Explanation of The House

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In the time of time, 
we return to the time of the nut.

Let us hold our breath, placing our eyes on Catarina’s hands, let us enter a tunnel diving into deep waters. In the intimacy of the self we will find the light, in the image that is composed, subtly, in the encounter with the Being.
Beatriz, Henrique, their children, their grandchildren… Their letters, their story. Catarina’s personal universe finds us in our history, in the common, universal feeling, the tragic pathos of loss, which Catarina turns inside out appealing to the intimacy of the spectator. The symbolic power of each object, each word, gesture or landscape is delivered to us as redemption from the arbitrariness of the path.
In contemplative tension, time is suspended. Catarina puts us in retrospect. We also evoke our dead ones, our places, the letters we did not write and that we now grope for, inhabiting the symbolic composition of images, words and melodies.
We identify impressions, impulses, emotions and wake up through the poetic revelation of humanity, through the metamorphosis of what we have been in others, of what we are in ourselves, of what we will be in whoever succeeds us.
And in the immortality of transmutation the immensity of the Earth, maternal lap that remains, as a memory of the absent body, and that welcomes us, giving us measure. The essential measure of all things.
We repeat inward, inwardly, prayers, moved by the magic of the primitive ritual, of the return to the acceptance of the inexplicable. Death as the principle of regeneration.
And still submerged, rocked by music, we return to the amniotic humus, through the metamorphosis of Catarina’s birds, transforming ourselves into the fish echoed in the poetry of Herberto Helder, which, curiously, we find frozen in the Trás-os-Montes by António Reis and Margarida Cordeiro. And we understand Domenico, in Tarkovsky’s Nostalghia, from the top of the statue of Marcus Aurelius, alerting us of the need to return to the beginning.
Catarina’s cinema wanders between the perception of the small details and the enormity of the world that welcomes them. Through her images we rediscover the essential poetics of the composition of the submerged universe of emotions, in an awareness, through empathic relationships, of common feelings. And if we review Tarkovsky or Bergman, we rediscover the continuous reading of that letter that a substantial part of Portuguese cinema has also written to Time and that Catarina takes up again in a discursive and reflective pause, offering us the flow of breathing, like someone who paints a picture. With each stroke we reconcile ourselves with the world. It is not by chance that in her films Catarina revisits painting as a secret and revealing element of a spiritual conscience that prolongs us in a dialogue that takes place through images.
What we have not said is now revealed – art has this power, cinema this sincerity: the meeting of our passions in the breadth of the self, in an absolute and real space, freeing us. With Catarina we recover the time of pneuma and tonos, the time of Time. The time of the gaze.

 

Curatorial text (by Leonor Lloret)

Explanation of Light

Explanation of Light, is made up of two programs curated by the Portuguese-Spanish researcher, curator and cultural manager Leonor Lloret (Appleton Associação Cultural). The first one is a collective session and the second is dedicated to the artist Catarina Vasconcelos, in such a way that both generate a poetic and subtle revision of what binds us to others and to the world, of home and time from multiple points of view.

Thursday 28 oct | 18:30 – 20:00h

Fundación Luís Seoane

Friday 29 oct | 18:30 – 20:00h

Fundación Luís Seoane

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