Maria Trabulo

February 2019

Born in 1989, Porto, Portugal


Education

MA in Art&Science w/ Prof. Virgil Widrich, Universität für angewandte Kunst Wien

BA Guest Student Sculpture&Space w/ Prof. Hans Schabus, Universität für angewandte Kunst Wien

MA Philosophy (attended), FLUP Faculty of the Arts University of Oporto

BA Fine Arts – Painting, FBAUP Faculty of Fine Arts University of Oporto

BA Erasmus Mundus, Listaháskóli Íslands – Iceland Academy of the Arts, Reykjavík


Recent Activities

2018 Almost Blue, curated by Pedro Faro, Galeria Boavista – EGEAC, Lisbon – Upcoming

2018 86º Aniversário Rivoli Teatro Municipal, Porto

2018 A Sexta Parte do Mundo, curated by Sandra Vieira Jürgens, Museu do Neo-Realismo, Vila Franca de Xira

2017 Almost Blue, curated by Ingeborg Erhart, Tiroler Künstlerschaft – Neue Galerie, Innsbruck

2017 Set in Stone, curated by Fernando Mesquita and Lia Karl, Schneiderei, Vienna

2017 Tension & Conflict. Video Art after 2008, curated by Luísa Santos and Pedro Gadanho, MAAT, Lisbon


Awards

2017 Campo de Batalha – Grant for Artistic and Cultural Production – Rivoli Teatro Municipal Porto

2017 Criatório – Grant for Artistic and Cultural Production – Oporto City

2017 Triangle Workshop Grant – Hangar Artistic Investigation Center, Lisbon

TITLE: The Reinvention of Forgetting

Sand drawings casted on aluminum, sand, video-projection

2019

At a time when remembering appears to be the norm and forgetting the exception, can we even forget?

The Reinvention of Forgetting consists of an ongoing artistic research since three years, that examines the possibility of humans having lost their capacity to forget as a cause of the tools for reproduction, data collection and information sharing that the digital and technological revolution have enabled. It analysis the work of art‘s archeological virtue in preserving and historicising memory for posterity, and the role of contemporary art in restituting cultural heritage that was lost, is missing, or away from sight. This artistic project exemplifies and takes advantage of the limits of our contemporary technology and the limited possibilities of human memory, while challenging our current reliance on digital files that has extended to museums, archaeology and preservation practices.

 

The works produced during this residency, form the beginning of a new chapter in this project. During her stay in Iran, Maria collected various verbal accounts, gathered in Iran, among artists, curators, historians and archaeologists, describing artifacts and artworks that were lost or destroyed from national collections, across time for various reasons,  but remain very present in people’s minds as symbols of Iranian and Persian culture. The words and drawings utilized to describe the lost pieces have inspired the production of these new works.

 

The pieces in metal, form an alphabet or code to the descriptions and accounts that Maria Trabulo collected among people in her trip across Iran, the shapes of each piece in metal, corresponding to drawings they made to better explain and describe their memories of the lost artifacts. The drawings were made on sand, and then metal was poured on them, to grasp that moment and shape the memory.

 

In the video piece, footage of Persepolis and the national museum, collected by the artist in Iran, is mixed with the images of a local artisan preparing the sand casts and drawing the shapes on them, translating the memories of the people onto metal pieces that can endure through time. The artisan becomes the archeologist, and the metal sculptures become the proof of people’s memory to resist memory across time.