Texts

2017
Com um olhar que escrutina e uma memória que é difusa, Carla Cabanas opera sobre a imagem, atenta ao que lhe pertence e ao que sobre ela se fantasia. E investigando as noções de efabulação e reminiscência, a artista cria um dispositivo que exibe e convoca situações vagamente reconhecíveis.
2017
Carla Cabanas explores themes related with the archive, memory, absence and effacement, using as source material photos from her own family albuns, others rescued from flea markets or found in archives.
2016
Cosmological reflexivity, which begins with pre-Socratic philosophers, places man, for the first time, in an investigative relationship with the world, giving a fundamental role to natural elements (water, air, indefinable matter).
2016
Carla Cabanas’ work focuses on reinterpreting time and memory, through an idea of loss and saturation. Changing a set of slides, the artist modifies the story that each image retains, transforming, with that action, what was the registration of the suspended instant, or the crystallization of a special moment, in a living, indefined and fabled time.
2015
This project contains two moments: an exterior and an interior. Both are born from the idea, developed by the artist in residency, whose starting point are the leaves of the trees in the garden.
2015
Archived Word developed from a set of early 20th century postcards belonging to Carla Cabanas’ own private collection, and some others belonging to Eduardo Portugal’s – collection of Lisbon City Archive – Photography.
2012
In a cold sunny Saturday I went to the studio where Carla Cabanas was finishing her pieces that are now being presented at Sala do Veado and collected in this catalogue. Before I describe to you the reason why I was fifteen minutes late that day, let us stop for a while to consider this object that holds this text and the images I am trying to respond.
2012
What remains of who Isu was? Almost nothing. For those who care about this kind of things, he was king of the eight dynasty – of the Egytian empire’s 31 dynasties – in a time of crisis, over four thousand one hundred years ago.
2010
Photography has never abandoned its historical relationship with the portrait. The scientific condition in dealing with reality – optically, chemically, mechanically apart – has eliminated error, so says convention, from human interpretation.
2010
Roland Barthes wrote La Chambre Claire out of his need to explain and discuss on the emotional effect some photographs have on their “spectator”. At the time, his mother had passed away and he carried with him a photo of his childhood. He distinguished between objective or external reading and, on the other hand, an internal reading: more emotive, from the detail and inexplicable.
2008
On the sum and its parts #1. When the memory of a space is summoned to become description, all senses overlap: smells, feelings, distances, objects, people…the memory of a place is the memory of a stage and of the play we have acted there.