In her case the classical reference would be the minimalist painting that was so typical of the 1960s and 1970s, where artists such as Robert Ryman or Agnes Martin repeatedly worked on the concept of the grid, that played a key role in defining their compositions. In this case however - due to the economy of means -
there is a double irony, either in relation to the history of art and perseverance in painting as such, that is repeatedly claimed to have been exhausted and whose death has been regularly announced, or in relation to the fascination that vintage objects - such as old notebooks - strangely exercise upon us, in our increasingly virtual and digitalised era.
Miguel von Hafe Pérez
Mafalda Santos was born in Porto in 1980.
In 2007/2008 received a scholarship from the Calouste Gulbenkian Foundation and the Luso-American Foundation for Development (FLAD) in order to attend an artist’s residency in Location One in New York.
She currently manages, with Manuel Mesquita, the Moinho da Fonte Santa artist’s residencies programme, in Alandroal.
Solo exhibitions (sel.):
2014 - Carta pras Icamiabas, Galeria Presença, Porto.
2012 - On Revolution, Galeria Presença, Porto.
2011 - The Kappa Effect, Caroline Pagès Gallery, Lisbon.
2010 - The Great Unconformity, Sala do Veado, Natural History Museum, Lisbon.
2009 - One day every wall will fall, Galeria Presença, Porto
Group exhibitions (sel.):
2014 - Letters from São Paulo, Consulate General of Portugal in São Paulo.
2012 - O Princípio da Inércia, White Pavilion – Museu da Cidade, Lisbon, 2012.
2010 - A Culpa Não é Minha, Works from the António Cachola Collection, Museu Colecção Berardo, Lisboa.
2009 - Hospitalidade, Hospital de São João, Porto.
2008 - Only Connect, Bloomberg Office Building, New York.
2007 - Portugal Agora-A Propos des Lieux d’Origine, MUDAM Centre d’Art Moderne Gran-Duc Jean, Luxembourg.