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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

Growth Maps , 2010 Embroidered design on fabric Linen, red, yellow and black thread and wood Sculpture 165x100x10cm

Installation Gone to Earth , 2013 Mirror, black pen drawing, charcoal powder and reflection variable dimensions Gone to Earth was a piece created together with the installation P rivate landscapes in 2013 in the context of the Parérgon exhibition. Text Exhibition Gone to Earth, 2013 Gone to Earth, 2013 1/6

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

Installation The Tree Metamorphosis I, 2016 Wood, mirrors, black pen drawings and reflection Variable dimensions These works are the result of an Artistic Residency held in Alvito, Alentejo. An installation and a video created from records made in a region with centenary olive trees. These contorted and silent trees are witness to the passage of time and the changes that it operates in the landscape and in its own body. Slow planes indicate the movement and transformation of these almost magical beings , which resist to time and space. The Tree Metamorphosis II , 2016 Video, 6'13" MP4 Black and white / sound The Tree Metamorphosis I, 2016 The Tree Metamorphosis I, 2016 1/10

Projects Becoming Water was a site-specific project created for the Marquês de Pombal Palace (2016), inspired by the history/memory of this 18th century architecture. 7 pieces were created specifically for the rooms of this Palace and a sound installation for the corridors. Two pieces from 2014 were also presented, with relations to the concepts worked on in this project, one of which was redesigned for the lake in the Palace garden. Exhibition text Marquis' Room Becoming Water , 2016 Wood and silk threads Variable dimensions Installation Becoming Water, 2016 Becoming Water, 2016 1/10 Music Room The Dream of Orpheus , 2016 Black ink wood and mirrors Variable dimensions (39 pieces with 30x60cm, 30x70cm and 40x70cm) Installation The Dream of Orpheus, 2016 The Dream of Orpheus, 2016 1/6 Kings Room Th Library of Muses , 2016 Set of 9 artist books created for the Knowledge Room at the Palácio do Marquês de Pombal Variable dimensions Installation Th Library of Muses, 2016 Th Library of Muses, 2016 1/8 Game room Game Room , 2016 7 wooden chairs and white cotton thread variable dimensions Installation Game room, 2016 Game room, 2016 1/5 Cage , 2016 wood and shade 210x120x120cm Sculpture Cage, 2016 Cage, 2016 1/3 Dining room Penelope , 2014|2016 Wood, cotton threads, wool, linen and silk, lead weights, weaving tool, skein and chair Variable dimensions Installation Penelope, 2014/2016 Penelope, 2014/2016 1/5 Garden Ulysses , 2016 Red threads of different materials, stones and bamboo Variable dimensions Installation Ulysses, 2016 Ulysses, 2016 1/4 Small room Zephyr and Flora , 2016 Wood, mirror with two drawings a black pen on paper Sculpture Variable dimensions Zephyr and Flora , 2016 Zéfiro e flora, 2016 Zephyr and Flora , 2016 1/2 Small room Untitled , 2016 Wood, mirror with two drawings a black pen on paper Sculpture Variable dimensions Untitled, 2016 Untitled, 2016 1/2 Small chinese room Untitled , 2016 Wood and 4 paper images Sculpture Variable dimensions Untitled, 2016 Peça vista de frente - visão lateral direita Untitled, 2016 1/7

