Teresa Milheiro recreates mediaeval imagery through a mechanized choreography of marionette sculptures.
This jewellery project is based in 16th century Trilogia das Barcas, by Gil Vicente, to stage an imaginary metamorphosis of the journey from life to death.
The exhibition weaves several narratives, as would the theatrical stage it alludes to. One finds 13 characters of the Acts which are an update of the original ones, taking on new forms and moving toward their destinies – changed into animals, personifying the transformation that takes place in the journey to Heaven, Hell, and Purgatory. Irony and criticism join forces in a performance of the improbable dialogues between form and fiction.
The delicate figures – made in gold, silver and bronze – line-up in the dis- play case, perfectly articulated amongst themselves, suggesting the imperfection of society and its values.
Way through to another side is an artwork about the parallelism of icons of two eras that echo the voice and symbolic power of literature, revisited in the perspective of contemporary creativity.
The Procuress represents human trafficking networks as well as the obsession with image, youth, beauty, perfection. After death she becomes an Octopus associated with the mafia and its numerous arms and tentacles. In the Procuress, the intention to use var- ious metals, from copper to nickel silver, gives contrast and diversifies her clothing, using green as an allusion to mediaeval times. In the octopus’s eyes and sting, gold suggests power and obsession for profit
A football fanatic who does not see reality because he ignores it, he has no access to it, he is intoxicated by what they let him know and does not seek any more than that. A character influenced by appear- ances. Lives a pathetic life. He releases all his frustrations on a good match… This fool becomes a common mosquito that goes to heaven.
This character is androgynous, half-human, half-machine, with a head covered in buttons, like a computer or telephone. Its eyes pop out of their sockets, bulging like binoculars peering at dollar signs. The shackle with an iron ball emphasises the maniacal weight of the image, the pouch, the tie, in contrast with the inline skates which drive it to move ever faster.
After death, the Multibusinessman be- comes an inflated fish-urchin. Its body like a balloon, and spines (security cameras) refer to the empty values of a system centred on economic power, security and the protection of capital, and the bellicose power that defends these values.
Devil-angel
It is an androgynous creature, formed of Siamese twins joined at the hip, reminding us that every being has a little of the devil and angel, depending on their formatting when they are born. In the end, everyone makes the choice that most suits them. For good or evil.
The baby is the purest character. It exists only for itself and does not become any- thing else after it dies, as its innocence is enough for it to fly.
This character belongs to the untouchables. The Emperor represents weapons of mass destruction and the power of oil, drivers of the economy. Following death, he becomes Melanocetus, a creature from the depths of the sea. A terrifying abyssal fish, which eats any- thing in its path, invokes greed. Black as oil, it has flowing wings of a lightness that contrasts with it extremely inelegant physical form. These are the same wings that make it untouchable and allow it to go to heaven.
The Pope represents the church and religious power. He insists on disciplining, gathering and manipulating the faithful to serve the State. The Pope transforms into a mixture of depth hunter and an Opisthoproctus, a fish with tubular eyes point- ing to the sky. This creature also flies, or at least has wings because it is untouchable. The eyes pointing to heaven, as well as alluding to prayer and celestial meditation, also serve not to see what we do not wish to be seen.
In the days of Gil Vicente, the Jews were hated for the economic and financial supremacy that was naturally associated with greed and usury. They had impor- tant professions like tax collecting, pro- voking the envy of others. Followers of their religion, which flew in the face of Christian values and customs, were the greatest pretext for religious hatred. It was believed that Jews had no possible salvation and were lost forever because they did not convert.
Muslim culture today is still seen as incom- prehensible, with a different religion.
Taking the fanaticism of a lesser-known culture in the West to remove its right to self-determination, to being different and to its existence, is easy. This character rep- resents the Muslim and not the terrorist. It embodies the suffering of the people of the Middle East who live in permanent conflict.
In this story, the character does not trans- form because, just like the Jew, he has no soul.
Serie: Way through to another side
year: 2004/08
Materials : cooper, patine, brass, silver and thread
Dimensions: 25x25x25cm ( variable)
Photo: Luis Cunha Pais
Serie: Way through to another side
year: 2004/08
Materials : cooper, shibuichi, brass, silver and thread
Dimensions: 17×16,5x5cm ( variable)
Photo: Luis Cunha Pais
Serie: Way through to another side
year: 2004/08
Materials : cooper, patine, brass, alpaca and thread
Dimensions: 18×14,5×4 cm ( variable)
Photo: Luis Cunha Pais
Serie: Way through to another side
year: 2004/08
Materials : silver, shibuichi and thread
Dimensions: 8×8,5x2cm ( variable )
Photo: Jorge Graça
Serie: Way through to another side
year: 2004/08
Materials : gold, silver and thread
Dimensions: 17x18x3cm (variable)
Photo: Ana Verde
Serie: Way through to another side
year: 2004/08
Materials : oxidized cooper and brass and thread
Dimensions: 8,5x12x8,5cm
Photo: Luis Cunha Pais
Serie: Way through to another side
year: 2004/08
Materials : cooper, silver, brass and thread
Dimensions: 17x16x3,5 cm ( variable)
Photo: Luis Cunha Pais
Serie: Way through to another side
year: 2004/08
Materials : cooper, brass, silver and thread
Dimensions: 10x14x23cm ( variable)
Photo: Luis Cunha Pais
Serie: Way through to another side
year: 2004/08
Materials : cooper, brass, silver and thread
Dimensions: 16x17x3 cm ( variable) 15cm oil device
Photo: Luis Cunha Pais
Serie: Way through to another side
year: 2004/08
Materials : cooper, brass, silver and thread
Dimensions: 16,5x16x3,5cm ( variable)
Photo: Luis Cunha Pais
Serie: Way through to another side
year: 2004/08
Materials : cooper, brass and thread
Dimensions: 17x14x5 cm ( variable)
Photo: Luis Cunha Pais
Serie: Way through to another side
year: 2004/08
Materials : brass, silver and thread
Dimensions: 19x15x3,5 cm ( variable)
Photo: Luis Cunha Pais