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Read/ing at Quetzal Art Center

Vidigueira  |  Portugal  | 

Read/ing at Quetzal Art Center

At the multi-purpose Portuguese winery destination, Quinta do Quetzal, the current exhibition “Read/ing” in the Art Center with thanks to the Collection de Bruin-Heijn, opened mid this year and extends until the end of March 2021.

Read/ing is curated by Aveline de Bruin (daughter of the Dutch collectors) in conversation with Maxine Kopsa.

What happens when we read? We dissolve. When the book ‘works’, when the writing demands the reader’s courtesy, when the story is riveting (and most often for selfish reasons), we dissolve into the narrative. We see it and not the words on the page anymore. Like magic. We ingest it and then reflect on it, adding to it our own memories, other people’s stories, gossip, the news. We become what we read and in turn tell the story.

The exhibition Read/ing is a personal, intuitive, sometimes psychological, sometimes political exploration of what reading can mean. It grew out of a conversation.

With works by Yael Bartana, Rosella Biscotti, John Coplans, Koenraad Dedobbeleer, Edith Dekyndt, Jana Euler, Ryan Gander, Dora Garcia, Lothar Hempel, Dana Hoey, Roni Horn, Sarah Jones, Mike Kelley, Július Koller, Germaine Kruip, René Magritte, Paul McCarthy, Christian Megert, Jonathan Monk, Matt Mullican, Navid Nuur, Wilfredo Prieto, Margareth Salmon, Bojan Šarčević,  Hannah Starkey, Thomas Struth, Alina Szapocznikow, Wolfgang Tillmans, Ana Torfs, Lidwien van de Ven and Francisco Tropa. The special commissioned wall piece by Nora Turato is postponed until further notice due to COVID-19.

The exhibition Read/ing is made with works from the Collection de Bruin-Heijn. The following images show selected artwork reproductions, as well as installation views at the Quetzal Art Center. For a complete art viewing experience on location, the vineyard and restaurant can also be indulged. This estate lies in the hills of Vidigueira, which is close to the oldest known Roman winery in Portugal and Spain.

The Collection de Bruin-Heijn is presented further on IC, with the 2019 Online Exhibitions Drawing Africa on the Map and Cave Myths (Endless Spelunking).

