installation detail

installation detail

Installation Detail

Installation Detail

TAKING HER HAND

I MADE HER GENTLE FINGERS BRUSH

THROUGH THE SHORTCUTS TO MY

JAUNTY GADGET, JUST TO DOUSE

THEM INSIDE WHAT SHE CALLS HER

SWEET SCULPTURE 2017

Lcia Prancha
Portugal/The Netherlands,2017,Instalao

Sculptures address dead time at the studio. A series of graphic drawings were generated by boredom when waiting for the completion of video exports in studio. They consist of three screen-printings on Plexiglas, with 90x210x3cm (size of working tables at the Jan van Eyck Akademie), metal, digital clock and dust.

The set of three black acrylic sculptures replicate the top of the working desk. These pieces operate as an index of dead time in the studio. They have graphics produced in moments of boredom, evidenced and mirrored to the viewer, the impression of the artists own hands on the surface of the material that resembles the screens of mobile phones and computers. Screen-printing on acrylic takes the form of liquid that drips from digital brushstrokes. These series of elements act as a trigger of projections of the non-activity of the artist in her studio.

installation detail

installation detail

POSTERS FOR

THE TRUE SENTIMENTAL BITCH

Lcia Prancha Portugal/The Netherlands

A series of 6 posters for the video The True Sentimental Bitch (2016). Each poster as 87x197cm (the size of mattress). Series of 11 posters
The work has come to interrogate ideas around visibility by examining the state of things that remain hidden, or are kept invisible. For example: when I make a film about a colonial ghost like Sebastian, The Ghost, 2015, or Seated on Brazil: Replicas of Lina Bo Bardis chairs, I replicate the furniture of Italian-Brazilian modernist designer and architect Bo Bardi who, In 2012, was still confined to the group of historically neglected female artists.

Through these interests, I have been exploring the tensions between aesthetics, perception and politics rethinking historical and social episodes through video, sculpture and printed materials. These investigations often result in a series of works link together in an installation situation or in a specific context.

I am currently researching how sleep, inactivity, and boredom can represent forms of political resistance. The movie SleepWorkers, 2017, shows images of sleeping workers and artists in residence at the Jan Van Eyck Akademie, in Maastricht, where I lived last year. It can also be seen in the short The True Sentimental Bitch, 2016, a story of a girl in her room. She has nightmares, dreams and flashbacks from movie history, uncertainties and fears.

The set of three black acrylic sculptures replicate the worktop of my desk. These pieces operate as an index of dead time in the studio through graphics produced in moments of boredom evidenced and mirrored to the viewer. The impression of the artists own hands on the surface of the material resembles the screens of mobile phones and computers.

Thus, by means of an alternative look at History and the way I perceive the Today, I intend to push the viewer simultaneously in an exercise between distance and proximity, attraction and reaction. By deconstructing and disarticulating issues through language, as well as challenging the exhibition space as a way of re-examining social relationships that can inspire possible and future actions.

© 2020 Curtas Vila do Conde