Art & Design – OTIIMA

Filipe Marques and His New Exhibition: “All Animals Are Bad”

Otiima — Wed, 18 Sep 2024 14:35:03 +0000

At OTIIMA, we pride ourselves on working with artists who push boundaries and inspire new perspectives. One of our long-time collaborators, Filipe Marques, will unveil his latest work at Nuno Centeno Gallery in Porto on September 20th. His upcoming exhibition, “All Animals Are Bad, All of Them Are a Meal Away from Barbarity,” is the second part of his provocative trilogy, “Are We All Museums of Fear?”

Exploring Human Nature

In this new installment, Filipe challenges how we perceive the world. He invites viewers to question the fine line between civilization and barbarism through bold visual statements. The title itself is a powerful commentary on the fragility of human nature, suggesting that we’re all just a step away from our primal instincts.

The Trilogy Continues

“All Animals Are Bad” follows the first exhibition in the series, building on the theme of fear, power, and humanity’s relationship with violence. This trilogy has captivated audiences and sparked meaningful conversations about what it means to live in a world where fear often drives our actions.

Mark Your Calendar

If you’re in Porto on September 20th, don’t miss the chance to experience Filipe Marques’ latest work. The exhibition will run at the Nuno Centeno Gallery and promises to be an unforgettable exploration of art, philosophy, and human nature.

About Filipe Marques

Filipe Marques is an artist known for his thought-provoking exploration of human emotions and instincts. His work often explores themes such as fear, survival, and the darker side of human nature. Marques has been involved in several projects with OTIIMA, bringing his unique perspective to architecture and art.

Celebrating French Design Icons at Paris Design Week

Diana Afonso — Thu, 05 Sep 2024 10:11:14 +0000

Each year, Paris Design Week is an explosion of new ideas in design across the city. From September 5th to 14th, 2024, the French capital will transform into a design innovation hub, displaying the newest ideas and encouraging discussions about the field’s future.

Today, we take a look at the work of some French design legends whose careers have helped shape our industry and continue to inspire.

Jean Prouvé (1901-1984)

This architect and designer is best known for his industrial yet elegant furniture designs and for bringing steel (and other industrial materials) to the forefront of residential and commercial spaces. His Standard Chair and EM Table have become increasingly popular.

Demountable House with an Easy Armchair by Pierre Jeanneret. Image Courtesy of Forward

Charlotte Perriand (1903-1999)

She worked with Le Corbusier and Pierre Jeanneret and envisioned many future living spaces worldwide, such as in Chandigarh, India. Her minimalist and functional designs have had a lasting influence on contemporary interior design.

Double chaise longue, 1952 Charlotte Perriand (Cassina) with two Akari (light) pendant lamps, c.1958, Isamu Noguchi and Nuage (Cloud) bookshelf, Steph Simon edition, c.1958, Charlotte Perriand (Galerie Laffanour Downtown, Paris)

Philippe Starck (1949)

Easily the most mainstream name on this list, he is no stranger to flights of fancy with his peculiar design sensibility. From the unforgettable Juicy Salif lemon squeezer to countless hotels and products, Starck also designs a vibe.

La Sedia Louis Ghost, 2002

Ron Arad (1951)

Born in Israel but spending much of his career in Paris, Arad is considered one of the key figures in contemporary French design. His furniture is deconstructive and sculptural, transcending traditional design.

BTT5 by Ron Arad

Pierre Paulin (1927-2009)

Known for his vibrant and colorful furniture designs, Paulin injected playfulness and positivity into 20th century modern decor. He is best known for his iconic works such as the Ribbon Chair and the Fuma Chair.

Promotional Image for Artifort showing several designed by Pierre Paulin. Photo: Paulin Archives

Mathieu Lehanneur

Contemporary French designer known for his innovative and often unexpected works that span connections (or separations) between art, science, and technology. His designs, which include furniture, lighting, and even interactive installations, are as much about form (they have to work) as they are about function.

Bucky's Seat by Mathieu Lehanneur

Why Paris?

From fashion to home decor, this rich history has led Paris to some interesting design moves that have helped pave the way for all of us today. This focus on craftsmanship, quality, and appearance has made the city one of the most important design beacons in the world today.

Paris Design Week celebrates France’s design heritage and a platform for emerging designers. By looking at the work of designers such as Prouvé, Perriand, Starck, and Arad, we can gain a deeper appreciation of the legacy of French design.

