12.06 – 22.08.2021

WALL גדר جدار

Wall גדר جدار is the result of an invitation made to the Argentinian-Israeli artist Inés Moldavsky to revisit and expand, in an installation context, her film The Men Behind the Wall, Golden Bear winner at the Berlinale – Berlin International Film Festival – in 2018. In this filmic work a dating app is used to create a set of conversations and personal meetings with Palestinian men living in the Gaza strip and the West Bank.
The digital gateway is utilized as a starting point to visit the two territories, in journeys where the tension becomes evident through the visual and sonic landscape and, also, by virtue of the linguistic expression. In the project developed for the Galeria Municipal do Porto, the artist further explores her proposal of crossing borders – digital, political, religious and of gender – by building a frank and, therefore, provocative exercise of conversational intimacy and analysis.
The specific context of affective and sexual interactions in the digital age continues to serve as a subtle backdrop to analyse questions of segregation, while proposing to discuss power relations through various stereotypes.
In a particularly tense period between the states of Israel and Palestine, Wall גדר جدار attests to the validity of the continuing need for political debate about the question of Israeli occupation, while simultaneously proposing a meta-political reading of issues of love, respect and equality.
Curated by:
Guilherme Blanc

Inés Moldavsky. Wall for print, 2018.
Courtesy of the artist

Guided tour with the curator
Sunday, June 20th at 4pm

12.06 – 22.08.2021


Some may associate clay, pottery and ceramics to tradition, and tradition to the past. Some may associate technology, digital communication and data with the new, and the new with the future. What if the future is only a technology as old and unusual as clay? What if clay is a matter that renews itself constantly and gives time its unpredictable configurations?
What if clay is the future and the future is clay? And if the feet of clay only reveal a vulnerability because the rest of the body is made of a different material? And if the feet of clay are actually rooting people to the earth, connecting them through the same matter? And if feet of clay are a way to establish a post-technological communication that requires no webs, no networks, no cables; only our many, one, two, eight, twenty feet and some clay?
These are some of the inquiries and riddles put forward by the curators Chus Martínez (curator, art historian, writer and director of the Art Institute of the FHN W Academy of Art and Design Basel) and Filipa Ramos (writer and Art Basel Film curator and co‑curator of the last edition of Fórum do Futuro) so as to bring together a group of artists who have been using clay, pottery and ceramics to imagine, project and shape the world they live in.
Neïl Beloufa
Isabel Carvalho
Gabriel Chaile
Pauline Curnier Jardin
Formabesta (Salvador and Juan Cidrás)
Tamara Henderson
Ana Jotta
Eduardo Navarro

Curated by:
Chus Martínez
Filipa Ramos

Créditos da imagem:
FORMABESTA (Salvador and Juan Cidrás)
Untitled, 2019

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