This important work from the decade in which Vieira da Silva becomes internationally renowned is reproduced in the Catalogue Raisonné and was shown in exhibitions such as Vieira da Silva’s first retrospective at Kestner-Gesellschaft et Geutschland (Hannover, 1958), “Vieira da Silva – Arpad Szenes in the Portuguese Collections” at Casa de Serralves (Porto, 1989) and Europália 91, at Musée Royaux des Beaux-Arts (Brussels, 1991).
“The depiction of an unknown object from a specific angle means that the subject always has a hidden side. Until quite recently there was no one on earth who had seen the other side of the moon. That fact itself was a great wonder to me as a child; for all we knew anything might have been there. This was an invisible hemisphere which could accept all my fanciful projections. It was such a powerful focus that my concept of imagination still has links with the “dark” side of the moon. In a way it is unfortunate that we ever had the possibility to make a flat picture of the moon. How would we have represented it if we never had use of the two dimensional?”
Joel Fisher, in Bomb Magazine #6, 1983
“For me, the lateral black panels – the blinders – have an effect similar to that of wearing glasses with one lens colored differently or covered over, only mentally: both illusory depth and the ‘surface-ness’ of the painting are emphasized simultaneously.”
in Michael Biberstein: X, uma retrospectiva, 2019
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