The State Contemporary Art Collection (CACE) spans different times and periods. Since the days of the former Collection of the Secretary of State for Culture, on which the CACE is based, many have been the artists, curators, movements, and cultural policies that have consolidated what is, by force of circumstance a collection of collections, erratic or dissonant at times, but undoubtedly vital for gaining insight into the evolution of contemporary art in Portugal. Its potency lies precisely in not trying to be coherent, and as the collection’s curator, Sandra Vieira Jürgens, told us, its history and organic development over the decades is made up of dissimilarities, diverse points of view, and its own rhythms, which vary depending on the political, social, and cultural contexts of the country. According to Vieira Jürgens, it is a collection whose strength lies “not in its similarity, but in its difference”.

With time, it becomes possible to find answers to all kinds of questions. How should we understand the term Contemporary Art? What country are we in? What are the cultural policies regarding the acquisition of works? Which artists have established a noteworthy career path over the years? What kind of critical perspective and knowledge are used to choose pieces? And perhaps most importantly of all, what is the purpose of these works and what can we expect for their future? Contemporaneity requires a constant effort and ongoing questioning of what defines a temporal experience that can be fleeting, at others static and enduring in time. To meet the demands of contemporary times, it is necessary to engage in a painstaking process of criticism and self-reflection, which involves paying close attention to multiple social, political, cultural, and historical vectors that shape our world and leave lasting imprints on both human (and non-human) existence throughout the universe.

In the wake of After Dark Safari launching the exhibition cycle of the latest acquisitions, at the same time as a concerted effort to decentralise the displaying of art in different locations, Non Finito continues this investigative work to try comprehend the diverse nature of such a wide-raging collection. And so, striving to avoid limitations and continuously forge new paths for analysis, NON FINITO reflects the deeply political, and not in the slightest neutral ambitions of the different people involved.

If in Dark Safari, a critical view of art and Art History was already apparent, with debates on the notions of “artist”, “territory”, and “landscape” – in a location, Museu do Côa, whose geographical setting and museological mission made it an ideal venue for such discussion – in NON FINITO, the focus now places under the spotlight for debate, the idea of a “collection-in-perpetual-construction”.

Upon closer examination, it becomes evident that NON FINITO establishes a narrative and conceptual connection among the works, centred around the themes of theatricality and escapism, but also celebration, vulnerability, and camouflage. Art constantly strives to edify itself by seeking connections between works, whether they be thematic, aesthetic, formal, or material. In this regard, the artworks of Adriana Proganó and Nikolai Nekh explore concepts of construction and deconstruction; in the case of Susanne S. D. Themlitz, Joana Escoval, and Miguel Ângelo Rocha, works reveal the delicate and fragile nature of objects, as well as the balance between weight and lightness; Rosa Carvalho, Fábio Colaço, Daniela Krtsch, Teresa Dias Coelho, and Robert Mapplethorpe’s works are united by their focus on the performativity of gestures; in André Sousa, Carlos Noronha Feio, Ruy Leitão, and Isabel Carvalho, on the other hand, it is drawing, in its most varied of expressions and materiality; Tito Mouraz’s watery landscape serves as an introduction to Alice dos Reis’ underwater explorations, and so on.

Some of the engagements do not reveal themselves immediately. Some works demand both time and focus. Certain pieces have the ability to broaden discussions and amplify the objects around them. This can be due to their subtle nature or the space itself has made it so. However, nothing seems forced. Some pieces become more isolated or iconic as and when they so desire, which is typical in any exhibition. In general, however, we soon notice how the works have a capacity for engagement, as a result of the encounters that make up the collection.

Briefly put, NON FINITO is an extensive exhibition featuring works that prompt questions and unease, as expected. But, like all exhibitions that develop through a collaborative construction process, with multiple contributors working alongside each other without a hierarchy of tastes or knowledge, NON FINITO ends up being a fascinating and interesting experience, precisely for its wide-ranging avoidance of the kind of clinical or controlled uniformity, sure to deter wonderment and questioning.

Curated by Fernando J. Ribeiro, Pedro Portugal, and Beatriz Hilário, NON FINITO is currently at the Centro de Cultura Contemporânea de Castelo Branco until September 3, with more than 40 works by Portuguese and foreign artists.