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Projects Journey to the interior of imagined cities , is the first part of a project related to the book by Italo Calvino, "Invisible cities". This is an ongoing project that to date has given rise to four pieces imagined from the cities described in the book. In this first phase of the project I put myself in the position of the kublai Khan character, the one who imagines from the stories he hears. This project has a second part, called Journey to the interior of the lived cities. Inner City , 2009 Felt, textile cables of various thicknesses and mirror 30x175x200 cm Installation Inner city, 2009 Inner city, 2009 1/6 From the memory of spaces and relationships , 2009 Wood, white elastic and wooden bobines Variable dimensions Installation From the memory of spaces and relationships, 2009 From the memory of spaces and relationships, 2009 1/6 The cities and the sky, 2009 False wood ceiling, blue paint, spotlights and mirror Variable dimensions Installation The cities and the sky, 2009 The cities and the sky, 2009 1/5 Octavia, 2009 Red elastic and studs Variable dimensions Installation Octavia, 2009 Octavia, 2009 1/5

(Dis) meeting , 2014 wood Sculpture Variable dimensions

Bio Carla Rebelo , 1973 Lisbon Lives and works in Lisbon Education: 1994-2000 - Degree in Visual Arts - Sculpture, Faculty of Fine Arts of the University of Lisbon 1989-1992 - Textile Design Course - António Arroio Art school, Lisbon Additional Artistic Education: 2002 - Land Art Workshop at Vale do Guadiana Natural Park - NextArt, Portugal 1994 - Scenography Course organized by the Scenographer José Manuel Castanheira at the Performing Arts Center Artico, Trafaria, Portugal 1993 - 1994 - Audiovisual Communication Course - CGTP-IN Center , Lisbon 1992 - 1993 - Tapestry Course at the Arts and Crafts Institute - Ricardo Espírito Santo Silva Foundation, Lisbon 1992 - 1994 - First and second years of the Artistic Drawing Course - National Society of Fine Arts, Lisbon Grants and Scholarships: 2010 -11 - Calouste Gulbenkian Foundation Artistic Creation Grant, Lisbon 1998 - Erasmus scholarship at the École Nationale des Beaux-Arts in Bourges, France Artist Residencies: 2017 - 2018 - We Cultivate Culture, São Luís, Portugal 2015 - Inter.meada - Artist Residencies, Alvito, Portugal 2013 - Artist Residency Kronstadt - National Center for Contemporary Arts in St. Petersburg, Russia 2012 - FelipaManuela - artist residency Madrid + Columpio - Contemporary Drawing Gallery, Madrid, Spain 2011 - Self-organized residency in Berlin, Germany to make a research for the artistic project A trip to the interior of the lived cities, with the support of the Calouste Gulbenkian Foundation 2011 - Drawing spaces Open Residency - Fábrica do Braço de Prata, Lisbon 2010 - Self-organized residency in Istanbul ,Turkey to make a research for the artistic project Journey to the interior of the lived cities, with the support of the Calouste Gulbenkian Foundation Solo Exhibitions: 2020 – According to its own time , Galeria Diferença, Lisbon 2018 - A moment that continually repeats itself , Águas Livres 8 Gallery , Lisbon 2018 - Private Landscapes , Difference Gallery, Lisbon 2017 - A pentagon, a circle, eight books , São Lázaro Municipal Library, Lisbon, 2017 - Watermark , Money Museum, Lisbon, Portugal 2016 - Becoming Water , Marquês de Pombal Palace, Oeiras, Portugal 2015 - “ Fate followed our trail like a madman with a razor in his hand , Nogueira da Silva Museum, Braga 2014 - An almost imperceptible movement related to flying, Monumental Gallery, Lisbon, Portugal 2011 - Drawings in the shadow , Drawing spaces, Fábrica do Braço de Prata, Lisbon 2010 - The Other Side , Paços Gallery, Torres Vedas, Portugal 2009 - Trip to the interior of the imagined cities – Octávia, Round the Corner, Lisbon 2002 - Tecemos , Theater Taborda Chapel, Lisbon 2000 - kid's play - the house – The 30 days Gallery, Caldas da Rainha, Portugal 1999 - Faculty of Fine Arts Cistern, San Francisco Convent, Lisbon Group Exhibitions: 2021 - 2021 - 2021 - 2020 - Gloria, 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 - Exhibition of Artist Books from the Moderna Collection of the 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, Centro Cultural Digital Mexico City, Mexico 2018 - FACTT USA, School of Visual Arts - New York 2018 - FACTT Lisbon, Ler Devagar Bookstore, Lisbon 2017 - LivrObject, Anatomy and Architecture, Artist books from the Art Library Collection of the Calouste Gulbenkian Art Library, Calouste Gulbenkian Foundation, Lisbon, Portugal 2017 - O Livro Disperso, curated by Media Insáveis, Sput&Nic, the Window, Porto, Portugal 2016 - Periplos, Portuguese art of