Rita Sobral Campos Work | Artist Statement & CV | Return to Artist List
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Artist Statement
In my work I utilize sculpture and writing to spin contemporary narratives and explore – through futuristic dystopian fiction and fantastical realms – models that defy traditional social roles and behaviors. My research ranges from philosophical discourses on reason and madness to contemporary journalism, from the great works of the history of literature to science fiction paperbacks, hoping that an amalgamate of references such as this can conjure a reversed universe - rooted in the relentless human desire for knowledge of the self but generative of a narrative of deviation.
The project "The Last Faust Myth in the History of Mankind"(2009–11) encompasses a screenplay in 23 plates, recounting the misadventures of a group individuals who have a very particular relationship with reality. The narrative brings together the 20th century writer Fernando Pessoa and his multiple alter egos; the great con-man Arthur Alves dos Reis, whose fabricated life nearly bankrupt the Portuguese state; the 15th century heroine Joan of Arc and Bandarra, a popular prophet from the 16th obsessed with the mystical 5th Empire. In this story, Mephistopheles sets out to corrupt each of the characters and, one by one his efforts are proven unsuccessful.
"X-Ray of the Plot" is a series of works based on a narrative that draws from a tradition of science fiction and cyberpunk literature to relate future wartime events. When reports concerning the disappearance of statues’ heads begin to emerge throughout the world, the reader is introduced to a previously unknown underground nation called "Nation" and "Mr. Leader," the initiator of this bellicose endeavor.
The two factions of this conflict embody a battle between sanity and madness, with the emergent "Nation" clamming the primacy of Unreason over Reason. Mr. Leader declares war on Sanity and sets out to prove it possible to live within a systemic unreason. This narrative is presented in a series of prints, where the three-dimensional structure of the plot is exposed in its various viewpoints; that is, much like an x-ray plate, the plot’s structure is analyzed from all angles. The project continues in a series of short films on this conflict. "Mr. Leader - A Documentary" tells the story of the obscure upbringings of Mr. Leader, his rise to power, ideology and his ultimate his demise.
Excerpt from "Mr. Leader: A Documentary," 16mm film, 5'35'', 2011
"M. Leader: A Patriotic Crook"
The myth was almost true but the real-life tale of Mr. Leader was even better, for those who approve of real life. Mr. Leader was a Bond-like character, shrewd, attractive but far from being a consistent figure. He was not considered a good scholar and, after spells in thought prisons, he was thrown out. He took up crime; at first smashing shop windows and grabbing what he could, and then learning the more profitable trade of academic mining.
Mr. Leader was one of the few remaining believers in the revolt of Matter against Man. His first mission: Defuse the myth of the reality gap and the pursuit of anti-cogitation. Mr. Leader rose to power by his mastery of systems analysis, the business of undermining sense — taking on an accepted solution, studying every facet, finding incongruence in the simplicity."
In my work I utilize sculpture and writing to spin contemporary narratives and explore – through futuristic dystopian fiction and fantastical realms – models that defy traditional social roles and behaviors. My research ranges from philosophical discourses on reason and madness to contemporary journalism, from the great works of the history of literature to science fiction paperbacks, hoping that an amalgamate of references such as this can conjure a reversed universe - rooted in the relentless human desire for knowledge of the self but generative of a narrative of deviation.
The project "The Last Faust Myth in the History of Mankind"(2009–11) encompasses a screenplay in 23 plates, recounting the misadventures of a group individuals who have a very particular relationship with reality. The narrative brings together the 20th century writer Fernando Pessoa and his multiple alter egos; the great con-man Arthur Alves dos Reis, whose fabricated life nearly bankrupt the Portuguese state; the 15th century heroine Joan of Arc and Bandarra, a popular prophet from the 16th obsessed with the mystical 5th Empire. In this story, Mephistopheles sets out to corrupt each of the characters and, one by one his efforts are proven unsuccessful.
"X-Ray of the Plot" is a series of works based on a narrative that draws from a tradition of science fiction and cyberpunk literature to relate future wartime events. When reports concerning the disappearance of statues’ heads begin to emerge throughout the world, the reader is introduced to a previously unknown underground nation called "Nation" and "Mr. Leader," the initiator of this bellicose endeavor.