Installation view / ALINA SZAPOCZNIKOW, Photosculptures, 1971-2007; RYAN GANDER, Christmas according to [...], 2008; BOJAN ŠARČEVIĆ, Form of Boredom advertised as Poetry, 2010. Photo: Bruno Lopes
Installation view / ALINA SZAPOCZNIKOW, Photosculptures, 1971-2007; RYAN GANDER, Christmas according to [...], 2008; BOJAN ŠARČEVIĆ, Form of Boredom advertised as Poetry, 2010. Photo: Bruno Lopes
Installation view / RYAN GANDER, Christmas according to [...], 2008; ALINA SZAPOCZNIKOW, Photosculptures, 1971-2007. Photo: Bruno Lopes
Installation view / RYAN GANDER, Christmas according to [...], 2008; ALINA SZAPOCZNIKOW, Photosculptures, 1971-2007. Photo: Bruno Lopes
Installation view / WOLFGANG TILLMANS, New York installation PCR, 533 NE, 2015; RYAN GANDER, A sheet of paper on which I was about to draw, as it slipped from my table and fell to the floor, 2008. Photo: Bruno Lopes
Installation view / WOLFGANG TILLMANS, New York installation PCR, 533 NE, 2015; RYAN GANDER, A sheet of paper on which I was about to draw, as it slipped from my table and fell to the floor, 2008. Photo: Bruno Lopes
Installation view / WOLFGANG TILLMANS, New York installation PCR, 533 NE, 2015; RYAN GANDER, A sheet of paper on which I was about to draw, as it slipped from my table and fell to the floor, 2008. Photo: Bruno Lopes
Installation view / WOLFGANG TILLMANS, New York installation PCR, 533 NE, 2015; RYAN GANDER, A sheet of paper on which I was about to draw, as it slipped from my table and fell to the floor, 2008. Photo: Bruno Lopes
Installation view / WOLFGANG TILLMANS, New York installation PCR, 533 NE, 2015; RYAN GANDER, A sheet of paper on which I was about to draw, as it slipped from my table and fell to the floor, 2008. Photo: Bruno Lopes
Installation view / WOLFGANG TILLMANS, New York installation PCR, 533 NE, 2015; RYAN GANDER, A sheet of paper on which I was about to draw, as it slipped from my table and fell to the floor, 2008. Photo: Bruno Lopes
Installation view / RYAN GANDER, A sheet of paper on which I was about to draw, as it slipped from my table and fell to the floor, 2008; Wolfgang Tillmans, After party (c), 2002. Photo: Bruno Lopes
Installation view / RYAN GANDER, A sheet of paper on which I was about to draw, as it slipped from my table and fell to the floor, 2008; Wolfgang Tillmans, After party (c), 2002. Photo: Bruno Lopes
WOLFGANG TILLMANS, After party (c), 2002
WOLFGANG TILLMANS, After party (c), 2002
Installation view / JONATHAN MONK, Proposal, 2008; RONI HORN, HER, HER, HER (8), 2002; RYAN GANDER, Christmas according to (…), 2008. Photo: Bruno Lopes
Installation view / JONATHAN MONK, Proposal, 2008; RONI HORN, HER, HER, HER (8), 2002; RYAN GANDER, Christmas according to (…), 2008. Photo: Bruno Lopes
RONI HORN, HER, HER, HER (8), 2002
RONI HORN, HER, HER, HER (8), 2002
Installation view / RYAN GANDER, ‘Christmas according to (…)’, 2008; Roni Horn, HER, HER, HER (8), 2002; collage wall with works of KOENRAAD DEDOBBELEER, CHRISTIAAN MEGERT, JÚLIUS KOLLER, JANA EULER, LIDWIEN VAN DE VEN, RENÉ MAGRITTE, ANA TORFS. Photo: Bruno Lopes
Installation view / RYAN GANDER, ‘Christmas according to (…)’, 2008; Roni Horn, HER, HER, HER (8), 2002; collage wall with works of KOENRAAD DEDOBBELEER, CHRISTIAAN MEGERT, JÚLIUS KOLLER, JANA EULER, LIDWIEN VAN DE VEN, RENÉ MAGRITTE, ANA TORFS. Photo: Bruno Lopes
Installation view / RYAN GANDER, ‘Christmas according to (…)’, 2008 (detail); collage wall with works of JANA EULER, LIDWIEN VAN DE VEN, RENÉ MAGRITTE, ANA TORFS. Photo: Bruno Lopes
Installation view / RYAN GANDER, ‘Christmas according to (…)’, 2008 (detail); collage wall with works of JANA EULER, LIDWIEN VAN DE VEN, RENÉ MAGRITTE, ANA TORFS. Photo: Bruno Lopes
Installation view / RYAN GANDER, Christmas according to (…), 2008; RONI HORN, HER, HER, HER (8), 2002; JONATHAN MONK, Model for a Giant Mirrored Balloon, 2008; DANA HOEY, Pregnant Smoker, 2002. Photo: Bruno Lopes
