MAAT, New Architectures series, 2018
TITLE_NAME :
'Roland Fischer : Entre-deux'
18/01/2025 - 22/03/2025
CARLOS CARVALHO
Rua Joly Braga Santos, lote f r/c
1600-123 Lisbon
www.carloscarvalho-ac.com/
In his third solo exhibition at the gallery, artist Roland Fischer (Saarbrücken, Germany, 1958) presents recent works from the series Transhistorical Places and New Architectures, establishing a dialogue between different ways of representing architecture. In Transhistorical Places, Fischer manipulates images of buildings through an abstract composition of planes and shapes, intervening in the original photograph. In this series, brutalist architecture merges with gestures and forms from 20th-century concrete art, creating a fusion that reflects the utopian impulse of these two artistic movements: the hope for a better future, grounded in the desire for social and aesthetic transformation. On one hand, this relates to the brutalist aesthetic, characterized by the use of raw materials with a monolithic, solid appearance. On the other hand, it connects to modernism, with its totalizing profile, which is part of a system of thought deeply committed to both the democratization of art and the use of art as a tool for social change.
18/01/2025 - 22/03/2025
CARLOS CARVALHO
Rua Joly Braga Santos, lote f r/c
1600-123 Lisbon
www.carloscarvalho-ac.com/
In his third solo exhibition at the gallery, artist Roland Fischer (Saarbrücken, Germany, 1958) presents recent works from the series Transhistorical Places and New Architectures, establishing a dialogue between different ways of representing architecture. In Transhistorical Places, Fischer manipulates images of buildings through an abstract composition of planes and shapes, intervening in the original photograph. In this series, brutalist architecture merges with gestures and forms from 20th-century concrete art, creating a fusion that reflects the utopian impulse of these two artistic movements: the hope for a better future, grounded in the desire for social and aesthetic transformation. On one hand, this relates to the brutalist aesthetic, characterized by the use of raw materials with a monolithic, solid appearance. On the other hand, it connects to modernism, with its totalizing profile, which is part of a system of thought deeply committed to both the democratization of art and the use of art as a tool for social change.