"They really came here, inhabited the caves as an exceptional colony and we can suspect that the caves, as shelters, remained occupied for a long time. The marks they left are a witness of their experience. They are doodles of human figures, not like they knew them, but like they anticipated when they left: a new human species, monstrous, with bodies that looked more like disjointed fragments, badly glued together, and shapeless heads, as if pierced by radioactive winds." Isabel Carvalho in The Grottos Community... new findings, June 2022.
Isabel Carvalho's intervention consists of a fictional text, written partly from real events that took place in Portugal, between 1961 and 1993, once unrelatable, which will be read on the opening day, and a sculpture that evocates the trail left by the imaginary of an apocalyptic community that would have inhabited the center of the country. Both pieces are new layers of meaning that add to those already inscribed, by the community of artists gathered around this project, and complete a political perspective to the temporal arc that has been developed, crossing speculative reflections on Palaeolithic art and pressing issues of contemporary culture.
Isabel Carvalho's intervention consists of a fictional text, written partly from real events that took place in Portugal, between 1961 and 1993, once unrelatable, which will be read on the opening day, and a sculpture that evocates the trail left by the imaginary of an apocalyptic community that would have inhabited the center of the country. Both pieces are new layers of meaning that add to those already inscribed, by the community of artists gathered around this project, and complete a political perspective to the temporal arc that has been developed, crossing speculative reflections on Palaeolithic art and pressing issues of contemporary culture.
2022