PINTURA CONTEMPORÂNEA DE MACAU澳門當代繪畫
This article analyses the exhibition Contemporary Painting of Macao, organized by the Macao Museum of Art and commented upon by the show's director-artist. Starting from the premise that contemporary Macao painting employs a qualitative language that dialogues with the city's collective memory, the...
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| Published in: | Review of Culture |
|---|---|
| Main Author: | |
| Format: | Articles |
| Published: |
Instituto Cultural de Macau
April 2004
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| Subjects: | |
| Online Access: | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40010/3861 |
| _version_ | 1877196271309029376 |
|---|---|
| author | António Conceição Júnior |
| author_autocomplete | António Conceição Júnior |
| author_browse | António Conceição Júnior |
| author_facet | António Conceição Júnior António Conceição Júnior |
| author_sort | António Conceição Júnior |
| container_title | Review of Culture |
| container_title_str | Review of Culture |
| container_volume | 10 |
| container_volume_str | 10 |
| description | This article analyses the exhibition Contemporary Painting of Macao, organized by the Macao Museum of Art and commented upon by the show's director-artist. Starting from the premise that contemporary Macao painting employs a qualitative language that dialogues with the city's collective memory, the text situates current production as a connecting thread between Macao's historical memories — from the city's entrepôt role in the encounter between the West and China in the seventeenth century, with missionaries such as Sambiasi and Castiglione — and today's artistic practices. The curatorial reading articulated in the essay emphasizes the idea of Macao as an archaeology of memories, a place of permanent communication between authors of different generations, beyond geographical borders. The analysis takes as reference works by artists present in the show, such as Konstantin Bessmertny, Exact time house; Mio Pang Fei, Palma; and the relationship between curatorial choices and the city's identity. The methodology combines critical-descriptive analysis of the works, historical contextualization of Macao, and reflection on the museological function of the exhibition, whose rotation of pieces reinforces the incomplete and evocative character of the Macanese collection. It concludes that the show is not merely a sample of the collection, but affirms Macao as a meeting point between West and East, memory and contemporaneity, opening perspectives for future readings of Macanese painting. |
| first_indexed | 2026-09-11T02:56:52Z |
| format | Articles |
| genre | Articles |
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| hierarchy_parent_id | zotero-coll-76L3BRGH |
| hierarchy_parent_title | Review of Culture |
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| issn | 1682-1106 |
| last_indexed | 2026-09-11T02:56:52Z |
| latest_content_date | 2026-09-11T02:56:52Z |
| publishDate | April 2004 |
| publishDateRange | 2004 |
| publishDateSort | 2004 |
| publishPlace | Macau |
| publisher | Instituto Cultural de Macau |
| publisherStr | Instituto Cultural de Macau |
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| spelling | PINTURA CONTEMPORÂNEA DE MACAU澳門當代繪畫 This article analyses the exhibition Contemporary Painting of Macao, organized by the Macao Museum of Art and commented upon by the show's director-artist. Starting from the premise that contemporary Macao painting employs a qualitative language that dialogues with the city's collective memory, the text situates current production as a connecting thread between Macao's historical memories — from the city's entrepôt role in the encounter between the West and China in the seventeenth century, with missionaries such as Sambiasi and Castiglione — and today's artistic practices. The curatorial reading articulated in the essay emphasizes the idea of Macao as an archaeology of memories, a place of permanent communication between authors of different generations, beyond geographical borders. The analysis takes as reference works by artists present in the show, such as Konstantin Bessmertny, Exact time house; Mio Pang Fei, Palma; and the relationship between curatorial choices and the city's identity. The methodology combines critical-descriptive analysis of the works, historical contextualization of Macao, and reflection on the museological function of the exhibition, whose rotation of pieces reinforces the incomplete and evocative character of the Macanese collection. It concludes that the show is not merely a sample of the collection, but affirms Macao as a meeting point between West and East, memory and contemporaneity, opening perspectives for future readings of Macanese painting. Instituto Cultural de Macau Macau Review of Culture Articles April 2004 António Conceição Júnior |
| spellingShingle | PINTURA CONTEMPORÂNEA DE MACAU澳門當代繪畫 António Conceição Júnior |
| title | PINTURA CONTEMPORÂNEA DE MACAU澳門當代繪畫 |
| title_autocomplete | PINTURA CONTEMPORÂNEA DE MACAU澳門當代繪畫 |
| title_full | PINTURA CONTEMPORÂNEA DE MACAU澳門當代繪畫 |
| title_fullStr | PINTURA CONTEMPORÂNEA DE MACAU澳門當代繪畫 |
| title_full_unstemmed | PINTURA CONTEMPORÂNEA DE MACAU澳門當代繪畫 |
| title_short | PINTURA CONTEMPORÂNEA DE MACAU澳門當代繪畫 |
| title_sort | pintura contemporânea de macau澳門當代繪畫 |
| url | https://www.icm.gov.mo/rc/viewer/pdfViewerParts/40010/3861 |
| zotero_collection_key | 76L3BRGH |