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Projects Watermark was a project created for the Money Museum in 2017 related to the history/memory of the place. Two pieces were created specifically for what was once the Baroque church of São Julião. A piece from 2016 was also presented, related to the project due to its conceptual and historical references. Watermark, 2017 White aluminum, cotton threads, wire and steel cables 4 weaved drawings in cotton yarn 200x230x200cm Installation Watermark, 2017 Watermark, 2017 1/11 Exhibition Text Bones , 2017 Wood and shade Variable dimensions Installation Bones, 2017 Bones, 2017 1/11 The dream of Orpheus , 2016/2017 Wood and mirror with black ink drawing (39 pieces with 30x60cm, 30x70cm and 40x70cm) - v ariable dimensions Installation The Dream of Orfeus, 2016/2017 _1680933_DxO_jpg The Dream of Orfeus, 2016/2017 1/10

Text of the Exhibition Trip to the interior of imagined cities, Octávia Round the Corner, Lisbon, 2009 Curated and written by Ana Pinheiro Torres This exhibition constitutes the second phase of a project that Carla Rebelo has been elaborating from Italo Calvino's book The Invisible Cities, materializing a succession of works, essentially installations. This project started in an exhibition held in March this year, where the artist presented the first three works in this series. Using Endóxia, the carpet city, the artist created Inner city, an installation built from a relationship of memory and physicality with her original city, Lisbon, and which constitutes an emotional map of her personal geography. In the memory of spaces and relationships, Ersilia was the city that was at the origin of the creation of a housing space defined by threads, symbolizing the memory of its experiences and the relationships of the “characters” who lived it. Finally in The Cities and the Sky, the starting point was Tecla, the city that wants to build itself in the image of the drawing of the stars. An installation was created where a starry sky designed from the shape of the constellations, simultaneously defined the paths that evoked the plan of a city. In this exhibition, Journey into the imagined cities, Octavia was chosen, the spider web city as a starting point. In this new work Carla Rebelo takes up the theme of the urban fabric, now as a fabric - the streets and paths constitute a network whose construction seems purposely designed to arrest. There is a rational and logical order that presides over the construction of the spider webs - the points of support and tension are meticulously evaluated, obeying a need for organization. The same order that presides over the construction of cities. Similarly, this piece is built in the exhibition space with carefully chosen support points, using red thread, which again suggests an internal geography, that of the body itself. The observer, prevented from moving freely in space, is simultaneously inside and outside the web. We are a family owned and operated business.

The other side Individual exhibition Daisy Prieto Carla Rebelo's exhibition for the Doispaços gallery was born out of her interest in the morphology of this place. The pieces, with a sculptural and/or installation character, are all new and designed to establish a dialogical relationship with the architectural specificity of the rooms. The exhibition «the other side» is established within a body of work that is based on the artist's hyper-subjectivity, on her perception of the world, always conditioned by memory, imagination, personal experiences and individual way of feeling. If the construction of reality depends on individual perceptual sensitivity – which is a distinctive mark – it is then from this perceptual awareness, and having metaphor as a creative device, that Carla Rebelo exposes herself with a work that emphasizes the shadow in a mise-en- scène and the mirror in a mise-en-abîme with unusual contours. Invisible stories, secret or to be told, are at the genesis of this set of works where the "I" is latent and the "you" is invited to witness an event of profound intimacy, which is offered to it, or rather, which slowly reveals itself to it. . To expose is to homogenize, it is to erase the hesitation that precedes any authorial choice to, thus, fix and impose meanings. The titles of the pieces in this exhibition, as well as the title that groups them together, function as a «poetic laboratory» that delimits, by suggestion of a certain field of imagery, the horizon of expectation of the aesthetic experience. The title names, indicates or shows, designates a content and is displayed within a set of pieces by the same author, it is an index, summary and formula within a network that lists the works. The adequacy of the title in the pieces by Carla Rebelo (which here quote Fernando Pessoa), give them a performative character in that it not only individuates them but also participates in their own plastic dimension. the other that was me “We never love anyone. We love, just the idea we have of someone. It is our concept – in short, it is ourselves – that