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Osso Colectivo + Júlio Pomar: O Tom do Pomar (Invasor Abstrato #7)

The Atelier-Museu Júlio Pomar often bases its practice on the dialogues established between Pomar’s works and the works of guest artists from younger generations. Dialogues that erupt through words, through generous stains formed in the drawing or through vigorous strokes woven by the artist, as can be seen in the works he left us.

The exhibition now on show at the museum, Osso Colectivo + Júlio Pomar: O Tom do Pomar (Invasor Abstrato #7), features vigorous gestures made on the canvas or on paper sheets, in a recording that reverberates throughout the quadrangular exhibition room. A cubic compartment, Noite (2024), sheltered inside and out by a black fabric, unveils the sounds made by the artist[1] when he was drawing in his studio. The twilight inside heightens the effect of listening and the absence of the artist.

Pomar’s works hang around the cube. The 1945 painting Gadanheiro is a piece from the early neo-realist movement, indicative of the artist’s revolutionary genius and his adversarial spirit towards the 40s conservative regime. Other works reacting to the fascist regime and pointing to labour conditions can be seen in the venue, such as the 1953 study Ciclo do Arroz II, 1957’s Maria da Fonte and 1951’s Mulheres na lota (Nazaré).

Twelve skulls, drawn in permanent ink on paper, from 1963, go with three of the artist’s assemblages and prove that his broad output was not limited to painting as a means of expression, but to an enormous artistic activity extending to other disciplines, such as engraving, sculpture, tapestry and ceramics[2]. The assemblage O juiz e a cicada (1967-1986), for instance, testifies to the wealth of its constituent elements, comprising bone fragments, rubber bands, small logs, among other objects, attached to wood on a metal support. The same piece was exhibited in 2017 during the exhibition Júlio Pomar and Cabrita Reis: das pequenas coisas, an exhibition dialogue between the artist and Cabrita Reis, involving the confrontation/cross-referencing of the former’s works with the latter, drawing on assorted material assemblages and objet trouvé/ready-mades that allude to Dadaism, Surrealism and Marcel Duchamp’s praxis.

The artist’s collection also includes Faixa de Gaza (1997 – 2007), another assemblage made up of several objects, such as a wooden cigarette box, two cordless telephones, clay, polyurethane foam, sand, paper, tin, leather, shells, a Lego piece, hardware and corrugated cardboard. This group includes another work, Sem título (1967-1986), a piece featuring bones, plastic toys, hardware and a small horn, reminding us that the exhibition is not just a work by Júlio Pomar, but rather a dialogue between the artist’s works and Osso Colectivo‘s sound installations. Pomar’s quick, sharp gestures, found in the works on display, roar along with the noises that ripple and draw lines in all directions, slowly spreading over the walls and Pomar’s compositions.

Small transistors, speakers inside cubic structures, sculptures with built-in audio, among others, permeate the gallery and establish connections with Pomar’s works. While listening to the voices and noises from the film, we are challenged by small sound punctuations scattered around the exhibition space that reveal everyday sounds. This constant reverb osmosis is the outcome of work carried out by the OSSO colectivo team, made up of Ricardo Jacinto, Nuno Morão and Rita Thomaz. Dedicated to creating installations, performances and concerts, the collective intends to establish a set of relationships between Júlio Pomar’s selected work and sound and image[3], through social, natural, symbolic and material observation of the rural village of São Gregório, in Caldas de Rainha[4].

O Tom do Pomar (Invasor Abstrato #7) is on show at Atelier-Museu Júlio Pomar until May 26, 2024.

 

[1] Sound recordings made by Ricardo Jacinto, Osso Colectivo, in 2012 for the soundtrack of Tiago Pereira’s film: Só o teatro é real (2013). The sound is mono and fpoi, placed inside a black box covered in carpet.
[2] Gonçalves, A. (2017). Júlio Pomar- Cabrita Reis, das pequenas coisas. Coord. Sara Antónia Matos. Atelier – Museu Júlio Pomar.
[3] Exhibition texto of Osso Coletivo + Júlio Pomar – O Tom do pomar (Invasor Abstrato # 7).
[4] Ibidem.

Carla Carbone was born in Lisbon, 1971. She studied Drawing in Ar.co and Design of Equipment at the Faculty of Fine Arts in Lisbon. Completed his Masters in Visual Arts Teaching. She writes about Design since 1999, first in the newspaper O Independente, then in editions like Anuário de Design, arq.a magazine, DIF, Parq. She also participates in editions such as FRAME, Diário Digital, Wrongwrong, and in the collection of Portuguese designers, edited by the newspaper Público. She collaborated with illustrations for Fanzine Flanzine and Gerador magazine. (photo: Eurico Lino Vale)

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