Gabriela Albergaria
Portfolio
2003 - 2011
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
( 1/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
( 2/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
Árvore com parafuso, 2010
Acácia, peça de ferro torneado em forma de parafuso e galvanizado, cabos de aço, parafusos.
( 3/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
Árvore com parafuso, 2010
( 4/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
Árvore com parafuso, 2010
( 5/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
Árvore com parafuso, 2010
( 6/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
Couche sourde, 2010
Terra, ramos de árvores e folhas de árvores prensados
( 7/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
Couche sourde, 2010
( 8/27 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
Couche sourde, 2010
( 9/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
Couche sourde, 2010
( 10/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
Couche sourde, 2010
( 11/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
Under an Artificial Sky, 2006
Desenho/ficção de uma paisagem após visita à
Pfaueninsel, Berlim
( 12/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
“Un jardin à ma façon”, 2006
Madeira, terra de fibra de côco, ramos de árvores enxertados, desenho a lápis de cor sobre papel
( 13/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
“Un jardin àma façon”, 2010
(detail)
( 14/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
making of
( 15/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
making of
( 16/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
making of
( 17/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
making of
( 18/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
making of
( 19/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
making of
( 20/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
making of
( 21/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
( 22/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
Thermic
Gardens are the main material of Gabriela Albergaria’s work. She uses them as a tool that is
simultaneously narrative, aesthetic, anthropological and mnemonic. In any of these terms and
these functions, gardens carry out the role of a speech within her work, a speech that is declined
according to the specific conditions of each project, using a journey through the issues of landscape, its importance within the context of the construction of social experiences and the memory of the colonial process in the migration of vegetable species.
In the diversity of the supports she uses in her work she defines situations that call upon the
spectator to the rediscovery of the place through references to the collective memories that pass
through them.
( 23/26 )
Gardens are in themselves powerful metaphorical constructions, in essence alien to the romantic idea of landscape in the sense that they do not stand out as a fragment, but as an allegory of a
world. It is from this configuration of the garden as a world that Gabriela Albergaria’s work arises,
much more than from an idea of landscape. In other words, her projects are developed more from
the idea that the place of a garden is that of a device that generates an articulation of experiences
taken from a historical and social configuration and less from an aesthetic of landscape as a visual
ordering of a fragment of the world. Her method is that of understanding the operational mechanics of that micro-cosmos and promoting an intervention that comments on botanical procedures that define a lexicon, a grammar from these methodologies that possess names: grafting,
biocenosis, classification, cutting.
The result of this spurious cloning between the universe of botany and artistic devices is always
guided according to the memory of artistic genres, to the use of drawing, of sculpture – or more
recent ones, like photography, installation, or performances. Thus her interventions are centred on the defining within the exhibition space of situations that feed off a world that in itself is
allegorical, and which is produced from a technique and from a culture in order to define a new
situation devolved to the beholder’s share (to use Ernest Gombrich’s term) and to his share – as
landscape, now fragmentary and bearing a clear determining aesthetic and, one that orders the
field of sight.
Thermal, the exhibition that she is presenting now, is made up of two sculptures and three
drawings that occupy the whole of the space of the White Pavilion. Starting from the situation
of the garden of the Palácio Pimenta, Gabriela Albergaria takes the relationship with the typol-
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
ogy of the leisure garden, the echo of the practices of storing and development of natural species
and the fictional capacity of the space of the garden as her subjects in order to produce a system
of internal references and connections to the architecture of the pavilion. On the ground level
a redesigned tree occupies the first room. The methodology of this sculpturising of a tree uses
violent and particularly crude processes such as driving steel spikes through the trunk of the tree,
the suspending of the tree on cable that lift it up from the floor, the eliminating of the foliage and
the grafting of a giant galvanized steel screw which, ironically, would allow it to be mechanically
replaced in the ground. There is an echo of extreme violence in the process that goes from the
erasing of its botanical identity to the sacrificial system of its suspension, transforming its conversion into a sculpture into a painful and almost brutal process, reinforced by its being imposed
onto the space.
In the next room there is a sculpture made of soil, on an almost minimal scale of mass, which
repeats the operation of conversion of a now sterilised thermic soil bed, with the upper floor
working as an inverted repetition of these process through a didactics of the representation, produced through drawings of landscape and drawings that as a whole produce an explanation about
the heat retention produced by soil in a greenhouse: the bigger the greenhouse the greater the
heat it gives off.
The exhibition (apparently) makes it explicit how the conversion of the space of the White Pavilion into an enormous hot-house takes place, with the title referring to the process of thermal
preservation of fertile land – which, possessing a reference to Joseph Beuys, constructs a machine
that that shifts through the metaphor of heat and fertility, now subverted through processes of
sterilization and museumisation.
This conversion of the Pavilion also takes place through a performance work that Gabriela
Albergaria has specifically built for the inauguration of the exhibition – which can only be used
on that day by the spectators – which consists of a structure that provides a specific and outside
view on the exhibition room, articulating the antinomy between nature and artificiality, reality
and representation, aspects which form the centre of her work.
In the final analysis the process of this complex device lies in an ironic machine about the artificiality of nature, about the process of artificialisation that is inherent to garden architecture, as
it is to art.
Let us imagine that some garden peacock, in the baroque caricature of the excess of its feathers, might understand this conversion and, naturally and confined, let out its shrill cry.
Delfim Sardo, 2010
( 24/26 )
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
( 25/26 )
Térmico
Os jardins são o material principal do trabalho de Gabriela Albergaria. Usa-os como como uma
ferramenta simultaneamente narrativa, estética, antropológica e mnemónica. Em qualquer destes
termos e destas funções, eles cumprem no seu trabalho o papel de uma fala que se vai declinando
em função das condições específicas de cada projecto, usando para isso o desenho, a escultura, a
instalação e a fotografia para desenvolver um percurso sobre as questões da paisagem, a sua importância no contexto da construção de vivências sociais e a memória do processo colonial presente na migração das espécies vegetais.
O seu trabalho, na diversidade dos suportes que utiliza, define situações que convocam o espectador para a redescoberta do lugar através de referências às memorias colectivas que por eles
perpassam.
