A total of eight artists, all born after 1984, each have a dedicated room showcasing their work at Serralves. These artists include Aria Dean, Cameron Rowland, Nour Mobarak, P. Staff, Sara Deraedt, Tarik Kiswanson, and Porto-based artists Hugo Flores and Paulo Mariz.
Hailing from Lebanon, the United States, Sweden, Palestine, Portugal, the United Kingdom, Belgium, France, and Greece, the artists aim to “explore how matter and objects serve as vehicles for social, historical, and emotional meanings,” as stated in a summary provided during a guided tour led by Philippe Vergne, the director of the Serralves Museum.
Philippe Vergne, also curator of this first group exhibition since 2017, explained that some artists have created pieces specifically for this show. The decision to dedicate an entire room to each artist was motivated by “the desire to let each work breathe.”
During the tour, Vergne elaborated on the exhibition’s title, explaining that “material evidence” refers to elements that help prove significant facts in a trial. “While this exhibition isn’t literally a trial, it assembles a group of artists exploring materiality with purpose,” he noted.
Vergne highlighted works addressing themes such as war, displacement, violence, and migration, pointing out a piece that invites reflection on pollution, emphasizing, “several elements are based on memory or the idea that one cannot ignore their surroundings, no matter how romantic one’s perspective.”
Filipa Loureiro, the exhibition’s coordinator, told news agency Lusa that this project began production two years ago. This process determined the selection of eight artists from various backgrounds, who often intersect in their work and friendships.
“This exhibition resembles a small biennale, consisting of a collection of artists whose works, though distinct, complement each other through materials or details that build this joint exhibition tackling common themes,” Loureiro stated to Lusa.
Loureiro added that “these works critically examine history, past relations, and political, economic, and social interactions with different spheres of power.”
Utilizing various media such as installation, sculpture, painting, and video, “Material Evidence,” according to Loureiro, stems from “intense” research, necessitating “exploration and peeling back layers to uncover the different spheres they engage with and question.”
The exhibition will be open until November 16.
