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Marcos Marinheiro | 1965
Education /
Professional Experience
- Degree in Philosophy – Faculty
of Letters, Universidade de Lisboa
- Lecturer of Philosophy and Psychology, focusing
in particular on the field of delinquency (social reintegration).
- Connected to painting for several years, having
had lessons with the teacher and visual artist Carlos Franco as part of
two courses on drawing and painting, and later attending Ar.Co - Centro de
Arte e Comunicação Visual, in Lisbon.
Background and Research
His painting,
contemporary in language and urban in inspiration, is inscribed in an itinerary
of formal research, both visual and emotional, in which the image (of
reality, of the mental world) constitutes the territory in which the
relationship with the Other is expressed: the Other as an individual,
the Other as the world. This research has been developed at two integrated
levels: the investigation of the dynamics of mental life (in various pictures there
appear inscriptions with the type of mental dialogues which we experience in
day-to-day life, of which we are only vaguely aware: "I want you",
"do you remember the first time we went out together?", "that’s
true", "okay, let’s see", ”come back” – in essence, the inner
conversations by which we try to organise our experience, mainly of
relationships) with reference to what he has called the
discourse of the city (returned to the subject,
namely via inscriptions on walls: “Sem título (Volta)” - 2013, mixed media on canvas; “Ainda Há Amor” - 2013, oil on canvas; “Sem Título (És Frio)” - 2012, oil on
canvas; “Your Brain Is Not A Game” - 2012, oil on canvas; “Frágil” - 2012, oil on canvas). Individual solitude and urban
solitude, both searching for a form of expression, in forms which are both
considered and impulsive, which may not be able to communicate but which
inevitably question the Other.
Exhibitions
2015 – Coletiva de Pintura e Escultura, LM Galeria de Arte
Contemporânea, Sintra; 2015 – Involvement in the permanent
exhibition at the FABULA URBIS bookshop/gallery, Lisbon; 2014 – Participation in
CREATIVE ’14 3ª Exposição Internacional de Arte e Letras do Coninter, Lisbon;
2014 – Participation in the tribute to the painter José Pádua – canvas 0 Figura / Galeria Artur Bual / Amadora;
2014 – solo exhibition, “ArtWorks”, at the Palácio dos Aciprestes / Linda-a-Velha; 2014 – Coletiva de Pintura, Escultura e Cerâmica, LM Galeria de Arte Contemporânea, Sintra; 2013 – Galeria Arte G,
Viseu; 2013 Coletiva de Pintura, Escultura e Desenho, LM
Galeria de Arte Contemporânea, Sintra; 2012 – solo exhibition, “Imaginação e Memória”, at the Centro Cultural do Bom Sucesso / Alverca, Vila
Franca de Xira; 2012 – “Salúquia às Artes”, painting and
sculpture collective, Moura; 2012 – Psychoanalysis Gathering, an exhibition of
work at the University of Évora; 2011 – XVII Edição da Galeria Aberta, Beja; 2011 – solo exhibition, “Vestígios”, Biblioteca Operária Oeirense, Oeiras; 2011 – selected to take part in
the “50 Anos 50 Quadros” painting collective to commemorate the 50th anniversary of Amnesty
International, Sintra; 2011 – selected to participate in the visual
arts show “20 Anos, 20 Obras, 20 Artistas”, Oeiras; 2010 – exhibition at the Faculty of
Psychology, Universidade Lusófona; 2009 – painting collective at Ar.Co;
2006/2007 – painting collectives as part of the painting and drawing courses.
(Represented in the art collections of the Municipal
Council of Vila Franca de Xira, Fundação Marquês de Pombal,
Amnesty International - Portugal and other private collections)
Prizes
- Special
mention at the event CREATIVE ’14” 3rd INTERNATIONAL
ARTS AND LITERATURE EXHIBITION OF THE CONINTER, Oeiras - Portugal
Critiques
Marcos Marinheiro, in developing a fascination for this peculiar world, has
invested a great deal of himself in the formation and experience of the
paintings he creates. The search for and study of archetypes has delimited his
trajectory and added craft to the pleasure of communicating via images.