The two factions of this conflict embody a battle between sanity and madness, with the emergent "Nation" clamming the primacy of Unreason over Reason. Mr. Leader declares war on Sanity and sets out to prove it possible to live within a systemic unreason. This narrative is presented in a series of prints, where the three-dimensional structure of the plot is exposed in its various viewpoints; that is, much like an x-ray plate, the plot’s structure is analyzed from all angles. The project continues in a series of short films on this conflict. "Mr. Leader - A Documentary" tells the story of the obscure upbringings of Mr. Leader, his rise to power, ideology and his ultimate his demise.
Excerpt from "Mr. Leader: A Documentary," 16mm film, 5'35'', 2011
"M. Leader: A Patriotic Crook"
The myth was almost true but the real-life tale of Mr. Leader was even better, for those who approve of real life. Mr. Leader was a Bond-like character, shrewd, attractive but far from being a consistent figure. He was not considered a good scholar and, after spells in thought prisons, he was thrown out. He took up crime; at first smashing shop windows and grabbing what he could, and then learning the more profitable trade of academic mining.
Mr. Leader was one of the few remaining believers in the revolt of Matter against Man. His first mission: Defuse the myth of the reality gap and the pursuit of anti-cogitation. Mr. Leader rose to power by his mastery of systems analysis, the business of undermining sense — taking on an accepted solution, studying every facet, finding incongruence in the simplicity."
CV
Rita Sobral Campos
Born in Lisbon, Portugal, 1982.
Lives and works in New York.
Education
2006
Master Degree in Fine Arts at School of Visual Art, New York
2004
Bachelor Degree in Art History and Film Studies, FSCH, Universidade Nova de Lisboa, Lisbon
Solo Shows
2011
GAGE, New York, NY (upcoming)
2009
Transporter, Pedro Oliveira Gallery, Porto
2008
Unclehead, in collaboration with Alexandre Singh, EDP Foundation, Lisbon
2006
The Archivist: Heterotopia, Pedro Oliveira Gallery, Porto
2005
Structural Schizophrenia ou quando a mentira se tornou verdade, Culturgest, Porto
Selected Group Shows
2011
The Mechanicals: 9 Plays for 9 Childs, Performa 11, New York (upcoming)
Short Stories, curated by Isla Leaver-Yap, Sculpture Center, New York
Things Political That Are Poetical, curated by Miguel Amado Museu do Chiado, Lisbon
Memory of a Hope, Ceri Hand Gallery, Liverpool
Dear Thick and Thin, ME Contenporary, Copenhagen
Modesty, curated by Stephan Schmidt-Wulffen, Backerstrasse 4, Vienna
2010
When your Lips are my Ears, our Bodies become Radios, collective performance organized by Jan Verwoert, Zentrum Paul Klee and Kunsthalle Bern, Bern
A Vernacular of Violence, Invisible-Exports, New York
2009
On Rituals of Homecoming, curated by Adam Budak, Lodz
E-flux video rental, Fundação Calouste Gulbenkian, Lisbon
2008
Emily Harvey Foundation, New York
18 presidentes, um palácio e outras coisas mais, curated by Miguel Amado, Belém Palace, Lisbon
Lá Fora, curated João Pinharanda, EDP Foundation, Lisbon
2007
O Debuxo nas Colección Públicas de Santiago, Centro Galego de Arte Contemporánea, Santiago Compostela
50 Years of Portuguese Art, Fundação Calouste Gulbenkian, Lisbon
2006
A Brighter Day, curated by Elise Goldberg, James Cohan Gallery, New York
A Delicate Arrangement, curated by Dan Cameron, David Zwirner Gallery, New York
Prime Time, Visual Arts Gallery, New York
Arquivar Tormentas, Centro Galego de Arte Contemporánea, Santiago Compostela
Dirty Words, Pedro Cera, Lisbon
Residencies
2011
Residency Suddenly, Beauchery-Saint-Martin, France
2010
Sommerakademie, Zentrum Paul Klee, Bern, Switzerland
Selected Bibliography
2010
Amado Miguel. “Rita Sobral Campos.” Artforum. (Jan 2010). [ill.]
Budak, Adam; Badiou, Alain et al. “Anabasis: Rituals of Homecoming.” [ill.]
Carlin, T.J. “A Vernacular of Violence.” Time Out New York (Jun 17 – 23, 2010). [ill.]
Coburn, Tyler. “A Vernacular of Violence.” Art Agenda. (Jun 12, 2010). [ill.]
