitive to art?
LNG: The feedback I have is always very positive, consider the project very challenging, the quality of artists that display both the national and international. Artists end up creating, taking into account the environment where the pads are placed. For example, last year, Pedro Proença alludes to the bikini girls on the beach. He thought what you do? Use your creativity to communicate this environment, which ultimately shows the public that art is very close to us. The artists now seek that connection before creating, they access the blog and worry more and more to design a project in view of the site.

She always used the painting as a form of expression for her experiences and environment that surrounds it. An artistic expression of strong tones expressed in her works and the various dimensions of the invisible sublimated through alternative media. An artist with a gradual and strong journey thru the world of Portuguese art.

Let's talk a little about the exhibition "little wings". There is a kind of reconciliation with the human figure that had completely disappeared in an earlier period, why?
Catarina Machado: I think it was a need to express. I started with geometry when I took architecture, so they were very geometric works, then there was a release of those works more rigid to more saturated and more loosely, connected over the line and spot color. In the ninenthies, I explored the human figure and since then there was a need to return, but only as a stain, as contour, always using the silhouette and the blue and red are two colors that are always in my work.
However I noticed a change in color, they were darker and are clearer now.
CM: Yes it's true, I also bet on white backgrounds that gives air to all the colors. Basically I started by saturating and now I'm always taking, taking to debug.

Why the title?
CM: It's a song by Jimmy Hendrix, but I like the version of Sting sang in Spanish. It's a beautiful story and I decided to join the music with this a piece of literature. Each title is an excerpt from the lyrics, which talks about "moving in the clouds" have to do with nature, love, and joy. And so a whole have both.

You're looking for inspiration for your works through music?
CM: It is not my habit, though I always work with music, because it is my company and my dog. In fact, even added two more panels dedicated to the music in this show. One was the theme of "blowing with the wind," Carol King and another was "Just like Heaven" by The Cure, because the lyrics had to do with the figure of a man and a woman. What inspires me even the most of all is the ocean and my experiences? From tender age I live by the sea, I surf. That contact either physically or visually I tried to carry to my paint, this energy and everything that communicates- strength, movement, line, and the whirlwind that is a water element that I have been exploring. In this latest exhibition interactions that ended last month, I focus on the continuity of silhouette that started with the "little wings", my own image reflected in the water of a pool and it was the way I found to continue to explore this theme, but in other media.

Also explored photography, why now?
CM: I have always been in love for photography, but it was more a need to explore the silhouette without being in the painting. It complements, because even though I feel like is painting. It was the need to explore other media and other materials. In this exhibition for the first time that I have no paintings, presented video, photography and more recent work in clay which is the last thing I'm experiencing.

It is a national brand that promotes a furniture design that mixes the traditional with the new. A project led by Rui Viana that aimed the sustained growth of the brand, with an eye on the future towards an expansion in the international market.

It states that the design is dialectic between past and future so you make this approach through the materials?
Rui Viana: It is through the concepts. The basis of some collections is the dialectic between the traditional and more modern. It's a little of me, the place where I was born, grow, and was used to deal. In this case, I belong to a family with some artisans. I am from the Povoa, a land of fishermen, have a father and grandfather both carpenters. These memories are part of us and because of that, in the workshops, I am dealing with all this cultural entity itself is ultimately reflected in the collections.

It reminding me of the piece of furniture, the seven skirts.
RV: Yes, although is not a Poveira tradition, but from Nazareth, is also a fishing community. For example, the collection of rugs reflects this concept, is traditional and handmade in a village of people, are Beiriz rugs are different because of the type of node. I decided to apply them in the furniture, because it is something that is part of my childhood, my family of friends who work with this type of craft materials, all this is not by chance. It's a cultural reference, a craft work I decided to use. In short, my work has to do with how we grow and all that surrounds us, transferring it to a concept of contemporary furniture.

You say on your website that your work is undefined, is it because you don't like to assign labels to what you do?
RV: It has more to do with the emergence of the brand. This was a challenge that I proposed to the company where I worked and was undefined because we did not know how it would go; say what the public reaction will be. There were issues that would emerge over time, I never had a brand before, never sold and never had direct furniture collections designed. At the bottom was the creation of the brand and there were these uncertainties because we didn't knew how it would be accepted. The uncertainty also has to do with the name, Piurra is kind of spinning top, were the toys that my grandfather did. The idea of ​​returning to the past, we released the top. It had to do with the brand, because they decided to launch it this way and went well. If it runs poorly, we changed the direction of style. Hence the word undefined as well, i.e., the constant search for the brand's marketing success.

