The artists – who share the same atelier and their lives – show works made in different supports and techniques, which build a narrative that starts from the disturbing realization that “the World is an assumed way of relating to the other”. The concern portrayed in the exhibition is also that of José Mário Branco. "There is always something about to happen. Something that I [we] should realize.”
Without rules or preconceived concepts, the exhibition is, above all, a curatorial exercise that the artists propose themselves, by launching a renewed vision of different moments of their careers. The narrative that they establish thus interacts with the architecture of the Cistern. “The beauty of this challenge is that it is a laboratory, a process of growth and an evolution. It is not an exhibition. We will work on a thesis, on a curatorial project. We really intend to understand how, within a given architecture, we managed to “architect” our works and make them dialogue with each other. It is an exercise for us, a work in progress. It is something we want to find, discover”, say the artists.
In a poetic, delicate and amorous way, Manuela Pimentel finds the motto, inspiration and raw material for her work in the streets. Old posters pulled from the walls are transformed into “tiles” by their hands, establishing a relationship of familiarity and closeness with the viewer and, at the same time, of a certain strangeness. João Alexandrino's (JAS) work disturbs by the apparent contrast with the delicacy suggested in the images created – or recreated – by Manuela and by the way in which the artist transforms small biopsies of reality into an artistic instrument with multiple possibilities for interaction. In Restlessness, the authors present, above all, complementary worlds. Visions that interact in the complicity of routines and affections.
Among the patent works, there will be works from the series “Retratos” (Portraits), produced by JAS between 2016 and 2018. The paintings are supported by pages of books acquired by the artist in used bookstores in Rio de Janeiro, the project's starting point, and allude to the “generation of portrait”, in the words of JAS, in which the overexposure of the image imposes itself almost as a rule. From Manuela Pimentel, the Cisterna receives pieces such as “Confessionário” (Confessional), from 2017, which reflects the artist's experimentation with a new support, in this case, an oratory found on the street, bringing her work closer to the JAS trajectory.