Variations portugaises, Variações portuguesas

2018.Feb

Variations portugaises, Variações portuguesas
Mar18>Jun17, 2018. Opening Mar17, 6pm.
Abbaye Saint-André
Centre d’art contemporain (cac) – Meymac, France.

Exhibited works
-SpaceJunk (2001)
-2048 (2016)

2018-02-17-22_45_09-a-venir---Centre-d'art-contemporain-(cac)---Meymac_crop

arton380

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Revisão da Matéria Dada II

2018.Feb

Revisão da Matéria Dada, part II. Group Show.
Curated by José Mário Brandão.
Galeria Graça Brandão, Lisbon.
Feb, 02>24, 2018

exhibited work:
Ape (2003)

Revisao da Materia Dada II ape

Pedro Cabral Santo’s Endless

2018.Jan

I was a guest artist at Pedro Cabral Santo’s Endless solo show in Guimarães.

Pedro Cabral Santo, Endless.
curated by: Ivo Martins.
Jan 27th > Apr 21st, 2018.
Centro Cultural Vila Flor, Guimarães, Portugal.

miguel_soares@endless_s

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Revisão da Matéria Dada

2017.Nov

Revisão da Matéria Dada. Group Show.
Curated by José Mário Brandão.
Galeria Graça Brandão, Lisbon.
Nov, 25th, 2017 > Jan, 2018

exhibited work:
Place in Time (2005)

place-in-time-fb

Project for Arte de Furtar, Stolen Books

2017.Oct

Project for Arte de Furtar, edited by Stolen Books.
reedition of a 1652 book.
4 pages from a 8 page project.

2017-pg1-2
pg 1,2.

pg3-4
pg 3, 4.

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Pedro Henriques’ Fasting

2017.Oct

I was a guest artist at Pedro Henriques’ Fasting solo show in Prague.
curated by: Markéta Stará Condeixa.
Oct, 18th, 2017, Jan, 7th 2018.
National Gallery, Prague, Czech Republic.
+info:http://www.ngprague.cz/en/exposition-detail/pedro-henriques-fasting/

exhibited work:
aabbcc2 animation

fasting poster

23669011_10154872732816697_4510626881166930628_o

23632328_10154872732706697_4240893711222524327_o

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Fasting, Pedro Henriques, Miguel Soares (Exhibition Guest), 2017,
Installation view, National Gallery Prague, Photo: Radek Brousil.

ms_aabbcc2_01

ms_aabbcc2_02
aabbcc2 animation stills.

O Colégio das artes em Directo do Museu de Arte Antiga

2017.Sep

O Colégio das artes em Directo do Museu de Arte Antiga.
Book.
Sept 22 , 2017, 6PM.
Museu Nacional de Arte Antiga, Lisbon.
Curated by António Olaio.

em directo do mnaa

em-directo-do-mnaa-IMG_3068
Image on the left page: “Pentecostes”, Josefa d’Ayalla (Josefa de Óbidos),  ~1650-1660.

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A Arte como Experiência do Real

2017.Jun

A Arte como Experiência do Real
Coleção de Ivo Martins em Depósito no Museu de Serralves
29 junho a 15 outubro 2017.
Centro Internacional das Artes José de Guimarães (CIAJG), Guimarães.
curated by Nuno Faria.

exhibited:
a selection of 3D animations.

+info:http://www.ciajg.pt/_a_arte_como_experiencia_do_real&ct=602&mop=27

ciajg2017

19477334_1895347687400209_5438717968765444467_o

Rrevolução

2017.Jun

Rrevolução.
Jun, 24th > Oct, 31st, 2017.
Colégio das Artes, Coimbra.
Curated by António Olaio, Pedro Pousada.

Posters comemorating 100 years of the Russian Revolution.

19260544_1675043742536216_8284945936311341879_n

rrev
study for poster.

IMG_3074rrevcat

poster catalogue.

rrevdet
poster detail.

foto nuno coelho (martelo) _1207290659174955096_o

exhibition view. photo: Nuno Coelho.

ARCO Lisboa 2017

2017.May

ARCO Lisboa 2017.
May 18>21, 2017.
Galeria Graça Brandão booth.
Cordoaria Nacional, Lisboa.

arco-lisboa_2017crop.