we love»1 Two seats located at the same height are joined by a structure that, by imitating, by repetition, the stability structure of the legs of conventional chairs, also suggests a ladder. The piece develops in a half-moon, in a semi-circumference whose point of balance is, strictly speaking, what keeps each of the seats, located at both ends, level. It is a double chair, the artist's metaphor for the "perfect relationship", as these seats face each other, evoke a dialogic and frontal pair and, at the slightest touch, the entire structure oscillates with a sway that makes them go up and down in turn, always equidistant, always facing each other. This sculpture inevitably refers to the playful object of childhood: the swing for two people, which oscillates with the weight, will always be a pedagogical device and a source of pleasure. It provides an experience on the order of physics where weight, volume, balance and quantity interact in play. If the ladder is access, here is the access to the other. The sculpture is that of the absent figure(s). Installed with a great scenic sense, the piece projects a shadow, a flat duplication of the object. The "plus one" of an apparent repetition in shadow is, here, confirmation of a new entity with its own characteristics: a haunted or specular "other" that always accompanies the sculptural piece, to complete, unify and/or transfigure it. The title also adds a dimension, producing a “psychological” shadow over the “other”. It is the shadow of the “I”, of an “I” that is also a specular projection. In this way, the artist formulates a game of abysses from the shadow, duplicating it real and virtually, making it a metaphor for specular projection, (re)dimensioning its contours in an oscillation that goes from the self to the «other». The game of shadows, summoned by the artist, fluctuates between identity and otherness and this is the movement that gives it a whole meaning. «I am the size of what I see and not the size of my height» In Carla Rebelo's metaphorical plan, the chair replaces the presence/absence of someone (of an “other”) and also of the “same”, as the sculptor always takes her biography as the primary reference for the conception of her pieces. A chair for very tall people, made of wood, depends on a mirror and a wall, where it is backed-in to complete the reflection. This illusory completeness takes place in the alteration of the apparent morphology of the chair, which partially affects this object from the seat to the back: the chair seems to extend through the mirror to receive “more” someone and, in this movement, it becomes whole. The mirror is part of a set of stuccoes-in-frame, crucial in the characterization of this room, a heritage from other times. On the wall, two frames, one with a mirror and one without, suggest a diptych. If the one in the mirror completes the artist's piece, the other remains blind. All this mise-en-scéne calls into question what is or is not whole. The incompleteness of the wooden chair and the blind frame, which lacks a mirror, appear as traces of a supposed symmetry, pointing to the lack of duplication. This lack metaphorizes the failure: the effective failure of discourse in dialogue, which inevitably leads to soliloquy. The title refers to logics other than those of the law of physics, as the size of the container does not coincide with the containment capacity. The expectation is an expansion or reduction of the field of perception vis-à-vis the perceptive body. restlessness A construction summons a weaving mechanism. The engraving on which Carla Rebelo is based is a 19th-century illustration of the volume “The art of silk” from Diderot's visual encyclopedia of knowledge, used to twist the threads and thicken them in order to make them more and more resistant. From the 24 coils of this summoning mechanism, there are silk threads dyed with quinacridone pigment, which cross the room to join in a single thread that covers a left hand. This sedated hand, because immobile and imprisoned by the silk threads, rests on a small table that resembles a dressing table. It has its pair in a specular reflection whose framing makes the reflection of the web of fibers (real and in shadow) impossible to highlight only the silk hand, suggesting it in freedom. There is then a left hand imprisoned in the filaments that condition its movement, and a free right hand, which results from a specular illusion. In this skillful mise-en-scene, the mirror only duplicates the hand, letting the lines that bind it escape to the reflection. On the wall, this entire linear design is projected in shadow. Reality seems to (re)invent itself in specular similarity and in shadow, in an unexpected staging of projections where metaphor is the resource that gives visibility to various dichotomies, the most significant being that suggested by the title, which immediately leads us to the homonymous book . In her essay dedicated to Fernando Pessoa's Book of Disquiet, Maria Augusta Babo dismantles the word: «Desassocego can thus be divided into dis-a-so-cego. Removing