P Margarida Lagarto Do Verão.qxp:165x230 02/05/17 17:18 Page 2 · She put them into the paper for...

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Das Sombras do Verão, do Dia e da Noite

What of the Summer Shadows, what Day and Night

Margarida Lagarto

DAS SOMBRAS DO VERÃODO DIA E DA NOITE

Filipa OliveiraManuel Costa Cabral

D O C U M E N TA

No Silêncio das Sombras

Tudo começou com um passeio ao jardim público, no qual Marga-rida Lagarto convidou um grupo de jovens a ir a desenhar ao ar livre.Colocaram os cadernos no chão e desenharam as sombras que as árvorescriavam nas folhas de papel.

Já tinha passado naquele jardim centenas de vezes, mas as suassombras ainda não lhe tinham cativado o olhar. Durante o passeio fixou--as nessas tais folhas. Fascinada com o resultado do exercício voltou aojardim, desta vez sozinha. Descobriu um velho muro onde várias árvoresprojectavam as sombras intermitentes das suas folhagens.

O muro branco, gasto pelo tempo, tornou-se o seu caderno, e Mar-garida Lagarto visitou-o incessantemente a diferentes horas do dia, du-rante meses e meses. Sentava-se e olhava-o, fotografava-o e filmava-o.Mas não o desenhava, não ali. As visitas ao muro tornaram-se quase umaobsessão. Era preciso vê-lo todos os dias. Como estariam as sombrashoje? Haveria sombras neste dia quase sem sol? Ou neste outro em queele é excessivo? E hoje com o céu tão enublado? Ou com tanto vento?

O muro tinha-se transformado num ecrã que acolhia formas e mo-vimentos.

Os desenhos eram feitos depois, no seu atelier, no silêncio das pa-redes da sua casa, na calma das tardes longas. Desenho feito de memóriae com a memória. Nesse espaço com outro tempo, Margarida Lagarto

preparava o papel, esse também com uma história particular. Desco-briu-o em Macau há vinte anos. Um papel simples, feito à mão e quehoje já não é mais fabricado. Estas são das últimas folhas que aindasobram. O papel é tão frágil que cada folha tem de ser seccionada paranão se desfazer com a preparação para receber o desenho. Prepara-ascuidadosamente e compõe-nas numa disposição que, ironicamente, pa-rece um muro feito de tijolos brancos. Com este tratamento, o própriopapel cria um inventário de manchas e sombras. E nesta arquitecturade folhas coladas, o papel transforma-se em parede que acolhe as som-bras desenhadas.

A folha de papel foi sempre um ecrã para Margarida Lagarto. Umespaço onde projectava imagens, traços, manchas, memórias e experiên-cias. A folha como espaço latente, espaço da espera. Como se o desenhojá lá estivesse inscrito antes de existir e apenas esperasse o momento dasua aparição, o momento em que o pincel ou o lápis o desvela.

Num primeiro momento, Margarida Lagarto transporta as suasvisitas ao jardim para cadernos e livros, onde o desenho mais íntimo co-meça por ser desinibido, livre. Os cadernos são o espaço da experimen-tação. Da procura das formas que irá fixar mais tarde.

E depois começam os grandes. Primeiro as aguarelas e mais tardeos carvões. Duas formas de desenho muito diferentes e que implicamuma relação com o espectador também ela diferente: a primeira requerque este se aproxime do desenho, que o procure e o descubra de perto; jáos carvões saltam da folha para fora e vêm ao seu encontro.

