ERAN EISEN, Interviewed by EVA DEFESES
Eran Eisen Book Cover "Between Us"
ERAN EISEN is a poet, artist, graphic designer, International model from Tel Aviv, Israel. As a model, he is best known for campaigns made for L'Oreal, El Corte Inglés, BMW, etc. In Israel, he founded an Image Consulting Company "Present You – Image & Branding Advisors”, that uses a personal, direct and unique approach in order to give each client tailor-made consulting in presentation, image and communication. This multifaceted Israeli published his first book of poems in 200º, “Between Us”, which tells in short and inspired verses his views on love and relations from a biographical point of view. The book is divided into 3 parts, each part referring to a different period of his life. He is currently working on a cultural project called “Positive Israel”, whose objective is to create a positive, realistic image of Israel, to facilitate the access to cultural and artistic aspects of nowadays Israel. www.eraneisen.com
Do you see fashion as a form of art?
Yes, I do. Dressing is a code of communication and as such it reflects our expression.
Can you describe from an artistic point of view the experience of haut-couture fashion shows? Many designers put together magnificent shows which go far beyond exhibiting nice clothes, light, music and special effects being carefully chosen to create surreal atmosphere that unites several art forms in a unique, breathtaking experience.
Haut-Couture is defined as the artistic side of fashion. It is where the designer is able to perform his real creativity with which he identifies himself. Putting on haut-couture clothes is a unique experience. Everything feels in place!! It has changed my perspective on clothes. It made me feel incredible inside, I'm wearing a statement.
What about Israeli fashion and designers?
Israel hardly has fashion because the climate does not allow it and since there is no demand for it on a daily basis… To say the truth I'm not familiar with young designers here. Personally I love Italian Design; Armani is my favourite because the classic design appeals to me the most.
How are fashion shows regarded in Israel and what are the possibilities for young designers to study and evolve?
There is one school of Fashion Designers in Israel and each year they present their final creations to the people in the industry. The shows are funny, creative, interesting and exciting (I did myself a few). It is very hard for young designers to develop here as the Israeli market is very small. In order to grow you must have a strong sponsor to support you financially and strategically. The only ones that succeeded to do so were wedding-gown designers or swimwear designers. In daily fashion I can only see one young designer that has made it: Yaron Menikovsky.
Do you think Israeli artists and writers are known in Europe, are there difficulties in getting on the worldwide stage?
I believe that every artist wants to exhibit his art beyond the borders of his country. Once you have created a work of art it does not belong to you any more, it has a life of its own. I don't see any difficulty in being an Israeli artist and getting world recognition. There are some Israeli artists that broke the Israeli wall. Yaakov Aggam and Kadishman, painter and sculptor are known worldwide for many years. Efrayim Kishon, a writer was famous in Germany and Austria. Ron Arad is very successful with his chairs. Politically, there is always a chance that someone might make you problems for being Jewish or Israeli.
What about the art scene of Tel Aviv (exhibitions, art shows, museum, galleries, art magazines)? In a previous issue of Niram Art, we published an article about the Artist’s village Ein Hod, really a unique way of living and producing Art.
Israel has lots of artists. The stress we live creates the urge of expressing ourselves in all forms of art. Tel-Aviv is the centre of the activity for Art Galleries and I see, as time goes by, more and more galleries opening. Personally, I have learned that most artists have difficulties in promoting themselves (marketing) but it is essential to brand yourself as an artist as well if you want your art to be exposed and sold. I agree, Ein Hod is a special place, I have been there many times and it always seems to be expanding.
You worked as a model for El Corte Ingles (among many others) in Spain. How would you describe the Spanish way of life and society as opposed to the Israeli?
There are some similarities between the Israeli and Spanish people. They are both very warm and "hugging" and family-oriented. The Spanish have more "style" in their daily behaviour. We are also both hot-blooded and can get angry easily. The "Siesta" part of the Spanish way of life should be adopted. On my first day in Madrid I took a taxi. The driver almost ran over a young boy with a scooter. He stopped the scoter in front of the Taxi, blocking us, took his helmet off and without any hesitation broke the driver`s window. Coming then from bombed Israel, made me feel like home.
From your numerous contacts with Europeans, do you think they have a pretty good idea about Israel or are they totally clueless?
