Ana Vieira's place in Portuguese art is unusual: working the trail, the shadow, the passage of light (or bodies?), the reflection, the overlap, the footprint, the memory or planning of the future, her art streak the invisible. And it questions the place of art - and of the viewer, always placed...
In an old house, around a table, under a lamp, four men play a game of cards. This house is a haven where all failures are accepted, where all are allowed. Failure is the rule, not the exception. Money has disappeared, as has any possibility of personal success.
The film's starting point was an exhibit at the Centre of Modern Art (Gulbenkian) in Lisbon. By evoking a time in the past and the adventures of the artist's generation, Silva Melo is able to depict the oeuvre and the artistic persona of António Palolo.
Joaquim Bravo (Évora, 1935 - Lisbon, 1990) exhibited for the first time in 1964, inaugurating what would become one of the most decisive Portuguese galleries, the 111 in Campo Grande. Its doctrinal influence and its enormous capacity for enthusiasm would mark in the early sixties Évora's group of...