the negation from it, we obtain the signifier socego which, split, forms two others: alone and blind.» The author's conclusions regarding the title of this book are profound. In the case of Carla Rebelo's play, restlessness confirms an estrangement, a latent and restless anguish, an immobility that wants to move. It is also a warning murmur that leads to suspicion of its sense of visible thing (appearance) insofar as there is a visual deception, a specular illusion, a trick that summons us to «the other side of the mirror». growth maps Five maps embroidered on a single piece of linen each formulate the design of an autobiographical topology (up to age 20) that follows the fictional regime. The title is descriptive: Carla Rebelo evokes her childhood home in Lisbon to reflect and remember different times in her life. The criteria are determined by the schools she has attended until today, as a student, and which defined not only her paths but also her knowledge of the city of Lisbon. The chosen representation process is slow: a manual embroidery. Each point is like a step that, in one movement, transposes the habit of walking, where exercises of thinking and remembering are provided. On this translucent linen fabric, the colors chosen for embroidery also have different functions: black indicates the specifics of a legend that names and identifies; ocher defines buildings of reference to the route, namely the house, the school, the library, the costume museum; Crimson draws the very scheme of the city: the mapping translated into a drawing is the transposition of mental walks continuously activated by a memory that transforms and adapts within a schizophrenic creation process. "Maps of growth" juxtaposes, on the same woven surface, five stages of life, five consecutive times. At each moment, the artist exercises (de)multiplications of herself, at this or that age, in order, between memories and inventions, to (re)build topological self-narratives. «Growth maps» is a piece where the right and the wrong are in equal prominence (unlike conventional embroidery). The right side is that of control, order, regularity of the point; on the wrong side there is an inversion of the drawing, an irregularity of the point that causes a disturbance in the reading. The reverse is the reverse. The unconscious of the conscious. Installed in the gallery's window, it seeks a relationship with the public space. If the monument celebrates a past event that became a commemorative landmark, then the memorial intends to keep present the memory of an event that should never be repeated, that is, it is remembrance. In this piece by Carla Rebelo right and wrong, proper and universal, private space and public space, work as acts of detachment and evocation that reconfigure themselves as a memorial. Building a new territory for me from an already known one Carla Rebelo's plays are generated from stories based on her autobiography. By norm or method, it is on them that he relies to give meaning to his creation. However, and because all artistic work is born out of a compulsion, an uncontrollable impulse, there are formalizations that anticipate conscious stories. They are pieces that impose themselves due to the need for materialization and whose stories are still in the plan of the future, hidden in the silence of memory, without verbalization or any other manifestation that is not their plastic concreteness. This is the case of «Building me a new territory from an already known one». The paths traced with the crimson line simulate imaginary routes linking fragments of ancient maps, outside of a current time/space, from which the most identifying indications were cut (such as, for example, the names of rivers or important cities). These fragments are reassembled, by the artist, within an ocean of felt that escapes the cartography of this or that place to become a metaphor for an imagined peninsula. Here, the islands seem to extend from drawing to drawing, each one autonomously, and all together they propose an organization that is, in itself, a new drawing. It is in the assembly that this unitary set is born. Therefore, each time it is exhibited, the piece can present a different combination, as Carla Rebelo appropriates (only) the imagery of the map. That is, its visual sense is dissociated from the on-site verification. However, even if deprived of its function, the perceptible resonances are more than enough for us to think about mapping, to try to exercise, on these drawings, the exercise of recognition. Aware of the impossibility of a measurement (of confirming a place and/or a location against the place), there is the surprise of a cartography of the illusory, precisely because the conditions that pre-figure perception itself remain. The memory of these mapping processes, of their schematic aspects that give us conditions for building the image, permeates each drawing. And because the processes of similarity in metaphor are governed by an adequate dissimilarity towards the visible, each map opens up as a field for imagination. illusion