Catalogue - factory-art gallery

DALILA GONÇALVES - PT
Calçada de Monchique, Oporto (cat.)
More or Less, Science and Industry Museum, Oporto
2005 Bluescreen, Palácio Gallery, Oporto (cat.)
Projecto Colectivo Casa Casais, Antiga Casa Casais,
Oporto
Projecto Interferência–Intervenções no Espaço Público,
Vila Nova de Cerveira Biennial (cat.)
Vila Verde Biennial (cat.)
2004 Jornadas de Intervenção Artística no Espaço
Urbano e Natural, El Carpio-Cordoba, Spain (cat.)
Prizes
2008 First prize in Photography, Aveiro Jovens
Criadores, Aveiro, Portugal
2005 Acquisition Prize, University of Oporto
Photography Prize, Art XXI Contest, Espinho
Collections
Faculty of Fine Arts Museum, University of Oporto;
PLMJ, IPSAR (Rome),Water Closet 7, Lx Factory,
Lisbon and private collections in Portugal, Spain and
France
FACTORY-ART gallery
TURN ON, TUNE IN! pag. 25
Bibliography (seleccion)
http://www.designboom.com/weblog/cat/10/view/20503/
kneaded-memory-by-dalila-goncalves-atbeaufort04.
htm l
http://www.journal-du-design.fr/index.php/art/kneadedmemory-par-dalila-goncalves-au-beaufort04-
23312/
GAC 2011- Guimarães Contemporary Art, 2011
“#2_ 2010 Opções & Futuros- Obras da Colecção da
Fundação PLMJ” by Miguel Amado, 2010
Exposições do mês-Colectivas, by Sérgio Gomes da
Costa, in Time Out Porto, p. 50, August 2010
Punctum: “Fotografias da Colecção da Fundação
PLMJ” by Miguel Amado, 2009
“Tempus Fugit”, p. 20, in +(mais) Arquitectura, April
2008
Circulações, by Celso Martins, in ACTUAL-Expresso
supplement, p. 34, November 10, 2007
Actualizar a paisagem, by Maria do Mar Fazenda, in
L+Arte #42, p. 84, November 2007
17 artistas nos jardims do Palácio de Belém, by
Vanessa Rato, in Público-P2, p. 11, October 4, 2007
Apagar a forma, by Pedro Faro, in L+Arte #34, p. 48-
53, March 2007
Anteciparte-Os verdes anos, by Ricardo Duarte, in
Jornal de Letras, p. 8-9, December 6-19, 2006
Artist statement
From experimental play Dalila Gonçalves tests the
permeability of materials and processes of artistic
practice and daily life.
By using video, photography and installation she
conceives objects that do not always imply real
transformation of things but rather materializations of
subtle unexpected, ironic, absurd and metaphorical use
of matter. The subtlety of the information, the nature of
materials or the modus operandi chosen, play with the
very relation of “perception” and the idea of “evidence”.
These strange moments are, perhaps, the kind of border
between the physical reality and fiction which trigger the
mechanisms of feeling and thinking that give meaning to
art object.
I assess the hypothetical relationship established
between the sense a contemporary “vertiginous time”
and the time of production and artistic practice. Certainly,
as the life and art intermingle, as the artist belongs to
the world of universities, taxes, family and credit, as the
studios are no longer small islands, all that he produce
has, admittedly, something more of reflection and
mirror.
Dalila Gonçalves, 2012