para a construção do poema 50

Yayoi Kusama

Yayoi Kusama, Infinite Obsession, 2011

Mitsuhashi Takajo

Egipto, jaspe amarelo, 1353-1336 a.c.

Ali o balão
insuflado de tristeza,
subindo no ar.

Mitsuhashi Takajo em O Japão no Feminino II, Haiku séculos XVII a XX,  trad.Luísa Freire

Kiripi Katembo (1979-2015)

Kiripi Katembo, Un Regard, 2011

Kiripi Katembo, Un Regard, 2011

Kiki e Uda

Kiki Smith, Nuit, 1992

Aves, ramos, pedras
todos vestidos de branco - 
tempo de partir?

Uda Kiyoko em O Japão no Feminino II, Haiku séculos XVII a XX,  trad.Luísa Freire

bronze romano

Miguel Branco

Miguel Branco, Untitled (Dog), 2015

Mitsuhashi Takajo

CT, 2000



















A mulher de pé
sozinha, pronta a avançar 
pela Via Láctea.

Mitsuhashi Takajo em O Japão no Feminino II, Haiku séculos XVII a XX,  trad.Luísa Freire

Uda Kiyoko

CT, 1998




















Metade do corpo 
num sonho; a outra metade
dentro da neve.

Uda Kiyoko em O Japão no Feminino II, Haiku séculos XVII a XX,  trad.Luísa Freire

book

CT, book, 2016

I am certain of nothing but of the holiness of the Heart’s affections and the truth of imagination.

John Keats

letter

CT, letter, 2016

word

CT, word, 2016

CT, word, 2016

Joan Mitchell

Joan Mitchell

Joan Mitchell

Joan Mitchell, 1961

Joan Mitchell, Untitled, 1964

Joan Mitchell

“Although there is no specific place, nature is more ‘really’ present than in most representational paintings. It is because of the ‘reality’ of the details. The details, shaped like brushstrokes, have committed shapes, and the colors have committed texture, hue, and substance. They are not muddy, which has nothing to do with the presence or absence of browns or grays, but with their being clearly what they are. Miss Mitchell has been attentive to outside nature and her inner experience, and she gives you something real.”

Fairfield Porter on Joan Mitchell. From Reality and the Museum, 1961.

Helene Schjerfbeck

Helene Schjerfbeck , School Girl in Black, 1908

Helene Schjerfbeck, My Mother, 1909

Katrien de Blauwer

Jack Spencer

Jack Spencer, West Texas Road, 2004

jean cocteau

é preciso é querer saber

Entrevista ao diretor do Museu do Aljube, por FMG

(tanto que há para descobrir dos que lutaram pela liberdade)

para a construção do poema 49

para a construção do poema 48