Os jardins são, em si mesmos, poderosas construções metafóricas, na sua génese alheios à ideia
romântica de paisagem, na medida em que não se destacam como fragmento, mas como alegoria de um mundo. É dessa configuração do jardim como mundo que nasce o trabalho de Gabriela
Albergaria, muito mais do que de uma ideia de paisagem. Por outras palavras, é mais da ideia de
que o lugar do jardim é o de um dispositivo que gera uma articulação de vivências a partir de uma
configuração histórica e social e menos a partir de uma estética da paisagem enquanto ordenação
visual de um fragmento do mundo que os seus projectos se desenvolvem. O seu método é o de
compreender a mecânica operativa desse micro-cosmos e promover uma intervenção que glosa
procedimentos botânicos que definem um léxico, uma gramática a partir destas metodologias que
possuem nomes: enxertias, biocenose, classificação, truncagem.
O resultado desta clonagem espúria entre o universo da botânica e os dispositivos artísticos
é sempre orientado em função da memoria dos géneros artísticos, da utilização do desenho, da
escultura – ou dos mais recentes, como a fotografia, a instalação, ou processos performativos. Assim, as suas intervenções centram-se na definição, no interior do espaço expositivo, de situações
que se alimentam de um mundo que é, em si mesmo, alegórico e que se produziu a partir de uma
técnica e de uma cultura, para definir uma nova situação devolvida à quota do espectador (para
usar o termo de Ernest Gombrich) e à sua cota – como paisagem, agora, sim, fragmentar e portadora de uma clara determinante estética e ordenadora do campo da visão.
A exposição Térmico que a artista agora apresenta, é composta por duas esculturas e três desenhos que ocupam na totalidade o espaço do Pavilhão Branco. Partindo da situação do jardim do
Palácio Pimenta, Gabriela Albergaria toma a relação com a tipologia do jardim de lazer, o eco das
Gabriela Albergaria
Térmico
Solo exhibition
Pavilhão Branco. Museu da Cidade
Lisboa, 2010
práticas de arquivamento e desenvolvimento das espécies naturais e a capacidade ficcional do espaço do jardim como as suas matérias, para produzir um sistema de referencias e racords internos
à arquitectura do pavilhão. No espaço térreo, uma árvore redesenhada ocupa a primeira sala. A
metodologia desta esculturização de uma árvore recorre a processos violentos e particularmente
crus como o atravessamento do tronco por espigões de aço, a suspensão da árvore a partir de cabos que a levantam do solo, a eliminação da folhagem e a enxertia de um gigantesco parafuso de
aço galvanizado que, ironicamente, permitiria a sua recolocação mecânica no solo. Há um eco de
enorme violência no processo que vai do apagamento da sua identidade botânica até ao sistema
sacrificial da sua suspensão, transformando a conversão em escultura num processo doloroso e
quase brutal, reforçado pela sua imposição no espaço.
Na sala seguinte, uma escultura feita de terra, de uma massividade quase minimal, repete a operação de conversão de uma cama térmica, agora esterilizada, funcionando o piso superior como
uma repetição invertida destes processos a partir de uma didáctica da representação, produzida a
partir de desenhos de paisagem e desenhos que produzem, no seu conjunto, uma explicação sobre
a retenção do calor produzida pelo solo numa estufa: quanto maior é a estufa, maior o calor que
ela liberta.
A exposição explicita-se (aparentemente) como a conversão do espaço do Pavilhão numa
enorme estufa, fazendo o título menção ao processo de preservação térmica da terra fértil – o
que, possuindo uma referência a Joseph Beuys, constrói uma máquina de deslocação a partir da
metáfora do calor, da fertilidade, agora subvertida a partir de processos de esterilização e musealização.
Esta conversão do espaço do Pavilhão é ainda dado através de uma obra performativa que a
artista construiu especificamente para a inauguração da exposição – e que só nesse dia poderá ser
usada pelos espectadores – que consiste numa estrutura que proporciona um ponto de vista específico e exterior sobre a sala de exposição, articulando a antinomia entre natureza e artificialidade,
realidade e representação que constituem o centro do seu trabalho.
O processo deste complexo dispositivo radica, em última instancia, numa máquina irónica sobre a artificialidade da natureza, sobre o processo de artificialização que é inerente à arquitectura
do jardim, como da arte.
Imaginemos que algum pavão do jardim, na caricatura barroca do excesso das suas penas,
possa compreender esta conversão e solte, confinado e natural, o seu bramido.
Delfim Sardo, 2010
( 26/26 )
Gabriela Albergaria
Kurs: The tree
Group show curated by Sören Lose
Fuglsang Kunstmuseum, Denmark, 2009
A site specific instalation was build up featuring the
following items:
A Nursery of Grafted Species
Grafted trunks and branches of different species of
trees from the Fuglsang Park (endemic and foreigners as Naur, Winged Walnut, Linden, Ash, Oak, Thuja,
Cherry Tree, Japanese Cherry Tree “Hally Jolivette”,
Magnolia Soulangeana, Sophora Japonica, Prunus
serrula and Syringa chinensis), cotton thread, screws,
wood,
text on wall
+
Untitled
Oak tree branches, screws, wood
+
Oak in Sophora (Denmark - Japan)
Green coloured pencil on paper
9x (65 x 50 cm)
Untitled
Oak tree branches, screws, wood
Variable dimensions
( 1/9 )
Gabriela Albergaria
Kurs: The tree
Fuglsang Kunstmuseum, Denmark, 2009
close-up
( 2/9 )
Gabriela Albergaria
Kurs: The tree
Fuglsang Kunstmuseum, Denmark, 2009
A Nursery of Grafted Species (a display of sculpture)
Grafted trunks and branches of different species of trees from
the Fuglsang Park (endemic and foreigners), cotton thread,
screws, wood.
Variable dimensions
( 3/9 )
Gabriela Albergaria
Kurs: The tree
Fuglsang Kunstmuseum, Denmark, 2009
installation view
close-up
( 4/9 )
Gabriela Albergaria
Kurs: The tree
Fuglsang Kunstmuseum, Denmark, 2009
close-ups
( 5/9 )
Gabriela Albergaria
Kurs: The tree
Fuglsang Kunstmuseum, Denmark, 2009
Oak in Sophora (Denmark - Japan)
Green colourd pencil on paper
9x (65 x 50 cm)
( 6/9 )
Gabriela Albergaria
Kurs: The tree
Fuglsang Kunstmuseum, Denmark, 2009
making-of
( 7/9 )
Gabriela Albergaria
Kurs: The tree
Fuglsang Kunstmuseum, Denmark, 2009
making-of
( 8/9 )
Gabriela Albergaria
Kurs: The tree
Fuglsang Kunstmuseum, Denmark, 2009
making-of
( 9/9 )
Gabriela Albergaria
Arboriculture, um viveiro de
espécies enxertadas
Villa Arson, Nice. 2008/09
Featuring the show “Acclimatation”, ate the Centre
National d’Art Contemporain Villa Arson, curated by
Bénedicte Ramade.