Personally, I feel at home in Europe. I've been travelling for twenty years all over the world, always keeping my Israeli identity. I was constantly requested to tell people about Israel from my own perspective and felt it was my duty to do so. My feeling is that: either you are an open-minded person that can have a global view or you are not. Israel has been suffering from bad PR for 60 years. It is our own responsibility to change it. My personal commitment is to build a "Positive Image" of Israel. You can have a real idea about something only once you have experienced it. Europeans that come here love the vitality, the human warmth and the warm weather of Israel. The ones that haven't been here are exposed to the Israel that is shown in the news or TV programs or other sources of information and they are individually building their own Image of Israel in their heads.
What is the funniest or strangest thing that someone asked you about Israel?
Someone asked me once if we travelled by camels here. That was funny for me. And here is a symbolic joke: The teacher entered the class in the USA and told the kids she had a question of a 100$ prize for them: "Who was the most important person in Human History??" The first to answer was Joe: "George W. Bush my teacher". The teacher said very nice Joe, really important person but not the most important. The second to answer was Jenny: "Napoleon Bonaparte" my teacher. The teacher said, yes he was very important, Jenny, but not the most. The third to be answered was Mike: "Alexander Mukdon" he screamed. The teacher said you are right Mike he was important but not the most. Than Moishale raised his hand and said: "It was Jesus Christ" my teacher. The teacher said Moishale you are right and you have won the 100$. But Moishale, I must ask you something, you are Jewish, so how can you say Jesus Christ was the most important person in Human History. Moishale smiled and answer her: My teacher, in my heart I know it is Moses, but business is business!!
Dear Eran, thanks a lot for your patience.
REALIZADA POR EVA DEFESES
Álvaro Lobato de Faria, Dir. Coord. MAC Lisboa
E.D. ¿Qué es MAC?
A.L.F. MAC es un espacio cultural creado hace 13 años donde, inicialmente, dimos la oportunidad de exponer a los nuevos artistas, pero los consagrados también se juntaron. En este momento, después de 13 años, trabajamos con más de 100 artistas, más con los consagrados que con los jóvenes, porque los jóvenes son muy perezosos. A pesar de atribuir todos los años premios para el joven pintor – revelación, premio carrera, premio pintura, premio escultura, pienso que los estudiantes de Bellas Artes son muy perezosos cuando se trata de mostrar las cosas que hacen. Esto es al contrario de lo que sucede en la pintura española, que yo adoro, y pienso que vosotros estáis en muchos puntos por encima de nosotros y os felicito por esto. Siempre que voy a Madrid, ya que tengo un hijo y un nieto ahí, me quedo encantado con vuestra pintura. Felicitaciones, me gusta mucho.
E.D. ¿Por qué el nombre “Movimiento de Arte Contemporáneo”?
A.L.F. Porque nosotros pensamos que no deberíamos quedarnos sólo por Lisboa. También hemos estado presentes en todo el Mundo Lusófono: Angola, Mozambique, estuve ahora en Guinea dando conferencias, Cabo Verde, Brasil. También estuvimos en todos los Ayuntamientos de Portugal y ya colaboré con España, varias veces.
E.D. ¿Cómo escoge los pintores?
A.L.F. Todos los pintores son aceptados. Inicialmente, tienen que presentar un portafolio, pero después también es obligatorio traer una obra para que se vea realmente la técnica, si coincide con las fotografías o con el CD que nos entregaron. A partir de ahí, hay un jurado, una apreciación. En los meses de Diciembre y Enero organizamos una exposición en esta galería y también en el segundo espacio que tenemos en la Avenida Álvares Cabral (donde hay ahora una exposición colectiva con grandes maestros de la pintura y con nuevos pintores), especialmente para los pintores jóvenes apadrinados por los consagrados.
E.D. ¿Cuál es la ligación de MAC con las revistas de arte?
A.L.F. Cuando damos los premios MAC (que son esculturas hechas por escultores de la propia galería como João Duarte, que hizo este año el trofeo) para los artistas que más se destacaron durante el año, envolvemos también a la prensa: premios para el canal de TV que hizo el mayor número de reportajes sobre nosotros, el periodista y el periódico nacional o extranjero que más escribieron sobre nosotros.
De una manera general, la televisión se interesa más que la prensa escrita. Antes, las revistas de arte tenían críticos de arte y en este momento no los tienen. Los periodistas cambian de mes para mes, los periódicos no los mantienen y no hay críticos de arte. Cuando aparece cualquier cosa en los periódicos se trata de textos míos o de otra persona que escribió sobre ese artista y muchas veces no citan el nombre, como ya aconteció en varias revistas.