today, CAC, Malaga, Spain 2015 - The consequence of the gaze, Landscape in the MG Art Collection, Espaço Adães Bermudes, Alvito, Portugal 2014 - Drawing by Numbers, Drawing by Numbers, curated by Andrea Pacheco, Providencia Cultural Foundation in Santiago de Chile, Chile 2014 - Kronstadt Stories, NCCA Art Program Kronstadt curated by Elena Gubanova, State Museum of the History of St. Petersburg, Saint Petersburg, Russia 2013 - Parérgon, curated by José Maria Parreño - Paços Municipal Gallery, Torres Vedras, Portugal 2012 - I would prefer not to , Plataforma Revolver Gallery, Lisbon 2012 - 3rd and 3rd - FelipaManuela + Columpio Contemporary Drawing Gallery, Madrid 2011 - Between two times, part 2 - Arte Contempo Gallery, Lisbon 2009 - Drawing by numbers – Espaço Avenida, Lisbon 2009 - X Initiative – Arte Contempo Gallery, Lisbon 2009 - Between two times, part 1, Espaço Avenida, Lisbon 2008 - Anonymous Drawings # 9 - Kunstraum Kreuzberg / Berthanier, Berlin 2008 - X Initiative – Arte Contempo Gallery, Lisbon 2007 - Hans Christian Andersen 1805 - 2005, Camilo Castelo Branco Museum, Famalicão 2007 - Hans Christian Andersen 1805 - 2005, Baltazar Dias Theater, Funchal, Madeira 2006 - Hans Christian Andersen 1805 - 2005, Anastacio Gonçalves Museum, Lisbon 2006 - Hans Christian Andersen 1805 - 2005, Ceramics Museum, Caldas da Rainha, Portugal 2006 - Hans Christian Andersen 1805 - 2005, Belém Cultural Center, Lisbon 2005 - Hans Christian Andersen 1805 -2005 - Alcochete Cultural Forum, Portugal 2005 - Hans Christian Andersen 1805 -2005 - Olga Cadaval Center, Sintra 2005 - Hans Christian Andersen 1805 -2005 - Building Chiado Museum, Coimbra 2004 - Dressing Up Nature, a site-specific project for the Monteiro Mor Park, National Museum of Costume and Fashion, Lisbon 2003 - Inhabiting the habit - Academy of Arts of Ponta Delgada, Azores 2002 - Changes - Ephemeral Occupations III, a site specific project , Lisbon 2002 - 7 for a secret never to Be Told – Ephemeral Occupations II, a site specific project Lisbon 2002 - This ghost raised the tiles of the corridor – Ephemeral Occupations I, a site specific project, Lisbon 2002 - See Paiva 2002, Art projects in public spaces - "Serpentina" in Vila Nova de Paiva, Portugal 2002 - The suitcase game, Caldas late night project in Caldas da Rainha, Portugal 2002 - Youth Week, Marim Olhão Palace, Lisbon 2001 - Free Events – 4.0 event, Oporto, Portugal 2001 - XII Fine Art Biennale of the Avante Festival, Amora, Seixal, Portugal 2001 - 1st International Drawing Biennale - Melbourne 2001, Australia 2001 - Let's have tea with Maria - Maria's Room Gallery, Arts in Parts, Oporto 2001 - 2nd Biennial of Young Artists from the Community of Portuguese Speaking Countries, Ferreira Borges Market, Oporto, Portugal 2000 - Thoughts of Alchemies and the Arts, National Association of Pharmacy, Coimbra 2000 - microArt - Portugal Pavilion - Expo 2000 Hannover 2000 - Viewer's Digest - 37th Congress of Young Philosophers, Lisbon 2000 - Nonstopopeninglisboa - Zé dos Bois Gallery, Lisbon 2000 - Emergencies, Common place - Factory Powder, Barcarena, Portugal 1999 - Young Artists National Exhibition, Braga, Portugal 1999 - After-Eight - Zé dos Bois Gallery, Lisbon 1999 - Sculpture in the Square - Public Art Projects, Cordoaria National, Lisbon 1999 - Rooms, chambres, zimmer, rooms – running waters in the convent of San Francisco, San Francisco Convent, Lisbon 1996 - Experimental Textile, Textile year in Aveiro, Aveiro, Portugal 1995 - Tapestry Exhibition - 1st Language Meeting at the Catholic University, Lisbon Scenery: 2015/16 - Sónia Delaunay's trip, Theater Educational project presented at the Modern Art Center of the Calouste Gulbenkian Foundation in the context of the exhibition O Circulo Delaunay. 1994 - Scenography, costumes and masks for the Theater play by Guillaume Apollinaire The Breasts of Tiresias, Coimbra, Portugal Seminars and Public Meetings (with the artist or about the artist projects): 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, International Audiovisual and Multimedia week - Artists at work, Lusophone University, Lisbon 2017 - Meeting with Artists and Curators, Watermark - Carla Rebelo, Leonor Nazaré and Manuel Valente Alves in the Money Museum, Lisbon 2017 - The importance of Space in Project Methodology - Faculty of Fine Arts of Oporto, Portugal 2017 - Readings guided by authors of artist books from the Calouste Gulbenkian Foundation's Art Library collection - Carla Rebelo 2011 - “Conversation with Carla Rebelo about the experience of place. Five questions to run the distance between drawing and memory." Drawing Spaces with Sara Barriga 2011 - "The Other Side", the contradictory sculptures of Carla Rebelo - Margarida P. Prieto, 