Bio Carla Rebelo , 1973 Lisbon Lives and works in Lisbon Education: 1994-2000 - Degree in Visual Arts - Sculpture, Faculty of Fine Arts of the University of Lisbon 1989-1992 - Textile Design Course - António Arroio Art school, Lisbon Additional Artistic Education: 2002 - Land Art Workshop at Vale do Guadiana Natural Park - NextArt, Portugal 1994 - Scenography Course organized by the Scenographer José Manuel Castanheira at the Performing Arts Center Artico, Trafaria, Portugal 1993 - 1994 - Audiovisual Communication Course - CGTP-IN Center , Lisbon 1992 - 1993 - Tapestry Course at the Arts and Crafts Institute - Ricardo Espírito Santo Silva Foundation, Lisbon 1992 - 1994 - First and second years of the Artistic Drawing Course - National Society of Fine Arts, Lisbon Grants and Scholarships: 2010 -11 - Calouste Gulbenkian Foundation Artistic Creation Grant, Lisbon 1998 - Erasmus scholarship at the École Nationale des Beaux-Arts in Bourges, France Artist Residencies: 2017 - 2018 - We Cultivate Culture, São Luís, Portugal 2015 - Inter.meada - Artist Residencies, Alvito, Portugal 2013 - Artist Residency Kronstadt - National Center for Contemporary Arts in St. Petersburg, Russia 2012 - FelipaManuela - artist residency Madrid + Columpio - Contemporary Drawing Gallery, Madrid, Spain 2011 - Self-organized residency in Berlin, Germany to make a research for the artistic project A trip to the interior of the lived cities, with the support of the Calouste Gulbenkian Foundation 2011 - Drawing spaces Open Residency - Fábrica do Braço de Prata, Lisbon 2010 - Self-organized residency in Istanbul ,Turkey to make a research for the artistic project Journey to the interior of the lived cities, with the support of the Calouste Gulbenkian Foundation Solo Exhibitions: 2020 – According to its own time , Galeria Diferença, Lisbon 2018 - A moment that continually repeats itself , Águas Livres 8 Gallery , Lisbon 2018 - Private Landscapes , Difference Gallery, Lisbon 2017 - A pentagon, a circle, eight books , São Lázaro Municipal Library, Lisbon, 2017 - Watermark , Money Museum, Lisbon, Portugal 2016 - Becoming Water , Marquês de Pombal Palace, Oeiras, Portugal 2015 - “ Fate followed our trail like a madman with a razor in his hand , Nogueira da Silva Museum, Braga 2014 - An almost imperceptible movement related to flying, Monumental Gallery, Lisbon, Portugal 2011 - Drawings in the shadow , Drawing spaces, Fábrica do Braço de Prata, Lisbon 2010 - The Other Side , Paços Gallery, Torres Vedas, Portugal 2009 - Trip to the interior of the imagined cities – Octávia, Round the Corner, Lisbon 2002 - Tecemos , Theater Taborda Chapel, Lisbon 2000 - kid's play - the house – The 30 days Gallery, Caldas da Rainha, Portugal 1999 - Faculty of Fine Arts Cistern, San Francisco Convent, Lisbon Group Exhibitions: 2021 - 2021 - 2021 - 2020 - Gloria, 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 - Exhibition of Artist Books from the Moderna Collection of the 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, Centro Cultural Digital Mexico City, Mexico 2018 - FACTT USA, School of Visual Arts - New York 2018 - FACTT Lisbon, Ler Devagar Bookstore, Lisbon 2017 - LivrObject, Anatomy and Architecture, Artist books from the Art Library Collection of the Calouste Gulbenkian Art Library, Calouste Gulbenkian Foundation, Lisbon, Portugal 2017 - O Livro Disperso, curated by Media Insáveis, Sput&Nic, the Window, Porto, Portugal 2016 - Periplos, Portuguese art of today, CAC, Malaga, Spain 2015 - The consequence of the gaze, Landscape in the MG Art Collection, Espaço Adães Bermudes, Alvito, Portugal 2014 - Drawing by Numbers, Drawing by Numbers, curated by Andrea Pacheco, Providencia Cultural Foundation in Santiago de Chile, Chile 2014 - Kronstadt Stories, NCCA Art Program Kronstadt curated by Elena Gubanova, State Museum of the History of St. Petersburg, Saint Petersburg, Russia 2013 - Parérgon, curated by José Maria Parreño - Paços Municipal Gallery, Torres Vedras, Portugal 2012 - I would prefer not to , Plataforma Revolver Gallery, Lisbon 2012 - 3rd and 3rd - FelipaManuela + Columpio Contemporary Drawing Gallery, Madrid 2011 - Between two times, part 2 - Arte Contempo Gallery, Lisbon 2009 - Drawing by numbers – Espaço Avenida, Lisbon 2009 - X Initiative – Arte Contempo Gallery, Lisbon 2009 - Between two times, part 1, Espaço Avenida, Lisbon 2008 - Anonymous Drawings # 9 - Kunstraum Kreuzberg / Berthanier, Berlin 2008 - X Initiative – Arte Contempo