I Don’t Trust Myself When I’m Sleeping

I Don't Trust Myself When I'm Sleeping

Ink on glass, light installation, photographic album, color photographs; variable dimensions.
2018 – 2019

The contemporary experience of time has an impact on how we view periods of work, leisure, or sleep. The technological devices with which we interact are the same whether the purpose is work or leisure. These activities are intermingled throughout the day; work mingles with household chores and yet we lurk in social networks from time to time. A part of our day that has been greatly affected by the constant flow of information and the ubiquitous interactions with technology is undoubtedly sleeping. The Essayist, Jonathan Crary, argues that one of the legacies of Capitalism is the erosion between day and night, and we are now giving up our sleep to be available 24 hours a day as consumers or as a workforce. During the GlogauAir artistic residency, in Berlin, Carla Cabanas had severe problems sleeping, so her insomnia was the starting point for this project. It starts with a black mirror where you can read: I do not trust myself when I’m sleeping. Then in her studio, she creates a light installation where you can only see the images on the wall for the time determined by the artist. And a photo album is on a bed, where the images are scraped in order to create another meaning.

CREDITS:
Exhibition views at Paris Photo 2019 with Galeria Carlos Carvalho Arte Contemporânea, France.
Exhibition views of I Don’t Trust Myself When I’m Sleeping at GlogauAir – Artist in Residence Program, Berlin, Germany.
© Carla Cabanas

The Mechanics of Absence II

The Mechanics of Absence II

Installation with synchronised 35mm slide projection, 7 projections, Copper e Tulle. Dimensions variable.
2017

Following another exhibition, held between October and November 2016, Carla Cabanas will present a selection of works that address the idea of presence and absence through a scrutinizing look and a memory that becomes diffused.
By constructing an experience that operates on the image and on the time that belongs to it, the artist investigates the notion of reminiscence and how it is perceived. Through loss and saturation, working with light, shadow and projection, Carla Cabanas creates a device that calls up familiar figurations, where our shadow crosses the image, in a delicate balance between what is absent and what remains or between that which fades, fixes and reflects.

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Sérgio Fazenda Rodrigues
CREDITS:
Exhibition views of Mecânica da Ausência II at Galeria Carlos Carvalho Arte Contemporânea, Lisbon, Portugal, 2017.
Documentation © João Ferro Martins
Vídeo © António MV 

Intimate Archives After Media

Intimate Archives After Media

(A collaboration with artist Patrícia J. Reis)

Performance, installation, video projection (color, 1920×1080, stereo sound), “massage chair” (textile, foam, vibration motors, wood), computer system. Dimensions variable.
2017

In the light of the current context of the big data where data processing, data curation, storage, transfer, visualization and privacy are major topics of discussion, artists Carla Cabanas and Patrícia J. Reis proposed to collaborate on an artist project that aims to reflect upon future ways of materialization and/or dematerialization of visual private archives. The exhibition presented the concluding research for the collaborative project carried on during one month at Schneiderei home studio gallery, [Viena, AT]. At the first event on the 8th of February the artists collected objects from the intimate archives of the audience. These acted as the raw material and inspiration for this final event. The objects were archived, interpreted, processed, translated, and given back to the audience in different modes of experience, namely through body massages, automatically executed by an object- chair. As promised, the uninjured original objects are being returned to the participants.

CREDITS:
Exhibition views of Intimate Archives After Media at Schneiderei home studio gallery, Vienna, Austria, 2017.
Documentation photography © Sophie Thun
Documentation video © Patrícia J. Reis

The Mechanics of Absence I

The Mechanics of Absence I

Installation with synchronised 35mm slide projection, 5 projections, dimensions variable.
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, undefined and fabled time.
Cutting the support and marking an absence, or adding to it other cuts in order to densify the image, Carla Cabanas composes a palimpsest of references that makes room for another look. A look made of layers, where something empties and fills itself, or something forgets and remembers, with the imprecision of what memory erases and keeps.
This is thus about the construction of a vision that translates a complex, stratified and non-linear time. A vision that responds more to emotion than to the rationality of chronological succession, and varies between what each image fixes and what the artist manipulates. (…)

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Sérgio Fazenda Rodrigues
CREDITS:
Exhibition views of Mecânica da Ausência I at Cooperativa de comunicação e Cultura, Torres Vedras, Portugal, 2016.

Celtis Australis L.

Celtis Australis L.

Intervention on inkjet print. Variable measures.
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. In this process the artist acquired random photographs at the Feira da Ladra in Lisbon. These were then scanned and printed by ink jet process and then the paper was laser cutted. The final work is an installation that works as a metaphor and it occupies one of the rooms in the palace and the fountain in the garden. For the artist, the main focus of the work is the point in which the installation on the garden is exposed to climate elements, such as wind and sun, and its consequent transformation. The 13.200 leaves are a metaphor for the process of life and its evolution. The visitor will be confronted, in the words of the artist, by the poetics of time.

Lourenço Egreja
CREDITS:
Exhibition views of Mecânica da Ausência at Carpe Diem Arte e Pesquisa, Lisboa, Portugal, 2015.
Documentation © Oxana Ianin