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Best Guess

Pedrita_BestGuess_UnderDogs_1 Há já algum tempo que os Pedrita andavam a ameaçar uma coisa tão espectacular, como a que se adivinha na Underdogs.
O trabalho a que nos têm habituado com os azulejos da Cortiço e Netos já revelava a sua apetência pela reciclagem de um gosto que associamos a um folclore urbano (mau gosto?), mas também pela preciosidade de cada pormenor de cada peça sua.
Mas do que se fala aqui é precisamente do contrário: cada pormenor de cada azulejo, quer seja um relevo quer seja um decalque ou estampado, é esbatido e transformado num enorme pixel que comporá uma imagem colossal, como aconteceu com o Pato Mudo (2012), instalado com um impacto visual e urbano espectaculares para a Travessa da Ermida.
Pelo que nos revelam haverá muitas caras para adivinhar.
Inaugura hoje na Underdogs às 19h.
(imagens: da montagem do projecto Best Guess for This Image do atelier Pedrita)
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We have bee waiting for some time now that the Pedrita studio would present us such a spectacular thing, as we can guess now at the Underdogs gallery.
Their work with the tiles of the Cortiço e Netos, to which we are accustomed, already showed their disposition to recycle a taste that we associate with a portuguese urban folklore (bad taste?), but also showed the preciousness of every detail of each of their pieces.
But what is spoken here is precisely the opposite: every detail of each tile, whether it be a relief or a decal, is blured and turned into a huge pixel that will make a colossal image, as with their work Pato Mudo (2012), installed with a visual and spectacular urban impact for Travessa da Ermida art project in Lisbon.
From what we have seen, there will be many faces to guess today.
Opens today at to 7PM at the Underdogs gallery.
(photos: from the assembly of the project Best Guess for This Image by Pedrita studio)

Pedrita_BestGuess_UnderDogs_2 Pedrita_BestGuess_UnderDogs_3 Pedrita_BestGuess_UnderDogs_4 Pedrita_BestGuess_UnderDogs_5

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This entry was posted on May 29, 2015 by in Arte, Design, Exposições and tagged , .
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