So many houses.

"Looking up at the sky in certain atmospheric conditions, of time and light, you can see three satellites that were launched into space between 1953–1958 and remain there.

Hope is shaped like a squat, silver-colored pencil (...) inside it are the bodies (...) of three men.

At least four times larger than the first, smooth, egg-shaped, of an extraordinary orange color (...) we have L. E. (Lois Egg) (...) named in homage to Lois Berger, the builder's beloved wife, who accompanied him and stayed up there with him spinning, spinning eternally (...) as well as seven other companions.

If we move the eyepiece twenty-four degrees we find Faith, the last to be launched, to try what the others hadn't managed.

She has a figure similar to Hope, only a little bigger. Painted in yellow and black stripes that can still be seen today. Left with five men.

Not a message, not a sign of life. Everything was sealed by silence (...) scattered around our little world, their graves remain empty. In the sky they continue to revolve, probably incorrupt (...) in the middle of the sky the dead."

How terrifying it all is and how normal it all becomes.

He saw men firing pistols at each other, and a rowing boat, in which there was a family with small children, being crushed and sunk by a speedboat.

He cried but continued to watch as if he had always known this to be the human condition. The stretching of the bodies, the burns on the flanks, the arms, the nails, and the eyes.

For a long time now, the truth has no longer been used to solve our dilemmas.

He remembered his father at the Christmas table: “Don't be afraid, love is like fire, it doesn't spread where there is little air.”

So many houses.

The slow traffic, I must admit, helps me to contemplate the dismembered bodies from the accidents.

"Not a message, not a sign of life. Everything was sealed by silence (...) scattered around our little world, their graves remain empty. In the sky they continue to revolve, probably incorrupt (...) in the middle of the sky the dead."

Territory and Action

This new cycle is included in the program of strategies aimed at civil society, which involve placing some of the CAPC's activities in places in the city with greater demographic circulation; it is specifically intended to capture the attention of those who do not regularly attend the CAPC or are not even aware of their role in the production and dissemination of contemporary artistic production and thus socialize the artistic and symbolic added value that is realized in the different spaces of the CAPC (Círculo Sereia, Círculo Sede). From an expectant cultural space that awaits its spectators, its visitors, a space representing the contemporary artistic field, the CAPC would assume a social contract with the anonymous citizenship of Coimbra, migrate its contents to the Civita Augescens' circle, that is, to the dynamic interior of Coimbra, to its capacity to receive and welcome others, to the culture of multi-ethnicity and supranationality that define the city's efforts to get away from demographic and economic decline.

It is the CAPC that descends to the city, questioning and disconcerting citizens, mobilizing everyday life, promoting critical reception capacity. The general Territory and Action cycle will consist of four cycles: Santa Cruz, Espelho, Linha de defesa do Mondego and Link.

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Santa Cruz

With So many houses, by Moirika Reker Gilberto Reis, the CAPC is continuing a series of exhibitions at the head of Café Santa Cruz, an emblematic place in the lower coimbrã region and still today a space that polarizes many local synergies.

Instead of the altar, in the “head of Christ”, a series of artistic initiatives will be organized critically and reflectively exploring the protocols of representation in a society that is itself profoundly iconocratic and marked by distracting, escapist and growing semantic ambiguity processes of mediation.

In a place that, in the first phase, had a monosemic and prescriptive position, anchored the liturgy of the divine, the sounds, textures, smells, the visual impact of those moments, and which, due to the obstacles, inhibitions and anxieties of great history, was accommodated to new functions of which the inclusive, plural, tertualian Café Santa Cruz is the most recent; in a place with this “excess of historical awareness”, the CAPC proposes to reheem a dialogue with the city in which it lives and does so through the artistic problem (what is art? when is there art?) , a problem that in the last fifty years he has been debating, trying to clarify but also to undetermine; the investigative attention proposed by the CAPC in the face of this problem is expressed here, at this initial moment, both in its condition of experience, of something that is extrinsic, that is of the order of the subject who observes, who lives together, and in his condition of a significant form, of work.

This CAPC initiative is added to a theme, the protocols of representation, which persists and is refined in the contemporary artistic object with other practical outcomes.

Indeed, the historical permutations established by the modernist symbolic revolution between an aesthetic of comparison (the narrative dramatization of the apparent narrative, the dialectic between verisimilitude and artifice, between secrecy and transparency) and an aesthetic of appearance (of the named and the unrepresentable) are not only audible but also active in today's artistic practice.

By dismissing the imitatio as the only active principle of the act of representation (of repositioning in the world) the artistic culture of the 20th century, regardless of the proposed paradigm or periodization, opened up to the spectator (even the most inexperienced) new possibilities for negotiation and poetic mobilization in their relationship with the lived world. This Art brought human interest closer to artistic interest, even though it was residual, forcing the subject who observes to convalesce from pathos deterministic of the picturesque, of the “easy”, of the “expected”, of the “similar”, forcing him to paraphrase Kant, to “audare to know”). Whether it succeeded will be another discussion.

It is certain, however and contradictorily, that when nothing is recognizable, when not only the spectator's perceptual search is prolonged but also defamiliarized, it becomes strange, difficult to interpret what is seen, Art, (and the works that will be exhibited here will speak of it), develops, (perfecting, criticizing, renewing the mechanisms of representation), a historical effort to root “We” and “Them” on the same conceptual plane, that is, the correlation of forces between an I (I am Imago, so I am an exaggeration) this) and the difference of the Other (the persistence of others anthropologies of identity and of the perception and representation of the world); Art trains us to question the world outside of our ends, of our preconceptions. And it is this effort that is also positive here in the headwaters of Santa Cruz.

Pedro Pousada and Carlos Antunes
January 2012