As a space for the promotion and activation of artistic and cultural practices, TRAMA, ESTÚDIO DE ARTES IMPRESSAS has developed an artist residency programme entitled MONTRA. This is an exhibition space in which small-scale curatorial projects will be presented on a quarterly basis, showcasing work developed by artists at Trama.
Each Montra project is organised by Trama, while the curatorship may be undertaken either by Trama itself or by invited individuals or organisations, who will work in collaboration with each selected artist. For each opening, a gallery sheet about the project and the artist will be produced, and other events may also take place, such as talks, presentations, publication launches, among others. Each opening also marks the beginning of the development and production process for the following Montra. In this way, each project will have three months for development and three months for exhibition. The space dedicated to Montra within the studio comprises the entire entrance area; however, it is not limited to this space and may extend beyond it to occupy any other area of the studio.
MONTRA N.º0 – Deixo-vos algo que não vos é Destinado porque nada Entendereis
The present MONTRA No. 0, entitled I Leave You Something That Is Not Intended for You Because You Will Understand Nothing, will remain on view until 1 April 2025. It stems from a screen-printing exercise carried out by Guilherme Pontes, Rita Cachão and Tiago de Sá, which appropriates a work by Pedro Cabrita Reis entitled Project for a Screen-Printing Installation. This work consists of a set of instructions for the production of a screen-printing installation. Following these instructions, we present the final result in the form of small paper prints, whose overall composition follows the interlacing structure that guides the Trama symbol.
We further expanded the project through an exploration of the premise phrase present in Pedro Cabrita Reis’s work, which also serves as the title of this MONTRA No. 0, by means of the selection of various objects. This selection points to the associations each of us established between the screen-printing project, the premise phrase, and Trama’s own developmental trajectory — perhaps in the course of a transatlantic crossing.