Nesta série, Margarida Lagarto não desenha as árvores, nem omuro, mas maioritariamente as sombras projectadas. Desenha o desa-parecimento, o vazio. Desenha algo que é uma ausência — de luz, de ma-terialidade — e dá-lhe um corpo. Desenha a impermanência, tão própria

obrasplates

desdobravel_Margarida Lagarto_Do Verão.qxp:646x230mm 02/05/17 17:28 Page 2

desdobravel_Margarida Lagarto_Do Verão.qxp:646x230mm 02/05/17 17:28 Page 1

pp. 13-23Sem título | Untitled, 2016-2017

Da série Das Sombras do Verão, do Dia e da Noite |

From the series What of the Summer Shadows,

what Day and Night

Aguarela sobre papel preparado | Watercolor on

prepared paper

151 × 122 cm

p. 25Sem título | Untitled, 2017

what Day and Night

Carvão sobre papel preparado | Charcoal on

prepared paper

151 × 122 cm

pp. 27-30 (desdobrável)Sem título | Untitled, 2017

what Day and Night

Carvão sobre papel preparado | Charcoal on

prepared paper

151 × 675 cm

pp. 33-45Sem título | Untitled, 2016-2017

what Day and Night

Carvão e aguarela sobre papel preparado sobre

tela | Charcoal and watercolor on prepared paper

on canvas

20 × 30 cm

p. 47Sem título | Untitled, 2016

what Day and Night

Carvão e aguarela sobre papel preparado sobre

tela | Charcoal and watercolor on prepared paper

on canvas

20 × 40 cm

Lista de obras List of Works

The Silence of the Shadows

It all began with a walk in a public garden. Margarida Lagartohad invited a group of young people to draw outdoors, they placed theirsketchbooks on the floor and drew the shadows cast by the trees ontothe paper.

She had been there countless times, but those shadows had nevercaught her eye. She put them into the paper for the first time in that walkthrough the park. Fascinated with the results, she went back to the gar-den, now alone. She discovered an old wall on whose surface she sawprojected the lambent shadows of the trees and their foliage.

Worn by time, the white wall became her sketchbook. Margaridavisited it countless times, at different times of the day, for months onend. She sat there and looked at it, she photographed it, and she filmedit. But she was not drawing it, at least not there. Her visits to the wall be-came almost an obsession. She felt the need to go there every day. Howare the shadows today? Are there shadows in this almost sunless day?Or in this other day, with such a strong and hard light? Or today, withthe sky so cloudy? Or so windy?

The wall was a screen onto which forms and movements were cast.

The drawing happened later, in her studio and among the silenceof the walls of her home, in the ease of long afternoons. Drawing frommemory, with memory. It was there, a space where time runs differently,

that Margarida Lagarto prepared her paper — a paper that also has asingular story. She discovered it in Macau twenty years ago. A simplehandmade paper that is no longer in production. These are the lastsheets. The paper is so fragile that each sheet must be cut into several sothat it doesn’t rip or becomes undone when it is prepared for the draw-ing. She handles the sheets very carefully and places them in a composi-tion that, ironically, resembles a wall made of white bricks. With thispreparation, the paper reveals an inventory of shadows and spots.Through this architecture of glued paper, the sheets transform into awall that will receive the shadows drawn by the artist.

The paper sheet has always been a screen for Margarida Lagarto.A space where she projects images, lines, surfaces, memories, and expe-riences. For her, the sheet is a latent space, a space of waiting. It is as ifthe drawing is already there, inscribed on the surface of the paper evenbefore it exists. It is as if the drawing is only waiting for the moment ofits apparition, when brush or pencil unveil it.

In a first moment, Margarida Lagarto transports her visits to thegarden into her sketchbooks, where her drawing is more intimate, unin-hibited, and free. Her sketchbooks are a space for experimentation, forthe pursuit of the shapes she will later choose to work with.

The next phase is to start drawing the big formats. First the water-colors, and then the charcoals. Two very different drawing techniquesthat also imply a different relationship with the spectator: the watercol-ors invite the viewer to come closer to them, so that they can be discov-ered and looked upon; and the charcoals jump out of the page, racingtowards the observer.

In this series, Margarida Lagarto draws neither the trees nor thewall, but the shadows cast onto the latter. What she draws is a vanishing,

Nasceu em Veiros, Estremoz, em 1954.

Vive e trabalha em Évora.

Curso de pintura da Escola António Arroio.