Russeth, Andrew. “A Vernacular of Violence.” Artinfo. (May 13, 2010)
Truong, Hong-An. “Capital Offense?” ArtSlant. (Jun 2010). [ill.]
2009
Nunes, Leonor. “Rita Sobral Campos: Análise do Poder.” Jornal de Letras. (March, 2009). [ill.]
2008
Amado, Miguel. “Gutenberg’s Machine” 18 Presidentes, One Palace, and a Few Other Things. Palácio Belém. [ill.]
Amado, Miguel. “New York, New York” Portuguese Artists Abroad. Presidência da República / EDP Foundation. [ill.]:46 - 54
Pinharanda, João. “Unclehead.” EDP Foundation.
Pinharanda, João. “Rita Sobral Campos.” Portuguese Artists Abroad. Presidência da República / EDP Foundation. [ill.]:304-307
Sardo, Delfim. “O Real, Inventado.” Revista Única (September 2008). [ill.]:8
Sneed, Gillian. “Unclehead at Museu EDP.” NYarts [ill.]
2006
Amado, Miguel. “Rita Sobral Campos.” Exit Express [ill.]:24-25
Faria, Oscar. “Simultaneous Exhibitions” O Público (January 2006). [ill.]:18-19
Humphrey, David. “A Brighter Day.” James Cohan Gallery.[ill.]
2005
Amado, Miguel. “Rita Sobral Campos: from form to politics. ”Culturgest. [ill.]: 2-10
Amado, Miguel. “Rita Sobral Campos” Opções e Futuros, PMLJ Foundation. [ill.]
Pomar, Alexandre. “Rita Sobral Campos.” Jornal Expresso (June 2005)
Wandschneider, Miguel. “Structural Schizophrenia – ou quando a mentira se tornou verdade.” Culturgest. [ill.]
Rita Sobral Campos
Born in Lisbon, Portugal, 1982.
Lives and works in New York.
Education
2006
Master Degree in Fine Arts at School of Visual Art, New York
2004
Bachelor Degree in Art History and Film Studies, FSCH, Universidade Nova de Lisboa, Lisbon
Solo Shows
2011
GAGE, New York, NY (upcoming)
2009
Transporter, Pedro Oliveira Gallery, Porto
2008
Unclehead, in collaboration with Alexandre Singh, EDP Foundation, Lisbon
2006
The Archivist: Heterotopia, Pedro Oliveira Gallery, Porto
2005
Structural Schizophrenia ou quando a mentira se tornou verdade, Culturgest, Porto
Selected Group Shows
2011
The Mechanicals: 9 Plays for 9 Childs, Performa 11, New York (upcoming)
Short Stories, curated by Isla Leaver-Yap, Sculpture Center, New York
Things Political That Are Poetical, curated by Miguel Amado Museu do Chiado, Lisbon
Memory of a Hope, Ceri Hand Gallery, Liverpool
Dear Thick and Thin, ME Contenporary, Copenhagen
Modesty, curated by Stephan Schmidt-Wulffen, Backerstrasse 4, Vienna
2010
When your Lips are my Ears, our Bodies become Radios, collective performance organized by Jan Verwoert, Zentrum Paul Klee and Kunsthalle Bern, Bern
A Vernacular of Violence, Invisible-Exports, New York
2009
On Rituals of Homecoming, curated by Adam Budak, Lodz
E-flux video rental, Fundação Calouste Gulbenkian, Lisbon
2008
Emily Harvey Foundation, New York
18 presidentes, um palácio e outras coisas mais, curated by Miguel Amado, Belém Palace, Lisbon
Lá Fora, curated João Pinharanda, EDP Foundation, Lisbon
2007
O Debuxo nas Colección Públicas de Santiago, Centro Galego de Arte Contemporánea, Santiago Compostela
50 Years of Portuguese Art, Fundação Calouste Gulbenkian, Lisbon
2006
A Brighter Day, curated by Elise Goldberg, James Cohan Gallery, New York
A Delicate Arrangement, curated by Dan Cameron, David Zwirner Gallery, New York
Prime Time, Visual Arts Gallery, New York
Arquivar Tormentas, Centro Galego de Arte Contemporánea, Santiago Compostela
Dirty Words, Pedro Cera, Lisbon
Residencies
2011
Residency Suddenly, Beauchery-Saint-Martin, France
2010
Sommerakademie, Zentrum Paul Klee, Bern, Switzerland
Selected Bibliography
2010
Amado Miguel. “Rita Sobral Campos.” Artforum. (Jan 2010). [ill.]