Arboriculture, um viveiro de espécies enxertadas, 2008
Ciprestes, cerejeira, castanheiro, loureiro, oliveira... espécies
encontradas no jardim da Villa Arson,
Técnica mista e desenho a lápis verde sobre papel
Dimensões variáveis
( 1/6 )
Gabriela Albergaria
Arboriculture, um viveiro
de espécies enxertadas
Villa Arson, Nice. 2008/09
Featuring the show “Acclimatation”, ate the
Centre National d’Art Contemporain Villa Arson.
( 2/6 )
Gabriela Albergaria
Arboriculture, um viveiro de
espécies enxertadas
Villa Arson, Nice. 2008/09
Featuring the show “Acclimatation”, ate the Centre
National d’Art Contemporain Villa Arson.
( 3/6 )
Gabriela Albergaria
Arboriculture, um viveiro de
espécies enxertadas
Villa Arson, Nice. 2008/09
Featuring the show “Acclimatation”, ate the Centre
National d’Art Contemporain Villa Arson.
( 4/6 )
Gabriela Albergaria
Arboriculture, um viveiro de
espécies enxertadas
Villa Arson, Nice. 2008/09
Featuring the show “Acclimatation”, ate the
Centre National d’Art Contemporain Villa Arson.
Close-up
( 1/3 )
Gabriela Albergaria
Arboriculture, um viveiro de
espécies enxertadas
Villa Arson, Nice. 2008/09
Featuring the show “Acclimatation”, ate the
Centre National d’Art Contemporain Villa Arson.
Making of
( 5/6 )
Gabriela Albergaria
Arboriculture, um viveiro de
espécies enxertadas
Villa Arson, Nice. 2008/09
Featuring the show “Acclimatation”, ate the
Centre National d’Art Contemporain Villa Arson.
Making of
( 6/6 )
Gabriela Albergaria
Abracadárvore
Museu de Arte Moderna , Salvador da Bahía, Brazil
2008.
The exhibition is made up of a group of works/
trees of average size, forming a sort of forest/
nursery. Laid out in lines, they visually create
a similarity with the plants created in rows in
nurseries. These are works made from trunks and
branches from different trees, using the technique
of (false) grafting which is recurrent in my work.
The term “abracadárvore” [abracadabra-tree in
Portuguese] was taken from a poem by Jacques
Prévert (1900-1977).
This work explores associations between nature,
botany and art, always within a logic of “integration”. It is a sort of synthesising of cultural aspects related to the colonisation of plants. Organic
growth, graftings and acclimatisation are to some
extent the essential component of an ecosystem.
The possibilities of adaptation and alteration, and
at the same time the creation of an interrelated
and independent system fascinate me. It simultaneously functions as a metaphor for social and
political action and, in general, all creation.
Photo: Tarso Figueira
( 1/8 )
Gabriela Albergaria
Viveiro (nursery), (2008)
Grafted trunks and branches
(Sibipiruma – family of the
leguminous, and species
Cesalpinea Teltophoroides and
flamboyant), cotton thread,
wood (Brazilian Redwood and
Pau d’Arco) and carpenter’s
clips
( 2/8)
Gabriela Albergaria
Abracadárvore
Museu de Arte Moderna, Salvador da Bahía. Brazil,
2008
This work was produced by the artist and by the
Modern Art Museum, with the help of the Services
of the Municipal Nursery. The branches come
from the pruning of the trees in the Canela neighbourhood, in Salvador da Bahia, Brazil and were
gathered, chosen and then worked upon using the
(false) grafting technique in order to create an idea
of sculpture/trees like a group of trees lined up in
a nursery. There is thus the creating of a fictional
situation that copies a real one, attempting to
establish meanings in its poetic, social and political dimension. It was by means of nurseries that
it was possible to acclimatise species in places and
countries in which the climate and other conditions would not allow them to grow.
(3/8 )
Gabriela Albergaria
Abracadárvore
Museu de Arte Moderna , Salvador da Bahía, Brazil
2008.
Photos: Tarso Figueira
( 4/8 )
Gabriela Albergaria
Abracadárvore
Museu de Arte Moderna , Salvador da Bahía, Brazil
2008.
making of
(5/8 )
Gabriela Albergaria
“Com a expansão do sistema botânico e a introdução de um grande número de plantas tropicais, as
tentativas mais ingênuas de investigação e coleta de material e informação científica foram eliminadas
após o século 19. Os jardins obtinham as suas novas plantas através da propagação do colonialismo.
Plantas eram cultivadas em grandes estufas construídas especificamente para esse propósito, e ao
mesmo tempo eram examinadas pelo seu potencial uso económico. As estufas dos jardins botânicos
foram melhoradas com o objetivo de combinar exposição com investigação sistemática.”
“ With the extension of the botanical system and the introduction of a great number of tropical plants,
the more naïve attempts at the research and collection of scientific data and material were eliminated
after 1800. Now gardens obtained their new plants through the spread of colonialism. Plants were
cultivated in large greenhouses built specially for the purpose, and at the same time they were examined
for potential economic use. The hothouses of the botanical gardens were improved to suit the aim of
combining exhibition with systematic research. (...)”
Houses of Glass: A Nineteenth-Century Building Type (Paperback), Georg H. Kohlmaier et al.
Text drawn on the wall, (2008)
Green coloured pencil on paper
Times regular, 150 pt
( 6/8 )
Gabriela Albergaria
Abracadárvore
Museu de Arte Moderna , Salvador da Bahía, Brazil
2008.
These two works may be seen as a comparison or parallelism.
One shows a view of the Sao Paulo Botanical Gardens,
which I visited last year and which impressed me a
great deal because of the plants and the use made of
them: although the study element is present in the gardens, it does not stand out. The other work presents a
view of the inside of the tropical hothouses of the Berlin
Botanical Gardens, which I often visit, and which present plants that are very similar to those seen in the Sao
Paulo Botanical Gardens.
I was interested in this idea of firstly being in a “natural” state adapted to the medium and the other one in
an artificial situation, a product of human care and now
no longer a supposedly natural state.