Installation view / RYAN GANDER, Christmas according to (…), 2008; RONI HORN, HER, HER, HER (8), 2002; JONATHAN MONK, Model for a Giant Mirrored Balloon, 2008; DANA HOEY, Pregnant Smoker, 2002. Photo: Bruno Lopes
ANA TORFS, ‘Retour aux sources’, 2003. Photo: Courtesy WIELS Contemporary Art Centre, Brussels
ANA TORFS, ‘Retour aux sources’, 2003. Photo: Courtesy WIELS Contemporary Art Centre, Brussels
MATT MULLICAN, Untitled (fictional details), 2008
MATT MULLICAN, Untitled (fictional details), 2008
Installation view / MATT MULLICAN, Untitled (fictional details), 2008; JONATHAN MONK, Model for a Giant Mirrored Balloon, 2008; LOTHAR HEMPEL, Laissez Faire, 2005; DANA HOEY, Pregnant Smoker, 2002 and Folksinger, 2002. Photo: Bruno Lopes
Installation view / MATT MULLICAN, Untitled (fictional details), 2008; JONATHAN MONK, Model for a Giant Mirrored Balloon, 2008; LOTHAR HEMPEL, Laissez Faire, 2005; DANA HOEY, Pregnant Smoker, 2002 and Folksinger, 2002. Photo: Bruno Lopes
DANA HOEY, Pregnant Smoker, 2002. Photo: Peter Cox
DANA HOEY, Pregnant Smoker, 2002. Photo: Peter Cox
Installation view / LOTHAR HEMPEL, Laissez Faire, 2005; SARAH JONES, Consulting Room Couch I, II and III, 1995; JONATHAN MONK, Model for a Giant Mirrored Balloon, 2008; HANNAH STARKEY, Untitled, 1997; DORA GARCIA, The Other Side, 1999. Photo: Bruno Lopes
Installation view / LOTHAR HEMPEL, Laissez Faire, 2005; SARAH JONES, Consulting Room Couch I, II and III, 1995; JONATHAN MONK, Model for a Giant Mirrored Balloon, 2008; HANNAH STARKEY, Untitled, 1997; DORA GARCIA, The Other Side, 1999. Photo: Bruno Lopes
Installation view / JONATHAN MONK, Model for a Giant Mirrored Balloon, 2008; HANNAH STARKEY, Untitled, 1997; DORA GARCIA, The Other Side, 1999; THOMAS STRUTH, The late Giles Robertson with book, 1987; Matt Mullican, Untitled (fictional details), 2008. Photo: Bruno Lopes
Installation view / JONATHAN MONK, Model for a Giant Mirrored Balloon, 2008; HANNAH STARKEY, Untitled, 1997; DORA GARCIA, The Other Side, 1999; THOMAS STRUTH, The late Giles Robertson with book, 1987; Matt Mullican, Untitled (fictional details), 2008. Photo: Bruno Lopes
Installation view / HANNAH STARKEY, Untitled, 1997; DORA GARCIA, The Other Side, 1999; Thomas Struth, The late Giles Robertson with book, 1987. Photo: Bruno Lopes
Installation view / HANNAH STARKEY, Untitled, 1997; DORA GARCIA, The Other Side, 1999; Thomas Struth, The late Giles Robertson with book, 1987. Photo: Bruno Lopes
DORA GARCIA, The Other Side, 1999. Photo: Bruno Lopes
DORA GARCIA, The Other Side, 1999. Photo: Bruno Lopes
FRANCISCO TROPA, Café, 2017. Photo: Bruno Lopes
FRANCISCO TROPA, Café, 2017. Photo: Bruno Lopes
Installation view / FRANCISCO TROPA, Café, 2017; YAEL BARTANA, Trembling Times, 2017. Photo: Bruno Lopes
Installation view / FRANCISCO TROPA, Café, 2017; YAEL BARTANA, Trembling Times, 2017. Photo: Bruno Lopes
YAEL BARTANA, Trembling Times, 2017
YAEL BARTANA, Trembling Times, 2017
Installation view / ROSALIND NASHASHIBI, ‘Vivian’s Garden’, 16 mm film, 2017. Photo: Bruno Lopes
Installation view / ROSALIND NASHASHIBI, ‘Vivian’s Garden’, 16 mm film, 2017. Photo: Bruno Lopes
ROSALIND NASHASHIBI, Vivian’s Garden, 16 mm film, 2017. Photo: Courtesy of Grimm Gallery
ROSALIND NASHASHIBI, Vivian’s Garden, 16 mm film, 2017. Photo: Courtesy of Grimm Gallery
ROSALIND NASHASHIBI, Vivian’s Garden, 16 mm film, 2017. Photo: Courtesy of Grimm Gallery
ROSALIND NASHASHIBI, Vivian’s Garden, 16 mm film, 2017. Photo: Courtesy of Grimm Gallery
ROSALIND NASHASHIBI, Vivian’s Garden, 16 mm film, 2017. Photo: Courtesy of Grimm Gallery
ROSALIND NASHASHIBI, Vivian’s Garden, 16 mm film, 2017. Photo: Courtesy of Grimm Gallery
ROSALIND NASHASHIBI, Vivian’s Garden, 16 mm film, 2017. Photo: Courtesy of Grimm Gallery
ROSALIND NASHASHIBI, Vivian’s Garden, 16 mm film, 2017. Photo: Courtesy of Grimm Gallery

The Quetzal Art Centre is featured in the Art Guide.