Gallery, Lisbon 2007 - Hans Christian Andersen 1805 - 2005, Camilo Castelo Branco Museum, Famalicão 2007 - Hans Christian Andersen 1805 - 2005, Baltazar Dias Theater, Funchal, Madeira 2006 - Hans Christian Andersen 1805 - 2005, Anastacio Gonçalves Museum, Lisbon 2006 - Hans Christian Andersen 1805 - 2005, Ceramics Museum, Caldas da Rainha, Portugal 2006 - Hans Christian Andersen 1805 - 2005, Belém Cultural Center, Lisbon 2005 - Hans Christian Andersen 1805 -2005 - Alcochete Cultural Forum, Portugal 2005 - Hans Christian Andersen 1805 -2005 - Olga Cadaval Center, Sintra 2005 - Hans Christian Andersen 1805 -2005 - Building Chiado Museum, Coimbra 2004 - Dressing Up Nature, a site-specific project for the Monteiro Mor Park, National Museum of Costume and Fashion, Lisbon 2003 - Inhabiting the habit - Academy of Arts of Ponta Delgada, Azores 2002 - Changes - Ephemeral Occupations III, a site specific project , Lisbon 2002 - 7 for a secret never to Be Told – Ephemeral Occupations II, a site specific project Lisbon 2002 - This ghost raised the tiles of the corridor – Ephemeral Occupations I, a site specific project, Lisbon 2002 - See Paiva 2002, Art projects in public spaces - "Serpentina" in Vila Nova de Paiva, Portugal 2002 - The suitcase game, Caldas late night project in Caldas da Rainha, Portugal 2002 - Youth Week, Marim Olhão Palace, Lisbon 2001 - Free Events – 4.0 event, Oporto, Portugal 2001 - XII Fine Art Biennale of the Avante Festival, Amora, Seixal, Portugal 2001 - 1st International Drawing Biennale - Melbourne 2001, Australia 2001 - Let's have tea with Maria - Maria's Room Gallery, Arts in Parts, Oporto 2001 - 2nd Biennial of Young Artists from the Community of Portuguese Speaking Countries, Ferreira Borges Market, Oporto, Portugal 2000 - Thoughts of Alchemies and the Arts, National Association of Pharmacy, Coimbra 2000 - microArt - Portugal Pavilion - Expo 2000 Hannover 2000 - Viewer's Digest - 37th Congress of Young Philosophers, Lisbon 2000 - Nonstopopeninglisboa - Zé dos Bois Gallery, Lisbon 2000 - Emergencies, Common place - Factory Powder, Barcarena, Portugal 1999 - Young Artists National Exhibition, Braga, Portugal 1999 - After-Eight - Zé dos Bois Gallery, Lisbon 1999 - Sculpture in the Square - Public Art Projects, Cordoaria National, Lisbon 1999 - Rooms, chambres, zimmer, rooms – running waters in the convent of San Francisco, San Francisco Convent, Lisbon 1996 - Experimental Textile, Textile year in Aveiro, Aveiro, Portugal 1995 - Tapestry Exhibition - 1st Language Meeting at the Catholic University, Lisbon Scenery: 2015/16 - Sónia Delaunay's trip, Theater Educational project presented at the Modern Art Center of the Calouste Gulbenkian Foundation in the context of the exhibition O Circulo Delaunay. 1994 - Scenography, costumes and masks for the Theater play by Guillaume Apollinaire The Breasts of Tiresias, Coimbra, Portugal Seminars and Public Meetings (with the artist or about the artist projects): 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, International Audiovisual and Multimedia week - Artists at work, Lusophone University, Lisbon 2017 - Meeting with Artists and Curators, Watermark - Carla Rebelo, Leonor Nazaré and Manuel Valente Alves in the Money Museum, Lisbon 2017 - The importance of Space in Project Methodology - Faculty of Fine Arts of Oporto, Portugal 2017 - Readings guided by authors of artist books from the Calouste Gulbenkian Foundation's Art Library collection - Carla Rebelo 2011 - “Conversation with Carla Rebelo about the experience of place. Five questions to run the distance between drawing and memory." Drawing Spaces with Sara Barriga 2011 - "The Other Side", the contradictory sculptures of Carla Rebelo - Margarida P. Prieto, 2nd International Congress CSO'2011, Faculty of Fine Arts of the U. of Lisbon 2005 - “Dressing Up Nature” invited project at the Bloom International Seminar - Ephemeral Art and