the thread is so tiny, that the eye, though armed with a magnifying glass, suspects it, rather than see it II (2013). Agba wood, nylon thread. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
the thread is so tiny, that the eye, though armed with a magnifying glass, suspects it, rather than see it II (2013). Agba wood, nylon thread. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
the thread is so tiny, that the eye, though armed with a magnifying glass, suspects it, rather than see it II (2013). Agba wood, nylon thread. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
the thread is so tiny, that the eye, though armed with a magnifying glass, suspects it, rather than see it II (2013). Agba wood, nylon thread. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
the thread is so tiny, that the eye, though armed with a magnifying glass, suspects it, rather than see it II (2013). Agba wood, nylon thread. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
the thread is so tiny, that the eye, though armed with a magnifying glass, suspects it, rather than see it II (2013). Agba wood, nylon thread. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
floor I (2011/2013). Elastic gilded string, brass nails. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
floor I (2011/2013). Elastic gilded string, brass nails. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
Exhibition view with the thread is so tiny, that the eye, though armed with a magnifying glass, suspects it, rather than see it (2013) and floor I (2011/2013).. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
the thread is so tiny, that the eye, though armed with a magnifying glass, suspects it, rather than see it II (2013). Agba wood, nylon thread. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
the thread is so tiny, that the eye, though armed with a magnifying glass, suspects it, rather than see it II (2013). Agba wood, nylon thread. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
a linha é tão fina que o olho apesar de armado com uma lupa, imagina-a ao invés de vê-la II (2013). Installation view. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
floor I (2011/2013). Elastic gilded string, brass nails. Courtesy of the artist and Isabella Bortolozzi Gallery. Photo: Bruno Lopes
Leonor Antunes: a linha é tão fina que o olho, apesar de armado com uma lupa, imagina-a ao invés de vê-la
Kunsthalle Lissabon presents a linha é tão fina que o olho, apesar de armado com uma lupa, imagina-a ao invés de vê-la, Leonor Antunes's most recent solo exhibition. Over the years, Antunes's practice has been resorting more and more to the detailed observation of the exhibition spaces in which it exists, or of the contexts in which it develops from. Precise measurements and the duplication of existing structures thus become central elements of an artistic strategy that even though traceable back to a minimalist and conceptual heritage, depends tremendously on traditional knowledge to be executed. Fishing nets, leather and hardwoods are recurring materials of an already extensive sculptural body of work, which will now be on view in Lisbon, in an exhibition featuring new work developed specifically for Kunsthalle Lissabon's space.
Leonor Antunes was born in Lisbon in 1972. She currently lives and works in Berlin. A selection of her recent solo shows includes: assembled, moved, re-arranged and scrapped continuously, Marc Foxx, Los Angeles (2012); discrepancies with M.G., Museo El Eco, Mexico City (2011); walk around there. look through here, Museo Reina Sofia, Madrid (2011); Villa, Serralves Museum, Porto (2011); Kunstverein Dusseldorf (2011); Musee d’Art Moderne de la Ville de Paris (2011); ALONGSIDE (with Amalia Pica), MARC FOXX, Los Angeles (2010); Villa A. 7813, Chiado 8, Lisbon (2008); Architectura, Museu da Republica, Galeria do Lago, Rio de Janeiro (2008); 1763/2008, Galerie Isabella Bortolozzi, Berlin (2008); original is full of doubts, Credac, Centre d’Art Ivry, Paris (2008); Dwelling Place, Associazione Barriera, Turino (2007); The space of the window, Galerie Air de Paris, Paris, France (2007); Uncertainty and delight in the unknown, Dicksmith Gallery, London (2007); Your private sky, Isabella Bortolozzi Galerie, Berlin (2006); Duplicate, Kunstlerhaus Bethanien, Berlin (2005); Apotoméus, Casa da Cerca, Almada (2004); Fichet, Culturgest, Porto (2003); Ante-sala, Museu Nacional de Arte Antiga, Lisbon (2002). A selection of groups shows featuring her work includes: A FORM IS SIMPLY SOMETHING WHICH…, Murray Guy, New York, (2011); Singapore Biennial (2011); the language of less (then & now); Chicago Museum of Contemporary Art (2011); Kunsteverein Munchen (2010); CAPC, Bordeaux (2010); Rehabilitation, Wiels Contemporary Art Center, Brussels, (2010); Centro Cultural Montehermoso, Victoria Gasteiz (2010); Drawing Sculpture, Daimler Contemporary, Berlin, (2009), Acquisitions Récentes, Musée d'Art moderne de la Ville de Paris (2007); Oú? Scènes du Sud: Espagne, Italie, Portugal, Carré d’Art, Musee d’Art Contemporain, Nimes (2007).
Kunsthalle Lissabon is supported by Secretaria de Estado da Cultura/Direção Geral das Artes (DGArtes), Teixeira de Freitas, Rodrigues e Associados. and the Calouste Gulbenkian Foundation. The exhibition a linha é tão fina que o olho, apesar de armado com uma lupa, imagina-a ao invés de vê-la is an associated event of Close Closer, the 3rd edition of the Lisbon Architecture Triennale.