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INPUT 6417

2017.Apr

INPUT 6417
Apr 6 > May, 2017
Galeria da Escola das Artes
Universidade Católica do Porto, Porto.
curated by: Baltazar Torres.

Exhibited works:
Wabane
Science Fair
White Star
Naso

input 6417

input-02-sm

input-03-sm

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Tempo perdido no porto #3 at Kunstraum, London

2017.Mar

Tempo perdido no porto #3: Miguel Soares.
Mar 11th, 2017.
Kunstraum, London.
Curated by Thomas Cuckle and Alexandre Estrela.

exhibited works:
Wabane
Science Fair
White Star
Naso

170303_migso_poster_lnd-1vert
poster: Ana Baliza.
kunstraum-london-5img1200

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Tempo perdido no porto #3: Miguel Soares

2017.Feb

Tempo perdido no porto #3: Miguel Soares
Feb 11 > 18, 2017.
Oporto Lisboa
Calçada Salvador Correia de Sá, nº 42 2º frente, 1200-399 Lisbon.

exhibited works:
Wabane
Science Fair
White Star
Naso

tpp3as

Tempo perdido no porto # 3
Miguel Soares

It was in 1998, during the Siggraph Symposium, that Paul Debevec introduced a method for integrating synthetic objects into “real-world” images. In his communication, Debevec revealed the secret of extracting light from any environment and rendering objects into this light. This simple method used a mirrored ball placed in the center of a space, which was photographed in a high dynamic range of light (HDR). By combining the resulting multiple-exposure images, Debevec created a single concave image, which functioned as an omnidirectional radiation map of the space. The HDR contained all necessary data to merge any alien object into
a pre-existing background.
Today we can see a good amount of HDR images on the internet, as empty scenarios longing for objects. In 2008, Miguel Soares used an HDR image of a Japanese interior as a starting point for his 3D animation wabane. Here the artist brilliantly inverted Paul Debevec’s process and, instead of inserting a common object in the light of an HDR scenario, he placed in it a floating moving mirror that changes shape according to sound. Wabane presents a shining post-apocalyptic living mirror that reflects, in its ever-changing curved surface, the void of an abandoned room.
After a residency period in Oporto, Miguel Soares will finally give us the opportunity of watching his HDR masterpiece, by far the video that best fits Oporto’s dimmed/doomed atmosphere. Along with wabane we will also be exhibiting white star, science fair and his latest video, naso. This selection of very short animations, or videos from a music album, as Soares refers to them, reveal carefully designed landscapes, digital terrariums optimized for the study of unknown creatures and things, entities that live and die to the laws of sound and nostalgia.
curated by Alexandre Estrela.

tpp3c

silkscreen, edition of 18. prints by Mike Goes West.
poster

tpp3b

tpp3d

3 animations on the upper floor.

tpp3e
ground floor.

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Naso

2016.Dec

Naso
animation, 0′058”, 2016.
audio: migso.

Portugal Portugueses

2016.Sep

Portugal Portugueses
curated by: Emanoel Araújo.
sept 8th, 2016 > Jan 8th 2017.
Museu Afro Brasil,
São Paulo, Brasil.

exhibited works:
SpaceJunk
H20
2048

14115028_1760124597601297_5350741140659869306_o

image001

image009
Photos: Henrique Luz.

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2048, Galeria Graça Brandão, Lisbon (exhibition)

2016.Jun

Left-exit-01_1400

MIGUEL SOARES 2048
June 24 – July 30

Galeria Graça Brandão Lisboa
Rua dos Caetanos, 26
Lisbon

Inauguração | Opening
24.06.2016
das 19h00 às 23h00 | from 7pm to 11pm

detalhe-2016_1400
(scroll down for english version)

Faz este ano quinhentos anos a primeira edição de “Utopia” de Thomas More, relato de um viajante português descrevendo uma ilha ficcionada onde pareciam ter sido resolvidos os principais problemas da sociedade de então.

