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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

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

A pentagon, a circle, eight books Text of the exhibition with the same name held at the São Lázaro Library in Lisbon Inês Correia We are a family owned and operated business. We are a family owned and operated business. A pentagon, a circle, eight books is the title, which provides us with the coordinates for an unusual bibliographic access. It is the formulation of a trail suggested with generosity. The generosity of those who seek, with the creation of new books and, above all, new readings, expand the experience of the Library and its universal testimony. Carla Rebelo, continuing her method of interpreting space, which she proposes to inhabit as a visual artist, assigned to the Reading Room of the São Lázaro Library, a set of Artist Books, inscribed in the category of 'single copy'. The designation conveys, in the context of a public library, a strong identity, representative and symbolic value. On the one hand, it aligns the pieces on the established axis of similarity, on the other, it traces the deviation that justifies the relentless search for knowledge. With polygonal morphology and with the shelving integrated in the proportionality of the architecture of the neoclassical building, the Reading Room of the São Lázaro Library is a space that reduces the distance from the past. By preserving the original concept and materials, it describes a place of remembrance and maintenance of knowledge, which is important to transmit over time. From some books, others were derived. To these, there were so many more, occupying and advancing on the shelf as an insatiable vine. And so, to the approximately 20,000 titles available in the current library, it is now added, this temporary entropy The intention of belonging to space, based on the visual experience of the object that is a book, reveals the dichotomy between a contemplative practice, which the reading room favored and the discursive practice, which the object book has been making possible in the artist's creative journey. Somewhere, between one and the other, Carla Rebelo creates bridges of connection, allowing the reader who accesses the library and the living room, to examine the immateriality of the Book and Reading. At these points - meeting points - four pairs of Books are strictly arranged: in the geometry of the room, in proportion to the floors, in the gravitational point of the circular table, the bookcase, the shelf. They are grouped and allocated in order of letters - if the library were not an ancestral way of ordering the chaotic flow of the world, of fighting against dispersion, of distinguishing what must be remembered. A first pair, identified by the letters A and M, alludes to the spectrum that is born in the intimacy of the mirror and whose perception will always be proper to the eyes of those who contemplate its pages. Another pair, associated with Blind Books, both designated by the letter C, referring to the idea of absence for the purpose of memory. Words and images are collected from several books taken from the bookcase for having been read. Among the blind volumes, the phrases or illustrations follow and intertwine to tell new stories, in an unpredictable deconstruction of the limits of the books to which they once belonged. A third pair uses the letter S and both books have a factual pattern. Cash books are receptacles for the perception of the gesture. The gesture that makes reading an unavoidable haptic experience. There, assuming the parity between the left and right hand, we can foresee the effect of touch and the reciprocity of the transformative impact felt by the skin that flips and the paper that is fluted. Two hands, return the idea of complete surrender. Finally, the fourth pair, uses the letters T and G to welcome the idea of mapping. In the experience of the Library, there is an inevitable entrance to the labyrinth, to the infinite and to chaos. Book T and Book G are material records of that trip. A trip that is made in search of a safe anchorage, but that is justified by the restlessness and unrest. Books T and G record and cross the limits of the library, bringing us closer to what is distant and improbable. This set of eight books and their arrangement between the safe place of the circular table and the ordered shelves of the mezzanine offer a complement to the (meta) physical experience, possible inside the reading room. The relationship between the books on the table and their peers on the upper floor suggests the use of hypertext in an initiatory scenario. The access to the mezzanine is made by spiral stairs, forcing the helical movement towards the light of knowledge to which one aspires. From the same movement, we can foresee the inherent transformation of the subject. This exhibition is, in the context of LivrObjecto - Anatomy and Architecture, a unique opportunity to observe the BOOK as an object without limits and in which its full value is amplified through the relationship, which it establishes when crossing with others ... Lisbon, November 26, 2017 Inês Correia

Projects Journey to the interior of the lived cities, is the second part of a project related to the book by Italo Calvino, " The Invisible cities". This is an ongoing project that to date has resulted in 3 periods of residence in different cities and a set of pieces about each one of them. In this second phase of the project, I place myself in the position of the character Marco Polo, the one who creates from his travels and everything he records from them. This project has a first part, called Journey to the interior of the imagined cities. Kronstadt, St. Petersburg, Russia In the context of this project, I made in 2013 an artist residency in Kronstadt in Kotlin island. One of my research focuses was an abandoned 19th century Fort. Based on research done at the site, I made a video about the history of this Fort and a series of installations and drawings. The Fort´s Dream - Video Stills The Fort´s Dream - Video Stills 1/4 Text - video The Fort's Dream - (Fragment) , 2013 Video 13'00" Color/Sound Anatomy of Protection II , 2018 Wood, cotton thread and 3 drawings in white pen on brown cardboard variable dimensions Installation Anatomia da protecção II, 2018 _1740063_DxO_72dpi _1740055_DxO_72dpi Anatomia da protecção II, 2018 1/4 Protection Anatomy I , 2015 Wood, cotton thread and 3 drawings in white pen on brown cardboard variable dimensions Installation 7 carla rebelo 7 carla rebelo 1/1 Anatomy of Protection, 2015 6 drawings made with white pen on brown cardboard 50x70 cm Drawing Russian cabinet of curiosities , 2014 Two graphite drawings on paper, a wooden display case, glass and mirror with glass sculptures, elastic and artificial silk on felt and a wooden object found and manipulated Variable dimensions Installation Desenho 5 carla rebelo Desenho 5 carla rebelo 1/1 P9171278 P9171278 1/1

Exhibition text - Watermark Money Museum, Lisbon, 2017 The persistence of the place - Leonor Nazaré Paradoxical, almost provocative, the transformation of a space that was a church into a Money Museum challenges our habituation to all desecrations; the world of finance, instead of being expelled, is called to inhabit it. Two hypotheses are posed to each artist who is called to register work in the place: to think the work in the encounter, even if remote, with the project and the concept of the Museum, or to think it crossed by the memory of what the building was in other moments of the past. Carla Rebelo chose this second possibility, which challenged her deeply. The two unpublished works that he thought for the place unearth his memories. The work that occupies the high choir, and which he exhibited in 2016 at the Palácio de Oeiras, redoes the relationship he had with that place; a floor of partially painted mirrors reflects the ceiling, bringing it in an extensive plunge to its surface, crushing, in this spatial illusion, the vertical axis that any architectural space always offers and, most of all, a church. Fragmented, abundant, invaded by “shadows” (painted black spots), the panel comments on the very idea of division and / or multiplication that the mirror contains, suggesting a mobile and “false” space, enhancing the design of the place with its brightness and its grammar; it suggests fluidity of light, liquefaction, easy opening, lying and restless to the appearance of the image. But verticality is called to express its full strength in the work that Carla Rebelo installs in the space that was the altar. It operates in an unusual archaeological way in which the layers (of memories) appear suspended and raised in the air instead of being buried: the artist weaves the design of three walls, reveals two plans of the church, draws later functions of the building, recreates the light. The four layers of information