The entire facade of the gallery was covered with insulating tape normally used for protecting electrical systems.
Text by Maurício Ianês:
“Apophase: feminine noun. Rhetoric (oratory): refutation made to what has just been said; denial.
Etymology (according to the Houaiss Dictionary):
Gr. apophasis, eos ‘denial, rejection of a belief, doctrine or theory’, der. from apóphémi ‘to say no, deny’, by lat.imp. apophasis ‘denial’; f.histo. 1871 apophase”
The term apophase was widely used in the context of negative theology (Christian theological movement that began in the Middle Ages), where the idea of God was approached through denial, that is, by defining what He is not, in addition to assume an insurmountable distance between God and Man, denying any possibility of relationship or direct communication between the two. Negative theology also had its oriental side, as in some Buddhist schools. ‘Apófase 2’ is a work for a specific place – Galeria Vermelho – and was conceived after the work ‘Apófase 1’, a performance, in an attempt to broaden the concept of the previous work, moving from a more intimate relationship to a more comprehensive one. If in ‘Apophase 1’ the artist-spectator relationship was questioned through its negation, here I tried to work on the relationship that the spectator has with architecture and, in this case, the architecture of a gallery, taking into account the socio-cultural context. cultural and architectural exterior of an exhibition space dedicated to the visual arts”.
The entire facade of the gallery was covered with insulating tape normally used for protecting electrical systems.
Text by Maurício Ianês:
“Apophase: feminine noun. Rhetoric (oratory): refutation made to what has just been said; denial.
Etymology (according to the Houaiss Dictionary):
Gr. apophasis, eos ‘denial, rejection of a belief, doctrine or theory’, der. from apóphémi ‘to say no, deny’, by lat.imp. apophasis ‘denial’; f.histo. 1871 apophase”
The term apophase was widely used in the context of negative theology (Christian theological movement that began in the Middle Ages), where the idea of God was approached through denial, that is, by defining what He is not, in addition to assume an insurmountable distance between God and Man, denying any possibility of relationship or direct communication between the two. Negative theology also had its oriental side, as in some Buddhist schools. ‘Apófase 2’ is a work for a specific place – Galeria Vermelho – and was conceived after the work ‘Apófase 1’, a performance, in an attempt to broaden the concept of the previous work, moving from a more intimate relationship to a more comprehensive one. If in ‘Apophase 1’ the artist-spectator relationship was questioned through its negation, here I tried to work on the relationship that the spectator has with architecture and, in this case, the architecture of a gallery, taking into account the socio-cultural context. cultural and architectural exterior of an exhibition space dedicated to the visual arts”.