No projecto agora apresentado na Galeria Graça Brandão, Miguel Soares simula momentos num hipotético futuro próximo, pegando em certas ideias retiradas da “tradição utópica” portuguesa (Camões, António Vieira, Pessoa), da teoria das Três Idades de Joaquim de Fiore, da utopia de More, ou ainda de elementos da escatologia de algumas das principais religiões, fundindo-as com ideias mais recentes como a da Singularidade Tecnológica (Stanislaw Ulam, Vernor Vinge, Ray Kurzweil), ou a da Hipótese da Simulação (Trilema de Bostrom) que terá raízes anteriores, na Alegoria da Caverna de Platão, por exemplo.

A progressiva automatização e substituição do trabalho humano pelo de máquinas poderá um dia libertar o ser humano, tornando todo o sistema económico, político e até a própria ideia de Estado desnecessários?

A Singularidade Tecnológica sugere que entre 2040 e 2045 o futuro desenvolvimento da Inteligência Artificial poderá dar origem ao início de um movimento exponencial em que máquinas constroem outras máquinas cada vez mais perfeitas, numa progressão que escapará à compreensão imediata do ser humano. Pouco depois, em 2048 será o centenário de “1984″ de George Orwell. Segundo esta proposta de Miguel Soares, apresentada através de uma animação vídeo e um conjunto de imagens, este movimento criaria uma espécie de “máquina do mundo” capaz de cuidar e alimentar cada ser humano e gerir os recursos do planeta.

Será o capitalismo e a competição apenas uma ferramenta, a única, para chegar a tal porto? Poderia esta sucessão de eventos dar origem a um salto evolutivo no ser humano, permitindo por exemplo, a cada pessoa encontrar a sua vocação natural?

—-

This year is the 500th anniversary of the first edition of Thomas More’s Utopia, the account of a portuguese traveller who describes a fictional island where the major problems of the society of the epoch seemed to have been resolved.

In his project at Galeria Graça Brandão, Miguel Soares simulates moments of a hypothetical nearby future, borrowing certain ideas from More’s Utopia and Joachim of Fiore’s Three Ages, as well as from the Portuguese “utopic tradition” (Luís de Camões, António Vieira, Fernando Pessoa); together with elements taken from the eschatology of some of the main religions, assembling them with the more recent ideas of Technological Singularity (Stanislaw Ulam, Vernor Vinge, Ray Kurzweil), and the Simulation Hypothesis (Bostrom’s trilemma), which has ancient roots in Plato’s Allegory of the Cave.

Will the progressive automation and replacement of human labour by machines be capable of setting the human being free, rendering obsolete the entire economical and political systems, and even the conception of State?

The Technological Singularity suggests that between 2040 and 2045 the future development of Artificial Intelligence may originate an exponential event in which machines build other, more perfect machines, in a progression that will evade human beings’ immediate understanding. Soon after, in 2048, it will be the centenary of George Orwell’s 1984. According to Miguel Soares’ proposal, articulated around an animation video and a set of images, this movement will create a sort of “machine of the world” capable of looking after and nourishing each human and managing the resources of the planet.

Is capitalism and competition only a tool, the only tool, to reach such goal? Could this succession of events generate an evolutionary leap in the human being, allowing for each person to find, for instance, their natural vocation?

ggb2017-7views-900px

2048 (animation)

2016.Jun

2048“, animation,
08′45”, HD, stereo, 2016.
audio: by migso.

first presented at 2048 solo show.

2048grelha-27-frames

2048 (prints/image list)

2016.Jun

MIGUEL SOARES 2048
June 24 – July 30

Galeria Graça Brandão Lisboa
Rua dos Caetanos, 26
Lisbon

Inauguração | Opening
24.06.2016
das 19h00 às 23h00 | from 7pm to 11pm

image list
first presented at 2048 solo show.

Miguel-Soares--2048_17img-cont

Dark Planets

2015.Oct

Dark Planets,
Series of 8 images based on the Planets 2008 series.
50×66cm each.

stars-01-copy-50x66-fita-mold

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Sara & André “Caaar, por Miguel Soares”

2015.May

Work by Sara & André,
“Caaar, por Miguel Soares”, 2015, 50 x 100 cm
at Princípio Tautológico, HANGAR Centro de Investigação Artística, Lisbon.
curated by Bruno Leitão.
inspired by my liine series.

caaar1200

Principio-Tautologico,-Hangar.-Sara-&-Andre,-Caar,-por-Miguel-Soares.-Foto-David-Reves.

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