Search results

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

Private landscapes Exhibition text with the same at Galeria Diferença in Lisbon Carla Rebelo's exhibition in Galeria Diferença's square space presents two pieces from 2013 for the first time exhibited in Lisbon. Private landscapes, which lends its name to this exhibition of works and Gone to Earth are two installations made up of a series of mirrors covered by a deep black that simultaneously conceal and reveal fragments of landscapes. Like a Mirror by Claude, a device used to frame the eye in the observation of nature until the 19th century. XIX, these pieces contain a captive image on their surface, as if the landscapes that these mirrors framed had been printed on them, just as a camera would do. Inverting the function of reflecting what surrounds them, however, these mirrors seem to hide what is around them, revealing their own reality, visible in the black drawing inscribed on their surface but also in the projection that emanates from them. The horizontality where the landscape fragments are drawn returns to our gaze the verticality of an image that exposes another nature, the reflection, the shadow, the negative of the drawing itself. Like Narcissus, we are invited to dive into the contemplation of a mirrored surface, and what we discover is not so much our image, but the substance that inhabits it, a "body" projected from the inside out, or a memory that becomes visible image, perhaps the memory of who, at one time, used these mirrors to frame his gaze. We are a family owned and operated business. Carla Rebelo April 2018

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

Artist books Waiting compass book, 2020 Dyed paper, wood and black pen drawing Variable dimensions Waiting compass book, 2020 Dyed paper, wood and black pen drawing Variable dimensions 1/4 Time, 2020 Manipulated notebook and cardboard Time, 2020 Time, 2020 Manipulated notebook and cardboard 1/30 In your skin my story, 2018 Paper and tree bark 27x21cm Exhibition A moment that repeats itself continually Na tua pele a minha história, 2018 Papel e casca de árvore 27x21cm In your skin my story, 2018 Paper and tree bark 27x21cm Exhibition A moment that repeats itself continually 1/13 Blind book II, 2017 Wood, paper, fabric and red pencil drawings from different books Blind book II, 2017 Wood, paper, fabric and red pencil drawings from different books 1/7 Book of Improbable Geographies, 2017 Manipulated book, mirror paper and old maps Book of Improbable Geographies, 2017 Manipulated book, mirror paper and old maps 1/3 Game of illusions, 2010/2017 Wood, half book, mirror and black pen drawing Variable dimensions Game of illusions, 2010/2017 Wood, half book, mirror and black pen drawing Variable dimensions 1/6 Mirror book, 2010 Manipulated book and mirror P1010615 Mirror book, 2010 Manipulated book and mirror 1/2 Blind book I, 2017 Wood, paper, fabric and words from different books Blind book I, 2017 Wood, paper, fabric and words from different books 1/4 Book of Imagined Territories, 2017 Paper, cardboard, old maps and burel Variable dimensions Book of Imagined Territories, 2017 Paper, cardboard, old maps and burel Variable dimensions 1/8 Felt Book II, 2017 Wood, fabric, paper with brown pen drawing and plaster 5,5x16,5x20cm Felt Book II, 2017 Wood, fabric, paper with brown pen drawing and plaster 5,5x16,5x20cm 1/7 A pentagon, a circle, eight books was an exhibition of artist books made for the São Lázaro Library, (Lisbon) in 2017. Three pairs of books were created and installed on the tables and shelves of this 19th century Library. To these were added two more books from 2010. Felt Book I, 2017 Wood, fabric, paper with words drawn in black pen and plaster 4x15x24,5cm Felt Book I, 2017 Wood, fabric, paper with words drawn in black pen and plaster 4x15x24,5cm 1/5 Book of Urânia or Book of the Moon, 2016 Wood, paper and old scheme with constellation Variable dimensions Book of Urânia or Book of the Moon, 2016 Wood, paper and old scheme with constellation Variable dimensions 1/4 Book of Talia or History of an 18th Wig , 2016 Book with reading from both sides Paper and cardboard Variable dimensions Book of Talia or History of an 18th Wig , 2016 Book with reading from both sides Paper and cardboard Variable dimensions 1/4 Book of Clio or Alphabet of Architecture Book, 2016 Sculptural book with manipulated parts Aluminium and vinil paper Variable dimensions Book of Clio or Alphabet of Architecture Book, 2016 Sculptural book with manipulated parts Aluminium and vinil paper Variable dimensions 1/9 Book of Erato or Wrapped Book, 2016 Wood, paper and glass Variable dimensions Book of Erato or Wrapped Book, 2016 Wood, paper and glass Variable dimensions 1/3 The Muses Library was an installation consisting of 9 artist books created for the Marquês de Pombal Palace, (Oeiras) in 2016. Book of Melpomene or Book of Tragedy, 2016 Manipulated 18th century book and newspaper clippings from the year 2016 Livro de Melpomene ou Livro da Tragédia, 2016 72,.. Book of Melpomene or Book of Tragedy, 2016 Manipulated 18th century book and newspaper clippings from the year 2016 1/5 Book of Polymnia or Book of Geometry Sculptural book with manipulated parts Wood and papel Variable dimensions Book of Polymnia or Book of Geometry Sculptural book with manipulated parts Wood and papel Variable dimensions 1/8 Caliope book or Ulisses Atlas , 2016 Paper and wood with red pencil drawings Wood and paper Variable dimensions Caliope book or Ulisses Atlas , 2016 Paper and wood with red pencil drawings Wood and paper Variable dimensions 1/5 Terpsicore Book or Dance Book, 2016 Cardoard and paper with drawings in black pen 2 Terpsicore Book or Dance Book, 2016 Cardoard and paper with drawings in black pen 1/6 Portable landscape, 2013 Wood, 2 mirrors, black paint and black pen drawing 22x21.5x2 cm Portable landscape, 2013 Wood, 2 mirrors, black paint and black pen drawing 22x21.5x2 cm 1/7 Silent books, 2009 2 books with wooden covers and pages made of an handwritten register book Wood and paper 42x30cm Silent books, 2009 2 books with wooden covers and pages made of an handwritten register book Wood and paper 42x30cm 1/3 The leaf book, 2009 Dry natural leafs, plastic and black pen drawing 11x21x1 cm The leaf book, 2009 Dry natural leafs, plastic and black pen drawing 11x21x1 cm 1/8 Wrapped Words, 2000 Old books and various textile materials variable dimensions Microart Lisbon / Hanover 2000 Wrapped Words, 2000 Old books and various textile materials variable dimensions Microart Lisbon / Hanover 2000 1/4