On the other hand, these were the hothouses that
inspired Burle Marx, a Brazilian landscape artist who
revitalised the use of endemic Brazilian plants in the
conception of his works and gardens. He was a researcher, and it is when he is studying painting in
Berlin, using the tropical hothouses of the botanical
gardens as a model for his drawings, that he realises
that he is drawing plants that he has had next to him all
his life, but which he never really noticed.
(7/8 )
Jardim Botânico de Berlim 180, (2008)
Lambda print and coloured pencil on paper
56 x 75 cm
Jardim Botânico de São Paulo 413, (2008)
Lambda print and coloured pencil on paper
56 x 75 cm
Gabriela Albergaria
Abracadárvore
Museu de Arte Moderna , Salvador da Bahía, Brazil
2008.
Permanent work on display at the Sculpture
Garden in the Bahia Modern Art Museum, Salvador da Bahia, Brazil, 2008
Action on a garden tree. Dig a hole in the direction
of one of the roots of the tree, leaving it partially
uncovered (more or less 1 metre high and 120 x 40
cm). Fill the bottom of the hole with little stones
used in draining gardens. Protect the sides with
strips of wood (4 x 6 cm), building a sort of box.
Cover the top part with transparent acrylic.
Uma raíz descoberta e protegida, (2008)
Variable size
Photo: Tarso Figueira
( 8/8 )
Gabriela Albergaria
Blenheim and 29th
Vancouver Artgallery, Vancouver, Canada, 2008.
Project part of the show “The Tree from the
sublime to the social” Curated by Daina Augaitis
Work made with an oak tree that died of stress due
to pollution, found on the Blenheim Street,
opposite number 29.
Scientific Name: Quercus rubra
Common Name: Northern Red Oak
Family: Fagaceae
Origin: North America (Northwest USA and
Southwest Canada).
Photo: Henri Robideau
( 1/7 )
Gabriela Albergaria
Blenheim and 29th, 2008
Installation with a dead Oak /
Oak log and branches,
screws, cotton yarn
( 2/7 )
Gabriela Albergaria
Blenheim and 29th
Vancouver Artgallery, Vancouver, Canada, 2008.
Making of
( 3/7 )
Gabriela Albergaria
Blenheim and 29th
Vancouver Artgallery, Vancouver, Canada, 2008.
( 4/7 )
Gabriela Albergaria
Blenheim and 29th
Vancouver Artgallery, Vancouver, Canada, 2008.
( 5/7 )
Gabriela Albergaria
Blenheim and 29th
Vancouver Artgallery, Vancouver, Canada, 2008.
( 6/7 )
Gabriela Albergaria
Blenheim and 29th
Vancouver Artgallery, Vancouver, Canada, 2008.
( 7/7 )
Gabriela Albergaria
Herbes Folles
Solo show
Vera Cortês art agency, Lisbon
2006
Plant of the agency - occupied rooms
( 1/6 )
Gabriela Albergaria
Herbes Folles
Solo show
Vera Cortês art agency, Lisbon
2006
Views
( 2/6 )
Gabriela Albergaria
Herbes Folles
Solo show
Vera Cortês art agency, Lisbon
2006
Views
( 3/6 )
Gabriela Albergaria
Herbes Folles
Solo show
Vera Cortês art agency, Lisbon
2006
Views
( 4/6 )
Gabriela Albergaria
Herbes Folles
Solo show
Vera Cortês art agency, Lisbon
2006
View
( 5/6 )
Gabriela Albergaria
Herbes Folles
Solo show
Vera Cortês art agency, Lisbon
2006
Mouvement, Instability,
Conflito #44
lambda print
56 x 78 cm
Mouvement, Instability,
Conflito #48
lambda print
56 x 78 cm
Mouvement, Instability,
Conflito #57
lambda print
56 x 78 cm
Mouvement, Instability,
Conflito #51
lambda print
56 x 78 cm
( 6/6 )
Gabriela Albergaria
Quatro Caminhos, Duas
Árvores
Kunsthalle in Emden, Emden, Germany, 2007.
Project part of the show “Garten Eden - Der Garten in der Kunst seit 1900”, curated by Nils Ohlsen
An installation made up of a model made from
some impressions of the park, five photos of the
model creating moments between the reality and
fiction of a landscape, and a text drawn on the
wall containing sentences/poems in Latin and Old
German that are drawn on the park benches.
Luetetsburg Park, in Emden, in Germany, is the starting point
for the work I carried out in the Four Paths Two Trees project.
In this park, which has been the property of the Knyphausen
family since the XVI century, each generation has left its mark.
This circumstance led me to become interested in the idea of
nature’s “memory”.
A garden is always an idealised nature. It may be a readjustment of Eden, a representation of the dream and desire, and a
reorganisation of nature. It is a mirror of nature and simultaneously a cultural register.
I lived in the palace in the park for some years and I followed a
daily routine. Every morning I would choose a different direction/orientation, I would try to get lost in the space and record
my impressions of the place through drawings, photos and
texts.
I realized that in most cases the crossing of four paths always
had two trees, which gave me even more opportunity to lose
myself in the space.
Through games of association, the word garden may bring
about in us resonances that take the shape of images. The image is the product of a memory process that can create strong
emotional reactions. How does one set up the experience of the
place in our memory?
An Image – A Moment
Four paths and two trees are an image that I saw and reconstructed in a model to use as a metaphor for the memory of the
idea of the place.
How does one construct the memory of this place?
( 1/6)
Gabriela Albergaria
Quatro Caminhos Duas àrvores
Kunsthalle in Emden, Emden, Germany, 2007.
Quatro caminhos duas àrvores / Four paths, two trees, 2007
Wood, polyester, coconut earth, dried plants, moss, cotton
thread
150x100x125 cm
( 2/6 )
Gabriela Albergaria
Quatro Caminhos Duas àrvores
Kunsthalle in Emden, Emden, Germany, 2007.
( 3/6 )
Gabriela Albergaria
Quatro Caminhos Duas àrvores
Kunsthalle in Emden, Emden, Germany, 2007.
#884, (2007)
56,25cm x 75 cm
Photo, lambda print
#922, (2007)
56,25cm x 75 cm
Photo, lambda print
( 4/6 )
Gabriela Albergaria
Quatro Caminhos Duas àrvores
Kunsthalle in Emden, Emden, Germany, 2007.
#944, (2007)
56,25cm x 75 cm
Photo, lambda print
#925, (2007)
56,25cm x 75 cm
Photo, lambda print
( 5/6 )
Gabriela Albergaria
#930, (2007)
56,25cm x 75 cm
Photo, lambda print
( 6/6 )
Gabriela Albergaria
Araucária Angustifólia
Galeria Vermelho, S. Paulo, Brasil. 2008.
