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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 The two unpublished works that he thought for the place unearth his memories.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.

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

Sculpture and Textile Work S/ Título, 2020 Madeira metal e resina 32,5x34cm Escultura S/ Título, 2020 Madeira metal e resina 32,5x34cm Escultura 1/7 S/ Título, 2020 Madeira, fios de algodão e metal Dimensões variáveis Escultura S/ Título, 2020 Madeira, fios de algodão e metal Dimensões variáveis Escultura 1/4 Book of hours, 2020 Wood and cotton yarn 35x50cm each page Book of hours, 2020 Wood and cotton yarn 35x50cm each page 1/7 Measurers of Time, 2020 Wood, metal instruments and resin Variable dimensions Measurers of Time, 2020 Wood, metal instruments and resin Variable dimensions 1/3 Hourglasses of emptiness, 2020 Resin Variable dimensions Hourglasses of emptiness, 2020 Resin Variable dimensions 1/3 Compass, 2020 Wood and resin 27 cm of diameter Compass, 2020 Wood and resin 27 cm of diameter 1/6 Growing landscape, 2020 Aluminum, red paint and wood Variable dimensions Growing landscape, 2020 Aluminum, red paint and wood Variable dimensions 1/4 Eternal return, 2020 2 shuttles, 2 bobbins and tree bark Variable dimensions Eternal return, 2020 2 shuttles, 2 bobbins and tree bark Variable dimensions 1/5 Spindle, 2020 Wood and resin Variable dimensions _1770471_DxO_72dpi Spindle, 2020 Wood and resin Variable dimensions 1/6 According to her own time , 2020 A moment that repeats itself continuously, 2018 a moment that repeats itself continuously I, 2018 Wood, cotton, lead weights and shadow Variable dimensions a moment that repeats itself continuously I, 2018 Wood, cotton, lead weights and shadow Variable dimensions 1/6 a moment that repeats itself continuously II, 2018 Wood, cotton, linen, metal and shadow 50 cm diameter a moment that repeats itself continuously II, 2018 Wood, cotton, linen, metal and shadow 50 cm diameter 1/3 a moment that repeats itself continuously V, 2018 Wood and paper Variable dimensions PB236106 a moment that repeats itself continuously V, 2018 Wood and paper Variable dimensions 1/3 a moment that repeats itself continuously IV, 2018 13 pieces of resin, nylon wire and wood Variable dimensions a moment that repeats itself continuously IV, 2018 13 pieces of resin, nylon wire and wood Variable dimensions 1/3 a moment that repeats itself continuously III, 2018 2 pieces of wood and mirror Variable dimensions a moment that repeats itself continuously III, 2018 2 pieces of wood and mirror Variable dimensions 1/5 a moment that repeats itself continuously VI, 2018 Wood, bobbins and nylon thread 30x40cm a moment that repeats itself continuously VI, 2018 Wood, bobbins and nylon thread 30x40cm 1/2 About the weight of time, 2020 Cotton and copper yarn Variable dimensions About the weight of time, 2020 Cotton and copper yarn Variable dimensions 1/3 About the lightness of time, 2020 Cotton, copper yarn and shadow Variable dimensions About the lightness of time, 2020 Cotton, copper yarn and shadow Variable dimensions 1/5 Private landscape II, 2018 Aluminum foil with black pen drawing 50x50x25cm Private landscape II, 2018 Aluminum foil with black pen drawing 50x50x25cm 1/4 Untitled, 2018 Drawing on paper, wood and mirror Variable dimensions Untitled, 2018 Drawing on paper, wood and mirror Variable dimensions 1/6 Becoming, 2018 Aluminum, mirrored paper, drawings in black pen and wooden box 25 pieces with 5 variables Variable dimensions Becoming, 2018 Aluminum, mirrored paper, drawings in black pen and wooden box 25 pieces with 5 variables Variable dimensions 1/5 Becoming water, 2016 Zephyr and flora, 2016 Wood, mirrors and two drawings in black pen on paper Variable dimensions Zephyr and flora, 2016 Wood, mirrors and two drawings in black pen on paper Variable dimensions 1/2 Untitled, 2016 Wood, mirrors and two drawings in black pen on paper Variable dimensions Untitled, 2016 Wood, mirrors and two drawings in black pen on paper Variable dimensions 1/2 Untitled, 2016 Wood and 4 prints on paper Variable dimensions Untitled, 2016 Wood and 4 prints on paper Variable dimensions 1/7 (Mis)meeting, 2014 Wood Variable dimensions (Mis)meeting, 2014 Wood Variable dimensions 1/5 Story box, 2011 Short stories about Istanbul The cancelled birthday party 10´48" Wood, mirror and sound system 98x20x20cm _A082580 _9222442 Story box, 2011 Short stories about Istanbul The cancelled birthday party 10´48" Wood, mirror and sound system 98x20x20cm 1/4 The other that was me, 2010 Wood and shadow 200x250x40cm The other that was me, 2010 Wood and shadow 200x250x40cm 1/3 "... sou do tamanho do que vejo e não do tamanho da minha altura", 2010 Wood and mirror 246x20x40cm "... sou do tamanho do que vejo e não do tamanho da minha altura", 2010 Wood and mirror 246x20x40cm 1/4 Maps of growth, 2010 Embroidered drawing on fabric, red, yellow and black thread and wood 165x100x10cm Maps of growth, 2010 Embroidered drawing on fabric, red, yellow and black thread and wood 165x100x10cm 1/6 Building myself a new territory from an already existing one, 2010 Old maps, felt and red line 6 diptychs of variable dimensions Building myself a new territory from an already existing one, 2010 Old maps, felt and red line 6 diptychs of variable dimensions 1/3 The Other Side , 2010