Aparecen hasta en otras revistas o galerías textos míos sobre artistas que yo ni siquiera conozco, pero como ellos tienen mis textos, los utilizan porque les parece que se puedan adecuar. Esto me parece muy, muy grave, y ya les llamé la atención varias veces. No voy a decir de que revista se trata, pero es una revista importante, que reserva un buen espacio para el arte. Cuando la confronté, la directora de esta revista me dijo bromeando: “No te enojes, Álvaro, que todo el mundo que ya leyó un texto tuyo, se va a dar cuenta que es tuyo.” Yo no creo que esto sea correcto , es muy grave.
E.D. Muchas gracias.
By Eva Defeses
Eva Defeses : Although many critics have particularly underlined the perfect union between dance and theatre in the show Dorian Gray, if we take as a starting point the words of the director Dragos Galgotiu, who mentioned in an interview the connection between the world created by the fusion of these two art forms with the “visions of Caspar David Friedrich, the painter of philosophers”, we cannot help but noticing a way of construction similar to the act of painting. It is more than a simple logical deduction generated by the title of Oscar Wilde’s novel, your dancing moves on stage appear, when taken one by one, drawing studies, put together by rhythm. Did painting play a part when you created the choreography for the show based upon the novel ”The Picture of Dorian Gray”, at the Odeon Theatre in Bucharest?
Razvan Mazilu: It is a very interesting question. I would like to say that painting is another passion of mine; maybe if I had not embraced the dancing, I would have painted. In a show like Dorian Gray, the pictorial side plays an important part, because it materializes on stage the epoch evoked by Oscar Wilde’s novel, as defined by the obsession for beauty, by the superiority of art over life itself. From this point of view, it was of utmost importance that all the elements of this show – from scenography and costumes to the harmony and gracefulness of the moves – should have a common element: an exacerbated aestheticism – taken to the extreme, I would say.
Eva Defeses: Shows in night clubs (Sell me!), sacred music (Block Bach), Argentine Tango (Un Tango Más), Shakespeare (a one-man dance show, impersonating four major Shakespearean characters in a one-hour performance), etc. are only a few of your projects which at first glance seem contradictory, comprising a great variety of themes and styles. Yet your dancing puts them all together gracefully. What is the style that mostly attracts you?
Razvan Mazilu: At 14 years’ old, I discovered the contemporary dance. I didn’t know anything about it, but I had the revelation of the fact that I would perform contemporary dance and not classical ballet. I have chosen contemporary dance not because I couldn’t face up the demands of the classical ballet as many dancers do today. To me, dancing, as I understand it, is really an existential need, it is the way I express myself best. I like to experiment many genres, from contemporary to cabaret, to theatre-dance. I love the musicals, and I want to direct such shows. So, I would rather define my style as eclectic.
Eva Defeses: What does the theatre bring into this? Is there something that cannot be expressed by dance and the theatre supplies it?
Razvan Mazilu: The very way that I dance is marked by theatricality; I tend to run away from the abstract. Moreover, I strongly believe in the versatility of the artist, it is a “must” in contemporary art. I became a director – choreographer at a very early age … at 20. Maybe it happened this way out of lack of self-conscience, or out of the strong need to demonstrate that I had something to say. Surely, at first, people look at you like you were a curiosity of nature, a freak; there is the prejudice that dancing is something frivolous, so how could I, a mere dancer, put together shows of theatre – dance? I held one man shows, but I also collaborated with important directors, whenever I received attractive proposals. I adore alternating between being a dancer and a creator of shows, and it seems to be very provocative to me.
Eva Defeses: Is there a book that has left a mark on you and which you would like to put on stage?
Razvan Mazilu: I would like to put together a show based on Death in Venice for instance, as it is a novel on the condition of the artist, about the quest for an ideal, at all costs…
Eva Defeses: You have been dancing since 3 years’ old. Who is the person who mostly stood by you on your journey on this “path” (as I know you don’t like the word “career”)?
Razvan Mazilu: It gives me a great deal of pleasure to underline whenever someone asks me this question, the important support I have received from my family, who knew how to cultivate, in an era that seemed completely fade, lacking perspectives of any kind, feelings such as beauty and sensibility. My parents and my sister understood my calling and helped me a lot. It is so important to be understood, to have someone there for you.
