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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

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

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

(Dis) meeting , 2014 wood Sculpture Variable dimensions

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

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

Installation A garden for my desires, 2002 Carnations, wire and wood An installation for 7 days Variable dimensions 1st day 3rd day 5th day 7th day