Frequência do curso de pintura da ESBAL.

exposições individuais

1984 Grupo Pro-Évora, Évora

1988 Galeria Leo, Lisboa

1992 Galeria Gilde, Guimarães

(com João Cutileiro)

1995 Galeria Monumental, Lisboa

Galeria Gomes Alves, Guimarães

1996 Galeria Évora-Arte, Évora

1997 Galeria Canvas & Companhia, Porto

1999 Galeria Gomes Alves, Guimarães

Galeria Évora-Arte, Évora

Museu Nacional do Traje, Lisboa

2001 Galeria Gomes Alves, Guimarães

2005 Capela de Santo António, Portel

(com Manuel San Payo)

Galeria Símbolo, Porto

Museu de Tapeçarias de Portalegre,

Portalegre

2008 Igreja de S. Tiago, Monsaraz

Galeria Gomes Alves, Guimarães

2010 Pano de Altar, Mosteiro de Santa Maria

da Flor da Rosa, Flor da Rosa

2011 Oficina, Museu da Fundação Ricardo

Espírito Santo Silva, Lisboa

2012 Cadernos de Devoção, Galeria Gomes

Alves, Guimarães

2013 Fluvius – estudos para a memória de um

rio, Galeria Municipal de Barcelos

2014 Paisagem dos Outros, Galeria

Monumental, Lisboa

2015 Detalhe Ínfimo, Galeria Monumental,

Lisboa

exposições colectivas

1976 SNBA, Lisboa

1981 ESBAL, Lisboa

1988 Fórum Picoas, Stand da Galeria Leo

1990 10 Anos de Actividade da Galeria Leo,

Lisboa

1992 Galeria Évora-Arte, Évora

1996 Galerie Marie-Louise Wirth, Zurique

2007 Exteriores, Grupo Pro-Évora, Évora

2013 Grupo Pro-Évora, Modelo, Évora

2014 Tirado pelo Natural, Mosteiro de Santa

Maria da Flor da Rosa,

Flor da Rosa

Margarida Lagarto

Este livro foi publicado por ocasião da exposição

Margarida Lagarto : Das Sombras do Verão, do Dia e da Noite

com curadoria de Filipa Oliveira e Manuel Costa Cabral

que teve lugar no Fórum Eugénio de Almeida, Évora

entre 6 de Maio e 2 de Julho 2017

realizada em parceria com a Fundação Carmona e Costa

This book was publish on the occasion of the exhibition

Margarida Lagarto: What of the Summer Shadows, what Day and Night

curated by Filipa Oliveira and Manuel Costa Cabral

that took place at Fórum Eugénio de Almeida, Évora

from 6th of May until 2nd of June

made in collaboration with Fundação Carmona e Costa

Fundação Eugénio de Almeida, Páteo de São Miguel, 7001-901 Évora

www.fundacaoeugeniodealmeida.pt

Fundação Carmona e Costa, Rua Soeiro Pereira Gomes, Lte 1-6.º D, 1600-196 Lisboa

www.fundacaocarmonaecosta.pt

expos i ção | e x h i b i t i o n

Curadoria | Curators : Filipa Oliveira + Manuel Costa Cabral

Produção | Production : Fórum Eugénio de Almeida / Maria José Barril

Montagem | Installation : Luís Barros + Pedro Canoilas

catá logo | c a ta l o g u e

Edição | Publishing : Sistema Solar Crl. (Documenta)

Rua Passos Manuel, 67 B, 1150-258 Lisboa

www.sistemasolar.pt

Tradução | Translation : José Roseira

Revisão | Proofreading: Helena Roldão

1.ª edição | 1st edition : Maio | May 2017

ISBN 978-989-8834-71-3

Depósito Legal | Legal Depot : 425833/17

Pré-impressão, impressão e acabamento | Pre-press, Printing and Binding :

Gráfica Maiadouro SA, Rua Padre Luís Campos, 586 e 686 (Vermoim), 4471-909 Maia

P Margarida Lagarto Do Verão.qxp:165x230 02/05/17 17:18 Page 2 · She put them into the paper for...

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