that he proposes to us, returning to the place the reference to the successive human experiences that he housed, recall the church before and after the earthquake, the walls of Cerca Moura, by D. Dinis and Fernandina, the uses as a park of parking and as a safe, already in the 20th century. At the same time, they build a trompe l'oeil, apprehensible from various points of view, paying homage to the intense relationship that the Portuguese church established with the Baroque aesthetic, and the very Baroque principle of staging the infinite folds of space, time, the sacred, human, light, perception, reverie and enigma. The third piece also appears from images of the church, already desecrated and stripped down to the wooden structure. The artist recovers from them the design of Roman arches and warheads to build a door, a portico, a window, an arch, a boat, a whale belly from which / from which the skeleton appears, thus merging architectural substance and organic suggestion, an invitation to crossing and intimidation, welcoming and gathering, collection and gathering, shelter and passage. The collapse of the back wall of the structure opens the entrance, the wall gives way, the bricks spread out and are no longer a compact wall, the outline becomes a shadow and no longer matter, back of the light or consequence of it and therefore dematerialization. The memory of a conceived but not realized relocation led to recreation: it would have been necessary to unravel, undo, displace, redo, but it never happened. The work takes the movement that was within this idea and represents it, makes it present again: with some emotion (movement) and delicacy, but also with strength and determination; making reference to an observed reality but also with the establishment of a fantasy; with the projection of the disorder of the scattered bricks but also with the attention given to the numbers that numbered them, in order to predict an exact reconstruction. The image in time is made by these indications in space, by the materiality of the sculpture turned into a quote, commentary and conceptualization of architecture and history. The temporal regression and the spatial restlessness that the three works propose are made with the lifting of the bones, with the skeleton and the shadow, the specular mistakes and sorcery, the overlaps, the stratigraphy, the forces, the points of view. None of the three pieces can be known without the observer's mobility, his real physical effort, his lost steps. In situ: the works endorse the place, integrate it by integrating it. Poinsot (1) speaks of this when he explains the extent to which the place can be the field and material of the work and that it is a visual and semantic cut of a world or mental space that the observer must reconstruct. Mnesic regression is also a return to the skin that covered these bones (and which the shadow evokes), which involved these structures of things that have disappeared and collapsed by other uses and ambitions; it is a return to the volume contained in these surfaces, in these perimeters that the drawing recovers. The skin also has its layers and, as we read in Paul Valéry, it is really the most profound (2). In the dialogue in which he argues, the character recalls the formation of the human embryo from an ectoderm that closes and gives rise to the entire organism. The brain, the bone marrow, the ability to feel and think derive from and depend on that skin and, however much it is excavated, it is to the skin that man reaches the deepest depths of himself. Many sculptures, and certainly those of Carla Rebelo, have this in common with archeology and architecture: the interest in the skeleton (the interwoven threads, the erected structures, the overlapping designs and layers, the stretched cables) and the imagination of its filling, to the skin - a drawn perimeter, a projected shadow, a mirage or an epiphany on any altar in an old church, an old Lisbon, a new presence that designates memory to transfigure it. From that old Lisbon, it is important to say that the place near this, where the headquarters of Banco de Portugal is located, was an area of strong commercial and financial activity since the 16th century; that the Church of S. Julião joined the Bank's facilities in the 1930s and since then has had different uses, up to recent works, which have transformed it into a Money Museum. The History and vicissitudes of the Church (Patriarchal status, before the