Stardust Pavilion: A Mesmerizing Installation Unveiled for Art Basel 2023 in collaboration with Miami’s Design District

Joana Pestana — Tue, 05 Dec 2023 10:00:18 +0000

Miami’s Design District becomes the canvas for an extraordinary blend of art and architecture at Art Basel 2023 with the unveiling of the Stardust Pavilion.

This groundbreaking installation, created by Flare Studio in collaboration with Artworks and OTIIMA, promises to be a unique, experiential highlight, captivating the imaginations of art enthusiasts, design lovers, art collectors, and architects alike. In collaboration with the Miami Design District, Flare is highly pleased to announce that the Stardust Pavilion will also hold within it a work of art by an internationally renowned artist whose works are not usually accessible at this level of intimacy. 

stardust pavilion | flare + artworks + otiima

Stardust Pavilion is a visionary creation that reimagines the art experience. Drawing inspiration from the architectural tradition of 17th-19th century “Follies,” this ephemeral glass and steel structure reimagines the boundaries of design, aesthetics, and the environment. A testament to human ingenuity and creativity, visitors enter a world where geometry, light, and reflection converge to create an intimate, sensorial experience with themselves, art, and their surroundings. 

Once inside Stardust, visitors will find themselves enveloped in a mesmerizing dance of light and reflection as if surrounded by clusters of stars that resemble cosmic dust. The installation’s transparent and reflective surfaces create an illusion of shimmering particles suspended in space, blurring the lines between reality and imagination. 

Standing 10 feet tall, the Stardust Pavilion features four openings that provide picturesque views of the natural world outside, allowing visitors to connect with the landscape and the art inside in a dance of perfect harmony. The interior space, spanning 217 square feet, reveals a mirrored ceiling and glass walls that create an ever-changing play of movement and light. Stardust transforms into a captivating garden lantern at night, where fireflies and dragonflies grace the space with their ethereal dance. 

stardust pavilion | flare + artworks + otiima

Perhaps his most famous principle, “Less is more,” summarizes Mies’ approach to design: stripping away the unnecessary to reveal the essential. His buildings are characterized by clean lines, open floor plans, and an absence of ornamentation. This philosophy encourages architects to prioritize spatial clarity and material integrity, resulting in modern and enduring structures.

1. Heydar Aliyev Center – Zaha Hadid

Stardust Pavilion is the first in a series of collectable editions of ephemeral, bespoke pavilions inspired by the architectural tradition of 17th-19th century “Follies.” These structures are crafted in Europe with precision and designed to serve various purposes, from intimate art galleries to retreats set in natural landscapes, pop-up dining pavilions, and more. They are constructed using high-end materials and can be easily assembled on-site, offering flexibility and seasonality. 

Stardust Pavilion is not just an installation; it’s a transformative experience that blurs the boundaries between art and architecture. Stardust, Amaranta, Ana & Chiara will go on display and be open to the public on November 18, 2023. The Stardust Pavilion and furniture series are being constructed in Europe in partnership with Artworks and OTIIMA, and with support from Mineral System. 

Unveiling the Artfulness of Miguel Vieira Baptista at Porto Design Biennale

Joana Pestana — Mon, 13 Nov 2023 10:00:48 +0000

In modern design, where innovation intertwines with artistry, the showcase “Ligações” by Miguel Vieira Baptista unfolds as a compelling journey through form, material, and storytelling, envisioned as an assemblage of objects, this exhibition draws inspiration from a universal glass of water, delving into the profound national decisions shaped by this seemingly commonplace yet influential element.

Ligações | miguel vieira baptista | © Bruno Lança

Miguel Vieira Baptista, born in Lisbon in 1968, embarked on his design journey at the IADE in Lisbon and the Glasgow School of Art. Since founding his studio in 2000, Baptista has been a driving creative influence, crafting projects that effortlessly navigate the domains of objects and spaces. Each narrates a distinctive story.

Collaborating with ARTWORKS and with the support of OTIIMA, “Ligações” is set to grace the stages of the Porto Design Biennale. This noteworthy event has sparked debates, embraced diverse perspectives, and fostered discussions that enhance the capacity of design to craft innovative solutions for collective challenges.

Ligações | miguel vieira baptista | © Bruno Lança

1. Heydar Aliyev Center – Zaha Hadid

At the heart of “Ligações” lie materials meticulously chosen to breathe life into Baptista’s vision. OTIIMA rubble profiles, aluminium sheets, rubble glass, vinyl printing on MDF, and projection screens converge in a harmonious dance of technical prowess. The technical definition, cutting, bending, and printing processes are the intricate brushstrokes that bring this artistic symphony to life.

