João Onofre is one of the foremost exponents of conceptual art in Portugal. A career of 14 years of artistic creations that has been rightly highlighted in the world of international contemporary art. Present in many museums and collections around the world, this artist continues to develop what he calls a documentary expanded recently presented a workshop in the gallery door 33.
When you approach your work you speak of expanded documentaries, why do you use this terminology?
João Onofre: For my work, my videos are not documentaries in the traditional sense. Are expanded because there is narrative I would say it's more conceptual art than documentaries as we know them in the movies.
Do you note certain mistrust in the artistic work about the work you develop?
JO: I do not think so, work in film and video are present in collections of museums and cultural centers, in private collections, I assume that already exist in the art from the twentieth and twenty-first centuries are well rooted.
Your work is associated with the conceptual art movement of the 60s. Do you review in this kind of comments? The artists of this time period influence you in what measure?
JO: In the late '60s early '70s avant-garde movements arise in the U.S. and I think this is a strain that cannot hide and I'm proud to be placed as a descendant of this group and I review myself in this kind of comment.
How do you see the world of art in Portugal, there was an evolution?
JO: The world of contemporary art in Portugal somehow evolved. More artists emerged in the post-April 25th, also emerged in the last 10 years new faces in the national art scene. Our country is small and the medium of contemporary art and reflects that.
This explains why you were first successful abroad rather than your own country?
JO: Maybe.
Why? Abroad are more open to conceptual art? Or because there is an art market that has evolved at a time when Portugal was out of this world?
JO: I believe that being well received abroad reinforces the fact that my work is seen with care in Portugal, that in the past could not have been given. My perspective of conceptual art is present in many spoils of Portuguese contemporary art museums and private collections so that the work is welcome in my country.
What is the importance of a workshop in partnership with the gallery door 33?
JO: It was an excellent opportunity to come and discuss my work with several participants of the seminar and answer any questions. I feel happy because it was interesting. Of the 25 videos I brought five have never been seen in Madeira totaling 14 years of work, I also brought two unseen in Portugal and I think this has some relevance to this initiative of the door 33.
What was the impact of that for the participants?
JO: I think it has been well received, but because we not yet completed the assessment I cannot add more.