Solo Show
The idea of the colonisation of plants in adverse soil
as a metaphor for an idea of the social development
and evolution of man is at the base of this exhibition.
My works are constructed through a web of
attentions that I relate among each other. They start
from two discoveries/investigations: Burle Marx and
the rediscovery of the tropical flora and the Buçaco
National Park, in the centre of Portugal (one of the
first places fro the naturalisation of plants coming
from the New World).
The exhibition is made up of a three-dimensional
work: a composite tree with graftings (Eucalyptus
and Jacaranda, taken from a pruning carried out
by the services of the Sao Paulo municipal police
headquarters); a drawing made up of several
Araucaria leaves from Buçaco; drawings/photos of
several (improbable) views of the park; drawings
on the wall of several sentence that I found in an
interview with Burle Marx that talk about the
instability/association/adaptation of plants.
On the façade, a simulation of the “Portuguese
house” with a 90 cm sash in sky blue with the
installation of the (false curved) line of migrating
swallows. These ceramic swallows are made from
original moulds by the Portuguese ceramic artist
Rafael Bordalo Pinheiro (Caldas da
Rainha Factory).
Photo: Dimg Musa
( 1/17 )
Gabriela Albergaria
Araucária Angustifólia
Galeria Vermelho, S. Paulo, Brasil. 2008
Árvore compósita (Jacarandá e eucalipto), (2007)
Log and branches (Rosewood and Eucalyptus), screws, cotton
yarn
Variable size
( 2/17 )
Gabriela Albergaria
Araucária Angustifólia
Galeria Vermelho, S. Paulo, Brasil. 2008
close-ups
( 3/17 )
Gabriela Albergaria
Araucária Angustifólia
Parque do Buçaco #682, (2008)
Lambda print, green coloured pencil on paper
76 x 100 cm
( 4/17 )
Photo: Dimg Musa
Galeria Vermelho, S. Paulo, Brasil. 2008
Gabriela Albergaria
Araucária Angustifólia
Parque do Buçaco #693, (2008)
Lambda print, green coloured pencil on paper
76 x 100 cm
( 5/17 )
Photo: Dimg Musa
Galeria Vermelho, S. Paulo, Brasil. 2008
Gabriela Albergaria
Araucária Angustifólia
Parque do Buçaco #700, (2008)
Lambda print, green coloured pencil on paper
76 x 100 cm
( 6/17 )
Photo: Dimg Musa
Galeria Vermelho, S. Paulo, Brasil. 2008
Gabriela Albergaria
Araucária Angustifólia
Parque do Buçaco #711, (2008)
Lambda print, green coloured pencil on paper
76 x 100 cm
( 7/17 )
Photo: Dimg Musa
Galeria Vermelho, S. Paulo, Brasil. 2008
Gabriela Albergaria
Araucária Angustifólia
Árvore no Jardim Botânico de
Madrid, (2006)
Green coloured
pencil on paper
4x (35 x 50 cm)
( 8/17 )
Photo: Dimg Musa
Galeria Vermelho, S. Paulo, Brasil. 2008
Gabriela Albergaria
Araucária Angustifólia
Galeria Vermelho, S. Paulo, Brasil. 2008
Diptic 1 - Parque do Buçaco
em Coimbra, Portugal, (2007)
Green coloured pencil on paper
2x (50 x 70 cm)
( 9/17 )
Gabriela Albergaria
Araucária Angustifólia
Galeria Vermelho, S. Paulo, Brasil. 2008
Diptic 2 - Parque do Buçaco
em Coimbra, Portugal, (2007)
Green coloured pencil on paper
2x (50 x 70 cm)
( 10/17 )
Gabriela Albergaria
Araucária Angustifólia
Photo: Dimg Musa
Galeria Vermelho, S. Paulo, Brasil. 2008
Araucária no parque do Buçaco,
Coimbra, (2007)
Green coloured pencil on paper
Poliptic 11 x (70 x 100 cm)
( 11/17 )
Gabriela Albergaria
Araucária Angustifólia
Galeria Vermelho, S. Paulo, Brasil. 2008
close-ups
( 12/17 )
Gabriela Albergaria
Araucária Angustifólia
Galeria Vermelho, S. Paulo, Brasil. 2008
Exhibition views
( 13/17 )
Gabriela Albergaria
Araucária Angustifólia
Galeria Vermelho, S. Paulo, Brasil. 2008
Exhibition views
( 14/17 )
Gabriela Albergaria
Araucária Angustifólia
Galeria Vermelho, S. Paulo, Brasil. 2008
“With the extension of the botanical system and the introduction of a great number of tropical plants,
the more naïve attempts at the research and collection of scientific data and material were eliminated
after 1800. Now gardens obtained their new plants through the
spread of colonialism. Plants were
cultivated in large greenhouses built specially for the purpose,
and at the same time they were examined
for potential economic use. The hothouses of the botanical
gardens were improved to suit the aim of
combining exhibition with systematic research. (…)”
Houses of Glass: A Nineteenth-Century Building Type (Paperback), Georg H.
Kohlmaier et al.
(Translated text)
Text drawn on the wall
Green coloured pencil
Times regular, 150 pt
( 15/17 )
Gabriela Albergaria
Araucária Angustifólia
Andorinhas, (2007)
Installation on the facade
Rafael Bordalo Pinheiro porcelain
and latex paint
( 16/17 )
Photo: Dimg Musa
Galeria Vermelho, S. Paulo, Brasil. 2008
Gabriela Albergaria
Araucária Angustifólia
Photo: Manuela Marques
Galeria Vermelho, S. Paulo, Brasil. 2008
close-ups
( 17/17 )
Gabriela Albergaria
Palmengarten (Quasinatural landscape)
Collection KFW Bankengruppe, Frankfurt, 2008
An installation made up of eight drawings of
an imaginary travelling shot inside a hothouse,
using structures and forms taken from the
hothouse in the Frankfurt Palmengarten (palm
tree garden) and from the hothouse in the
Berlin-Dahlem Botanical Gardens.
This project is also made up of two mural
drawings with sentences about the make-up of
the soil, and of two photos/drawings with two
scenes: one of the outside of the Palmengarten
and another of the outside of the Buçaco Gardens
in Portugal. Two situations that show the
difference in climate and consequently in flora.
Natural situations as opposed to those of the
eight previous drawings that are the result
of an artificial situation (hothouse).
