As part of the World Art Day celebrations, we follow up on the section that we started about three weeks ago, Um dia, uma obra ("One day, one work"), in which we share every day some information about the works and artists represented in the MUDAS collection.
We highlight the work of Pedro Tudela
He was born in Viseu, in 1962. He completed the Painting course and the PhD in Art and Design at the Oporto College of Fine Arts, where he has been assistant professor since 1999. He co-founded the Missionary Group.
He organized national and international exhibitions of painting, postal art and performance. He has participated in several performance festivals since 1982. He was the author and host of the radio programs Escolhe um Dedo (“Choose a Finger") and Atmosfera Reduzida (“Reduced Atmosphere") on XFM, between 1995 and 1996.
In 1992, on the occasion of the exhibition "Mute ... life", he founds the multimedia collective "Mute Life dept." [MLd]. He entered the sound production in 1992, participating in concerts, performances and record editions in Portugal and abroad.
He is the author of "Three Body Problem", a musical album composed from the original soundtrack of the play "Agapornis", inspired by the life and work of Anais Nin, presented in October 2014 at the Carlos Alberto Theatre.
Co-founder and one of the elements of the multidisciplinary project and digital music "@c".
He has been working in scenography since 2003 at the Dona Maria II National Theatre, where he was responsible for the scenography of the plays: O Doente Imaginário (“The Imaginary Patient"), in 2013, and O Avarento (“The Miser”), in 2014, both by Moliere; Alma ("Soul”), from the Auto da Alma ("Soul Narrative”) by Gil Vicente, and Sondai-me (“Probe me”), in 2004, musical with songs by Stephen Sondheim.
He has been exhibiting individually and regularly since 1981. He has participated in numerous collective exhibitions in Portugal and abroad since the early 1980s. He is represented in museums, public and private collections. He lives and works in Oporto.
When his exhibitions are not assumed as an installation, they resort to a careful, multimedia staging with special relevance for sound involvement. The sound is assumed as a plastic element and Tudela says, in an interview with "ARTECAPITAL", that his "interest in sound has come from long ago. Include it and/or compromise it with my plastic practice became only effective in 1990 with the “Mute ... Life” project. With this project, I understood that the plasticity of sound had a place in my work."
In this Sem título ("Untitled") that integrates the MUDAS collection, the composition is far from being composed with the integration of sound or mechanical vibrations. However, plasticity is presented in the form of a communion of decontextualized objects, of the functions for which they were conceived, but aligned in a personal narrative of strong emotional load. It is in the silence, in the absence of sound, which seems to emanate from the emptiness and in the apparent stillness of this symmetrical composition, that it invites us to a mute and reflective dialogue between the enjoyer and the objects that observe us.
Credits: MUDAS. Contemporary Art Museum of Madeira


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