Curated and designed by Miguel Vieira Baptista himself, “Ligações” is not just an exhibition, but a visual narrative intricately woven into the fabric of the Porto Design Biennale program. ArtWorks is responsible for the construction, production, and assembly of the exhibition system.

Ligações | miguel vieira baptista | © Bruno Lança

What makes “Ligações” genuinely distinctive is its sustainable ethos. The exhibition design ingeniously repurposes OTIIMA’s recycled window profiles, embodying a commitment to environmental consciousness and the transformative power of design.

As you step into the world of “Ligações,” be prepared to embark on a sensory journey guided by water’s elemental grace and infused with Miguel Vieira Baptista’s artistry. This exhibition celebrates the convergence of design and innovation and invites you to contemplate the intricate connections that shape our collective narratives.

Exploring Urban Imaginaries and Paper Architecture, An Exclusive Interview Ana Aragão

joanna helm — Tue, 13 Jun 2023 09:41:51 +0000

Last week we invited Ana Aragão for a friendly conversation. She is an architect, designer and artist who only draws immersive and imaginary worlds by combining white paper, pencil and her explosive creative mind. Her studio in the heart of Porto is filled with light and illustrations; you quickly find yourself wandering in the countless tiny details of her drawings, some so detailed that they are almost unreal. 

Ana Aragão (Porto, 1984) graduated in Architecture at FAUP in 2009. With an atelier in Porto since 2012, she dedicates herself exclusively to drawing, exploring the theme of urban imaginaries and “paper architectures”.

Among her most recognized works, his participation in the 2014 and 2016 editions of the Venice Biennale stands out, in addition to collaborations with ARTWORKS, Tapeçarias Ferreira de Sá, Porto Barros, Schmidt Light Metal, Vista Alegre, Casa da Memória de Guimarães, among others. In 2014, she was selected by the prestigious magazine Luerzer’s Archive as one of the “200 Best Illustrators Worldwide”.

In this interview, we have dived deep into the waters of creativity, the ability to manifest something from nothing. In particular, we discussed her most recent exhibition, “My Plan For Japan,” at the iconic Hillside Forum gallery in Tokyo.

Auto da Barca do Efémero | © Cláudia Rocha

OTIIMA:  We are happy to have the opportunity to have this conversation with you. While trying to put down all our questions, it is almost obligatory to escape from our ordinary daily life and jump into an imaginary train, like the ones you draw, so that we can fully enter Ana Aragão’s world. 
How is it to be inside Ana Aragão’s creative mind? What are the main things that stimulate your creative mind?  

Ana Aragão: It is a world where reality meets imagination; my drawings act like the train you mentioned; they serve as an escape from reality. Like in Alice’s world, things depart from reality and are very similar to it, but they are never the same — either bigger, smaller, or in an unusual position. My mind works like a strange dream, where everything recalls a particular moment or feeling in our life, but nothing makes total sense. All my creations are grounded in banal objects and ordinary moments in life, but they mix in a new and strange way as puzzles that are missing pieces. Art is an abstraction and a synthesis of our puzzling and unsolvable lives. In my urban landscapes, I explore the idea of the city’s labyrinthine nature, a metaphor for the human soul and its incredible complexity. 

1. Heydar Aliyev Center – Zaha Hadid

OTIIMA: Your work is often described as exploring the theme of urban imaginaries and paper architecture. Can you tell us more about what inspired you to focus on this particular theme and how it has evolved throughout your career?

Ana Aragão: I studied architecture in the Oporto Faculty, where I learned about the importance of genius loci, the adequacy of a project to a specific site, the beauty of hand drawing, and the importance of measuring reality with the eyes and the body. All that apprenticeship made me develop a special relation with hand drawing and a very particular feeling of the passage of time through detail. After some brief teaching and scientific investigation experience, I discovered that I was passionate about drawing and had no need to see my constructions built. Some of my heroes and favorite works come from the realm of utopia, made by the hands of other architects that also dedicated their work to the so-called “paper architecture”, like Étienne-Louis Boullée, Giovanni Battista  Piranesi, Alexander  Brodsky  and Ilya  Utkin, Peter Cook and Archigram, among many others. I, therefore, situate my work in the universe of fiction and imagination. I like to call myself a “paper architect”. It is a means of investigating the city’s theme and urbanity through a straightforward approach. My hand has a secret passage to my brain; both conspire to build new worlds.

