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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

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 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

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

An almost imperceptible movement that has to do with flight We are a family owned and operated business. Carla Rebelo An almost imperceptible movement that has to do with the flight is Carla Rebelo's first solo exhibition of Sculpture and Installation works in Lisbon and also this artist's first collaboration with Galeria Monumental. The artist exhibits a set of unpublished works, some of which were purposely built for the Gallery's space, and also a piece from 2010 and two from 2013. Travel is the unifying concept of this exhibition. Understood as an effective journey with everything that is discovered and found there, but also as an inner journey in territories of memory and imagination. Inserted in the project started in 2010 and called “Journey into the cities lived in”, in which the journey is the starting point to work on the memory based on the experience lived on site, a piece related to the city of Berlin and a video / sculpture and an installation connected to the city of Kronstadt in Saint Petersburg, Russia. These works follow research periods in these cities, the last of which was carried out in the context of an artistic residency through the National Center for Contemporary Art in St. Petersburg. In addition to these pieces, the aforementioned concept appears associated with two characters that by themselves condense the idea of travel in the two directions worked on in the exhibition: Penélope and Ulisses from Homer's Odyssey. Two pieces associated by formal, material and spatial positioning in the Gallery refer to these two opposing and complementary forces. Ulysses personifies the traveling warrior, the one who discovers, who opens the way, travels in space and time, changes the places he goes through, makes history, makes memory. Penelope is the opposite force. It is the character who stays and imagines, who travels in his inner world, weaves to feed his desire and does it simultaneously with a creative and destructive force, by day he weaves and at night he cuts. Its journey is interior and its territory is what builds and deconstructs it. Carla Rebelo September 2014 We are a family owned and operated business.

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

A Cabinet of Minimal Gestures about the exhibition According to her own time by Carla Rebelo at Galeria Diferença, in Lisbon Sofia Ponte There is no way to fix time. However, we can think about time, visualizing it in some poetic situations, such as when visiting a cabinet with minimal gestures. A cabinet that presents a sense of time from a subjective perspective, provoking emotions and moods instead of referring to visible realities. An exhibition is a social and symbolic device that defines, organizes and communicates ideas. It is a dynamic and fluctuating stage, which generates values and meanings that vary according to its context. This solo exhibition is a project by Carla Rebelo that prolongs some of the reflections developed in her last exhibition “Um Momento que Repete Continuamente” (2018). Here, too, the exhibition proposes a journey through works with a maneuverable scale where the legacy of textiles, impure minimalism and appropriation is combined in different ways, and where, in my view, principles that represent moments of great inventiveness and reflection are confirmed. The meaning of a work of art is often a matter specific to art and the contextual and conceptual framework of the exhibitions in which it is presented. To designate an object as art is to detach it from the banal context of objects and to value it according to concepts validated by a community, and it says more about the person or group of people who leads an object to a selective circuit of material things, than about the object itself. In other words, a work of art is the product of choices, decisions and circumstances of an operation that is not different from that which defines a particular object, for example, as an artifact. An object acquires the function of an aesthetic symbol or a symbol of material culture, of a given community, through culturally agreed operations and determined by social practices generated by the operating context in which these operations occur, a context that is constantly changing . It is, therefore, necessary to know and recognize the actors in this framework. Let us start with the concept of a cabinet with minimal gestures that I attribute to this proposal, and that dialogues with the architecture of Galeria Diferença that welcomes this exhibition so well. This office is a stylized space for study, rehearsal and play that incorporates natural and artificial elements. “Sala de Jogo” (2016) is, moreover, the installation that marks a double presence in this exhibition. It is a physical and mental architectural space, between real and imaginary figures, which impose context as content. This cabinet with minimal gestures thus stands between cement and glass walls, light and shadows. It has a meditative function, which in this specific case serves as an aid to thinking about the concept of time. Time doesn't really exist. It exists only when we try to understand its meaning, when we think about it. The artist was interested in thinking about the concept of "circular time" closer to the idea of "inner time" and more distant from the concept of "linear time" (which establishes a past, present and future or which organizes a day in 24 hours and hours in minutes, seconds, and so on). So “circular time” can take any form. The shapes that it takes in this cabinet are generally geometric, that is, they are juxtaposed circles, they are interconnected cones, they are wefts, they are squares and rectangles superimposed on materials such as wood, copper, textile thread, resin, aluminum, iron, paint and a series of collected objects, such as textile spools and shuttles, paper, bark and other almost imperceptible fragments. And the ideas that fill this office are ideas about simplicity that encourage the faculty of contemplation and meditation, from multiple narrative points of view. Challenged by the action of exposing her practice, the artist demonstrates that the materialization of works of art depends on symbolic designation strategies. Carla Rebelo, indicates that these objects are “devices to generate thought” for herself, and perhaps also for others. With a thoughtful predisposition, the visitor will then be able to find some of the minimal gestures that are at the origin of these works. Gestures that arise from measurable and systematic methodologies, which sometimes move smoothly, producing symmetries and visual repetitions that do not deviate from their intention: to show various perceptions of inner time. For example, the gesture of weaving plots from a "Book of Hours" that at each "turn of the page" presents a wider web in a kind of forgetfulness of woven thought. Or the “Book of the Compass of Waiting” where a lined paper is exposed to different inking times, giving rise to a chromatic rhythm that contains a random diagram of the passage of that time. Or the "Empty Hourglasses" that end all time. Thus, the artist continues to embody ideas that have neither body nor space, but that demonstrate a commitment to reflexivity, conceptual rigor and literalness. This text was organized after a visit to Carla Rebelo's studio in February 2020. A second version will be proposed after visiting the Diferença Gallery. Because the exhibitions also determine the meaning of the works, and that is the only way to share dimensions of thought that arise after interacting with the space of the works exhibited. Often referred to a secondary plan, the exposure process must be understood as an exercise in which more meanings intervene than those initially envisaged. An object on display is an object related to the intentions and concept of the artist who created the concept of the work and related to the operation of values to which it will be, and is, subject in the context of exhibition. It remains, for example, to mention the device designed by the artist to look at each of these works in light and shadow, in solitude or in company. Porto, 2 March 2020.

Projects 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