Ricardo Carvalho

Catalogue of the 16ª Bienal de Cerveira

admin — Wed, 07 Sep 2011 17:10:05 +0000

Finally got hold of a copy of the heavy (2kg) BC catalogue to find out they gave Avolition a double page spread! The text is a more extensive explanation of the concept behind the work than the text on this website. Text in Portuguese and English.

Types @ Museu Amadeu de Souza-Cardoso

admin — Wed, 07 Sep 2011 16:58:51 +0000

The photographic series Types has been short-isted for the Prémio Amadeu de Souza Cardoso and will be on display at the Museu Amadeu Souza Cardoso in Amarante, Portugal from October 22 to December 30.

Avolition @ the 16ª Bienal de Cerveira

admin — Thu, 07 Jul 2011 16:38:18 +0000

Avolition was selected to be part of the Bienal de Cerveira! It will live in Vila Nova de Cerveira from 16 July to 17 of September 2011.

Pierre Schaeffer Sound Art Prize 2010

admin — Sun, 19 Dec 2010 18:46:02 +0000

I am the recipient of the Pierre Schaeffer Sound Art Prize for my work Avolition. More information can be found here.

factory house

admin — Tue, 26 Oct 2010 18:27:41 +0000

My web and graphic design company is now up and running, offering bespoke services for artists, designers and creative companies.

Please visit factoryhouse.org for more details

Next Customer Bar at the NEM Summit – Barcelona

admin — Sun, 19 Sep 2010 10:56:18 +0000

I will be exhibiting Next Customer Bar at the NEM (Networked and Electronic Media) Summit in Barcelona 13 – 15 October 2010.

For more information about this event please visit the NEM summit website

Grey Area – Centre for Creative Collaboration

admin — Fri, 30 Jul 2010 16:24:21 +0000

Sarah Abu Bakr, Ric Carvalho and James Irwin, in partnership with the Centre for Creative Collaboration, London, invite you to Grey Area, an exhibition which re-thinks and re-mediates contemporary art practices in relation to new technologies. Jack Burnham (1970) predicted that our relationship with art in the Information Age would evolve from a ‘one-way’ process to a ‘two-way’ dialogue.* Taking this challenge as a starting point, the works exhibited within Grey Area operate in this dialogical space.

* Burnham, J. W. 1970, The Aesthetic of Intelligent Systems. In: E. F. Fry ed: On the Future of Art. New York: Viking Press, 1970. p.1.

You are warmly invited to the private view on Friday 17th September 2010 from 6 – 9 pm.
This exhibition is the graduating show of the MFA Computational Studio Arts, Goldsmiths, University of London.
It runs from the Saturday 18th September until Thursday 23rd September.

When:
10am – 6pm, Saturday 18th – Thursday 23rd September 2010

Where:
16 Acton Street, London. WC1X 9NG

How to get there:
Nearest tube: King’s Cross St. Pancras.
Buses 17, 45 & 46 drop off on Gray’s Inn Road near the end of Acton St.

RSVP to: info@greyareaexhibition.com

For more information please visit: www.greyareaexhibition.com

Index Array

admin — Tue, 30 Mar 2010 11:20:09 +0000

I standing for I, Identity and Index
The mapping of emergent subject surfaces.
Map of rhizomes.

My existence is irreconcileable with itself. Nothing in me is singular. I am many. “Man’s soul is entities (plural)” -Aristotle.

Does thought confer identity? Does interaction with the other confer identity? Perhaps the answer to these question depends on what “thought” and “interaction” mean? Thinking and interacting always belong to Being (as what makes it possible) but it does not always (indeed it hardly ever) correspond to Being. It is not always faithful to Being. When it is so faithful, “Being and thinking are the Same”. But it is never the case that thinking can be without Being, whereas Being can certainly be without thinking or interacting, though without being realized, i.e. without being “in truth”.

Making This Post Public, Is It Worth It?

admin — Tue, 09 Mar 2010 13:24:57 +0000

It seems to me necessary to mention, at this stage, that one of the main functions of this blog are for a personal access to what has become a very large database of ideas and sketches that I have accumulated over more than 4 years. Less than 2% is actually made public on this blog. With how my practice has developed over the last year it seems important to speak about this private function to a tool that seems to be primordially for a public expression of ideas and concerns, and of sharing. My decision to make most of my post private does not come from the fact of fear of my ideas being stolen but of in a very simple way further explore the sense of holding back and symultaneosly (or contradictory to its essense) showing signs of an interface. I feel to some extent that this hesitation, (could be seen as a counter sadomasocistic ritual described by Deleuze and Gautarri when reffering to “Body without organs” whipped into a formless and empty vessle to entice further desire and flow. My concern is mainly a concern over questions of perserving a discourse on subjectivity as such, and not a sense that I think I’m holding back something that I think is too good. This also does not mean that I defend on this conservative notion of sensing a threat on my privacy, or an abuse of my good will of becoming public, I’m not interested in that, I dont think. Other concerns might be linked with the fact that I write very badly, I’m all too aware of my dislexsia and my love for writting sentences with no verbs. Hopefully the quality of writting will increase the more I write and practice. Again this adds to the ideas and general fustration surrounding the lowering of the quality of communication due to the reputation that a “blog” has gained over the last years – exposing (and more and more often forcing) a wave of lazy and badly constructed english. But seeing this in a historical context this has always been an interesting phenomena to observe the fabrication of slang and new ways of writting and speaking. These changes in communication seems to be more and more dependent on the technological structures through which spoken or written word flows, from the telegraph, fax, email to the revolutionary text messaging. The blog is simply another one of those technologies that shapes language into new representations…. But yet, going back to my initial idea: Its more a question of discussing what it means to be who I am, how does that change when someone decides to go the whole mile and do their best to throw up everything they can think of (or not think of)? Are they more themselves than I am myself? Who defines that, where and when are these validations going on?
I’m am in pursuit of a subtle challenge, or intervention, on the actual nature of this system and question its social function(s). To turn its skin around, and to redefine the space of its insertion.
I find it interesting that what lies between me and the world is a lousy (hardly visible) button on my wordpress dashboard that changes posts from private to public with one (unconscious) click. Yes, we could associate this with something like Doctor Strange Love and the whole activity and intellectual production of humankind being boiled down to the decision of pressing the button and destroy the entire planet…or not.

Emma Heddith, for example, is an artist I had the priviledge to meet during my stay at the Wysing Artrs Centre in early February 2010. Her works seems to master this space of hesitation before appearing, with a delicate but precise tone and criticality.
Click here to view some of her interventions, or maybe better described as pre-interventions: http://www.overidentification.blogspot.com/
The title of this blog comes actually from one of her projects called ‘Coming To Have a Public Life, Is It Worth It?’ at ‘Art Now Live’, Tate Britain, London (2007)

The day there was no news

ric — Thu, 28 May 2009 21:27:10 +0000

This was one of my inspirations for making the piece Loading.