Gardens - Gunpowder Factory in Barcarena, Portugal 2003 - “The unconscious weaving” Meeting with Carla Rebelo in the context of the Art and Textile Design Course at the Antonio Arroio Art School in Lisbon Teaching and Educational (selection): 2018 - Teacher at the Textile Department of the Antonio Arroio Artistic School Lisbon 2010 - Co-founder of the Educational Project “Abelha Vermelha” - Creation of Educational Activities, and Educational Materials for children and young people. Works as an educational collaborator and adviser at the Manuel de Brito Art Center in Oeiras, Lisbon. 2009 - Begins a collaboration with the Educational Department of the National Museum of Ancient Art in Lisbon, creating and conducting guided tours and educational projects for children. 2007-08 - Makes the professional education training of the Education Ministry at the Faculty of Psychology and Educational Sciences of the University of Lisbon. 2003- 04 - Te acher at the T extile Department of the Antonio Arroio Artistic School Lisbon. 2003 - Begins a collaboration with the Educational Department of the Modern Art Center, Calouste Gulbenkian Foundation creating and conducting until the present date, workshops and guided tours for children and adults. 2003 - Starts collaboration with the private art school Artilimited creating and conducting workshops for children and youth people. 2001-08 - Works has a Visual Art and History of Art teacher in several public schools. Curating Experience: 2004 - Curator and co-responsible for the production of the exhibition "Dressing up Nature", a site-specific art project for the Monteiro Mor Park at the National Museum of Costume in Lisbon. 2002 - Co-Responsible for the creation, coordination and production of the Artistic Art Project "Ephemeral occupations" (ephemeral occupations), with 3 art exhibitions in alternative spaces in the city of Lisbon. Illustration: 2006 - Creates the character mia and the blog mia-stories.blogspot.com to show her illustration work. Since then has been participating in several projects and exhibitions under the name mia. 2005 - Invited artist in the commemorative project of the bicentenary of the birth of Hans Christian Andersen illustrating two tales of the author. On the context of this project participates in an exhibition tour all over Portugal promoting the work and tales of the writer. Interviews, Texts and catalogs : Portugal: open Window to the world - Contemporary Artists from Portugal, imago mundi Luciano Benetton Collection, Fabrica Italy, 2015 Parergon, exhibition catalog, Torres Vedras City Council, Torres Vedras 2013 The Other Side, Margarida Prieto, exhibition catalog , Torres Verdas 2010 In search of the new "invisible cities", Interview by Nuno Cunha, NS - Review of the Newspaper page 72 - March 21, 2009 "Dressing Up Nature" in the perspective of a visitor accomplice – Lúcia Marques, Dressing up Nature exhibition catalog, a site-specific project , Arbusto 2004 Interlacing paths - Celso Martins, Expresso, page 27 - September 4, 2004 Wearing a park - Filipa Oliveira, Saturday Review, page 80 - August 19, 2004 Nature dressed by artists - Susana Marques Moreira, Jornal o Público , page 35 August 11, 2004 Emergencies - LM Expresso Jornal , pp.21 Febuary 5, 2000 Eight characters in search of an author, João Pinharanda, Jornal Público, page 22- September 10, 1999 After Eight - Celso Martins, Expresso Jornal , page 23 - September 11, 1999 Finalists of Fine Arts in the labyrinths of creativity - Carlos Vidal, The Capital Journal, May 22, 1999 Private and public collections: Collection of artist books from the Calouste Gulbenkian Foundation Art Library CAC Malaga Imago Mundi - Luciano Benetton Collection Historical Museum of Kronstadt, St Petersburg , Russia Torres Vedras City Hall Vila Nova de Paiva City Hall Polish Art Foundation - Melbourne, Australia MG Collection Fernando Figueiredo Collection Sites: https://www.museudodinheiro.pt/en/event/9539/watermark-carla-rebelo?m=9 http://www.columpiomadrid.com/columpioartistas.html Imago mundi.com http://roundthecornertt.blogspot.com/search/label/Carla%20Rebelo https://livrobjecto.wordpress.com/october17/ https://felipamanuela.org/?lang=en https://drawingspacesen.weebly.com/archives.html