Eva Defeses: What is your relation with the actors you work with? Do you influence each other? For instance, in 1995, when you worked with Maia Morgenstern in “The Lady of the Camelias” you have managed to turn this working experience into a beautiful, lasting friendship…(This was the first dance-theatre show, ever produced in Romania)
Razvan Mazilu: My stage partners, actors or dancers, are of extreme importance to the show. I need to work with artists who complement me, whom I can communicate perfectly with, on stage, above any words. This happened with Maia, and I really managed to work greatly with her. Moreover, my encounter with her granted me courage. I was a student, at the beginning of the journey; she was already a famous actress. The fact that she put so much trust in me, that she took a great risk by joining me in “different” kind of shows, which had never been made before, meant so much to me. I would like to thank her again for that.
Eva Defeses: You have stated that you cannot dissociate Mazilu – the artist from Mazilu – the man. What has drawn you to Oscar Wilde’s character, so that we may know something more about the man, without forgetting the artist?
Razvan Mazilu: I grew up in a block of flats, in a neighbourhood of Bucharest, during communism. I had a happy childhood thanks to my family, but we all know what sad times those were. Don’t you think that dandyism, as represented by Dorian Gray, can turn into a landmark for a teenager yearning to live in another world, among beautiful things and experiencing special moments? I read The Portrait of Dorian Gray and it impressed me, than Craii de Curtea-Veche by Mateiu Caragiale. All these readings helped me escape from the daily reality, encouraged me to dream beautiful dreams. And I was hoping, in secret, to embody the character of Dorian Gray, on stage, a dream which actually fulfilled itself, almost 4 years ago.
Eva Defeses: Do you find yourself seduced more often by characters similar to yourself, or, on the contrary, is it more fascinating to interpret a character that you have nothing in common with?
Razvan Mazilu: I am crazy about constructing characters; it is as simple as that. The more difficult they are, the more provocative it is. Generally speaking, each character gives me the opportunity of discovering and re-discovering myself, of finding unexploited resources. To embody a character, to bring his destiny onto stage, to live through that character experiences that I don’t usually have in my daily life – this is what fascinates me.
Eva Defeses: What are your thoughts when you stand in front of the applauding audience for minutes and the public won’t let you go?
Razvan Mazilu: It is a very strange feeling, a feeling of grace, I’d say; I can’t say that I think at something in particular. I just enjoy the feeling that the audience and I communicate with each other, that we share a connection.
Eva Defeses: What question would you mostly like to be asked and nobody has asked it yet in an interview?
Razvan Mazilu: Difficult question. Maybe it’s precisely this question… But I am still looking forward to be surprised, with each interview. For instance, nobody has ever asked me: “Have you ever danced in a dream?” The answer would be: “Yes. Many times. Sometimes, I have the feeling I have never woken up.”
Eva Defeses: Dear Mr. Mazilu, it has been a pleasure and an honour to talk to you. Thank you for your time.
The Movement for Contemporary Art (MAC - LISBOA)
by EVA DEFESES
Lisbon, Portugal - 14 Years’ Ago
A University Mathematics Professor with a taste for Fine Arts had the dream of creating a unique institution of artistic and cultural exchange: an art gallery, a movement, a place of gathering for artists, a school for the younger ones, a house of Portuguese Culture, a vibrant institution based on passion and action, meant to shake off the nostalgic drowsiness that still reigns over the land of the Fado. The name was chosen: The Movement for Contemporary Art. Like his fellow Portuguese conquistadors of the golden times of the Portuguese Discoveries, Álvaro Manuel Lobato de Faria Gomes (born on Nov. 30, 1943 in Castelo Branco, Portugal), set on the quest of discovering new artistic horizons and on raising higher than the blue skies of Lisbon the red and green of the Lusitanian flag.
Lisbon, Portugal - Nowadays
Spain, Finland, France, Brazil, Colombia, Germany, Belgium, United States, Italy, Argentina, Cape Green, Guinea-Bissau… far-away countries, different cultures united in so many artistic events, cultural activities, exchanges…a dynamic force that is today, after 14 years, MAC.
On the day that the Movement for Contemporary Art celebrated 14 years of activity, Niram Art Magazine talked to the founder, Mr. Álvaro Lobato de Faria about MAC’s spreading out beyond Portuguese soil and to the 2 newest members of his team, Mrs. Joana Paiva Gomes and the sculptress Andreia Perreira.