Learning about the figure and the freedom of forms, experimenting and making, constructing
and cancelling with the vision of a now more acute eye are achievements which
we regard as noteworthy. Recognising the qualities and talent of this painter
is thus a highly gratifying and just act.
Edgardo Xavier / International Association of Art Critics / A.I.C.A.
Portugal
TEXT PUBLISHED BY AMNESTY INTERNATIONAL ON ITS BLOG
ABOUT THE WORK “2011, oil on canvas, 80 x 70 cm (MM)”, produced at the time of Portugal’s economic bailout)
- 2011
A man with no face, at the window of a grey world, with
green and red threads which could symbolise either dashed hopes or blood
flowing from his shoulders. His face once expressed something – but no longer.
He would have smiled – but he now has no eyes or lips. He has lost his face. He
is reduced to the importance of his tie, which seems to have been of little
value to him – and which here in fact suffocates him.
After having had an identity, and apparently some luck, he is faceless, a non-identity, the remains of a life. After having been born, struggled, protested, given in and, finally, screamed and gone mad, his words have been reduced to four numbers: "2011".
[There is a small eclipsed moon.]
Is that what this painting says? Perhaps, perhaps not. It is a theory just like many others, but the important thing is to look it straight in the eyes without turning one’s head and to see it as a warning against a world that nobody wants – a world of faded colours, of people imprisoned in silence, of dead smiles, of dashed hopes, a world without expression, a world without light and without rights. An anonymous world.
It was with intentions similar to these that Marcos Marinheiro painted it, one of the participants in the Exposição Coletiva de Pintura 50 Anos, 50 Quadros, an exhibition to commemorate the birth of Amnesty International in 1961.
After having had an identity, and apparently some luck, he is faceless, a non-identity, the remains of a life. After having been born, struggled, protested, given in and, finally, screamed and gone mad, his words have been reduced to four numbers: "2011".
[There is a small eclipsed moon.]
Is that what this painting says? Perhaps, perhaps not. It is a theory just like many others, but the important thing is to look it straight in the eyes without turning one’s head and to see it as a warning against a world that nobody wants – a world of faded colours, of people imprisoned in silence, of dead smiles, of dashed hopes, a world without expression, a world without light and without rights. An anonymous world.
It was with intentions similar to these that Marcos Marinheiro painted it, one of the participants in the Exposição Coletiva de Pintura 50 Anos, 50 Quadros, an exhibition to commemorate the birth of Amnesty International in 1961.
EXCERPT FROM A TEXT WRITTEN ABOUT THE ARTWORK “UM MERGULHO EM SI MESMO, 2014 – oil on
canvas, 30 x 24 cm (MM)”
In this work, the
painter leads us slipping and sliding through hues of blue, drags us
intentionally from one place to another, provokes us and questions us: “Get out
of your comfort zone. Get out and don’t be afraid. Take the plunge and jump.
Find yourself and live!”
Ana Batarda, Portugal / psychoanalyst
SOME COMMENTS FROM THE WEB
About the work “SEM TÍTULO, 2012 – oil on canvas, 70 x 70 cm (MM)”
“Cette œuvre me touche vraiment , par
sa profondeur et son mystère . La lumière sourde , comme venue des profondeurs , et c'est
toute la vie qui frémit à l'envers . Superbe !!!”
Martine Moreau, France (fine arts graduate)
“Une bien belle recherche. Le résultat est magnifique !”
Marie Claude Baldi, Geste,
France (visual artist)
About the work “SEM TÍTULO, 2014 – oil on canvas, 30 x 24 cm (MM)”
“Nice composition of coloration!! Besides, good construction!! So cool!!!”
Choko Nakazono, Japan (artist)
About the work “O DESPERTAR, 2014 – oil on canvas, 100 X 80 cm (MM)”
“Good light for this awakening! Great art!”