Auto da Barca do Efémero | © João Rey Soares

OTIIMA: Your designs are renowned for their intricate and extraordinary details. Could you walk us through your creative process and the techniques you employ to bring your architectural visions to life on paper? 

Ana Aragão: I use straightforward techniques, like a pen (sometimes ballpoint) on paper, usually large sheets of paper where I can dive into it. If I reduce the means to straightforward and common techniques, the effort or I will be braver and more assertive. The quest for detail has to do with an obsessive way of looking at things and with a certain calm regarding the passage of time. I have the desire to take everything I do to the limit. When I find myself deep inside a drawing, time stops, and reality pauses. All that matters is what I am doing, which significantly pleasures me. The observer can only look at one drawing at a time; he has to examine it from a distance to understand the meaning and from very close to perceive the details and the subtle ironies hidden in a drawing. The drawing works as a mechanic and game, being the observer responsible for “activating” it with its gaze and imagination. I start with an overall idea and develop the details as I draw. Everything happens “live” in a kind of personification of the esthetic act. The elements are essential in giving authenticity to something that does not exist but could exist in a parallel world.  

Auto da Barca do Efémero | © João Rey Soares

OTIIMA: “My Plan for Japan” was recently showcased at the Hillside Forum Gallery in Tokyo. Could you share the inspiration behind this exhibition and how it ties into your overall body of work?

Ana Aragão: “My Plan for Japan” is about my imagination of Japan; it explores the extraordinary experience of Japanese territory. All the works are an interpretation, from the eyes of a foreigner, of a culture that I am passionate about, the rituals, the rigour of details, the organisation, the cult of craftsmanship, the relation with time and story, and the great use of technology.

In Japan, I am in another world with little or nothing to do with ours. I studied intensely the beautiful traditional Japanese drawings (ukyo-e), their literature, the famous and incredible animation movies, art references and Japanese Metabolism, probably one of the most amazing ideologies in architecture. All that research proved helpful when I started to draw my impossible structures of Japan. I took 24 drawings to the Hillside Forum, the extraordinary gallery designed by Fumihiko Maki, regarding this fact responsibly and enthusiastically.

The works divided into collections are called “Blind Dates”, “Fictions”, “Kanji Collection”, and “Forever Lost”.

The motive of the exhibition was the commemoration of the 480 years of the arrival of the Portuguese in Tanegashima in 1543, and the invitation came from the Portuguese Embassy in Japan. For this special ephemeris, I developed a folding screen with the support of OTIIMA based on the historical Nanban folders.

This time, I proposed to take Portugal to Japan through a big (420 x 200 cm) and ultra-detailed black ship — Kurofune — that works symbolically like a bridge between the two countries and celebrates their long-lasting friendship. The piece features an excellent surface of a gold leaf that reminds us of the Nanban art and the incandescence provoked by the overwhelming experience of Japan. This central piece, “O Auto da Barca do Efémero”, was in the gallery’s main space as the protagonist of this romance between me and Japan. The exhibition counted with a movie from Miguel C. Tavares, digital animations of the drawings by Universidade Lusófona and music from Tiago Bettencourt. Seeing my drawings come to life and gain a life of their own is beautiful. I think this was a unique and natural step of my work, that is, at its genesis, entirely analogical.  

OTIIMA: What challenges did you face while preparing for the “My Plan for Japan” exhibition?  

Ana Aragão: To work at a distance is always challenging. I was going to make a trip to Japan to do site research, but due to the pandemic, the trip had to be personally postponed, so this is the story about a personal quest for a lost place. As Roland Barthes says, Japan is the apogee of the graphic, so it was challenging to propose a new graphic view of something already saturated with drawings and signs. The pursuit was successful, and the Japanese related to my work. All my pieces are personally challenging, but due to their detail and dimension, but mainly their symbology, the screen folder was physically and intellectually demanding. I must admit that I love this kind of challenge: if you give me the possible, I won’t be super excited, but if you give me the impossible, I will be as engaged as possible. This idea is a reasonable sum of my work, aiming for the impossible and trying to exceed it.  

OTIIMA: Your work often blurs the boundaries between architecture and fine art. How do you see the relationship between these two disciplines in your work, and how do you navigate the challenges and possibilities that arise from combining them?