game A wooden half-table, a half-book with a crimson hard cover (whose pages were glued together, preventing browsing) and a mirror (where the artist intervenes directly with a drawing) are the essential devices that are articulated in the staging of «Jogo of illusions'. The duplication of the half-book by the mirror makes it deceptively complete and open, that is, the book is seen as a whole but is constituted by two distinct halves: one objectual and the other specular. In this apparently entire book, the artist creates an illusion using a strategically directed light: it is an «elastic» drawing that moves with the displacement of the viewer. What, in fact, exists is a graphic intervention on the mirrored surface, a shadow of that register and its projection. The graphic mark simulates a vertical plane, suggests a perpendicular page (coincident with the specular surface). The mirror participates in this completeness because it seems to disappear as a mirror to camouflage itself in a transparent page, suspended in a movement of the leafing. The plastic support, thus made imperceptible, interferes with perception because, within another logic, it disturbs the specular reflection/duplication so that it can act as a signal. Repeating itself in three intensities: strong in the mirror, medium in the shadow, faint in the reflection of that shadow, the brand thus creates a design evocative of a landscape register. Illusion that escapes the logic of the apparent completeness of the book, at the limit of a staging in an abyss that informs itself in the visual misunderstanding produced by the drawing intervened directly on the mirror. Carla Rebelo defines the location of her pieces in order to delimit the observer's paths. It anticipates its movements and, consequently, the visibility of the frames. The ideal place for the enjoyment of each piece is foreseen, as well as the approximation plans, as if, ideally, the observer fulfilled a choreography conceived by the artist. It is in this expectation of movement that his pieces are installed and, only when this plane of fruition is diligently obeyed, do they seem to show themselves. «Game of illusions» is a generic title that whispers to us a suspicion regarding the visible and calls for the dismantling of the illusionist mechanisms in question: a page that is not a page is perceived, and a drawing that is completed in the revelation of a double repetition : the even, specular page and the odd, real page – which is nothing more than the top of a set of several unfinished pages because glued together, thus constituting a solid volume, an illegible tome, erased in an accumulation that hides their eventual stories. The half-book is objectual, a fragmented body, dismembered by an action whose horizon is not a reader but an observer. It's for seeing and not for reading. The play is established from a half-book that is not even half-book: perhaps it is a non-book, insofar as its function has been removed. It is anonymous, erased from any pre-text itself. In fact, if it has a title, author and editor, it is because it borrows them from the exhibition. This object exists as something else, exactly as an evocation of the idea of a book, of that entire book that is the sum of authorial intentions, of readings and interpretations as varied as those who enjoy it. Its only visible mark is found within the evocative register, which determines its aged paper pages as the place where shadow becomes a figural dimension, simultaneously protagonist and author of landscapes. The shadow is a manifestation of a line that marked the mirror, turning it into a plastic space. It is the presentification of an absence that was present in the actual act of production. Daisy Prieto Santa Cruz, June 27, 2010 1 PESSOA, Fernando, Livro do desassossego, Lisbon, ed.Richard Zenith/Assirio &Alvim, p.137 2 PESSOA, Fernando, Livro do desassossego, Lisbon, ed.Richard Zenith/Assirio &Alvim, p.80

Installation and Scenography Scenography consisting of 3 wood screens and hand-painted elastic threads Variable dimensions "Sónia Delaunay's trip" , 2015 Dramaturgy and staging: Vera Alvelos Interpretation: Tânia Cardoso Scenography: Carla Rebelo Sound design: Madalena Palmerim Photography: Pedro Duarte Gonçalves Play presented in the Modern Art Center of the Calouste Gulbenkian Foundation in the context of the exhibition "O Circulo Delaunay", 2015/16 "Sónia Delaunay's trip", 2015 "Sónia Delaunay's trip", 2015 1/14

Silent books , 2012 Set of 2 books with wooden covers and pages made of an ancient handwritten book Wood and paper Variable dimensions Installation Piece created for the collective exhibition I would prefer not to, from Herman Melville's tale Bartleby, the Scrivener. A Story of Wall Street. Plataforma Revolver Gallery , 2012 Silent books, 2012 Silent books, 2012 1/7 Video of the piece - installation on the Revolver Platform