Assembly of the work: When I visited the
building where the work was to be installed,
I was shown that the people who worked in this
place operated on a sort of circuit. It was from
this idea of the circuit that I developed
the concept for the installation.
Six of the drawings were installed in a corridor,
and the two last ones on the bend in the
corridor, in order to establish continuity.
The sentences were drawn in a different area
of the space where more people circulated,
resulting in a work that can only totally be
understood when one goes along
the whole corridor.
The final result is an installation that presents
two levels of perception: one that is only
apprehended in movement, and the
other when still.
( 1/9)
Gabriela Albergaria
Palmengarten (Quasinatural landscape)
Collection KFW Bankengruppe, Frankfurt, 2008
Ohne Titel (Palmengarten)
#1 e #2 ( Diptich), 2007
Coloured pencil on paper
2 x (140 x 100 m)
( 2/9 )
Gabriela Albergaria
Palmengarten (Quasinatural landscape)
Collection KFW Bankengruppe, Frankfurt, 2008
Ohne Titel (Palmengarten),
#3 e #4 (Diptich), 2007
Coloured pencil on paper
2 x (140 x 100 m) Ohne Titel (Palmengarten),
#3 e #4 (Diptich), 2007
Coloured pencil on paper
2 x (140 x 100 m)
( 3/9 )
Gabriela Albergaria
Palmengarten (Quasinatural landscape)
Collection KFW Bankengruppe, Frankfurt, 2008
Ohne Titel (Palmengarten),
#5 e #6 (Diptich), 2007
Coloured pencil on paper
2 x (140 x 100 m)
( 4/9 )
Gabriela Albergaria
Palmengarten (Quasinatural landscape)
Collection KFW Bankengruppe, Frankfurt, 2008
Ohne Titel (Palmengarten),
#7 e #8 (Diptich), 2007
Coloured pencil on paper
2 x (140 x 100 m)
( 5/9 )
Gabriela Albergaria
Palmengarten (Quasinatural landscape)
Collection KFW Bankengruppe, Frankfurt, 2008
Buçaco #677 (2007)
Digital photo, drawing
Lambda print, coloured pencil on paper
76 x 100 cm
( 6/9 )
Gabriela Albergaria
Palmengarten (Quasinatural landscape)
Collection KFW Bankengruppe, Frankfurt, 2008
Buçaco #700 (2007)
Digital photo, drawing
Lambda print, coloured pencil on paper
76 x 100 cm
( 7/9 )
Gabriela Albergaria
Palmengarten (Quasinatural landscape)
Collection KFW Bankengruppe, Frankfurt, 2008
Zu Gabriela Albergarias Arbeiten für die KFW
Als 1851 die erste Weltausstellung, die “Great Exhibition of the Works of Industry of all Nations”, in London eröffnet wurde,
fand sie in einem riesigen Gewächshaus statt. Das Satiremagazin Punch taufte das 563 Meter lange und 124 Meter breite Gebäude aus Eisenträgern und Glasscheiben Kristallpalast. Der Name bürgerte sich ein. Daß diese Feier des Fetisch Ware, wie
Marx das Spektakel nannte, ausgerechnet in einem Bautyp vollzogen wurde, der ursprünglich für gärtnerische Zwecke entwickelt
wurde, ist nicht so zufällig, wie es vielleicht erscheinen mag.
Der Ursprung der Gewächshäuser liegt bereits in der Antike, ab 1700 wurde Tafelglas produziert, aber erst das 19. Jahrhundert,
das Zeitalter des entfesselten Kapitalismus lieferte mit seinen Stahl- und Glasarchitekturen die Voraussetzung für jene Treibhäuser, die unter ihrem Dach die tropische Natur in europäische Breitengrade versetzte. Der Naturzusammenhang, der vordem als
unveränderbar galt und schicksalhaft hingenommen werden mußte, bekam Risse.
Das Gewächshaus ist Beispiel für die Herrschaft des Menschen über die Natur im Zeichen einer entfesselten Technik. Die Natur
wird auf bestimmte Verwertungszwecke hin “gestellt”, sagt Martin Heidegger. Zugleich tritt eine zweite, künstliche Natursphäre,
in Konkurrenz zur ersten Natur. In den Gewächshäusern der botanischen Gärten wird die Natur zwar auch auf bestimmte Zwecke
hin gestellt, Zwecke der Forschung, der Reproduktion und Züchtung, aber hier gilt es auch, ein Bild zu entwerfen von den Ursprungsregionen der hier eingehausten Pflanzenbewohner. Anderthalb Jahrhunderte nach der Great Exhibition zeigt sich, daß der
Mensch in der ersten Natur inzwischen ähnliche Treibhauseffekte erzeugt, wie bei den Gewächshäusern zu Beginn des industriellen Zeitalters.
Es ist die Ambivalenz von Natürlichem und Künstlichem, die Gabriela Albergaria interessiert, wenn sie Szenerien aus
Gewächshäusern in den Mittelpunkt ihrer Arbeit für die KFW stellt. Die acht delikaten Buntstiftzeichnungen bieten so etwas wie
einen imaginären Spaziergang durch ein Gewächshaus. Die portugiesische Künstlerin selbst spricht vom Gewächshaus als einem
“Interface zwischen Industrie und Natur”. Mit dem von ihr an die Wand geschriebenen Text über dessen Funktionsweise wird auf
das Thema des Treibhauses explizit hingewiesen, da die Einhausungen in den Zeichnungen selbst gar nicht sichtbar werden, die
im botanischen Garten intendierte Illusion von Natur also mit ins Bild rückt.
Wieder einmal geht es Gabriela Albergaria hier um das Verhältnis von Natur und Kultur. Beide stehen in enger Beziehung. Kultur
meint ja in seiner ursprünglichen Bedeutung die Veredelung von Natur, also dem was so gegeben ist, wie es von Geburt zur
Welt kommt (von lat. Natura = Geburt). Kultur dagegen ist das, was sich auch anders machen läßt. Essen beispielsweise ist ein
angeborenes Grundbedürfnis. Wie man sich ernährt, was man dazu wählt, wie man die Speisen zubereitet, wie man es kombiniert
und würzt, das ist allerdings Ausdruck einer bestimmten Kultur, und die Variationen in der Art und Weise des Kochens (und des
Essens) scheinen so gut wie unendlich zu sein. Ein weites Feld, so wie Kultur ja tatsächlich zunächst viel mit Ackerbau und Gärtnerei zu tun hat, also mit der Art und Weise wie die Agrikultur auf dem gegebenen Boden der Natur Pflanzen trefflich gedeihen
lassen kann. Kultur meint Hege und Pflege.