Budak, Adam; Badiou, Alain et al. “Anabasis: Rituals of Homecoming.” [ill.]
Carlin, T.J. “A Vernacular of Violence.” Time Out New York (Jun 17 – 23, 2010). [ill.]
Coburn, Tyler. “A Vernacular of Violence.” Art Agenda. (Jun 12, 2010). [ill.]
Russeth, Andrew. “A Vernacular of Violence.” Artinfo. (May 13, 2010)
Truong, Hong-An. “Capital Offense?” ArtSlant. (Jun 2010). [ill.]
2009
Nunes, Leonor. “Rita Sobral Campos: Análise do Poder.” Jornal de Letras. (March, 2009). [ill.]
2008
Amado, Miguel. “Gutenberg’s Machine” 18 Presidentes, One Palace, and a Few Other Things. Palácio Belém. [ill.]
Amado, Miguel. “New York, New York” Portuguese Artists Abroad. Presidência da República / EDP Foundation. [ill.]:46 - 54
Pinharanda, João. “Unclehead.” EDP Foundation.
Pinharanda, João. “Rita Sobral Campos.” Portuguese Artists Abroad. Presidência da República / EDP Foundation. [ill.]:304-307
Sardo, Delfim. “O Real, Inventado.” Revista Única (September 2008). [ill.]:8
Sneed, Gillian. “Unclehead at Museu EDP.” NYarts [ill.]
2006
Amado, Miguel. “Rita Sobral Campos.” Exit Express [ill.]:24-25
Faria, Oscar. “Simultaneous Exhibitions” O Público (January 2006). [ill.]:18-19
Humphrey, David. “A Brighter Day.” James Cohan Gallery.[ill.]
2005
Amado, Miguel. “Rita Sobral Campos: from form to politics. ”Culturgest. [ill.]: 2-10
Amado, Miguel. “Rita Sobral Campos” Opções e Futuros, PMLJ Foundation. [ill.]
Pomar, Alexandre. “Rita Sobral Campos.” Jornal Expresso (June 2005)
Wandschneider, Miguel. “Structural Schizophrenia – ou quando a mentira se tornou verdade.” Culturgest. [ill.]
“Uncanny thoughts for uncanny minds,” The Last Faust Myth in the History of Mankind seriesArchival pigment print on enhanced matte paper, 17 x 24 inches, 2009
“He then decided to search in all,” The Last Faust Myth in the History of Mankind seriesArchival pigment print on enhanced matte paper, 17 x 24 inches, 2009
“As we were saying, before we were so rudely interrupted," The Last Faust Myth in the History of Mankind seriesArchival pigment print on enhanced matte paper, 17 x 24 inches, 2009
“In the countryside of a remote land,” The Last Faust Myth in the History of Mankind seriesArchival pigment print on enhanced matte paper, 17 x 24 inches, 2009
"Future Paranoid," X-Ray of the Plot series Archival pigment print on enhanced matte paper, 20 x 28 inches, 2010
"X-Ray of the Plot," X-Ray of the Plot series Archival pigment print on enhanced matte paper, 20 x 28 inches, 2010
"Tech Noir" (detail), X-Ray of the Plot seriesArchival pigment print on enhanced matte paper, 20 x 28 inches, 2010
"Cheap Truth," X-Ray of the Plot seriesArchival pigment print on enhanced matte paper, 20 x 28 inches, 2010
X-Ray of the Plot Installation view, Backerstrasse 4, Vienna, 2010
The Last Faust Myth in the History of MankindInstallation view, Galeria Pedro Oliveira, Porto, 2009
"Mr. Leader: A Documentary" (still image)16mm film, 5'35'', 2011
"Mr. Leader: A Documentary" (still image)16mm film, 5'35'', 2011
"Mr. Leader: A Documentary" (still image)16mm film, 5'35'', 2011
"Mr. Leader: A Documentary" (still image) 16mm film, 5'35'', 2011
"Mr. Leader: A Documentary" (still image)16mm film, 5'35'', 2011
"Mr. Leader: A Documentary" (still image)16mm film, 5'35'', 2011