Texts Texts for the solo exhibition - Casa A. Molder Gallery - 2022 Review of Revista do Jornal Expresso 18 de Fev. from 2022 - Geology of a place - room sheet Sofia Ponte Pedro C. Esteves Texts for the solo exhibition - Casa A. Molder Gallery - 2022 Review of Revista do Jornal Expresso 18 de Fev. from 2022 - Geology of a place - room sheet Celso Martins Text of the individual exhibition - Galeria Diferença - 2020 Sofia Bridge Text of the individual exhibition - Águas Livres Gallery, 8 - 2018 Manuel Valente Alves Text of the individual exhibition - Galeria Diferença - 2018 Carla Rebelo Text of the solo exhibition - Biblioteca de São Lázaro - 2017 Ines Belt Persistence of the gaze - Leonor Nazaré - 2017 Text of the individual exhibition - Museu do Dinheiro - 2017 Leonor Nazareth Text of the solo exhibition - Palácio do Marquês de Pombal - 2016 Maria João Gamito Text of the solo exhibition - Galeria Monumental - 2014 Carla Rebelo Excerpt from the text of the collective exhibition I would prefer not too - Revolver Platform - 2012 Maria João Gamito Text of the solo exhibition - Galeria 2 Paços - 2010 Daisy Prieto Individual exhibition text - Round the Corner - 2009 Ana Pinheiro Torres

Bio Lives and works in Lisbon Carla Rebelo has a degree in Sculpture from the FBAUL (2000). Studied Textiles, Scenography, and Drawing. Received an Artistic Creation Grant from the Calouste Gulbenkian Foundation in 2010/11. Participated in artistic residencies in Portugal and also in Russia (2013); Madrid (2012) and Berlin (2011) and Istanbul (2010), following the project Journey to the interior of the lived cities. Has nominated for the Flad Drawing Prize (2024). Has been exhibiting collectively since 1999 both Nacional and Internationally . Her solo exhibitions include: Stone and String, MIAC, Internacional Museum of Contemporary Sculpture of Santo Tirso (2023); The City of Weavers, CAAA, Guimarães (2022); Tangent Orbits, Sptut&Nic, Oporto (2022); Geology of a Place, Casa A. Molder Gallery, Lisbon (2022); Segundo o seu próprio tempo, Diferença Gallery, Lisbon (2020); Um momento que se repete continuamente, Águas Livres 8 Gallery, Lisbon (2018); Paisagens Privadas, Diferença Gallery, Lisbon (2018); Um Pentágono, um Círculo, oito Livros, São Lázaro Library, Lisbon (2017); Marca de Água, Money Museum, Lisbon (2017); Becoming Water, Marquês de Pombal Palace, Oeiras, Portugal (2016); O destino seguia-nos o rastro como um louco com uma navalha na mão, Nogueira da Silva Museum, Braga, Portugal (2015); Um movimento quase imperceptível que tem a ver com o voo, Monumental Gallery, Lisbon (2014). The artist is represented in several public and private collections of which the following stand out: CACE, State Contem porary Art Collection; Collection of Artist Books from the Calouste Gulbenkian Foundation Art Library; Center for Contemporary Art, Malaga; Luciano Benetton Imago Mundi Collection; Kronstadt History Museum, St. Petersburg, Russia; Polish Art Foundation, Melbourne, Australia; MG Collection; Figueiredo Ribeiro Art Collection; Luís Ferreira Art Collection. See CV Memory, Time and Perception have been key words in the development of my work. My artistic language explores a metaphorical and poetic approach with relations to literature, history, mythology, travels and personal stories. I work with different materials and techniques, but the use of wood, the shadow, the mirror and the textile universe stand out. Space is a fundamental element in the creation of my pieces, many of them made specifically for the places where they are exhibited. I am interested in the morphology of the place, its details and particularities, its light, its small and large story. “Carla Rebelo creates a totality from fragments, a time out of time that inhabits the materiality and beauty of her sculptures, drawings and books. There are lines that intersect and interweave, fabrics, leaves, tree bark... The moment that her art summons is simultaneously an interior time, lived and eternalized, and an exterior time, delimited by history, which looks to the past and projects itself into the future. Without discontinuities, as in parallel mirrors in which the I-between-mirrors is multiplied into reflected images that dissolve into an endless perspective. This art is a science of continuity, everything is linked to everything. It is a slowly woven web, through which we rediscover the infinite complexity of the world, the timelessness of art.” Manuel Valente Alves, 2018

Contact To contact the artist, purchase works, visit the studio, or propose projects, please write to: Email: carlarebelo.p@gmail.com Studio: Rua de Xabregas, 12 277 1900-400 Lisbon Photo credits for this site: Pedro Duarte Gonçalves Carla Rebelo

