Exhibition Opening: 25 July, 5 pm 

The exhibition echoes, traces, rhythms establishes a dialogue between the work of Jorge Pinheiro (Coimbra, Portugal, 1931) and Pedro Tudela (Viseu, Portugal, 1962), two artists from different generations with distinct artistic languages Developed between painting, drawing, sculpture and installation, their practices touch at key points. Echoes, traces and rhythms suggest dialogical relationships of circularity, reciprocity, sequence, gradation and contrast. The exhibition is structured around these relational mechanisms, revealing how both artists translate sound and silence as point and line, object and concept, time and space.

Conceived to occupy two important cultural spaces in Ourém—the Paço dos Condes, in Ourém Castle, and the former Town Hall building in the city centre—the exhibition presents works by Jorge Pinheiro from the 1970s alongside Pedro Tudela’s installations dating from the late 1990s to the present day. Through compositional structures based on geometrical and sound modulations, as well as graphic and musical notations that permeate both artists’ practices, sound and drawing are developed in tandem as forms of action and communication.

With a career spanning more than five decades, Jorge Pinheiro has developed a diverse body of work of remarkable theoretical and formal rigour, in which figurative painting and geometrical abstraction coexist. The exhibition presents a group of abstract works by Jorge Pinheiro that include drawing, painting and installation, revealing the compositional vocabulary that underpins his entire work. His sophisticated geometrical compositions and high-contrast patterns reflect a thorough exploration of rhythm and seriality, and their formal and conceptual developments mirror the artist’s interest in music and logic.

Starting his career in painting in the 1980s, Pedro Tudela has since developed a multidisciplinary practice that combines drawing, sculpture, photography, installation, sound, video, performance and experimental electronic music. Despite the formal inflections that have marked different periods of his work, his practice is marked by an ongoing impulse for action, strong spatial acuity and a direct relationship with the body, sometimes explicitly present, sometimes subtly invoked through a gesture, sound, drawing or object.

This exhibition, curated by Joana Valsassina, is part of the Serralves Collection Touring Exhibition Programme, which aims to make the Foundation’s collection accessible to different audiences across the country.

Production: Fundação de Serralves — Museu de Arte Contemporânea, Porto