Jorge Pinheiro: D’après Fibonacci and the world out there, and Daniel Steegmann Mangrané: A transparent leaf, instead of the mouth at Serralves Museum of Contemporary Art in Porto

Jorge Pinheiro: D’après Fibonacci and the world out there, through January 7, 2018 

D’après Fibonacci and the world out there brings together paintings, drawings and sculptures by the influential Portuguese artist Jorge Pinheiro (Coimbra, 1931). The exhibition is based on an idea by Pedro Cabrita Reis, on the invitation of Suzanne Cotter, director of the Serralves Museum of Contemporary Art, with an exhibition design conceived by the Pritzker Prize winning architect, Eduardo Souto Moura, and continues the Museum’s programme dedicated to the work of significant 20th century artists whose work is yet to be known by a broader public outside of Portugal.

In preparing the exhibition, the active dialogue between Jorge Pinheiro and Pedro Cabrita Reis has generated a selection of 80 works focusing on specific periods of Pinheiro’s career dating from the 1960s until the present, in which figurative painting and the language of concrete and conceptual abstractions coincide. The selection also includes a major new sculpture produced specially for the exhibition and the context of the Museum’s architecture.” — Serralves Museum

Jorge Pinheiro, Sem título (Untitled), 1969. Industrial paint on wood and mirror, 52 x 52 x 52 cm

Jorge Pinheiro, Sem título (Untitled), 1968. Oil on wood, 194,5 x 149 cm

Jorge Pinheiro, Sem título (Untitled), 1970. Indian ink and stickers on paper, 40 x 45 cm

Jorge Pinheiro, Sem título (Untitled), 1972-1973. Indian ink on paper, 38,7 x 52 cm

Jorge Pinheiro, Sem título (Untitled), c.1960 – c.2010. Industrial paint on wood, 200 x 70 x 70 cm

Daniel Steegmann Mangrané: A transparent leaf, instead of the mouth, through January 14, 2018

“The art of Daniel Steegmann Mangrané (Barcelona, 1977) assumes a myriad of forms in which the constructed and the natural world come together. Inspired by histories of modernist abstraction, architecture and the perceptual and organizational structures of nature, Mangrané’s work encompasses drawing, sculpture, light, and film elaborated as part of poetically scripted environmental spaces.

For Serralves, Daniel Steegmann Mangrané has conceived a living landscape for the Museum’s central gallery in which a glass pavilion housing a garden and mimetic creatures, a set of free standing sculptures, a wall drawing, a hologram and windows that alter the experience of viewing are brought together to create a living ecosystem of transfigurations and metamorphosis, both real and symbolic.” — Serralves Museum

Spiral Forest, 2015. Silver gelatin print, 60×40 cm. Photo: Daniel Steegmann Mangrané

Systemic Grid 17 (stained window), 2015. Stained glass, 263×122 cm. Photo: Andrea Rossetti

Mano con hojas (Hand with leaves), 2014. Hologram, 25×17 cm. Photo: Andrea Rossetti

Hojita (Small leaf), 2014 cut ficus japonicum leaf 11×5 cm. Photo: Andrea Rossetti

Animal que no existeix (Animal that does not exist), 2014. Installation View in CRAC Alsace. Photo: Aurelien Mole

Installation project in Serralves Museum of Contemporary Art, 2017. Photo: Daniel Steegmann Mangrané

Daniel Steegmann Mangrané: A transparent leaf, instead of the mouth is organized by the Serralves Museum of Contemporary Art, Porto, and is curated by the Museum´s director Suzanne Cotter, with curator Paula Fernandes.

Images courtesy Serralves Museum of Contemporary Art.