We are a family owned and operated business. THE DUE TO WATER Becoming Water exhibition text at the Marquis of Pombal Palace, Oeiras in 2016 We are a family owned and operated business. Maria João Gamito We are a family owned and operated business. I ncontáveis silk yarn, cotton and various materials, eight chairs, a semi-detached them, forty-one flat mirrors, a cage, nine artist books and the water passage of the rumor are the elements that Carla Rebelo put in touch this exposure, involving them in the movement of things to things and the inevitable change that each time makes them appear as something else in the future of all of them, or in the rumor that gives them to see and hear. And above all, it will be a rumor, or rumors: the mnemonic rumor of running water, but also that of the mechanical cadence of the metamorphosis of machines, here understood as devices, inventions or resources manifest in the absorption of objects and in the obliquity of images ; the rumor of the conceptual, spatial and temporal webs in which these objects and images coexist, protecting the reference to the figure of the Marquis of Pombal - owner of the Palace that hosts the exhibition - and the rumor of his reform measures; the rumor of the optical objects belonging to the collection of the Gabinete de Física, constituted in 1772 as part of the reform of the University of Coimbra (currently the Physics Museum of the University of Coimbra), and the rumor of the images fixed by the Encyclopedia of Diderot and d'Alembert, in the context of the inventorious disposition of the same century; the rumor of the Metamorphoses of Ovid, the rumor of the myths alluded to by various stucco paintings, tile panels and sculptures that decorate the Palace and, underlying them all and as they are prisoners of the eternal present of their passage, the rumor of the memory that it brings both the memory of the Muses' maternity and the knowledge domains that they embody, as well as the river of forgetfulness that must be drunk before each reincarnation, which would be nothing more than the return, as something else, to the becoming of water or the rumor that makes it see and hear. Installed on two floors of the Palace and in a small space at the foot of the lake, defined between two araucarias in the garden, the exhibition is conceived as a subtle site-specific where, at first glance, the sedentary nature of the pieces that as such define it seems to contradict the nomadic vocation - one might say metamorphic - of things that are incapable of fixing intransigence in a unique way. But in this project, metamorphosis emerges from the resonance of the multiple narratives that reverberate in the pieces, making them reverberate beyond the spaces that contain them. In the Marquês Hall and in its antechamber, the flow of water within the limits of the wooden mill, which occupies them for almost seven meters, is shaped by silver silk threads that resonate in the white cotton threads born from a structure circular base suspended from the ceiling of the Dining Room. Sketch of the weave of a loom or transparent lightness of a curtain, these threads wrap around the interior occupied by a chair from which someone has left, leaving the instruments compatible with the two directions of an inert movement. This architecture that descends from the ceiling to house the suspension of the landscape contained in any waiting, has its equivalent in the design of lines constructed with various materials dyed red that end in the stones that connect them to the garden soil and the modification of the landscape of places incomprehensible in territories to be deciphered. Penélope and Ulisses in the double absence or in the double deferral that eliminates rest and activity to prolong itself in the long stretches of white cotton threads that, in the Game Room, suggest tables woven in the obscure connections of seven chairs brought back to the geometric elementality of the statues that hide the illusions in which analogies and hopes are deposited. In the Sala da Música, thirty-nine mirrors, mounted on wooden bases and placed on the floor, represent the blocks, designed by Eugénio dos Santos, in the reconstruction plan of Baixa de Lisboa. Above the mirrors, drawn in black ink, the outline of the city before the earthquake is visible. And Lisbon, often figured as a Fénix Reborn in representations of the time, is now Eurydice to which is finally added the reflection of Orpheus, painted on the ceiling stucco. Vision and mirage unite without contradictions in the amnesia of the mirrors that the inscriptions corrupt and the light projects on the walls. At the World Cup, a cage, built with small pieces of wood embedded in a dismountable hexagonal base structure, literally refers to the construction system called 'pombaline cage', applied in the reconstruction of Lisbon. But it also brings into the house the loft that exists in the outer space, now reduced to the transparency that surrounds the interior from which a chair was absent, as if its appearance depended on a predetermined point of view. As in the room where the four surfaces of a double piece, built in wood, await the floor that produces the images. Faces of the Marquis or unstable portraits that the movement activates, this incompleteness - which results from a concealment - extends to the room where two mirrors complete two drawings, thus generating the brevity of a third drawing, whose appearance depends on a point in space and the presence that occupies it. And it is also in space that the lines outlined in the nine artist books - nine books of synthetic images - materialize that temporarily make the Sala dos Reis a library. Decorated with tile panels representing Apollo and the nine Muses, this room unfolds in books that evoke Science, History, Lyric and Poetry, Music, Tragedy, Geometry, Comedy, Dance, Astronomy. It unfolds, like all the others, in the fugacity of the presence that fluctuates, without ever being concluded, in the noise of the water that in the corridors of the 1st floor leads the observer to the exhibition. It is in the relentless coming of water that Carla Rebelo finds the incessant metamorphosis of things that never come to an end, because only he and his eternally present time can they belong. In this sense, this exhibition is still the staging of the exhibition machine itself, in which, attached to the thing that it looks at, the observer is the circumstantial element that the water has just absorbed. Maria João Gamito

Installation Archeology of the present time , 2021 5 wooden displays with 19 pieces made with natural and artificial materials variable dimensions Installation Archeology of the present time is an installation made with artefacts that confuse those who try to decipher them. The installation devices are reminiscent of the 19th century Natural History Museums, but the pieces that are part of them reveal a strange nature. The materials they're made of seem to be from natural origin, but are they? And what nature is that? In the near future what will natural mean? And what species will exist as a reflection of this same nature? An installation that works as a Cabinet of curiosities with an expanded body that evokes a past time, presents a possible present and anticipates a vision of the future that reflects the changes of life on Earth. An Archeology of the Present Time, 2021 An Archeology of the Present Time, 2021 1/5

Installation and Scenography Geology of a place , 2022 Cotton yarn, metal and lead weights variable dimentions Installation Geology of a place , 2022 Cotton yarn, metal and lead weights variable dimentions Installation 1/6 Anatomy of protection II, 2018 Wood and cotton yarn Variable dimensions Anatomy of protection II, 2018 Wood and cotton yarn Variable dimensions 1/4 Watermark, 2017 Aluminum, cotton yarn, and steel wire 4 woven drawings 200x230x200cm Watermark, 2017 Aluminum, cotton yarn, and steel wire 4 woven drawings 200x230x200cm 1/11 The Dream of Orpheus, 2016 Wood, black ink drawings and mirrors variable dimensions (39 pieces - 30x60cm, 30x70cm and 40x70cm) The Dream of Orpheus, 2016 Wood, black ink drawings and mirrors variable dimensions (39 pieces - 30x60cm, 30x70cm and 40x70cm) 1/6 Bones, 2017 Wood and shadow variable dimensions Bones, 2017 Wood and shadow variable dimensions 1/11 Game room , 2016 7 wooden chairs and white cotton thread variable dimensions Game room , 2016 7 wooden chairs and white cotton thread variable dimensions 1/5 Becoming Water, 2016 Wood and silk threads variable dimensions Becoming Water, 2016 Wood and silk threads variable dimensions 1/10 Cage, 2016 Wood and shadow Variable dimensions Cage, 2016 Wood and shadow Variable dimensions 1/3 Anatomy of Protection I, 2015 Wood and cotton yarn Variable dimensions Anatomy of Protection I, 2015 Wood and cotton yarn Variable dimensions 1/5 Hearing Thoughts Machine,2014 Bamboo, paper and sound system Variable dimensions interior da peça Hearing Thoughts Machine,2014 Bamboo, paper and sound system Variable dimensions 1/7 Russian Curiosities Cabinet, 2014 Two graphite drawings on paper, a showcase with glass sculptures, elastic, artificial silk, felt and a found and manipulated wooden object Variable dimensions Installation Russian Curiosities Cabinet, 2014 Two graphite drawings on paper, a showcase with glass sculptures, elastic, artificial silk, felt and a found and manipulated wooden object Variable dimensions Installation 1/4 In between, 2011 Wood, paper, spools of linen yarn and artificial silk Variable dimensions In between, 2011 Wood, paper, spools of linen yarn and artificial silk Variable dimensions 1/5 Whirling Neighborhoods, 2011 Five machine-stitched drawings made with red thread on felt, five motors and digital programmer Variable dimensions _A082590 Whirling Neighborhoods, 2011 Five machine-stitched drawings made with red thread on felt, five motors and digital programmer Variable dimensions 1/8 Inner city, 2009 Felt, textile cables of various thicknesses and mirror 30x175x200 cm Inner city, 2009 Felt, textile cables of various thicknesses and mirror 30x175x200 cm 1/6 Octavia, 2009 Red elastic and wall nails Variable dimensions Octavia, 2009 Red elastic and wall nails Variable dimensions 1/5 From the memory of spaces and relationships, 2009 Wood, white elastic and wooden bobines Variable dimensions From the memory of spaces and relationships, 2009 Wood, white elastic and wooden bobines Variable dimensions 1/6 The cities and the sky, 2009 Wood ceiling, blue paint, light focus and mirror Variable dimensions 300 dpi 20090329-P1000891 The cities and the sky, 2009 Wood ceiling, blue paint, light focus and mirror Variable dimensions 1/5