« (…) He threw a poor old chair at the table where he bitterly fell – and then began to destroy the letters and papers in a strange way, which astonished me. He folded each sheet in half, painstakingly: then, violently and accurately, he still folded it in fourth; then with somber attention, he still doubled it in eighth. Under his ragged nail he flattened the folds - and, wielding a knife like an iron of vengeance and death, he cut the papers thinly making two scraps of small well-scattered packs, which he heaped in a clear soft ream. And all this slow, patient work of precision and symmetry, continued with a tragic and unruly mood. Fascinated, I came out of the window where I had taken refuge, and stopped at the edge of the table:
- Oh, Antero, how much command you have in destruction!
He gave me two devouring glances. Then he considered, still wrinkled, the sharp pile of the cut papers, and a smile, that smile of Antero that was like a sunlight, brightened, which made all clear and rosy his good face where there was je ne sais quoi of philosopher of Alexandria and pilot of the Baltic:
- The rhythm - he murmured – is necessary even in delirium.
Eça de Queiroz in "Anthero: a genius who was a saint", 1896
Ângelo Ferreira de Sousa [Porto, 1975]
Lives and works between Paris, Barcelona and Oporto. Studied fine arts at the Faculty of Fine Arts of the University of Porto. Since 1996 he has participated in several projects and exhibitions. He is one of the founding members of the space Caldeira 213 (1999/2002). The artist resided in Hangar (Barcelona, , 2001/ 2003), Triangle - France (Marseille, 2003), Duende Studios (Rotterdam, 2004/2005) and The Window (Paris, 2013) He has been the recipient of some grants, notably from the Government of Catalonia in the project "Schengen without effort". Simultaneously he is literary translator for several publishers, such as: Relógio d'Água, Cotovia, Combate, etc. And as a translator he is a member of the Teatro Unidos Unidos company (Lisbon).
There are several projects and individual exhibitions that have been carried out, highlighting: Que Fazer? - Sismógrafo , Porto, 2016-17 ; Orange - Rosalux , Berlim, 2016 ; Bibliothèque Trouvée - The Window, Paris, 2013 ; Squamata - Banco Central, Rio de Janeiro, 2012 ; Walhalla - performance - Berlim e Kassel, 2012 ; Praça do Anjo I a VII, com Carla Cruz - Porto, 2007-18 ; Biblioteca Pública - EspaiDos, Terrassa, 2010 ; Fox Power 800 - MEWS, Londres, 2010; Biblioteca - Galeria Plumba, Porto, 2008 ; Passage des Panoramas - Lacosa, Barcelona, 2007; Intelligence Services - Milão, 2005 ; 70X7 - performance - Museu Vostell, Cáceres, 2005 ; Napoleón avait-il lʼaccent corse? - Galeria RLBQ, Marselha, 2003.
From the collective, we can point out: Reality Machines - CRASSH, University of Cambridge, 2018 ; Já reparaste como o ponto de interrogação... - Atelier-Museu Júlio Pomar, Lisboa, 2016 ; Gramáticas Flexíveis - Casa das Artes, Porto, 2015 ; Devido à chuva a revolução foi adiada - Plataforma Revólver, Lisboa, 2014 ; Proyector 13 e 17 - Madrid, 2013/17 ; A partir de mañana, todo - Centro de Cultura Digital - México, 2012 ; Dig-Dig - Plataforma Revólver, Lisboa, 2012 ; Problemas de tipo griego - Fundación Bilbaoarte, País Basco, 2012 ; AMIW - VBKÖ, Viena, 2011 ; Biennal dʼArt Contemporain - Rennes, 2010 ; 2nd Layer - Spike Island, Bristol, 2008 ; Crosstalk video art - Budapeste, 2008 ; Espontani - Centre d'Art de Santa Mònica, Barcelona, 2007 ; Pan-carta - Lugar a Dudas, Cali, Colômbia, 2007 ; Busca-Pólos - Guimarães e Coimbra, 2006 ; Alrededor de todos juntos - Galeria ProjectSD, Barcelona, 2006 ; Arte_facto - Montevideu, Uruguai, 2005 ; Quartel - Porto, 2004.
The Politics of Images
Curator: João Baeta
Production and Communication: Mariana Vitale
Production and Communication Assistance: Catarina Rangel Pereira
Supported by: Bondlayer, Epson, JCDecaux, CM Porto