earthquake, luxurious reconstruction by the Marquis of Pombal plan, in the 18th century, wildfire, new reconstruction, excavations, incorporation of old materials, discovery of the wall lines) informed and mobilized the work of the artist, who brought to the works the “watermark” (also associated with the printing of money on paper), the indelible identification of each moment. And if the piece placed in the altar space takes on the title, which is also the one of the exhibition, Watermark, it is in the high choir that O Sonho de Orpheus, exhibited in 2016 at the Palace of the Marquis of Pombal in Oeiras, most remits us, for on the one hand, for the overlapping of the medieval Lisbon plan (the black drawing) on the Baixa Pombaline plane (the layout of the mirrored rectangles) and, on the other hand, for that exhibition, held under the sign of water, to which the artist called Becoming Water. It is the city's past that is recovered here, but it is also the proximity of the water and its abundant presence in underground galleries, which is insinuated here - the water we heard, last year, in the sound installation carried out in a corridor in the palace of Oeiras; whose course we imagined in the large wooden dam he exhibited there (wheel and long grooves); the water of the Palace lake over which he wove red cotton threads (3); infinite texture and narrative (Penelope and Ulysses), rescue from the darkness (Orpheus and Euridice) (4). Orpheus' image was that of the Palace ceiling, in one of the rooms, mirrored by the floor piece, which now reflects another architecture; but the name of Pombal (5) is attached to the memory of both places, to the signature of (re) construction and monumentality. The wooden porch and the “bricks” scattered from the third work again absorb the signs of the place: the tallest windows and their shadow projected on a warhead; the idea of construction. Numbered until 1800 for a relocation that did not take place, and once all numbers were erased, in a prolonged restoration operation, the stones are here designated by wooden units that the artist numbers from there. The coincidence of the inauguration date of the neoclassical church, in 1802, is just another mesh in the tight symbolic siege of referencing. The 1816 fire will restart the cycle of destruction and reconstruction. Fire and water challenge the persistence of the place, with its “marks”, its requirement for purification. With them and on them the records of what happened are written, the books (6) of memory are recorded: sculptures, space, numbers, plots, shadows, mirrors, evocation. 1. Jean-Marc Poinsot, “In Situ, lieux et espaces de la sculpture contemporaine”, in Qu'est-ce que la sculpture moderne? Paris: Center Georges Pompidou, 1986, p. 322-329. 2. Paul Valéry, «Idée Fixe ou deux hommes à la mer», in Œuvres, Bibliothèque de la Pléiade, Paris: Gallimard, 1988, Vol.II, pp.215-218. 3. At the Oeiras Palace, in 2016, one of the pieces consisted of a mesh of red threads crossed over the water of the lake. Another piece, Sala de Jogo, also incorporated extended wires, this time between chairs, evoking connections between people and playful strategies. 4. I refer to Maria João Gamito's text, “O Devir da Água”, in the leaflet that accompanied the exhibition, for other shades of this analogy. I also remember the play Penélope, in the same exhibition, which worked on the idea of waiting and inner travel. 5. At the Oeiras Palace, in 2016, one of the pieces was a large cage in which the artist superimposed the evocation of garden birds, an existing loft on the property and the Pombaline technique of building buildings “in cage”. 6. In the installation The Library of Muses held in the Sala do Conhecimento (Palácio de Oeiras, in 2016), brought together the nine Muses, with an artist's book for each one, inspired by the knowledge that each represents. However, a large part of these books were included in the collection of artist books in the Art Library of the Calouste Gulbenkian Foundation.

