November 2010
Museu da Cidade, Lisboa


António Bolota’s exhibition at Lisbon City Museum was coloured by his fascination with George Perec, more specifically with his novel Life: A User’s Manual.The rooms were filled with large-scale sculptures, corresponding to geometric forms (parallelepiped, prism, cylinder) which were also identifiable as architectural elements (boundary wall, roof, internal wall) and demonstrative of the materials that created them, from the vernacular connotations of the tile to the paradox of the use of paper in the large cylindrical structure. These were visible from outside, but only while there was daylight, because the exhibition was deliberately not lighted.The wall, however, perhaps because it is a crude typology of architectural language and the most interesting area of confrontation with the sculpture and its capacity to produce gestures of delimitation, warrants special attention. Bolota had been working with the ‘wall’ typology in diverse ways: suspending it, turning it into an internal wall, or into a building, or just making the ‘wall’ a wall. A mere wall.At this point we should mention the sculpture presented in the City Museum. The sculpture, finished in sprayed concrete (like the lane separators and barriers often seen on motorways), massive and ostentatious, crossed the internal space of the White Pavillion, going through the window glass and extending outside. This notion of sculptures crossing spaces like ghosts is recurrent in António Bolota’s work. They become liquid, or merge with the walls, or sink into the ground.But this wall went right through the glass of the façade so that, on the outside, it blocked the path of the peacocks strutting around the garden.The most interesting thing, however, is that, when crossing the wall, the glass was diverted from the axis. I suppose most visitors would have taken this deflection as an error of parallax, the effect of refraction. But that type of deflection would, in fact, only be processed that way if it was refraction due to immersion in water. The sculpture, in this sense, did not cross from the inside of the White Pavillion to the outside, but did precisely the opposite, turning the interior of the exhibition space into an aquarium.The poetic beauty of that gesture, the process of conversion of state that the sculpture proposes is a theory on the density of space, on how the way in which the space is used gives it different densities. Yes, we all know that space has different densities.But we needed a wall turned into a sculpture to show it to us.

Guided tour. The Speech
Let us retain the title of this exhibition, for it will be of use a little later on. a Ultima luz do dia (the last light of the day) is AntOnio Bolota’s widest–ranging individual exhibition to date and has been undertaken in the sequence of two significant interventions produced by the artist, in 2010, in the city of Porto, respectively in the independent space A Certain Lack of Coherence and in the Galeria Quadrado Azul.  The propositions that AntOrli° Bolota has been carrying out place him in a position of radical singularity within the contemporary art scene in Portugal.The use of industrial construction materials, the adoption of the large scale, and the constant dialogue which he has been entertaining with architecture are recurrent and distinctive elements.  Always unique and unrepeatable, the artist’s interventions establish a dialogue with the structure of the buildings in which they are installed, in a rigorous design of demarcation and mediation of the physical limits of the space. They are thus affirmed in the concrete space and are immediately projected beyond it, turning it into an abstract entity, like another element of the intervention.
For the particular vitreous architecture of the Pavilhao Branco, which opens onto the gardens of the Palacio Pimenta, the artist conceived a series of interventions which are articulated, in a logic of disclosure and concealment, with both the scale and the symbolic nature of the building and the place.
The three sculptures set up in the Pavilhao Branco establish a game of geometry around the three basic forms – the prism, the cylinder and the parallelepiped – without losing a material connection to the elements of the architectural grammar to which they originally refer; namely: the roof, the interior building wall and the exterior boundary wall.
These fundamental and archetypical figures define a dialogue among themselves in terms of volumetric density, of scale and texture, in the way they create passages, divert or bar the viewer’s access and experiencing of the space, or how they constantly resonate and reflect each other.
Yet, as frequently occurs with António Bolota’s work, neither the key to the meaning nor the identity of the interventions lies in their monumentality. Living exclusively on the natural light that comes in from the exterior – captured, elided, redeployed in a game of minute and almost imperceptible differences and nuances -, a Ultima luz do dia proposes architecture’s space as a place of affections, of memories and revelation.  In essence, it is about providing a perceptive experience whose culmination takes place at nightfall, precisely at the time when luminosity is at its lowest, on the verge of disappearance. There, the richness of the visit for which each viewer is summoned, whose ephemeral and fleeting nature establishes it as a unique, non conveyable moment, becomes tangible and integral. We perceive with greater clarity that the title of the exhibition is not rhetorical or poetic, but rather sensorial and material, both primitive and metaphysical at the same time, like the space that Bolota creates. After all, the subject of architecture is light and bodies.

Fold. The Writing
Like all important art, Antonio Bolota’s interventions are elementary in the way they present themselves and complex in the way they resist interpretation or, to use a psychoanalytic term, internalisation.
Taken from fundamental geometric forms, Bolota’s sculptural vocabulary integrates the space, the scale of architecture and the projection of the human body (the viewer’s body) within that space as primordial and immutable elements.Those geometric forms unfold, generically in his work and specifically in this intervention, into architectural structural elements, such as the exterior boundary wall, the interior building wall, the roof, the pillar or the beam. And this is the visible, immanent grammar of his work.
However, what really gives it meaning is a negative or interstitial semantic logic that runs through all of his interventions, comparable to the way in which the obvious conceals the obtuse in the realm of poetry, words so often referring to a meaning/ a sound/a place/a body that lies beyond them, the presence enunciating in itself an absence.
One could say that António Bolota’s interventions are, in thesis, devices that activate the unconscious mind. Notice the way in which the use of the above–mentioned archetypical elements brings to light, induces the questioning of inertias acquired in the experiencing of or the inhabiting of a certain space through a process of memory activation, as empiric–emotional faculty and, paradoxically, becomes a process of progressive loss.
The strangeness which these architectural elements convoke, even if familiar and immediately recognisable, has both more obvious reasons — the scale, that clearly refers more to a disturbing presence or invasion of the space than to an element consistent with the surrounding context, the way in which they are diverted from a more direct function, the duplication and/or the marking of the limits of the space, installing a new order within the prevailing order (like a rewriting, a redrawing) — and more invisible, yet more palpable reasons.
It is at this point that we return to memory as a factor that unleashes the conditions of perception of this intervention: firstly, to the memory of a body, more organic and animal (we move within this space like cats in an unfamiliar context); secondly, to intellectual memory, both plastic and geometrical at the same time, that places on a same reflexive platform the two fields, the two languages that AntOnio Bolota converges, as a fold, in the physical and emotional space of the viewer: architecture and art.
This fold, which at first seems to be easily taken apart as a problem of context (it concerns de–contextualised architectural elements) and code, or, better still, of the suspension of the incredulity characteristic of the codes of hermeneutics of art (it concerns works of art which are sustained by a tradition of breaking the codes of the subjects with which it dialogues), has, however, a density.
By proposing a relation of constant tension with the limits of the space, in a logic of rigorous demarcation of a kind of imaginary limit, Bolota places the pieces in another dimension which is not that of the space of the exhibition or museum, bringing the ephemeral and fleeting experience of the city to the interior of architecture or, mutatis mutandis, the exhibition space to its own exterior, establishing the aesthetic experience as a space of alterity.
To transcend the space of the museum is a political gesture, refractory to any state of dialectic representation, to impose the plurality of reality. In order to stress to the limit that porosity or impurity of the space that is proposed to the viewer, Bolota superimposes one last limit: the fading of the light up to the limit of visibility.The last light of the day that remains impregnated on the white, rough-textured wall of the most mysterious and challenging piece of the exhibition. Like a circular, utopian vision of the world.