Mr. Álvaro Lobato de Faria, MAC has become known in Portugal as a cultural institution dedicated to promoting Portuguese arts in Portugal and in Portuguese-speaking countries. What are MAC’s main objectives outside Portugal?
Mr. Álvaro Lobato de Faria: I say many times that painters are like writers, they paint written images. Therefore, as a Portuguese I believe it is my duty to give support to Portuguese artists and to expand our art and our culture in the Portuguese–speaking countries. In partnership with The Society of the Portuguese Language we have undertaken many activities uniting the speaking word to the painted image, writers and artists, in all those countries where they speak Portuguese or where Portuguese is taught in the Universities. Outside this Portuguese-speaking territory, we collaborate with cultural institutions in Denmark, Finland, Belgium, France, New Zeeland, United States, where I have been often invited to give lectures in universities and cultural institutions. Of course, our main preference are the Portuguese-speaking countries, we have had many events and collaborations with all of them, especially Brazil.
As a dynamic artistic space MAC is also dedicating to discovering and promoting young talents and is involved in many pedagogical activities.
Mr. Álvaro Lobato de Faria: Yes, we are, but unfortunately I find that there is a great lack of interest in the young students of Fine Arts in Portugal. I am always on the look for new talents and I speak to the people of the Faculty of Fine Arts often on this subject but the answer is the same: there is no enthusiasm, no interest. For instance, the sculptor Joao Duarte, a man of great initiatives, has tried to put together several activities within the Faculty but the students are not interested in anything. The Portuguese society is in a very negative phase right now.
This year, MAC counts with the help of two new members, Mrs. Joana Paiva Gomes has been appointed vice-president, following in her father’s footsteps with pride.
What are the projects that you are involved in within Mac and what does MAC mean for you?
Mrs. Joana Paiva Gomes: I have practically grown up within MAC, I have been involved in its activities since my teenage years but I have become an actual part of the team last year. I am not specialized in Fine Arts but the close contact with my father’s activities has sprouted within me the taste for arts and an artistic awareness. As I have pedagogical studies, the main objective of my work here is to turn more dynamic the pedagogical area of MAC, in order to develop the artistic sensibility in young people, to elaborate new strategies and to establish new contacts with cultural institutions in order to collaborate on the divulgation of arts and culture.
A young sculptress, Andreia Perreira, is MAC´s newest collaborator, bringing in all her flair and enthusiasm.
Mrs. Andreia Perreira, what is it that has drawn you to MAC?
Mrs. Andreia Perreira: As a student at the Faculty of Fine Arts in Lisbon, I started working at MAC as part of the academic curriculum and my initial duties were attending the public, helping to organize some events. However, Mr. Alvaro de Faria has gradually given me more autonomy and now I am engaged in all sorts of activities, mainly organization of events.
I was talking to Mr. Álvaro Lobato de Faria about MAC’s objective of expanding within the Portuguese-speaking countries…
Mrs. Andreia Perreira: Yes, indeed, this is the main objective of MAC. You see, MAC is much more than a commercial space, it is a cultural space determined to promote Portuguese well-established artists and to continuously search and offer support to new talents, to help promoting their art in the Portuguese-speaking countries and also to promote artists from the Portuguese-speaking countries in Portugal. Also, it constantly fights for the internationalization of arts.
You mean by collaborations and divulgation of artists in other countries?
Mrs. Andreia Perreira: Yes, of course, as I said, internationalization is one of the main objectives of MAC. We have ongoing projects in United States, New Zeeland and we are developing relations with European partners as well. Let’s say the world is our limit.
What can we expect from MAC next year?
Mrs. Andreia Perreira: Well, we have some surprises in store for you but it is too early to reveal them. Basically, we are planning a more diverse agenda. As we have 2 locations we have decided to dedicate one of them to more traditional artistic activities and to make the second one more dynamic, to make room for “alternative” artistic ways of expression.
Madrid, August 2008
“The world is our limit” said Mrs. Andreia Perreira and I can`t seem to get her words out of my head.
Somehow I feel that in the city of the seven hills, looking down on the flowing of the blue river Tagus into the Ocean, in Europe’s most Western point, gazing in the strong light of the endless Portuguese sky, these words have probably been said before. And in times gone by, there must have been these words that gave the strength to the sailors of the caravels when they departed in search of the unknown.
