{"id":2709,"date":"2020-10-26T19:05:16","date_gmt":"2020-10-26T19:05:16","guid":{"rendered":"https:\/\/teresamilheiro.com\/tm\/?page_id=2709"},"modified":"2022-02-03T09:07:32","modified_gmt":"2022-02-03T09:07:32","slug":"jewellery-exhibitions-portugal","status":"publish","type":"page","link":"https:\/\/teresamilheiro.com\/tm\/jewellery-exhibitions-portugal\/","title":{"rendered":"Exhibitions"},"content":{"rendered":"\n

“OBSESSIVE CONTROLLING TOOLS & TOOLS FOR INTIMACY AND SOCIAL DISTANCE SECURITY<\/strong>” by TERESA MILHEIRO September 2021 <\/p>\n\n\n\n

A syringe is the device that rapes the body with what is strange to it. A threatening psychopath is the declaration of imminent physical violence. A tweezer that instrumentalises the distance between bodies is the sanitisation of the sensorial connection. A spying eye that penetrates the nasal cavity is the instrument of thought control. The preliminary encounter with Teresa Milheiro’s work is intensely linked to this formal literality, guided by a refined ergonomic concern, a declared summoning of the body, which functions as one of her fundamental intentions. The design of each piece targets the skin and the flesh, and seeks to induce the sensation of the suggested experience, the consummation of an aggression by the blunt and sharp instrument, and therefore the shock and the shiver. It is an unyielding awe, a disquieting disturbance. And yet, like the captor before the victim he takes hostage, Teresa Milheiro skilfully manipulates the primary emotions of anxiety and fear, making her work irresistibly seductive.<\/p>\n\n\n\n

Everything that goes beyond this formal literality escapes. <\/p>\n\n\n\n

On the one hand, it reveals itself as effectively contemporary, by extrapolating the strict domain of jewellery, adopting everyday objects found by chance, intentionally integrated as raw material, creating a hybrid artistic field that combines a sculptural aspect and photography, in this case as documentation of a performing action. Above all, her objects become artistic works of exquisite finish. <\/p>\n\n\n\n

On the other hand, it proceeds to a thematic reflection, settling the specificity of personal daily life, and transfigures itself into a speculative field of social participation. In this exhibition, the artistic projects “Obsessive Controlling Tools”, “Tools for Intimacy and Social Distance Security” and “One Way System II” are presented, created under the umbrella of a more global concept, “Fear Addicts”, which extends to other works presented in the Reverso Gallery and the Alice Floriano Gallery, in the Sociedade Nacional de Belas-Artes.<\/p>\n\n\n\n

“Fear Addicts” is driven by the penetration of an unique and undisputed vision, by notions and feelings such as fear, threat, surveillance, dependency, physical and mental hygiene, and by the problematics raised by metaphorically applying the notions of apathy, alienation and dissociation, seeking to interrogate the establishment of a state of power and restrain, which renders the mind and consciousness vulnerable, weakening and standardising individual freedom. <\/p>\n\n\n\n

It is, after all, the ignition of this question that hovers over, or manoeuvres under, “Fear Addicts”.<\/p>\n\n\n\n

Ricardo Escardu\u00e7a<\/p>\n\n\n\n

1st Lisbon Contemporary Jewellery Biennial Off<\/p>\n\n\n\n