OLIVEIRA MARCO / Nº7

Noc Noc

2018 - Guimarães
  

Seven unpublished charcoal drawings on paper, 70x100cm, in poster format.

A drawing series dedicated to the theme of Magical Practices – Witches, healers, fears, religion and paganism.

They were made from narratives created by the author himself, starting from reports of the Holy Inquisition visits to Coimbra (Portugal) region between 1650-1740.

All drawings were photographed and documented step by step, as if it were an animated story. About 9800 photographs of work progress were collected.

Layer after layer, each narrative gains body and crystallizes in the last frame.

OLIVEIRA MARCO / SKATOMIZE

São Domingos Sávio, Padroeiro dos Jovens

2017 - Barcelos
 

Participation in the “SKATOMIZE” collective exhibition associated with the “Milhões de Festa 2017″ music festival, which was held from July 19 to 23 at the Wine House – Barcelos, promoted by the Kate Skate Shop in Porto.

OLIVEIRA MARCO

Eat Popcorn/Drink Coke

No 3º Congresso da Ordem dos Psicólogos Portugueses, de 28 a 1 de Outubro.   

Triptych painting open to the public based on the experience of introducing subliminal messages carried out by advertising and marketing expert James Vicary in 1957.

The original experiment, conducted in a New Jersey theater, consisted in projecting images at such a rate that they would be below the conscious perceptual limit of the viewer. The phrases “Hungry? Eat Popcorn “and” Drink Coca-Cola “were projected during the film, allegedly increasing sales of Coca-Cola and popcorn in the movies. The news of the experience led the general public to believe that there were hidden messages everywhere. Once the fear settled, it was not long before food packages, tobacco packs and music played back were suspected of introducing subliminal messages.

Vicary later denied the experience, stating that the results were never sufficient for any conclusion. It was a publicity stunt.
With scientific truth or not, this experience is part of a popular culture, which can be integrated into the context of painting.

The message and the written word are resources in Oliveira Marco’s painting. This is an exercise that tests the limits of perception. That disperses and concentrates. It is a job for the most concentrated and the most dispersed.

It is a tribute to the spectacularity of the original experience and the collective imagination that it created.

OLIVEIRA MARCO / THE PARTY

At Galeria PATCH, Rua do Rosário, 193. Porto.
From July 20 to August 31, 2015.
At Biblioteca Municipal de Santa Maria da Feira
From February 6 to March 31, 2016.

Continues its path through the Portuguese cultural ideBom dia, ntity without compunction. This time shows by way of nostalgia his own Party.

Here the style moves away from the holy and the profane so that they can go hand in hand.

March the priest in the festive procession, heights and laughs a blessed drunk, ready to punch. Refreshments are drunk and the false gods are worshiped.

Stories are told that everyone knows but nobody wants to talk about and there follows the litter.

Already in the churchyard were 40.

In black and white or blue and red and even black, white, red and blue is clear that every corner has it’s Holy Spirit and it is agreed that the devil finds with the rattle.

And now the insults.

“The Party” is a singular vision of being popular in poster format, to be consumed in times of summer dances. There are 12 canvas and a panel built by wooden modules painted in acrylic.

Arre compadre!

OLIVEIRA MARCO / 70×100

At former Butchershop 16 in Bolhão Market.

From December 20, 2013 to Jan 2014.

 

Well, Marco grew up in Pedrouços, in the outskirts of Porto, got into music and ended up playing organ. He experimented with design, practiced the art of to do and to undo with posters and others as such. He embedded himself with screen printing and eventually made his mark. Lived in Rio de Janeiro, where he worked and learned amongst Parque Lage’s palm trees. Found himself painting. Returned to Porto and that’s it. Now he exhibits at a former butcher shop in Bolhão, or was he not the son of a former tenant and this, his wandering childhood place. It is somewhat a manifesto.

Not oblivious to style, and definitely, not oblivious of style.

Therefore, when we see an old man, a dog or a motorcycle;

Palm trees, a walking feet or a staring ox;

A police car, a bad word or a dignified chicken, it is probably that. Does it seem too little?

If some remind us of Pedrouços, others take us on a cramped stroll to Humaitá in Rio, all of them washed down with a very homely version of what is it to be popular. It is simple.

If asked about the soundtrack for these works, he possibly would recommend others to look for answers. But the fact is that the works were not made from scratch.

Revolving still resilient of its musical wanderings, a very old and much Portuguese sound; the psychedelic novelty of the eccentric William Onyeabor; the swing of master Milton Banana with his glance at “Sadness”, and even Ed Lincoln with “Goose” and all those damn names.

A movie? Naturally would suggest one which all had enjoyed, within easy reach at any movie theatre with intermission. Told me he liked the B series and that he believed in Carpenter, but he knows more than that. “Assault on the Pay Train” (Brazil, 1962) had a good title and “8 1/2″ (Italy, 1963) appeared with a unique atmosphere but did not influence him.

He likes what’s good and that’s all.

Oblivious of intellectualisms because in short, he does not have the slightest chance, nonetheless paints with the attitude of someone who does not care.

They are seventy by hundred centimetres with all crap aside.

Was it recording?