Installation We weave ourselves , 2002 Textile materials of natural and synthetic origin, wood, paper, lamps, mirrors, a wooden bench, bobbins with different textile materials, glass jars, water, a mirror with a frame and an instrument for weaving Variable dimensions Piece created specifically for the chapel of the Teatro Taborda Theater in Lisbon. This loom/installation represents 3 phases of a person's life: the past - the low horizontal web already woven the present - the vertical web that could be woven by the visitors of the exhibition; and the future - upper horizontal web still waiting to be woven.

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”.

The arrow of time About the exhibition A moment that is repeated over and over Águas Águas Gallery, 8 in Lisbon Manuel Valente Alves Time is not seen or heard. It is situated in a mysterious way below and beyond perceptions and sensations. It has no smell or taste, does not touch, is neither hot nor cold, neither dry nor humid. However, his passage almost always leaves marks on things and beings, in the tangible reality of the world. And there are signs of time that are constructed by the human being, such as artistic and technoscientific artefacts, architecture, streets and city squares, which evoke historical times. Also the days and nights and the seasons, natural phenomena that are repeated in an infinite circularity, are the origin of many of our ideas about time. The inner time, impossible to measure, reflects aspects of human subjectivity, such as thought, love, passion, hatred ... But time itself is also an object of thought. As in this exhibition by Carla Rebelo, “A moment that is repeated continuously”, a pause in time, a kind of still that is repeated endlessly. A stop of time to reflect on it, looking at the infinite that is before and ahead of us. During this interminable pause, time becomes an object, a body that Carla Rebelo gradually dissects. Reversibility and irreversibility, finitude and restlessness, sky and earth, water and fire seem to converge in the discovery of the anatomy and physiology of time, a universe of endless and visual, semantic and other relationships and webs. In spite of the passing time, the ever faster acceleration of all kinds of speeds, this genetic work is both frozen time and time in motion, “a moment that is repeated continuously”, an archeology of knowledge, experiences, experiences and feelings. Carla Rebelo creates a totality from fragments, a time out of time that inhabits the materiality of her sculptures, the beauty of her drawings and books. There are lines that intersect and interweave, fabrics, leaves, bark… The moment that Carla Rebelo's art calls for is both an interior time, lived and eternalized, and an exterior time, delimited by history, which looks to the past and protrudes into the future. No discontinuities. As in parallel mirrors in which the self-between-mirrors multiplies into reflected images that dissolve in an endless perspective. Carla Rebelo's art is a science of continuity. Everything connects to everything. It is a slowly woven web, through which we rediscover the infinite complexity of the world, the timelessness of art. Many of the ideas made about time, nature, life are dismantled here. Like the ideas of birth and death. Birth and death do not exist in the natural world. They are pre-concepts designed to make the world intelligible, to adapt the infinite complexity of the world to the limitations of human thought. There is an infinite before us and after us, generations