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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

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 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

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

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

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

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. Berlin, Germany In the context of this project, in 2011 I carried out an artist residency in Berlin. One of my research focuses was a Cold War architecture/memory, Teufelsberg, an American spy station located in the Grunewald forest. Hering thoughts machine, 2014 Bamboo, paper and sound system Variable dimensions Installation Hering thoughts machine, 2014 View from inside Hering thoughts machine, 2014 1/7

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

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

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

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

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