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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

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 in 2013 an artist residency in Kronstadt in Kotlin island. One of my research focuses was an abandoned 19th century Fort. Based on research done at the 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 1/4 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 Anatomia da protecção II, 2018 _1740063_DxO_72dpi _1740055_DxO_72dpi Anatomia da protecção II, 2018 1/4 Protection Anatomy I , 2015 Wood, cotton thread and 3 drawings in white pen on brown cardboard variable dimensions Installation 7 carla rebelo 7 carla rebelo 1/1 Anatomy of Protection, 2015 6 drawings made with white pen on brown cardboard 50x70 cm Drawing Russian cabinet of curiosities , 2014 Two graphite drawings on paper, a wooden display case, glass and mirror with glass sculptures, elastic and artificial silk on felt and a wooden object found and manipulated Variable dimensions Installation Desenho 5 carla rebelo Desenho 5 carla rebelo 1/1 P9171278 P9171278 1/1

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.

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

Excerpt from the text of the exhibition I would prefer not to, from Herman Melville's short story, Bartleby, the Scrivener. The story of Wall Street, held at Plataforma R evolver in Lisbon. Maria João Gamito We are a family owned and operated business. "Silent Books titled the book / installation by Carla Rebelo. The numbered blue sheets, from two books, about 40 cm high, densely filled with handwritten records of houses and commercial establishments supposedly in the district of Lisbon, and without any indication of origin, date or functional framework, unfold like a folio, completely filling the floor of a place of passage. Book / installation or artist's book, this piece, like all of Carla Rebelo's pieces, is a response to the question of the place. But in this case, and according to the artist's words, it is also an answer to his need to create a place for Bartleby, after all not very different from the one that the clerk inhabited in the Melville tale: a corner behind the tall, green screen in the lawyer's workroom, where he stood for a long time watching a blind wall and where he remained after removing the screen. And finally, it is a device for objectifying writing in unexpected correspondences subtly defined in the commitment of the scales and the relations they establish between the real space and that of representation, and in the understanding of the object in its etymological truth, as an obstacle or barrier placed before the eyes. The pages of the property registration books, carefully torn from the books where they once had a function, are articulated as screens or walls that prevent passage in a passage place, making the place absurd and obtuse the object that inscribes its unreason. . This unreason is both that of the real impediment to crossing the passage and that of the objectification of the written record, which, already distant from the monotonous task that copied it and immersed in the absurdity of the copy whose meaning was lost, still remains, now as a screen or metaphor on the walls of the cities that belong to two places and two times and that in both refer, not to the labyrinth where men are lost by the action of a monumental exercise of reason, but to its inverse form, that of the spreading, irrational spot and entropic. The walls of Carla Rebelo, noisy and encrypted like the walls of contemporary cities, arise from the writing material that registers them and thus allows them to access a permanence that is that of the wall as the power of the image, of all images for all men who, like Bartleby, look for them in this elementary as well as essential act of turning to a wall in return to themselves and their cause. Three walls of a place of passage is the place that Carla Rebelo found for Bartleby. In it, as in the work that precedes it, the clerk stands, facing a wall, between the book that unfolds as the perspectives in a city and the book that opens to read the city and its perspectives. " Maria João Gamito

(Dis) meeting , 2014 wood Sculpture Variable dimensions

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

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Installation Behind the mirror , 2002 Slide-on-mirror projection, reflection and 4 mirrors of different dimensions Variable dimensions Installation created in the context of the exhibition That ghost raised the tiles in the hallway Ephemeral Occupations I - artistic interventions in unoccupied spaces, Lisbon, 2002

Installation and Scenography Geology of a place , 2022 Cotton yarn, metal and lead weights variable dimentions Installation Geology of a place , 2022 Cotton yarn, metal and lead weights variable dimentions Installation 1/6 Anatomy of protection II, 2018 Wood and cotton yarn Variable dimensions Anatomy of protection II, 2018 Wood and cotton yarn Variable dimensions 1/4 Watermark, 2017 Aluminum, cotton yarn, and steel wire 4 woven drawings 200x230x200cm Watermark, 2017 Aluminum, cotton yarn, and steel wire 4 woven drawings 200x230x200cm 1/11 The Dream of Orpheus, 2016 Wood, black ink drawings and mirrors variable dimensions (39 pieces - 30x60cm, 30x70cm and 40x70cm) The Dream of Orpheus, 2016 Wood, black ink drawings and mirrors variable dimensions (39 pieces - 30x60cm, 30x70cm and 40x70cm) 1/6 Bones, 2017 Wood and shadow variable dimensions Bones, 2017 Wood and shadow variable dimensions 1/11 Game room , 2016 7 wooden chairs and white cotton thread variable dimensions Game room , 2016 7 wooden chairs and white cotton thread variable dimensions 1/5 Becoming Water, 2016 Wood and silk threads variable dimensions Becoming Water, 2016 Wood and silk threads variable dimensions 1/10 Cage, 2016 Wood and shadow Variable dimensions Cage, 2016 Wood and shadow Variable dimensions 1/3 Anatomy of Protection I, 2015 Wood and cotton yarn Variable dimensions Anatomy of Protection I, 2015 Wood and cotton yarn Variable dimensions 1/5 Hearing Thoughts Machine,2014 Bamboo, paper and sound system Variable dimensions interior da peça Hearing Thoughts Machine,2014 Bamboo, paper and sound system Variable dimensions 1/7 Russian Curiosities Cabinet, 2014 Two graphite drawings on paper, a showcase with glass sculptures, elastic, artificial silk, felt and a found and manipulated wooden object Variable dimensions Installation Russian Curiosities Cabinet, 2014 Two graphite drawings on paper, a showcase with glass sculptures, elastic, artificial silk, felt and a found and manipulated wooden object Variable dimensions Installation 1/4 In between, 2011 Wood, paper, spools of linen yarn and artificial silk Variable dimensions In between, 2011 Wood, paper, spools of linen yarn and artificial silk Variable dimensions 1/5 Whirling Neighborhoods, 2011 Five machine-stitched drawings made with red thread on felt, five motors and digital programmer Variable dimensions _A082590 Whirling Neighborhoods, 2011 Five machine-stitched drawings made with red thread on felt, five motors and digital programmer Variable dimensions 1/8 Inner city, 2009 Felt, textile cables of various thicknesses and mirror 30x175x200 cm Inner city, 2009 Felt, textile cables of various thicknesses and mirror 30x175x200 cm 1/6 Octavia, 2009 Red elastic and wall nails Variable dimensions Octavia, 2009 Red elastic and wall nails Variable dimensions 1/5 From the memory of spaces and relationships, 2009 Wood, white elastic and wooden bobines Variable dimensions From the memory of spaces and relationships, 2009 Wood, white elastic and wooden bobines Variable dimensions 1/6 The cities and the sky, 2009 Wood ceiling, blue paint, light focus and mirror Variable dimensions 300 dpi 20090329-P1000891 The cities and the sky, 2009 Wood ceiling, blue paint, light focus and mirror Variable dimensions 1/5