Guilherme de Sousa (Viana do Castelo, 1994) & Pedro Azevedo (Porto, 1996) met in 2014 and have been collaborating professionally since 2016. His activity intersects the visual and performing arts, developing a special interest in theater, dance and installation. On the way there are “It takes two to Tango”, “VANISH”, a project that won the Campo de Batalha scholarship, promoted by the Porto Municipal Theater, and “Horto - A way that comes from touch”, winner of the 3rd edition of the Happy Together scholarship, promoted by Mala Voadora in partnership with the Porto City Council / Forum of the Future. They are currently Young Associated Artists of the Municipal Theater of Porto, for the seasons 2019/20 and 2020/2021.
Carlos Arteiro, Guilherme de Sousa, and Pedro Azevedo are the three artists who participated in the No Entulho residency program by Artworks, and all three are interested in the concept of conscientiousness. The result of their collaboration is now jointly presented in Porto, at Mala Voadora, under the title "Disguise, Disguise."
The work of the duo Guilherme de Sousa/Pedro Azevedo often resides in a territory between performing arts and visual arts: narratives composed of movement and imagery without the intrusion of text, characterized by refinement and a chromatic sense reminiscent of Matisse's cutouts. This work seems rooted in something pre-political: tenderness.
In "Disguise, Disguise," they return to interactive devices with the audience (as seen in "Popper Non Popper" in 2015 or "Horto" in 2017, premiered at Mala Voadora), considering this time the circumstance of producing for an exhibition or, more broadly, thinking from the idea of a "museum." They propose a work with two components. (1) Upon entering a cube with mirrored interiors, the audience is confronted with their own image. This work aligns with the minimalist tradition of interaction between the artwork and its context or observer, echoing works from the 1960s like Robert Morris's mirrored cubes or the perceptual effects of Dan Graham's rooms. It's a scenography for the protagonism of the viewer, facing the discomfort of seeing oneself and the physical constraints caused by the floor. (2) In a performative intervention, the exhibition's audience is also confronted with their own reflection, not literally but through the observation of the behavior of other audience members, providing a social mirror. In either case, these are devices for the audience to confront themselves – tools for the audience to become aware of themselves as part of the "public."
collaboration with Carlos Arteiro partnership with Mala Voadoraresources: glass, limalha de aluminium formato: residência ciclo programático 02 fotografia e vídeo: Bruno Lança