Jeannette ALLARY,
France (watercolourist,
photographer)
About
the work “SEM TÍTULO, 2013 – oil on canvas,
73 x 60 cm (MM)”
“Excellent use of colours and
forms. A beautiful abstract! Congratulations Marcos...”
Angel Estevez, Spain (lives and works
in Rio de Janeiro) – autodidact
Contact details: tel. 966276809
A BLACKBIRD WITH A VIBRANT, CURIOUS AND
INTELLIGENT GAZE
The eye of the painting
A simple motif can serve as an impulse for the
adventure which is that of approaching a blank canvas and creating upon it
something which did not exist there before. In this process of appearing, there
will always reside the fascination of the artwork as an entity which nature has
not foreseen and in that sense something which might never have existed. A luxury then.
The motif can be a detail in the landscape, a
combination of colours, a contrast, an association of ideas or an emotion, or
even something unusual which hurts our sensibilities, which Roland Barthes
called the punctum when analysing the photographic image.
Something which touches us, something more or less undefined but which
cannot be explained by experience; it may even be something which the
mechanisms we use to deal with and filter reality identify as a matter of “no
interest”, “irrelevant” or “absurd” and which, as a result, “we don’t see”.
In painting it is frequent for there to be a
specific starting point: the fence around a building site; a derelict house;
the tone of a conversation between two people; a present-day image published on
the internet; the appearance of objects in the night; contrasting points of
brightness on a mirrored floor; the shadow of a tree on a white wall; or just a
blackbird resting on a branch on the balcony where I’m reading and where it
remains for a few moments and questions me with its vibrant, curious and
intelligent gaze.
Each work is always the result of the dialogue
established during the process of its execution: there are artworks which react
well from the beginning to what I have in mind for them and which cooperate,
helping me to find the way to discover their truth; for others, the way is more
arduous and the task of resolving the problems that arise more complex. These
are dense and labyrinthine works which offer no helping hand and where I often
lose my way because their truth is concealed. They very often operate between
despair and challenge, since finding the way out means above all not giving up
on the idea that a way out always exists.
In all of my work I always seem to pour myself,
even when I do not intend to or even do not want to, into the subject matter in
question: the relationship between people, solitude, the fragility of that
which we are, the impermanence of all places and experiences, the problem of
memory, but also the consistency of the emotions, the care for others, joy,
hope and love.
Marcos Marinheiro
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A FRAGMENTAÇÃO DA MEMÓRIA, uma pintura que é uma espécie de jogo e de metáfora
Trata-se de um conjunto de 9 peças pequenas (telas de 30 x 24 cm) que têm a particularidade de serem, em simultâneo, entidades individuais e parte de um todo.
Em conjunto formam uma imagem de 90 x 72 cm, correspondente ao que seria a imagem de determinada memória. Individualmente, cada pequena tela um fragmento dessa memória.
À semelhança da forma como se processa a preservação ou desagregação da nossa memória, por vezes temos mais "peças", outras vezes menos, para reconstituir um facto ou uma determinada experiência passada. Pode faltar-nos a "peça-chave", ou mesmo uma ou outra peça de menor importância, mas sempre ausências que nos impedem de aceder à totalidade dessa experiência.
No caso desta pintura, no momento em que uma das pequenas telas for oferecida, doada ou adquirida, dar-se-á início ao processo de "fragmentação da memória", o princípio da perda progressiva da totalidade desta imagem.
Torna-se interessante pensar no destino aleatório de cada fragmento: a parede da casa de alguém, a galeria de arte, ou simplesmente perdido no espaço onde pinto. Uma incógnita. Mas perder-se-á seguramente a "memória" da imagem inaugural. O encontro com uma ou algumas das partes poderá eventualmente remeter para um trabalho semelhante ao do arqueólogo, do historiador ou do psicanalista, que procuram chegar ao sentido global a partir dos fragmentos com que se deparam.