Heroes of the sea, adventurers of the impossible, dreamers of the undreamable…
I have found out that your immortal heart still beats in Lisbon…
Based on the interviews taken in Lisbon, in July 2008 by Alex D.
Entrevista realizada por Eva Defeses
“António Carmo é um pintor–poeta, um cronista do imaginário, vivendo a visão livre da sua figuração psicológica, inebriada de um clima ameno de luz e sonho, celebrando um amor inocente por uma natureza em liberdade. Pintura intensa e mágica, possuída de sortilégio e de reflexos subtis, disciplinada na sua experiência formal e muito própria.(…) A arte de António Carmo , extraordinariamente sensível na fluidez da linguagem das formas, na vigorosa materialidade da cor, na força e no encanto da sua evasão e do seu êxtase, é uma fascinante aventura espiritual e técnica. As suas obras são, pois materialização de anseios e sonhos, notas de realce na pintura Portuguesa Contemporânea.”
Álvaro Lobato de Faria, Dir. Coord. MAC Lisboa
E.D. António Carmo, podia falar-nos sobre o ciclo de pinturas “Seduções”?
A.C. Eu fui convidado para fazer um tema sobre o Cântico dos Cânticos e entusiasmei-me de tal maneira com o tema, embora na altura fosse só um quadro, que acabei por fazer vários trabalhos dentro do tema Seduções. Inverti um pouco o tema Cântico dos Cânticos e adaptei-o aos dias de hoje. Então fiz esta exposição onde a mulher surge poeticamente, como sedutora. No fundo é todo um ambiente à volta disso, em que há uma certa poesia. Como pode ver, em quase todos os quadros, aparece apenas o seio da mulher, para ficar poético e não entrar numa coisa que pode ser desagradável. E no fundo é um hino também à natureza e à vida.
E.D. Onde podia enquadrar a sua pintura?
A.C. A minha pintura é uma pintura neofigurativa de feição expressionista. Eu estou dentro de uma linha por exemplo de um Chagall; quer dizer não é que estou igual mas estou dentro dessa linha.
E.D. Como trabalha os seus quadros?
A.C. Faço primeiro um esboço no papel que passo para a tela em carvão. E depois começo a fazer, vou alternando, começo com uma coisa, surge-me outra e à medida que vou fazendo vou alterando também.
E.D. Ainda se sente influenciado por algum pintor?
A.C. Como pintores portugueses: Amadeu de Sousa Cardoso ou alguns pintores muito mais antigos um Ribeiro Pavia, um Cipriano Dourado que era essencialmente um desenhador porque o meu trabalho tem muito desenho também. Mas Chagall é um ponto de referência. Podemos ir beber também um bocadinho de Almada Negreiros até na própria temática e na cor.
E.D. Como vê a pintura de hoje?
A.C. Estamos a atravessar um período que eu acho muito importante nas artes positiva e negativamente. Positivamente passa-se neste momento qualquer coisa a nível mundial, a própria situação mundial está a fazer com que as pessoas repensem a pintura e a arte. Costuma dizer-se que a arte reflecte o nosso tempo. Infelizmente, do meu ponto de vista temos exagerado em performance, em vídeos e instalações, que eu acho muito bem, mas vem um período em que basta, porque a pintura também é necessária. E as pessoas começaram a cansar-se um pouco disso. Ao nível internacional já houve o regresso à pintura no bom sentido. Também neste campo da performance e instalações, eu acho que há pessoas que foram de facto progressistas no seu trabalho mas há outros que copiam, como eu costumo dizer, coisas feitas e refeitas. Portanto, há uma necessidade de voltarmos outra vez a pintar.
E.D. Em Portugal já se nota esta tendência?
Ainda não, ainda se insiste um bocado nisto, que, como eu digo, não sou contra, só que acho que há também outras coisas. Na Europa já se está a passar a uma nova fase, embora estejamos integrados na Europa como é evidente, e acho que também vai acontecer isto em Portugal.
A.C. Tem encontros com outros pintores?
Faço parte de uma tertúlia de artistas que se encontram diariamente todas as manhãs na Brasileira do Chiado que é um antigo café onde pararam sempre artistas. Eu paro lá desde os meus 8 anos. Tenho 57 anos, portanto conheci o Almada Negreiros, o Abel Manta, o Jorge Barradas, conheci todas as grandes figuras da cultura portuguesa porque este café sempre foi um grande ponto de encontros. E ainda hoje mantenho uma tertúlia com alguns artistas.
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