Carla Rebelo, 1973 Lisbon Lives and works in Lisbon Academic Education: 1994-2000 - Degree in Visual Arts - Sculpture by FBAUL 1989-1992 - Textile Design Course – António Arroio Artistic School, Lisbon Additional training (selection): 1994 - Scenography Course - Interpretative Arts Center, ARTICO, Trafaria 93/94 - Audiovisual Communication Course - CGTP-IN Training Center, Lisbon 92/93 - IAO Tapestry Course - Ricardo Espirito Santo Silva Foundation 92/94 - Artistic training course in Drawing of the National Society of Fine Arts, Lisbon 1994 - Participation in the training action "Orientar para Insert" - CECOA, with stage design at the Malaposta Cultural Center Scholarships: 2010/11 - Grant for Artistic Creation of the Calouste Gulbenkian Foundation, Lisbon 2009 – Calouste Gulbenkian Foundation exhibition production grant, Lisbon 1998 - Erasmus Scholarship at École Nationale des Beaux-Arts, Bourges France Artist Residencies: 17/18 - We Cultivate Culture, São Luís, Portugal 2015 - Inter.meada - Artist Residencies, Alvito, Portugal 2013 - NCCA Kronstadt - National Center for Contemporary Arts, St. Petersburg, Russia 2012 - FelipaManuela in collaboration with Columpio – Proyectos de Dibujo integrated in the event jugada a 3 Bandas, Madrid 2011 – Self-organized residence in the city of Berlin following the artistic project Journey to the interior of the lived cities 2011 – Artist residency at Drawing Spaces, Fábrica Braço de Prata, Lisbon 2010 - Self-organized residence in the city of Istanbul following the artistic project Journey to the interior of the lived cities Individual Exhibitions: 2020 – According to its own time, Galeria Diferença, Lisbon 2018 - A moment that continually repeats itself, Galeria Águas Livres 8, Lisbon 2018 - Private Landscapes, Difference Gallery, Lisbon 2017 - A pentagon, a circle, eight books, Municipal Library of São Lázaro, Lisbon 2017 - Watermark, Money Museum, Lisbon 2016 - Becoming Water, Marquês de Pombal Palace, Oeiras, Portugal 2015 - “Fate followed our trail like a madman with a razor in hand, Museu Nogueira da Silva, Braga 2014 - An almost imperceptible movement related to the flight, Monumental Gallery, Lisbon 2011 - Drawings in the shadow - Drawing Spaces, Fábrica do Braço de Prata, Lisbon 2010 - The Other Side - Paços Galeria, Torres Vedras, Portugal 2009 - Trip to the interior of the imagined cities – Octávia, Round the Corner, Lisbon 2002 - We weave - Theater Chapel Taborda, Lisbon 2000 - kid's play - the house – 30 days Gallery, Caldas da Rainha, Portugal 1999 - Cistern of the Faculty of Fine Arts of Lisbon, Convento de São Francisco, Lisbon Collective Exhibitions (selection): 2021- Specific Objects, part 1, from the Figueiredo Ribeiro Collection - Curated by Ana Anacleto and João Silvério - MIAA, Iberian Archeology and Art Museum, Abrantes, Portugal 2021 - O beards, describe the landscape! Works from the Marin Gaspar collection, curated by Mariana Marin Gaspar - Coimbra House of Culture 2021- Artist Books by Women Artists - curated by Ana Barata Calouste Gulbenkian Foundation, Lisbon 2021 - Alter(action) - curated by Marta De Menezes - Center for Art and Culture - Eugénio de Almeida Foundation, Évora 2021 - Be(coming) - curated by Marta De Menezes, Academia do Marvão, Portugal 2020 – Glória - Vasco Barata - Appleton, Lisbon 2020 – With(tact), Cultivamos Cultura, São Luís, Odemira, Portugal 2020 – Palimpsest, Municipal Museum of Penafiel, Penafiel, Portugal 2020 - Trajectory(s), 100 years of Artistic Teaching, National Society of Fine Arts, Lisbon 2019 - Strictly Libri, Biennale del Libro d´Artista, Galleria della Fondazione dei Monti Uniti, Foggia, Italy 2019 – FACTT Lisbon - (Be)Coming, Pavilion 31, Lisbon 2019 - Exhibition of Artist's Books in the Modern Collection of the Calouste Gulbenkian Foundation, Calouste Gulbenkian Foundation, Lisbon 2019 - Constellations: a choreography of minimal gestures, Berardo Collection Museum, Lisbon 2019 - FACTT Toronto, University of Toronto, Toronto, Canada 2019 - Roots, Faculty of Fine Arts Gallery, Lisbon 2018 - Hypermnesia, Underground Gallery, 40, Lisbon 2018 - FACTT Mexico, Mexico City Digital Cultural Center, Mexico 2018 - FACTT USA, School of Visual Arts, New York 2018 - FACTT Lisbon, Livraria Ler Devagar, Lisbon 2017 - The book Disperso, Sput&Nic The Window, Porto 2017 - Exhibition of Artist Books from the Art Library Collection of the Calouste Gulbenkian Foundation, FCG, Lisbon 2016 - Continuous past/ Residents in transit, Espaço Adães Bermudes, Alvito, Portugal 2015 - Periplos, Portuguese Art of Today, CAC, Malaga, Spain 2015 - Dibujando con Números, Providencia Cultural Center, Santiago de Chile, Chile 2015 - Consequência do Olhar, Landscape in the MG collection, Espaço Adães Bermudes, Alvito, Portugal 2014 - Kronstadt Stories, NCCA Art Program, Kronstadt, St. Petersburg Museum of History, St. Petersburg, Russia 2013 - Parérgon, Paços Municipal Gallery, Torres Vedras 2012 - I would prefer not to, Plataforma Revolver, Lisbon 2012 - 3 en el 3º, FelipaManuela + Columpio, proyectos de dibujo, Madrid, Spain 2011 - Between two times, part 2, Galeria Arte Contempo, Lisbon 2009 - Drawing by Numbers, Espaço Avenida, Lisbon 2009 - Between two times, part 1, Espaço Avenida, Lisbon 2007 - Hans Christian Andersen 1805 – 2005, Teatro Municipal Baltasar Dias, Funchal, Madeira 2006 - Hans Christian Andersen 1805 – 2005, Centro Cultural de Belém, Lisbon 2005 - Hans Christian Andersen 1805-2005, Museum of work Michel Giacometti, Setúbal. 