Projects A sua casa , was a project developed during an Artistic Residency in FelipaManuela, Madrid in 2012. The project was integrated in the event 3 en el 3º curated by Andrea Pacheco and Susana Bañuelos, in the context of Jugada a 3 Bandas , Madrid. My project was related to the memory of the place, Felipa Manuela's house. Based on images from photo albums and objects that have remained the same since the death of the owner of the house, a set of pieces were created and installed on the furniture in the living room and bedroom of the house. Bedroom A sua casa , 2012 Mirror, half coat, half wooden hanger, 2 mirrors, black ink drawing, bone comb, brown thread, bobine and shadow Site-specific installation of variable dimensions Living room The memory machine, 2012 Singer sewing machine, wooden chair, mirror with black ink design, wooden bobbins with artificial silk thread, mirror, photography, two thimbles, two needles and shadow Site-specific installation of variable dimensions Living room Map, 2012 Ribbons of various colours and materials, wooden bobine and photography Variable Dimensions Sculpture . Drawings, 2012 A sua casa, 2012 A sua casa, 2012 1/9 The memory machine, 2012 The memory machine, 2012 1/6 Map, 2012 Map, 2012 1/5 Untitled, 2012 Red pencil drawing and collage on paper 210x29,7cm Untitled, 2012 Black pen and pencil drawing on paper 21,14,8cm Untitled, 2012 Red pencil drawing and collage on paper 210x29,7cm 1/6

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 an artist residency in Kronstadt on the island of Kotlin (2013). One of my research focuses was an abandoned Fort from the 19th century. Based on research made on 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 1/5 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 Anatomy of Protection I , 2015 Wood, cotton threads variable dimensions Installation Anatomy of Protection , 2015 6 drawings in white pen on brown cardboard 50x70 cm Drawing Russian Cabinet of Curiosites , 2014 Two graphite drawings on paper, a set of glass sculptures, elastic and artificial silk on felt and a wooden object found and manipulated variable dimensions Installation Anatomy of Protection II, 2018 _1740063_DxO_72dpi _1740055_DxO_72dpi Anatomy of Protection II, 2018 1/4 Anatomy of Protection I, 2015 Anatomy of Protection I, 2015 1/5 Anatomy of Protection, 2015 Detalhe Anatomy of Protection, 2015 1/8 Russian Cabinet of Curiosites, 2014 Russian Cabinet of Curiosites, 2014 1/4

Projects Watermark , 2017 Money Museum, Lisbon Becoming Water , 2016 Marquis of Pombal Palace, Oeiras, Portugal Journey to the interior of the lived cities Ongoing project Kronstadt, Saint Petersburg Berlin Istanbul Drawings in Shadow , 2011 Istanbul Journey to the interior of the imagined cities Ongoing project A sua casa , 2012 FelipaManuela, Madrid Where do my paths lead me, 2004 Monteiro Mor Park Museum of Costume and Fashion, Lisbon

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

Button por onde me levam os meus caminhos0001 por onde me levam os meus caminhos0001 1/1

Upcoming exhibitions Collectives Nov. 2025 Participation in the Exhibition - Carlos Bunga. Habitar a Contradição CAM - Modern Art Centre of the Calouste Gulbenkian Foundation October 2025/ August 2026 Artistic Residency and Exhibition - Anatomical Theater Project Individuais Videos about the artist's work produced by Calouste Gulbenkian Foundation Art Library : The Library of the Muses Blind book I and II December 2025/2026 TrenAir Artistic Residency - Trencin 2026 European Capital of Culture Slovakia 2027 National Museum of Natural History and Science, Lisbon

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

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.