Ana Aragão: My work touches both universes, architecture and fine arts. It departs from architecture, as I have the method of the architect: to analyse all the conditionings, investigate or formulate the program, and be site-specific. The result is not architecture, as it does not define an interior space but can integrate fine arts. The difference between other artistic works is how I get there: not through total freedom nor the genuine idea of “inspiration”. I believe in the notion of discipline and reach the level of detail through a set of premises I impose on myself. I like to think I am somewhere between the two worlds, with my feet in architecture and my mind in art. To be able to test the elasticity of the disciplinary fields motivates me and consolidates my condition of “Außenseiter”, which I firmly believe is essential for the principal value in our lives: freedom. Only a free mind can authorship, and only culture will free us. 

OTIIMA: With the launch of your latest exhibition in Japan, what new directions or themes do you foresee exploring in your future projects? How do you envision your artistic practice evolving as you continue to push the boundaries of urban imaginaries and paper architecture? 

Ana Aragão: I have many ideas for future projects, and they all investigate different concepts, techniques, and sizes. The only thing I cannot do in my next project is what I did in the last; I want to reinvent myself. Even if I think that, poetically, I am always doing the same drawing over and over, I need to test new dimensions of the artwork. My biggest desire has always been to do an infinite illustration. Now I have the right ideas and experience to materialise that ambitious project. My next exhibition will happen in Casa da Arquitectura and is a collaboration with one of the best Portuguese writers, Gonçalo M. Tavares — I will head towards a more geometric and abstract approach relating to words, phrases, codes, and labyrinths. The essential element of my drawing has been and will remain to be the line. Opposite the point, a line incorporates time and memory. I also strongly desire to explore international stages, as the voyage and immensity are intrinsic to my work and imaginaries. To make others travel through my career, I must travel, which is my humble desire for the future. 

Gustavo Sumpta’s Unusual Artistic Performace

joanna helm — Fri, 03 Mar 2023 11:59:01 +0000

Gustavo Sumpta is a brilliant performer with a rich background as a visual artist and actor. In this professional career, he counts numerous exhibitions: I Came to Bury Caesar in the Coimbra Plastic Arts Center (CAPC); Mourning, Gallery Casa A Molder, Lisbon (2020), Sewing the Tongue to the Sky-of-the-Mouth, Rosalux, Berlin (2017); Gustavo Sumpta, Ar Sólido, Lisbon (2015); Good time to work, A certain lack of coherence, Porto (2014);

While the blood runs high, Parkour, Lisbon (2013). das group exhibitions, highlights: Curar e Repair, Anozero – Biennial de Coimbra (2017) and the list keeps growing. 

This March, Gustao Sumpta, as part of his artistic series “Sempre em Pe” (Always standing), displayed his performance in the industrial space of what many may know as The Factory Museum, OTIIMA’S production space. 

1. Heydar Aliyev Center – Zaha Hadid

Inspired by the roly-poly toy, Gustavo Sumpta transformed an impressive half sphere into a stage for his peculiar performance. 

This performance emerged as a tribute to all OTIIMA employees and workers, containing references and provocations for reflections about balance, persistence, and repetitive work.

Artworks | Dancing to the sound of the machines

joanna helm — Mon, 05 Dec 2022 16:08:06 +0000

In the latest edition of NEWS 08, you can immerse yourself in an artful conversation of OTIIMA with Artworks, trying to understand the peculiar relationship between art and the metal industry. “The Industrial Revolution transformed society starting in the 18th Century, with the invention of machines and the large-scale migration to large cities for factory work,” affirms Jose Pedro Croft, one of the collaborative artists at Artworks. 

Artworks: Dancing to the sound of the machines

“The Industrial Revolution- continues to explain Jose Pedro Croft – was not just about mass production, it also impacted the way people and artists see and produce art. The artwork complex dances to the sound of the machines’ noise – the energetic industrial music. Restlessness and enthusiasm are inherent to the space and its occupants. For José Pedro Croft, this disruptive environment is a challenge, but one that proves rewarding: “I am used to working in a factory environment therefore, I know that the artist creates a rupture in the factory work process; even if he only uses a machine for a short time, he is breaking a minute schedule. Therefore, it requires some flexibility on the part of both the company and the workers to accept this. It is a sign of great generosity; I always felt that my presence in the factory was an added value. When, in fact, it’s something very beneficial for me.”

Artworks: Dancing to the sound of the machines

1. Heydar Aliyev Center – Zaha Hadid

Based on the unanimously recognized generosity and ambition, ArtWorks has carved out its space: it is not and does not want to be a mere service provider entity; it designs its programs based on problems identified in day-to-day factory life and supports emerging artistic creation both nationally and internationally.