Der Einsatz des Gewächshauses markiert nun aber die Schwelle zum technisch-industriellen Umgang mit Pflanzen. Nicht nur
deshalb, weil die serielle Bauweise aus Stahl und Glas die funktionalistische Architektur der Moderne bereits im 19. Jahrhundert
vorwegnimmt uns somit selbst ein Industrieprodukt ist. Mit Hilfe eines Gewächshauses wird aus der Erde (im Sinne von Boden)
mehr als ein umhegtes Gartenland. Vielmehr ist das Gewächshaus zugleich das Symbol für den Bruch mit dem Naturzusammenhang. Mit dem Instrument des Gewächshauses wird die Natur nicht im herkömmlichen Sinne kultiviert, sondern mit Hilfe
der Technik überlistet. Von den Pflanzen, die anders als beheizt unter Glas in unseren Breiten gar nicht gedeihen würden, bis
hin zu den zu jeder Jahreszeit reifenden Tomaten und Tulpen zeigt sich, daß die Pflanze mittels des Gewächshauses zum Industrieprodukt geworden ist.
( 8/9 )
Gabriela Albergaria
Palmengarten (Quasinatural landscape)
Collection KFW Bankengruppe, Frankfurt, 2008
Mit dem Thema Gewächshaus gilt Gabriela Albergarias Augenmerk also dem, was an der Natur künstlich geworden ist, was
Menschenwerk darstellt. Denn was in den botanischen Gewächshäusern als Natur vorgeführt wird, ist ja ein auf den Boden
des Treibhauses zurückprojiziertes Bild von Natur geschaffen aus Menschenhand. In gewissem Sinne ist die Übertragung der
Gewächshausszenerien (Vorbilder finden sich im Frankfurter Palmengarten und dem Berliner Botanischen Garten) in die Zeichnung aus der Hand der Künstlerin eine exemplarische Transformation von Natur in Kultur. Eine Fotografie, die das Gesehene im
Bild mechanisch reproduzieren würde, hätte nicht die gleiche symbolische Bedeutung. Die Bedeutsamkeit des Wandels vom Vorbild zum Abbild wird eigens in jenen Collagen thematisiert, die Zeichnung und Fotografie kombinieren: Hier wird der kategoriale
Unterschied deutlich, den die Fotografie in die Geschichte der Bilder einführte. Denn das fotografische Medium entledigt sich
des kreativen Ausdrucks der lebendigen Hand. Auch diese Entwicklung beginnt massenhaft zuerst im Jahr der Great Exhibition,
1851, als Frederick Scott Archer das Kollodium-Verfahren entdeckt. Fortan entwickelt sich auch die Fotografie zur Ware und die
Produktion von Bildern ähnelt dem maschinellen Herstellten Gütern.
Mit ihren Collagen weist Gabriela Albergaria aber noch auf einen anderen Zusammenhang hin: Die beiden Motive stammen zum
einen aus dem Frankfurter Palmengarten und zum anderen aus dem im 17. Jahrhundert von Mönchen angelegten Buçaco Nationalpark circa 90 Kilometer nördlich von Porto in Portugal. Die Karmeliter spezialisierten sich in Buçaco auf exotische Gehölze
aus Übersee. Auch hier bringt der Rekurs auf die künstlichen Paradiese der (botanischen) Gärten eine unselige Geschichte mit
ins Spiel: die Kolonisation der Tropen. Zwar ließ sich die Erde aus den Kolonien in Afrika oder aus Brasilien nicht nach Portugal
versetzen, wohl aber reisten die Samen der Pflanzen. Das Problem war die Adaptation der Tropenpflanzen in einer eigentlich für
ihr Gedeihen unwirtlichen Atmosphäre. Womit wir wieder beim Gewächshaus wären, das in dieser Hinsicht auch von der Ausbeutung der Kolonien durch europäische Mächte zeugt.
Gabriela Albergaria hat also mit ihren anscheinend so idyllischen Bildern einer heilen Pflanzenwelt einen eher unheimlichen
Subtext mitgegeben. Es sind solche Ambivalenzen in Gabriela Albergarias Bild der botanischen Gärten und ihrer Gewächshäuser,
die die Arbeit der Künstlerin über die bloß gefällige Dekoration mit Pflanzenmotiven hinaushebt.
Ronald Berg
Autoreninfo:
Dr. Ronald Berg, geboren 1960, Medienwissenschaftler, Publizist, Kunstkritiker und Journalist für verschiedenen Zeitungen und
Zeitschriften, lebt in Berlin.
( 9/9 )
Gabriela Albergaria
Collect, transplantar,
coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
( 1/16 )
Gabriela Albergaria
On the work “ Collect, transplantar, coloniser”
During the past few years, the artist Gabriela Albergaria has
been developing a line of work that takes gardens and their
history as a departure point for her interventions.
Using photography, drawing and installations (sometimes
even sculpture), the artist builds models of situations that
evoke gardens.
The raw material for these gardens comes from several sources
of inspiration.
On the one hand it is in her own investigation about the
history of gardens, whether botanical gardens or leisure
gardens, where she finds historical, ideological and political
references that map the colonization and that testify to the
colonial past of Europe, specially that of Portugal. On the
other hand, these social and collective references intercross
with personal and subjective memoirs of her intimate
experiences that sometimes appear to be autobiographical.
In the course of Gabriela Albergaria ‘ s development, a
particularly significant moment came during her residence in
Berlin, in the Kunstlerhaus Bethanien, in the year 2000, when
she constructed her first models of gardens. Those models
originated from drawings that related more to childhood
memory than to the garden as a device.
The artist wanted to evoke in the spectator the memory of the
landscape of a garden in the perception of a child.
That landscape dimension was quickly transformed into a
device that, far from referring to an anodyne organization of
the world, is in fact, a symptom of a specific perspective about
the organization of the visual universe – in other words,
of the world.
The garden in Post-Renaissance Europe is an expression of the
rationalism where the entertaining character links up with the
exhibition of knowledge and a particular vision of the world
and nature.
( 2/16 )
This theme is also dealt with in the intervention that Gabriela
Albergaria has conceived for the Project Room of the Centro
Cultural de Belém.
Under the title “Collect, transplantar, coloniser” a
thematization programme of the migration and colonization
is established and shown through the recollection activity
of the artist.
