As we stroll along the sidewalk of Largo Hintze Ribeiro, just a few minutes away from Rato, our eyes are drawn to an unusual spot. Its entrance is marked by a small, vibrant carpet that stands out amidst the dull grey pavement. As we pass through the portal, we bid farewell to the iron-stone and the Portuguese soil. On the other side, we find ourselves on a new base, a different continent, and unfamiliar land. In his seminal novel Raised from the Ground, José Saramago accurately observes that, throughout the year, the ground “sometimes appears green, yellow, brown, or black [1].  “And there are red, resembling the color of clay or blood. But it depends on what has been sown and nurtured in the soil, or not yet, or not already […]” [2]. If we consider the landscape as the remaining natural beauty in the world, full of vibrant colours, diverse paths, unique textures, and various forms of life, what actions and principles should we cultivate to create a fresh foundation? Is the ground a seductive shade of lilac, even more so than the jacarandas, and as alluring as the twilight? Does it inspire desire and dreams? Which creatures are native to this territory?

Adriana Proganó has imagined a new cosmology at 3+1 Arte Contemporânea, which is immersed in a fantasy-laden, purplish atmosphere. The artist is displaying a new set of paintings in her first solo exhibition since her show at maat – Museum of Art, Architecture and Technology, where she was awarded the 2022 EDP New Artists Award. The paintings encourage us to embrace the snake with a kiss, run alongside panthers, and breathe in sync with the roots of trees. The series showcases her typical style, which is highly expressive and spontaneous, featuring “raw” finishes and a distinct humoristic touch. However, it also incorporates a new and strengthened theme of the symbiotic relationship between humans and animals.

In the exhibition text for I kissed the snake hello, Antonio Grulli, a critic and curator, carefully suggests that Proganó’s images convey a complex tension between all things that share the condition of being alive, rather than simply reconciling opposing ideas. Grulli notes that Proganó’s work depicts “a human figure that appears to be on the verge of transforming into a panther or a tree, or has just emerged from a leaf (…)” [3]. The quote from Bruno Latour about the metamorphosis perspective is quite thought-provoking: “(…) we are all constantly trying to avoid the inanimation or hyper-animation of those beings with whom we exchange form all the time” [4].

It is not a coincidence that the shape of the human body begins to take on distinct contours, almost as a response to the acquisition or learning of new abilities. It is now possible for creatures that do not use the same linguistic codes to communicate directly on this new ground. Cold soft swim with you (2023) and I breathe you, you breathe me (2023) are sentences directed towards an individual who has the ability to take action, make decisions, and has control over their own choices. The insects communicate with us, while the sap provides us with a comforting embrace. In relationships, the rhythm is often viewed as a continuous flow rather than a linear chain. This perspective blurs the distinction between day and night, and time seems to exist in an intangible space: Not day not night, an invisible space in time (2023).

In this land, which is much more rugged than our world of smooth surfaces, even the sense of touch seems to have an unbroken connection like an umbilical cord. Leaf Juice (2023) features a portrait of a distant relative of Abaporu (1928) [5]. The skin, particularly the hands and feet which are used for grasping, pinching, or scratching, appear to be filled with a lively, reddish heat. This seems to subtly acknowledge the closeness of each individual interaction. Sensuality is dispersed throughout the entire organism, resulting in the absence of genitals or genders in this world. What benefits would they provide? What is their purpose?

Adriana Proganó’s creations evoke a childlike sense of curiosity and generosity towards the world around us, achieved through both style and content, as well as signifier and signified. Similar to someone who falls asleep while listening to a fable and then dreams about the haunting images of the invented universe, we attempt to navigate through the winding paths of I kissed the snake hello with attentiveness, care, wonder, and curiosity. We exchange some chance glances with the inhabitants of this area. We experience both fear and fascination. We are following the sound of a distant river, hoping to find its origin. We wake up just as we are about to find it. We hope that the actual thing will stay as it is, but we are slightly disappointed that it is not a bit less gray and a bit more violet, which is the color of fresh air. [6]

One can once again dream with I kissed the snake hello at Galeria 3+1 Arte Contemporânea until June 24.

[1] Saramago, José. (1980). Levantado do Chão. Alfragide: Editorial Caminho, s/p. Available online at: <https://www.escolahenriquemedina.org/bibdigital/view/1394/Levantado%20do%20Chao%20-%20Jose%20Saramago.pdf>.

[2] Idem.

[3] Antonio Grulli in the exhibition text.

[4] Latour, Bruno. “As fábulas científicas de uma La Fontaine empírica”. In: Despret, Vinciane. (2021). O que diriam os animais? São Paulo: Ubu Editora, p. 13.

[5] Work by Tarsila do Amaral.

[6] Monet is said to have claimed: “I have finally discovered the true color of the atmosphere. It’s violet. Fresh air is violet”.