Esta pintura (na linha do que tenho vindo a fazer), vista no seu todo, tem várias inscrições com o tipo do diálogo mental que nos ocorre no dia a dia, do qual vamos tendo mais ou menos consciência: "quero-te", "lembras-te da primeira vez que saímos juntos?", "isso é verdade", "tudo bem, logo se vê", as conversas interiores com que procuramos organizar a nossa experiência, principalmente relacional. Mas o que é desconcertante é que tais pensamentos e formas de expressão, estando lá, não são totalmente visíveis, uns ainda se apanham pelo que sobra deles, outros por intuição, de outros já só sobram vestígios. Outros estão entrecortados. Algumas das inscrições foram desaparecendo com o decorrer da pintura e nem eu me lembro delas. Tudo isto como que a lembrar que a nossa pretensão de termos preservada a memória integral da nossa experiência não passa disso mesmo, uma pretensão ou uma outra forma de ilusão.
O "quero-te", por exemplo, aparece "quero" (tela 1) "te" (tela 2). Vistos em conjunto a leitura é unívoca e linear, em separado (o que é muito mais interessante) obriga-nos a completar e a dar um sentido: Se eu tiver apenas a tela1 "quero" o quê ou a quem? Se eu tiver apenas a tela 2 na minha posse o "te" é ainda mais vago e enigmático, podendo ser muita coisa: amo-te, odeio-te, quero-te, interessante, quente, transparente, invariavelmente, irrelevante, importante, semente, tenente, triste ou contente, etc. etc. ... . Cabe-me a mim decidir, talvez uma coisa diferente cada vez que olhar para o quadro.
Às vezes há mais fragmentos na posse dos outros e é preciso humildade para lhes pedirmos para ver, como peças de um puzzle do qual já só temos uma pequena parte.
Mas cada fragmento pode vir a ser, individualmente, a partir do tal destino aleatório que a cada um está reservado, não um bocado isolado e incompleto, mas o início de um novo sentido ou de uma nova sensibilidade: uma imagem inspiradora para alguém que a tenha pendurada na parede de casa (que funciona por si mesma, mesmo separada das restantes), uma perspetiva de negócio para o galerista que a esteja a querer vender ou uma pista para um novo trabalho quando com ele 'tropeçar' daqui a algum tempo no meio da desarrumação das coisas. MARCOS MARINHEIRO, 2014.
MEMORY FRAGMENTATION, a kind of game or a metaphor
This is a set of 9 small pieces (screens 30 x 24 cm) which has the particularity of being simultaneously individual entities and part of a whole .
Together they form an image of 90 x 72 cm, corresponding to the image that would be of particular memory. Individually, each small screen a fragment of that memory.
Like the way it handles the preservation or disintegration of our memory, sometimes we have more pieces, sometimes less , to reconstitute a fact or a specific past experience. We could not have the " key piece " , or even one or another piece of minor importance, but always absences that prevent us from accessing the entirety of the experience.
In the case of this paint at the time of the small screens is provided, donated or acquired give shall initiate the " memory fragmentation " process , the principle of progressive loss of the whole of this image .
It is interesting to think of the random fate of each fragment: the wall of someone's house, the art gallery, or just lost in space where I paint. An unknown. But surely we are losing the " memory " of the inaugural picture. The meeting with one or some of the parts may possibly refer to a similar work of the archaeologist, the historian ou the psychoanalyst, for reaching the overall sense from the fragments encountered .
This painting (in line with what I have been doing) , taken as a whole, has several entries with the kind of mental dialogue that occurs in the everyday life, of which we have more or less consciousness: " I want you " " do you remember the first time we went out together ? " , " this is true " , " okay , we'll see ," the interior dialogues with wich we try to organize our experience, mainly the relational one. But what is baffling is that such thoughts and forms of expression, being there, are not fully visible, yet few are taken by what remains of them, others by intuition, the others have only traces are left. Others are interspersed. Some of the entries were disappearing over the course of painting and neither do I remember them. All this is a kind of remember that our claim of having preserved the full memory of our experience is just that, a pretense or another form of illusion.