What was the feedback at the national level?
RV: It went very well, because I felt there was a deficit of quality furniture design. The references in furniture were always the Italians and there were few references to the national ones. Although, there is a great tradition of carpentry in Portugal. But there has never been the emergence of innovative brands and I'm not talking about innovation in the mobile itself, but in terms of design, in terms of brand and identity. This was the starting point. Then there's identification with the young people of my age, I'm 35, my friends who have married and have families complained that they could not find furniture to their liking. This was also another incentive and proceeded accordingly. It was a series of circumstances that dictated the appearance of the brand.

Ilda Reis was one of the most influential artists in the art of engraving and screen printing in Portugal. The choice of organic themes and vivid colors deeply marked her work for nearly three decades. A career that despite having been recognized internationally, was never brilliant in our country due to her modest personality, as describes her daughter Violante Saramago Matos.

What do you like most of the work of your mother?
Violante Saramago Matos: I particularly like the graphic work, the engravings she envisioned. She began by painting, then chose the engraving, but from a certain point had to stop, it became difficult to continue, because the art of engraving is very hard, very physically demanding, the presses at that time were very heavy, today there are already electric machines. I still have a press of my mother that has a brutal weight, it was all made by hand, an iron plate with many pounds of weight it had to move them with the force of her arms. And my mother no longer had any power to make her own engraving and carving the plate is very demanding, so she returned to painting. But, frankly I think what is extraordinarily good in my mother's work is engraving. There are some works simply wonderful, especially in metal. There are also some pieces of wood that are very goods and in copper.

Do you think there was a recognition of the artist?
VSM: No, but my mother had a "terrible temper". She had proposals, and I will not say who, because she never wanted it to be known, from galleries, but the concept of gallery today is very different, they are more open spaces. We are talking about the 60 and 70, the galleries 'own' the artist and she never wanted this. There were two proposals, they wanted to work with her and I never understood why she never accepted. The truth is that she never did.

Maybe due to her independent nature?
VSM: I think not. My mother was a curious, independent, but above all was an extremely shy person. I think also what stopped her was a mix of two things, firstly that she was selling to an art trade, I think it was not true. And secondly, because she had the idea that if she happened to produce a lesser work of art would undermine the gallery name and I must add that she never confessed to me. It's my perception. Speaking of a time when there was this extreme bond gallery / artist, you need to see that these spaces "made" artists in a way, if they were not good of course were not known. Paula Rego, for example, had a great connection to 111 and there is no doubt that there was a great synergy between the two. But the fact that there was this duality of interests that converge in the promotion of quality works and my mother always run away from it. I think that was why she was not listed and recognized as it should.

Or was it by the fact she was a woman in the world of graphics arts?
VSM: I think not. Paula Rego is younger, but not so much younger and was the woman who was, Meneres was the woman who was and Lurdes de Castro. There were many women engraving. I am convinced that this systematic refusal is what hindered her.

He is a provocateur in his approach to art. But doesn't like labels, which is intended to create different readings of the pieces that he exposes. It is an experimentalist of materials. His name is Silvio Cro, the gentleman who follows...

I notice that you risk a lot on the type of art you do, use unusual materials in your work, such as silicone. It is a conscious decision?
Silvio Cro: It's true. What I do not pretend to make a work of art, but I like the result of an idea. An idea that brings a message that has content that I want in a relevant way or not, directly or otherwise, pass to another. Art is just that. When I do not want to expose that piece I keep it to myself, if I want to save, of course I draw it in a notebook or a sheet. Basically I leave a record and not create the solid result. What makes art a bit selfish not to pass it to the public. For me, I see the selfish art, when I have an idea, record the idea and keep for myself only. From the moment you step over here and to materialize out automatically it is not mine alone, and saw someone already has made a positive comment or not, each one has its own way of communicating, you cannot please everyone. And art is not to please. When it's done for the pleasure of it, enters in a phase of degradation, because she does not play its role and is conditional. I am a teacher, I say that is my livelihood, I have a paycheck at the end of the month, it is natural that a person who wants to live of art, engage in this area will spawn other obstacles. A person can facilitate these obstacles, because if I am a person who art is a way of earning a living, I have an audience and that gives me the luxury of doing what I like and accept, if I get out of it, I'm like an ally, a pleasing personality and the other without offending me personally, what I'm experiencing is the result of what I do. Mathematically I'm combining my work and what the public likes to see.

But is it art when the artist creates and nobody likes or understands? Continues to be art even if the message does not reach the public?
Silvio Cro: The message is always for the public in a direct or indirect way. Whether you like it or not. I am the visual arts, but I'll give an example about the music. I have the pleasure of singing, I can do it at home, I can record my song and save it. Since it decides to place it in a social network, someone will hear it, and the fact that is there the song is no longer mine, is part of a wealth of realities. Now if I keep to myself, no one heard. For the artist or maker of things is the same. If I show someone who is closest to me, or goes out here in a broader social network, of course I will please or displease. The message is this, so is art. It gives me pleasure to do things that causes to the other, or not, pleased to accept them.