2nd International Congress CSO'2011, Faculty of Fine Arts of the U. of Lisbon 2005 - “Dressing Up Nature” invited project at the Bloom International Seminar - Ephemeral Art and Gardens - Gunpowder Factory in Barcarena, Portugal 2003 - “The unconscious weaving” Meeting with Carla Rebelo in the context of the Art and Textile Design Course at the Antonio Arroio Art School in Lisbon Teaching and Educational (selection): 2018 - Teacher at the Textile Department of the Antonio Arroio Artistic School Lisbon 2010 - Co-founder of the Educational Project “Abelha Vermelha” - Creation of Educational Activities, and Educational Materials for children and young people. Works as an educational collaborator and adviser at the Manuel de Brito Art Center in Oeiras, Lisbon. 2009 - Begins a collaboration with the Educational Department of the National Museum of Ancient Art in Lisbon, creating and conducting guided tours and educational projects for children. 2007-08 - Makes the professional education training of the Education Ministry at the Faculty of Psychology and Educational Sciences of the University of Lisbon. 2003- 04 - Te acher at the T extile Department of the Antonio Arroio Artistic School Lisbon. 2003 - Begins a collaboration with the Educational Department of the Modern Art Center, Calouste Gulbenkian Foundation creating and conducting until the present date, workshops and guided tours for children and adults. 2003 - Starts collaboration with the private art school Artilimited creating and conducting workshops for children and youth people. 2001-08 - Works has a Visual Art and History of Art teacher in several public schools. Curating Experience: 2004 - Curator and co-responsible for the production of the exhibition "Dressing up Nature", a site-specific art project for the Monteiro Mor Park at the National Museum of Costume in Lisbon. 2002 - Co-Responsible for the creation, coordination and production of the Artistic Art Project "Ephemeral occupations" (ephemeral occupations), with 3 art exhibitions in alternative spaces in the city of Lisbon. Illustration: 2006 - Creates the character mia and the blog mia-stories.blogspot.com to show her illustration work. Since then has been participating in several projects and exhibitions under the name mia. 2005 - Invited artist in the commemorative project of the bicentenary of the birth of Hans Christian Andersen illustrating two tales of the author. On the context of this project participates in an exhibition tour all over Portugal promoting the work and tales of the writer. Interviews, Texts and catalogs : Portugal: open Window to the world - Contemporary Artists from Portugal, imago mundi Luciano Benetton Collection, Fabrica Italy, 2015 Parergon, exhibition catalog, Torres Vedras City Council, Torres Vedras 2013 The Other Side, Margarida Prieto, exhibition catalog , Torres Verdas 2010 In search of the new "invisible cities", Interview by Nuno Cunha, NS - Review of the Newspaper page 72 - March 21, 2009 "Dressing Up Nature" in the perspective of a visitor accomplice – Lúcia Marques, Dressing up Nature exhibition catalog, a site-specific project , Arbusto 2004 Interlacing paths - Celso Martins, Expresso, page 27 - September 4, 2004 Wearing a park - Filipa Oliveira, Saturday Review, page 80 - August 19, 2004 Nature dressed by artists - Susana Marques Moreira, Jornal o Público , page 35 August 11, 2004 Emergencies - LM Expresso Jornal , pp.21 Febuary 5, 2000 Eight characters in search of an author, João Pinharanda, Jornal Público, page 22- September 10, 1999 After Eight - Celso Martins, Expresso Jornal , page 23 - September 11, 1999 Finalists of Fine Arts in the labyrinths of creativity - Carlos Vidal, The Capital Journal, May 22, 1999 Private and public collections: Collection of artist books from the Calouste Gulbenkian Foundation Art Library CAC Malaga Imago Mundi - Luciano Benetton Collection Historical Museum of Kronstadt, St Petersburg , Russia Torres Vedras City Hall Vila Nova de Paiva City Hall Polish Art Foundation - Melbourne, Australia MG Collection Fernando Figueiredo Collection Sites: https://www.museudodinheiro.pt/en/event/9539/watermark-carla-rebelo?m=9 http://www.columpiomadrid.com/columpioartistas.html Imago mundi.com http://roundthecornertt.blogspot.com/search/label/Carla%20Rebelo https://livrobjecto.wordpress.com/october17/ https://felipamanuela.org/?lang=en https://drawingspacesen.weebly.com/archives.html

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”.

A moment that repeats itself continuously I , 2018 Wood, cotton, linen, metal, and shadow Sculpture 50 cm diameter 1/1

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.

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