Invited by the Oliva Art Center, João Sousa Cardoso built a unique vision of the Treger Saint Silvestre collection, one of the most important European collections of art brut, in an in situ creation where the dramatization of bodies, objects and presences dialogues with the tradition of theater.
Inspired by the Anatomical Theater in Padua, Italy - the first permanent anatomical theater in the world, inaugurated in 1595, an example of scientific progress in the study of anatomy and a model for the anatomical theaters of the main universities in Europe - which Goethe visited and admired during his trip to Italy, “Anatomical Theater” intends to dissect and reflect a complex, sinuous and organic collection, out of sync with the contemporary art field. At the same time, “Anatomical Theater” invites to a local experience of the senses that involves the bodies and the materiality of the images, at the time of the virtual economy. And, in a political gesture, to reflect on the cruelty capable of suspending the cycles of barbarism.
Scenography by André Sousa.
This American artist, autistic, lived most of his life with his parents, before joining the New Jersey foster home where he still lives. Moser first gained recognition for his tinkered photographic panoramas, then for his psychedelic geometric designs. But whatever the medium, his work testifies to the same obsession with space. They report, in their own way, the vertigo through which he tries to find his place in the world. Exhibited in 2019 at the Rencontres de la photographie d’Arles, his work is as well in the collections of Antoine de Galbert (France) and Treger Saint Silvestre (Portugal).
Trained in academic painting, Tichy secretly engaged in photography only in 1970. Obsessive, if not fetishistic, he photographs women surreptitiously with the camera he built. His blurry photographs, sometimes enhanced with a pen border, are part of an immutable process, to which he adhered until the 1990s. Discovered by Roman Buxbaum, he was soon supported by Harald Szeemann. In 2005, he received the discovery prize at the Rencontres d’Arles and was given a major retrospective at the Centre Pompidou three years before his death. In 2019, he is again presented in Arles for the exhibition event, Photo brut.
At a very young age, Tomasz Machciński built an identity around an autograph, addressed to him by an actress he believed to be his mother. From this confusion, which lasted more than twenty years, a protean and personal mythology was born that reconstructs the artist. As the image of the Ovidian myth, or Gregor Samsa, Tomasz Machciński cannot be described. Indeed, his work consists of multiple self-portraits of as many different physiognomies. Exhibited in 2019 at the Rencontres de la Photographie, his works are already part of the Museum of Modern Art in Warsaw and the Museum of Photography in Krakow (Poland). In 2023, he is exhibited at the Centre d’Art Contemporain Genève in Chrysalides: le rêve du papillon.