miguel soares

ARCO’96
Galeria Monumental

February, 1996
Parque Ferial Juan Carlos I
Madrid, Spain

exhibited works:

• untitled (technocell)
• untitled (A to B)

.

Greenhouse Display

January 12 > February, 1996
Estufa Fria
Lisbon, Portugal

exhibited works: untitled (VR Trooper)

130×250x250 cm
made for Greenhouse Display, Estufa Fria, Lisbon

VR Trooper 1996 A metal cylinder erects from the fresh turf. Inside the cylinder, through a red plexyglas, and under a strobbing light, one can see a rotating toy robot (VR Trooper) in a frame-by-frame kind of motion. The cylinder is meant to be an observation point for the trooper, that probably would erect from time to time, at diferent locations for routine observations. VR Trooper was made for the Greenhouse display exhibition, in 1996, that took place in a greenhouse in Lisbon, and was focused on ecological issues.

Fac 95, Feira Portuguesa de Arte Contemporânea
Galeria Monumental, Fil
Lisbon, Portugal

exhibited works:

• untitled (technocell)
• untitled (BMW)

.

untitled (technocell)
12×47x46 cm

untitled (bmw)
30×50x10 cm

Wallmate
curated by Alexandre Estrela & Miguel Soares

June 14 > July 14, 1995
Cisterna da Faculdade de Belas Artes da Universidade de Lisboa
Lisbon, Portugal

130×200x70 cm
lamps, plexyglas, psychadelic sensors, speakers, wheels, etc.
made for Wallmate, Faculdade de Belas Artes da Universidade de Lisboa, 1995

During my years in the school of fine arts in Lisbon, the teaching methods were not in total contact with the contemporary reality happening outside. So it was as if we had to live double lives, me and my friends – Pedro Cabral Santo and Alexandre Estrela, among many others – working at school during the day, and planning exhibitions and discussing art the rest of the time, sometimes through the night.
Night Art School is a yellow Formica Box with 24 white lights, my age at the time. Psychadelic sensors make the lights react – through a red plexyglas – in 3 basic patterns to the ambient noise made by people inside the cistern of the school. This was alternated with 30 second spots of electronic music (mainly Kraftwerk and Negativland) to simulate the circadian cycle. The formica box/school building is shown as a maquete on top of two sculpture tripods – used for clay sculpting inside the school- over green grass.
The set reminds me of Dr. Frankenstein’s laboratory. As if this was a scale model for a new experimental art school.
Wallmate was an exhibition I organized with Alexandre Estrela in the 5th and final year in the fine art school as a reaction to the academicist concepts prevailing inside the school.

image for the Wallmate catalogue.

Foro Atlantico de Arte Contemporanea
Gal. Monumental

May 19 > 23, 1995
Palácio de Exposicións e Congresos de Galicia
Santiago de Compostela, Spain

ARCO’95
Galeria Monumental

Parque Ferial Juan Carlos I
Madrid, Spain

first participation at ARCO art fair.

Illustration for Vértice magazine. Text by Paulo Varela Gomes.
n.64, Jan/Feb, 1995.

Acabamentos de Luxo
curated by João Pinharanda

November 22, 1994 > January, 1995
Associação dos Arquitectos Portugueses
Banhos de S. Paulo
Lisbon, Portugal

exhibited works: untitled (4), 1994, wood, wheels,duratrans,lamps, 40×160x260cm

Qualquer Semelhança é Inevitável
curated by Filipe Alarcão

November 10 > 19, 1994
Loja da Atalaia
Lisbon, Portugal

exhibited works: untitled (cabinets v2)

1994
50×25x20 cm
metal boxes, image on duratrans, light, wheels, plexyglas.

related works: untitled (cabinets), 1993

made for: Qualquer Semelhança é Inevitável, Loja da Atalaia, Lisbon

Design Lisboa 94

November 09, 1994 > January, 1995
Centro Cultural de Belém
Lisbon, Portugal

exhibited works:

• untitled (UFO over lake)
• untitled (UFO over caribbean)

.

20 000 Minutos de Arte no Técnico
curated by Joana Vasconcelos, Duarte Ramirez, Susana Bidarra

October > November, 1994
Instituto Superior Técnico
Lisbon, Portugal

exhibited works: Copyright Law

23′00”
1994
video for Negativland’s “Crosley Bendix discusses the Copyright Act”, 1992

When I first heard “Crosley Bendix discusses the Copyright Act”, Negativland, Seeland Records, 1992, I was so amazed with the work, I felt I had to give everyone the chance to hear it. and since it’s copyright free, I made a video for that sound work.
I used their technique – razor tape editing – and put together hundreds of scenes from videos and tv, sometimes ilustrating the words, so that people would feel attracted by the fast sequence of scenes and stay and hear Negativlands work.
This was the first time I’ve shown a video in an exhibition.
Editing was made with two VHS Pal video recorders.
Copyright law was made for the 20 000 minutos de arte no Técnico exhibition in October 1994.

Fronteiras
curated by Aurélio Veloso

May 04 > 28, 1994
Sociedade Nacional de Belas Artes, Lisboa
Lisbon, Portugal

exhibited works:

• diptics from the 1992 solo show
• one piece from the 1994 solo show

Miguel Soares 1994 – solo exhibition

March 24 > April 14, 1994
Galeria Monumental
Lisbon, Portugal

untitled (UFO over beach)
duratrans, light, wood, wheels

untitled (UFO over L.A.) and view of the first room
duratrans, light, wood, wheels

untitled (UFO over snow)
duratrans, light, wood, wheels, ventilation fan

untitled (UFO over lake)
duratrans, light, wood, wheels

untitled (UFO over national park)
duratrans, light, wood, wheels

views of the second room

untitled (UFO over caribbean)
duratrans, light, wood, wheels

untitled (UFO over rio)
duratrans, light, wood, wheels

untitled (UFO over niagara)
duratrans, light, wood, wheels

untitled (UFO 4)
duratrans, light, wood, wheels

untitled (UFO over rio) detail
duratrans, light, wood, wheels

Independent Worm Saloon
curated by Alexandre Estrela & Rui Toscano

March 23 > April 20, 1994
Sociedade Nacional de Belas Artes
Lisbon, Portugal

exhibited works: untitled (racing)