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.

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

Installation Ulysses , 2014 Red threads of different materials, wood, bamboo, stones and lemon tree Variable dimensions

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

Projects Drawings in Shadow, 2011 Istanbul - The city and memory In the context of the project Travel to the interior of the lived cities I made an open residency in 2011 at Drawing Spaces in Lisbon. My project was to create a series of drawings based on my research experience in the city of Istanbul. Based on material collected on site, such as photographs, sounds or video images, a set of works were created that mirror the relationship established with this city. The Fort's Dream - (Fragment) , 2013 Video 13'00" Color/Sound Untitled, 2011 (small stories about Istanbul) Light table and set of two drawings Chinese ink on white paper 50X70cm (approximately) Untitled , 2011 Red elastics, nails, spotlight and sound installation Variable dimensions Drawing/Installation Drawings in Shadow, 2011 Overviews of the presentation of the work Open Residence - Drawing Spaces In memory, 2011 In memory, 2011 1/4 Untitled, 2011 Untitled, 2011 1/6 Untitled, 2011 Untitled, 2011 1/6 Exhibition overview - Drawing in Shadow Exhibition overview - Drawing in Shadow 1/11

Projects Where do my paths lead me , was a piece created in 2004 in the context of the exhibition Dressing Up Nature, a Site-specific project for the Monteiro Mor Park, Costume Museum in Lisbon. In this project, the aim was to create connections, from a contemporary perspective, between the Textile universe represented by the Museum and the environment of the Park where it is installed. This project was produced by the collective of artists participating in the exhibition from an idea of Carla Rebelo. Where do my paths lead me , 2004 Steel cables, artificial silk and cotton textile cables, red plastic coated copper wire and red aluminum ladder Site-specific installation of variable dimensions Where do my paths lead me Performance held on July 17, 2004 Dressing up Nature Exhibition Carla Rebelo dressed by Marisa Lourenço Where do my paths lead me, 2004 Where do my paths lead me, 2004 1/9 Where do my paths lead me, 2004 Where do my paths lead me, 2004 1/5

Installation Drawing I, 2009 Red elastics, wall nails and shadow Variable dimensions Drawing/Installation Drawing I and II are two drawings/installations created for the Drawing my numbers exhibition in 2009 Drawing I, 2009 drawing by numbers 044 Drawing I, 2009 1/4 Drawing II , 2009 Copper wire covered with plastic in various colors, graphite pencil drawing and shadow Approximately 120x200x15cm Drawing / Installation Drawing II, 2009 Drawing II, 2009 1/4