2004 - Dressing up Nature, Monteiro Mor Park, National Costume Museum, Lisbon 2003 - Habitar o Habitar, Academia das Artes de Ponta Delgada, São Miguel, Azores 2002 - Changes, Ephemeral Occupations III, Av. 24 de Julho nº96, Lisbon 2002 - 7 for a secret never to be told, Ephemeral Occupations II, Rua do Arco a São Mamede nº79, Lisbon 2002 - Ver Paiva 2002 – Artistic Activities in public spaces, where he carried out the public art project “Serpentina” in Vila Nova de Paiva 2002 - The suitcase game, Caldas late night, Caldas da Rainha 2002 - This ghost raised the tiles in the hallway, Occupations Ephemeral I, Rua das Furnas 18, Lisbon 2001 - 1st International Drawing Biennial, Melbourne 2001, Australia 2001 - 2nd Biennial of Young Creators of the Community of Portuguese Speaking Countries, Ferreira Borges Market, Porto 2000 - Alchemy of Thoughts in the Arts, Convento de São Francisco, Coimbra 2000 – microArt, Portugal Pavilion, Expo2000, Hannover 2000 - Viewer's Digest, 37th Congress of Young Philosophers, Lisbon 2000 – Nonstopopeninglisboa, Zé dos Bois Gallery, Lisbon 2000 – Emergencies, Common Place, Fábrica da Pólvora, Barcarena, Portugal 1999 - National Exhibition “Young Creators 99”, Braga, Portugal 1999 - After-Eight, Zé dos Bois Gallery, Lisbon 1999 - Rooms, chambres, zimmer, rooms, running water at Convento de São Francisco, Lisbon It is represented in several public and private collections where it stands out: Collection of artist books from the Calouste Gulbenkian Foundation Art Library CAC Malaga Luciano Benetton Collection Kronstadt History Museum, St. Petersburg, Russia Torres Vedras City Council Vila Nova de Paiva City Council Polish Art Foundation – Melbourne, Australia MG Collection Figueiredo Ribeiro Art Collection Scenography: 2015/16 - Sónia Delaunay's trip, educational theater play staged by Vera Alvelos and presented at the Calouste Gulbenkian Foundation's Modern Art Center in the context of the exhibition The Delaunay Circle 2000 - Creation and execution of the set design by Luke Ross - 11th Amadora Comic Book Festival 1994 - Set design, costumes and masks for the play created from an original text by Guillaume Apollinaire As Mamas de Tiresias, by Associação Sinopse - Coimbra, Portugal Interviews and public presentations: 2021 - Conversation with curator João Sílvério – Rama, Artist Residencies 2019 - Open Day Universities - Artist's Books from the Calouste Gulbenkian Foundation's Modern Collection with Carla Rebelo - presentation of the Blind Book II 2018 - Side by Side Conversations: "The impossibility of the present" with Alexandre Castro Caldas, Carla Rebelo, Inês Tello Rodrigues and Francisco Vidal 2017 - Readings guided by authors of artist books from the Calouste Gulbenkian Foundation's Art Library collection - Carla Rebelo 2017 - Meet the Artist – Carla Rebelo, International Audiovisal and Multimedia Week - Artists at work, Universidade Lusófona, Lisbon 2017 – Meeting with Artists and Curators – Watermark - Carla Rebelo, Leonor Nazaré and Manuel Valente Alves at Museu do Dinheiro, Lisbon 2017 - The importance of Space in Project Methodology – Faculty of Fine Arts of Porto, Portugal 2017 - Readings by authors of Artist's Books from the Calouste Gulbenkian Foundation's Art Library collection - Carla Rebelo 2011 - “Conversation with Carla Rebelo about the experience of the place. Five questions about the distance between drawing and memory”. Drawing Spaces with Sara Barriga 2011 - "The Other Side", the contradictory sculptures by Carla Rebelo - Margarida P. Prieto, 2nd International Congress CSO'2011, FBAUL 2005 - “Dressing Up Nature” invited project for the Bloom International Seminar – Art and Ephemeral Gardens - Fábrica da Pólvora in Barcarena, Portugal 2003 - “The unconscious weaving” Meeting with Carla Rebelo in the context of the Textile Art course at the Antonio Arroio Artistic School, Lisbon

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.