The " I want you " , for example, appears " want " ( screen 1 ) " you" ( screen 2 ) . Taken together reading is univocal and linear, separately (which is much more interesting) requires us to complete and make sense : If I have only the Screen1, " want " what or whom ? If I display only the 2 in my possession the " you" is even more vague and enigmatic , being much: I love you , hate you , want you , you are interesting, warm, transparent invariably irrelevant , important seed, lieutenant, sad or happy , etc. . etc. . ... . It's up to me to decide , maybe something different each time I look at the picture.
Sometimes there are more fragments in the possession of others, so we need humility to ask them to see, like pieces of a puzzle of which we only have a small part .
But each fragment can become individually the beginning of a new direction, possibility or a new sensibility : an inspiring image to someone who has hung on the wall of the house (which works by itself , even separate from the others) , a perspective of business for the gallery owner that is wanting to sell it, or a new inspiring motif to me to realize a new work. Marcos Marinheiro, 2014
Together they form an image of 90 x 72 cm, corresponding to the image that would be of particular memory. Individually, each small screen a fragment of that memory.
Like the way it handles the preservation or disintegration of our memory, sometimes we have more pieces, sometimes less , to reconstitute a fact or a specific past experience. We could not have the " key piece " , or even one or another piece of minor importance, but always absences that prevent us from accessing the entirety of the experience.
In the case of this paint at the time of the small screens is provided, donated or acquired give shall initiate the " memory fragmentation " process , the principle of progressive loss of the whole of this image .
It is interesting to think of the random fate of each fragment: the wall of someone's house, the art gallery, or just lost in space where I paint. An unknown. But surely we are losing the " memory " of the inaugural picture. The meeting with one or some of the parts may possibly refer to a similar work of the archaeologist, the historian ou the psychoanalyst, for reaching the overall sense from the fragments encountered .
This painting (in line with what I have been doing) , taken as a whole, has several entries with the kind of mental dialogue that occurs in the everyday life, of which we have more or less consciousness: " I want you " " do you remember the first time we went out together ? " , " this is true " , " okay , we'll see ," the interior dialogues with wich we try to organize our experience, mainly the relational one. But what is baffling is that such thoughts and forms of expression, being there, are not fully visible, yet few are taken by what remains of them, others by intuition, the others have only traces are left. Others are interspersed. Some of the entries were disappearing over the course of painting and neither do I remember them. All this is a kind of remember that our claim of having preserved the full memory of our experience is just that, a pretense or another form of illusion.
The " I want you " , for example, appears " want " ( screen 1 ) " you" ( screen 2 ) . Taken together reading is univocal and linear, separately (which is much more interesting) requires us to complete and make sense : If I have only the Screen1, " want " what or whom ? If I display only the 2 in my possession the " you" is even more vague and enigmatic , being much: I love you , hate you , want you , you are interesting, warm, transparent invariably irrelevant , important seed, lieutenant, sad or happy , etc. . etc. . ... . It's up to me to decide , maybe something different each time I look at the picture.
Sometimes there are more fragments in the possession of others, so we need humility to ask them to see, like pieces of a puzzle of which we only have a small part .
But each fragment can become individually the beginning of a new direction, possibility or a new sensibility : an inspiring image to someone who has hung on the wall of the house (which works by itself , even separate from the others) , a perspective of business for the gallery owner that is wanting to sell it, or a new inspiring motif to me to realize a new work. Marcos Marinheiro, 2014
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A riqueza e a força da imagem estarão sempre ligadas à sua capacidade em gerar emoção, levantar interrogações e, finalmente, poder criar a existência de um sentido. Nessa medida, ao olhar do artista junta-se o olhar do observador, assumindo-se a obra como um território de múltiplas possibilidades.
-MM-
-MM-
The wealth and power of the image will always be linked to its ability to generate emotion, raise questions, and finally be able to create the existence of a meaning. To that extent, the gaze of the artist joins the eye of the beholder, becoming the work a territory of multiple possibilities.
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