miguel soares

Variations portugaises, Variações portuguesas,
curated by Caroline Bissière and Jean-Paul Blanchet,
Mar18>Jun17, 2018. Opening Mar17, 6pm.
Abbaye Saint-André,
Centre d’Art Contemporain (CAC) – Meymac, France.

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

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)

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.

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)

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

aabbcc2 animation stills.

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

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

Posters comemorating 100 years of the Russian Revolution.

study for poster.

poster catalogue.

poster detail.

exhibition view. photo: Nuno Coelho.

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

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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

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

poster: Ana Baliza.

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

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.

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

3 animations on the upper floor.

ground floor.

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

exhibited works:
SpaceJunk
H20
2048

Photos: Henrique Luz.

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

(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?

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.

One More Step,
99×24cm, durst lambda print, 2015.
imagem para o projecto Quarto Minguante,
de Mafalda Santos n’A Montra, Calçada da Estrela, 132, Lisboa.
+ info: http://raum.pt/a-montra

online:

Calçada da Estrela, 132, Lisboa,
16 de Fevereiro de 2015:

montagem, 16 de Fevereiro de 2015:

Prata da Casa,
28 de Novembro de 2014 a 24 de Janeiro de 2015.
Selecção de Andreia Poças.
Galeria Graça Brandão, Lisboa.

Obras da Coleção de Arte Contemporânea da Portugal Telecom
Centro de Arte da Casa das Mudas, Calheta, Madeira.
28 de Fevereiro de 2014 a 11 de Janeiro de 2015.
comissariado de José Manuel de Sainz-Trueva.
+info: Presidente do Governo inaugura exposição de arte contemporânea da PT na Casa das Mudas

25 frames por segundo – Obras da Colecção PLMJ
Festival-IN inovacao e criatividade
14 a 17 de Novembro, 2013
Feira Internacional de Lisboa.

Um retrato quase apagado… – An Almost Deleted Portrait
Screening Video – 39 artistas de Portugal e Brasil.
curadoria: Fatima Lambert, Rita Xavier Monteiro.
27 de Julho a 14 de Setembro.
17 Bienal de Cerveira 2013.
Vila Nova de Cerveira.

Exhibited works:
Jumping Nauman
Untitled (playing with Gould playing Bach)

Obras da Coleção de Arte Contemporânea da Portugal Telecom
Centro de Arte Contemporânea Graça Morais.
13 de Abril a 23 de Junho de 2013.
Comissário Jorge da Costa.
+info: brochura.