Departing from the locale of the CCB in a context loaded
with the History of the Discoveries and of colonization, the
project is linked to the nearby Tropical Garden, in a reflection
concerning the migration of species that ends by defining
“natural” identities originating from historical, social and
political processes. Sometimes, those identities that we take
for granted and “static” are in fact fluid and even recent,
the result of contamination processes that are up to us to
understand and, eventually, consider as structuring.
The intervention makes references to a greenhouse – a place
for the cultivation of nature (with every contradiction held
within this sentence) and includes a larger tree (an elm) that
the artist has dismantled and rebuilt according to her own
rules of metamorphosis, creating a new composite and
abused tree.
It is important to refer that this tree had died and was marked
for felling by the Lisbon Municipality, and that its recollection
in the city was carefully articulated with the authorities.
The project of Gabriela Albergaria also enters in dialogue with
the garden that flanks the exhibition room, in a relationship
that points out the complex mongrel character of our
relationship with the natural space, or its mimesis.
Delfim Sardo (Art Director of Centro Cultural de Belém)
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
Greenhouse Door, (2004)
Framework timber, screws, glue, clear plastic sheath
( 3/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
Makinf of
( 4/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
Tree, (2004)
Tree branches and screws
( 5/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
“Grafting is the art of connecting two pieces of living plant
tissue together in such a manner that they will unite and
subsequently grow and develop as one composite plant.”
“The Renaissance period (1350 – 1600 A.D.) saw a renewed
interest in grafting pratices. Large number of new plants from
foreign countries were imported into European gardens and
maintained by grafting.”
Plant Propagation : Principles and Practices, Hudson T. Hartmann, et
al – Prentice Hall
Small-leaved elm Ulmus minor
After practically driven to extinction by the disease that affected it – a fungus that blocks the water-conducting tissue
within the tree – this type of elm seems to be recovering in
the region of Trás-os-Montes. This tree can reach a height of
30meters, has glossy elliptic serrate leaves of 4 to 12 cm, and
its fruits are composed by a flat nucleus
surrounded by membranous wings.
The wood of this elm is quite decorative: its sapwood is pale
yellow and the duramen varies from light gray to chocolate;
the wood is heavy, hard and elastic, and is used for furniture,
tool handles and sports equipment.
The leaves are often used as cattle forrage, especially for pigs.
Ulmeiro ou negrilho, Carlos Pinheiro,
www.bragancanet.pt/patrimonio
( 6/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
Close-ups
( 7/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
Makinf of
( 8/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
Making of
( 9/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
Nursery, (2004)
Transport pallets, plants that sprouted improperly
in several locations of the Jardim-Museu Agrícola
Tropical (Belém/Lisbon) and were replanted
in the Museum’s nursery
( 10/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
Close-up
( 11/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
Making of
( 12/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
Making of
( 13/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
Baskets, (2004)
Wicker baskets to hold and transport exotic plants,
created based on the original basket of Thouin, first
gardener of the Jardin des Plantes (Paris), for the
expedition of Lapérouse (1785-1788).
( 14/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
( 15/16 )
Gabriela Albergaria
Collect, transplantar, coloniser
Lisbon, Portual, 2004.
Centro Cultural de Belém - Project room
Making of
( 16/16 )
Gabriela Albergaria
Instalations
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
Instalations presented at Fundação Calouste
Gulbenkian at the exhibition From the National
Stadium to the Gulbenkian Garden - Francisco
Caldeira Cabral and the First Generation of Portuguese Landscape Architects
( 1/13 )
Gabriela Albergaria
HAN
performance/trench between Eucalyptus and the building, 2003
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
Eucalyptus, trench, wood, metallic screws
( 2/13 )
Gabriela Albergaria
HAN
performance/trench between Eucalyptus and the building, 2003
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
Trench, perpendicular to the temporary exibition gallery, dug between the eucalyptus, centenary tree of
the old Sta Gertrudes Park and the building. The artist
marks on the ground the area to be worked and begins the careful displacement of the soil, heading to
the building and using as the starting point one of the
eucalyptus’s roots. This operation is done as an archaeological excavation, in other words – as landscape
archaeology. The purpose of this action is to establish
the relationship between the artist and the discovery.
( 3/13 )
Gabriela Albergaria
HAN
performance/trench between Eucalyptus and the building, 2003
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
Making of HAN
( 4/13 )
Gabriela Albergaria
HAN
performance/trench between Eucalyptus and the building, 2003
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
Making of HAN
( 5/13 )
Gabriela Albergaria
DISGUISE
performance in the Garden, 2003
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
Concrete slates, wood(strips that define the slates’ edges),
burgau (a type of sand used for drainage), thermal wrap (to
help the grass transplant), soil (sand, vegetable soil and peat),
prairie grass (festuca ovina duriuscula), camomile (anthemis
nobilis), water, sun and time.
( 6/13)
Gabriela Albergaria
DISGUISE
performance in the Garden, 2003
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
On each one of the slates are placed successive layers of
sand used for drainage, thermal wrap, soil, seeds, on a
carefully planned amount allowing the growing of the
prairie grass during the exibition and its use later on the
refurbished areas of the Park, where this type of grass
has been recently adopted.
( 7/13 )
Gabriela Albergaria
DISGUISE
performance in the Garden, 2003
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
Making of DISGUISE
( 8/13 )
Gabriela Albergaria
MODEL of “The Garden”, 2003
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
Wood, mdf, bubble wrap, coconut fibre, dried plants, lichen, cotton
string
( 9/13 )
Gabriela Albergaria
MODEL of “The Garden”, 2003
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
On a wooden table (w: 2 x 4 m, h: 1,3 m) is placed a
model of a garden built with natural materials (vegetable elements) collected in the Gulbenkian garden. With
this imaginary reconstruction, resulting of a process
of knowledge and invention, the artist summons her
perceptive and physical experiences of the garden, her
memories and sensations of the place.
( 10/13 )
Gabriela Albergaria
MODEL of “The Garden”, 2003
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
Making of and close-ups
MODEL of The Garden
( 11/13 )
Gabriela Albergaria
LADDER, 2003
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
Wood, screws
( 12/13 )
Gabriela Albergaria
LADDER, 2003
Calouste Gulbenkian Foundation
Lisbon, Portugal, 2003-04
Wood ladder built according to a meticulous system
of fittings and screws, which is a solid work of
woodcraft that gives the illusion of direct passage to
the exterior.
( 13/13 )