that succeed and connect with each other. Without being able to reveal, even in the confines of time, any cell, molecule or atom that we can designate as matrix. And death, what we call death, will only be a mere transformation of matter, a change of state. In criticisms of the big bang theory, genetic theories are often compared with myths. Which is understandable. Both genetic theories and myths seek to go back, to go back through the flow of time. Some and others try to reach the zero degree of a knowledge process that aims to make the birth of the universe, of life and of the human being intelligible. In the absence of mathematical models, myths feed on intellectual speculation. Classical science, on the other hand, focuses attention on continuous variations. Genetic processes will only begin to be addressed with the birth of embryology. As embryological processes cannot be reduced to continuous variations, given their extreme complexity, science, unable to theorize them, will, for a long time, be confined to its description. Today, genetics and problems of complexity are at the forefront of scientists' concerns, and inspire research that goes very far in the knowledge of phenomena, often linking science to art, the finite to the infinite. Life is metamorphosis, eternal metamorphosis. Between mirrors, projections of space, leaves that slowly change in texture and shape, books and sculptures, Carla Rebelo's work evokes a subjective time that projects beyond the limits of the ruler and the compass, nature and the senses, and proposes a reflection on temporality. Yours, ours, the world. An arrow of time that flies both ways, without zigzagging. We are a family owned and operated business. Manuel Valente Alves

An almost imperceptible movement that has to do with flight We are a family owned and operated business. Carla Rebelo An almost imperceptible movement that has to do with the flight is Carla Rebelo's first solo exhibition of Sculpture and Installation works in Lisbon and also this artist's first collaboration with Galeria Monumental. The artist exhibits a set of unpublished works, some of which were purposely built for the Gallery's space, and also a piece from 2010 and two from 2013. Travel is the unifying concept of this exhibition. Understood as an effective journey with everything that is discovered and found there, but also as an inner journey in territories of memory and imagination. Inserted in the project started in 2010 and called “Journey into the cities lived in”, in which the journey is the starting point to work on the memory based on the experience lived on site, a piece related to the city of Berlin and a video / sculpture and an installation connected to the city of Kronstadt in Saint Petersburg, Russia. These works follow research periods in these cities, the last of which was carried out in the context of an artistic residency through the National Center for Contemporary Art in St. Petersburg. In addition to these pieces, the aforementioned concept appears associated with two characters that by themselves condense the idea of travel in the two directions worked on in the exhibition: Penélope and Ulisses from Homer's Odyssey. Two pieces associated by formal, material and spatial positioning in the Gallery refer to these two opposing and complementary forces. Ulysses personifies the traveling warrior, the one who discovers, who opens the way, travels in space and time, changes the places he goes through, makes history, makes memory. Penelope is the opposite force. It is the character who stays and imagines, who travels in his inner world, weaves to feed his desire and does it simultaneously with a creative and destructive force, by day he weaves and at night he cuts. Its journey is interior and its territory is what builds and deconstructs it. Carla Rebelo September 2014 We are a family owned and operated business.

