António Palolo
16 Jun - 09 Sep 2012
ANTÓNIO PALOLO
The films
16 June - 9 September 2012
Between the end of the 1960s and 1978, António Palolo (Évora, 1946-Lisbon, 2000) made an extraordinary series of films and experiments in film. His first films, shot in 8 mm, are black-and-white animations, constructed according to a cut-and-paste methodology and associating, with great sense of humour, images taken from magazines with geometric elements. The films from the early 1970s onwards, all made in Super 8 mm, include Drawings / Lines (1971), a rhythmic sequence of drawings in continuous movement, directly inscribed onto the film strip; Lights (1972-1976), a sequence of abstract images created from various experiments with light; Untitled (1972-1976), a kind of summary of the artist’s cinematic experiments from the late 1960s onwards; and OM (1977-1978), a mysterious genesis, in which abstract thought is constantly transformed into concrete substance, and the microscopic level of things interchanges with the macroscopic representation of the universe. This exhibition offers a unique opportunity to discover a series of works and experiments in film that, despite their huge importance both in the context of António Palolo’s work and in the history of Portuguese art, still remain largely unknown to contemporary art audiences.
The films
16 June - 9 September 2012
Between the end of the 1960s and 1978, António Palolo (Évora, 1946-Lisbon, 2000) made an extraordinary series of films and experiments in film. His first films, shot in 8 mm, are black-and-white animations, constructed according to a cut-and-paste methodology and associating, with great sense of humour, images taken from magazines with geometric elements. The films from the early 1970s onwards, all made in Super 8 mm, include Drawings / Lines (1971), a rhythmic sequence of drawings in continuous movement, directly inscribed onto the film strip; Lights (1972-1976), a sequence of abstract images created from various experiments with light; Untitled (1972-1976), a kind of summary of the artist’s cinematic experiments from the late 1960s onwards; and OM (1977-1978), a mysterious genesis, in which abstract thought is constantly transformed into concrete substance, and the microscopic level of things interchanges with the macroscopic representation of the universe. This exhibition offers a unique opportunity to discover a series of works and experiments in film that, despite their huge importance both in the context of António Palolo’s work and in the history of Portuguese art, still remain largely unknown to contemporary art audiences.