Installation and Scenography Scenography White cotton, televisions, sand, paper, expanded polyurethane, leaves and branches variable dimensions The breasts of Tiresias , 1994 Interpretation and dramaturgy based on the original text by Guillaume Apollinaire Production by Synopsis Association - Coimbra Scenography: Carla Rebelo The breasts of Tiresias, 1994 The breasts of Tiresias, 1994 1/4

Installation Penelope, 2014 Wood, cotton, wool, linen and silk thread, linen ball, instrument for weaving, chair and lead weights Variable dimensions

Projects Journey to the interior of the lived cities, is the second part of a project related to the book by Italo Calvino, " The Invisible cities". This is an ongoing project that to date has resulted in 3 periods of residence in different cities and a set of pieces about each one of them. In this second phase of the project, I place myself in the position of the character Marco Polo, the one who creates from his travels and everything he records from them. This project has a first part, called Journey to the interior of the imagined cities. Istanbul - Turkey In the context of this project, in 2010 I did an artist residency in Istanbul. I focused my research on the experience of the city, on its energy with echoes from East and West and on discovering its history through the stories of the people I met. Story box , 2011 Short stories about Istanbul The canceled birthday party - 10´48" Wood, mirror and sound system Sculpture - 98x20x20cm Whirling Neighborhoods, 2011 Five machine-stitched drawings made with red tread on felt, five engines and digital programmer Variable dimensions Installation Story box, 2011 Story box, 2011 1/4 Whirling Neighborhoods, 2011 _A082590 Whirling Neighborhoods, 2011 1/8 Whirling Neighborhoods , 2011 Video of the installation in motion In between , 2011 Wood, paper, linen yarn and artificial silk bobines and light focus Variable dimensions Installation In between, 2011 In between, 2011 1/5

The Fort´s Dream , 2013 13´00 "video Color / Sound The Fort´s Dream is a work about Fort Alexander I made on the context of the project Journey into the cities experienced, as a result of an artist residency in the city of Kronstadt, Saint Petersburg, Russia. Built on an artificial island in the Gulf of Finland, near the coast of Kotlin island, fort Alexander was part of a defense line of structures created to protect Saint Petersburg from the attack of enemy troops. Completed in 1846, this monumental architecture, however, never got to chance to shoot a single one of its 137 cannons. In the Crimean War the mere sight of this imposing structure blocked an attack from the British fleet, but in 1896 the Fort was excluded from the list of defensive structures of the army. In 1898, due to an outbreak of Plague that reached the steppes of the Caspian Sea, its destiny of defense and protection came to life again. This isolated architecture seemed to be the ideal place to install an anti-plague laboratory to search a cure for this disease. Connected to the world by a boat named "Microbe", Fort Alexander gained then a new life. As part of the research and testing in the production of a serum, the Fort became the final home to several animals. Ilya Moiseevich Eisen, an employee of the Academy of Sciences who visited the place in 1900, was impressed with the small and large scale animals he found there. This “small Zoo” in the middle of the Gulf was described by him as “ship of the desert”. Walking silently in the courtyard he found camels, cows, reindeer and the horses, the animals that played the most important role in the investigation done on site. The laboratory was closed in 1917. The Fort became then part of the Russian Navy and was used for storage and repair purposes. It was abandoned in 1983 and has been empty since then. “The Fort´s Dream” evokes a possible memory of this place. The video shows a voyage to the Fort and also the empty galleries inside. In the stillness of the umpty rooms, where the only sound is the water hitting the banks of the island, images seem to emerge from the past merging with the ones from the present. The galleries of the Fort are like the rooms of a forgotten Museum, the scenario where the animals that once lived there stand “still”. Video Stills

Installation Unrest , 2010 Wood, silk threads, table with mirror, wooden piece with 24 bobines and polypropylene threads Variable dimensions Text Exhibition Unrest and G ame of illusions were two installations created for the exhibition The other side in 2010 Unrest, 2010 Unrest, 2010 1/5 Game of illusions , 2010 Half wooden table, half book and mirror with black pen drawing Variable dimensions Game of illusions , 2010 Game of illusions , 2010 1/5