A Cabinet of Minimal Gestures about the exhibition According to her own time by Carla Rebelo at Galeria Diferença, in Lisbon Sofia Ponte There is no way to fix time. However, we can think about time, visualizing it in some poetic situations, such as when visiting a cabinet with minimal gestures. A cabinet that presents a sense of time from a subjective perspective, provoking emotions and moods instead of referring to visible realities. An exhibition is a social and symbolic device that defines, organizes and communicates ideas. It is a dynamic and fluctuating stage, which generates values and meanings that vary according to its context. This solo exhibition is a project by Carla Rebelo that prolongs some of the reflections developed in her last exhibition “Um Momento que Repete Continuamente” (2018). Here, too, the exhibition proposes a journey through works with a maneuverable scale where the legacy of textiles, impure minimalism and appropriation is combined in different ways, and where, in my view, principles that represent moments of great inventiveness and reflection are confirmed. The meaning of a work of art is often a matter specific to art and the contextual and conceptual framework of the exhibitions in which it is presented. To designate an object as art is to detach it from the banal context of objects and to value it according to concepts validated by a community, and it says more about the person or group of people who leads an object to a selective circuit of material things, than about the object itself. In other words, a work of art is the product of choices, decisions and circumstances of an operation that is not different from that which defines a particular object, for example, as an artifact. An object acquires the function of an aesthetic symbol or a symbol of material culture, of a given community, through culturally agreed operations and determined by social practices generated by the operating context in which these operations occur, a context that is constantly changing . It is, therefore, necessary to know and recognize the actors in this framework. Let us start with the concept of a cabinet with minimal gestures that I attribute to this proposal, and that dialogues with the architecture of Galeria Diferença that welcomes this exhibition so well. This office is a stylized space for study, rehearsal and play that incorporates natural and artificial elements. “Sala de Jogo” (2016) is, moreover, the installation that marks a double presence in this exhibition. It is a physical and mental architectural space, between real and imaginary figures, which impose context as content. This cabinet with minimal gestures thus stands between cement and glass walls, light and shadows. It has a meditative function, which in this specific case serves as an aid to thinking about the concept of time. Time doesn't really exist. It exists only when we try to understand its meaning, when we think about it. The artist was interested in thinking about the concept of "circular time" closer to the idea of "inner time" and more distant from the concept of "linear time" (which establishes a past, present and future or which organizes a day in 24 hours and hours in minutes, seconds, and so on). So “circular time” can take any form. The shapes that it takes in this cabinet are generally geometric, that is, they are juxtaposed circles, they are interconnected cones, they are wefts, they are squares and rectangles superimposed on materials such as wood, copper, textile thread, resin, aluminum, iron, paint and a series of collected objects, such as textile spools and shuttles, paper, bark and other almost imperceptible fragments. And the ideas that fill this office are ideas about simplicity that encourage the faculty of contemplation and meditation, from multiple narrative points of view. Challenged by the action of exposing her practice, the artist demonstrates that the materialization of works of art depends on symbolic designation strategies. Carla Rebelo, indicates that these objects are “devices to generate thought” for herself, and perhaps also for others. With a thoughtful predisposition, the visitor will then be able to find some of the minimal gestures that are at the origin of these works. Gestures that arise from measurable and systematic methodologies, which sometimes move smoothly, producing symmetries and visual repetitions that do not deviate from their intention: to show various perceptions of inner time. For example, the gesture of weaving plots from a "Book of Hours" that at each "turn of the page" presents a wider web in a kind of forgetfulness of woven thought. Or the “Book of the Compass of Waiting” where a lined paper is exposed to different inking times, giving rise to a chromatic rhythm that contains a random diagram of the passage of that time. Or the "Empty Hourglasses" that end all time. Thus, the artist continues to embody ideas that have neither body nor space, but that demonstrate a commitment to reflexivity, conceptual rigor and literalness. This text was organized after a visit to Carla Rebelo's studio in February 2020. A second version will be proposed after visiting the Diferença Gallery. Because the exhibitions also determine the meaning of the works, and that is the only way to share dimensions of thought that arise after interacting with the space of the works exhibited. Often referred to a secondary plan, the exposure process must be understood as an exercise in which more meanings intervene than those initially envisaged. An object on display is an object related to the intentions and concept of the artist who created the concept of the work and related to the operation of values to which it will be, and is, subject in the context of exhibition. It remains, for example, to mention the device designed by the artist to look at each of these works in light and shadow, in solitude or in company. Porto, 2 March 2020.