What were the premises that you had in mind in addition to the theme?
HMU: The most important thing when it comes to contemporary art is the concept. Then, through a single element of representation, this aspect is there express. The artist through his work intelligently creates an idea base. Contemporary art has this possibility, since it is a more intellectual work. It has an aesthetic, plastic and even assaults the audience, the general public. This depends on each one. Sometimes the artist wants to shock people visually. There are many forms of representation in contemporary art and this makes it much more intellectual, if we compare it with modern painting and sculpture, their language par excellence is the installation. Thus, in terms of concepts turns out to be broader, because it provides a range of possibilities.
This exhibition does not shy away from your activity of MADS?
FS: I do not think so, because there is a space used for the fine arts. It has an unusual ambience and thinks it will be interesting to see here the works associated with this theme, many of them linked to the installation that has not had much visibility in Madeira. I think it will be interesting to see how they see and resulted in the exhibition itself.
HMU: The fact that they have the same theme, each artist makes a plan of its composition, or concept, through the wine. Solve its problem or aesthetic, in this case the work. So let's see how starting from the same common pot, which in this case is the packaging, will do his work. Or other parts of the production process and how it passes from one medium to another and even the environment surrounding the wine. Everyone is different and this is very interesting.
How many works have been submitted?
HMU: In addition to the six selected, four or five more, but some were composed of groups of six artists each. One of them is a duo, one devoted to photography and the other to literature. They present video-art and it is curious to see this result.
The mad space invaders' success stems from a lack of space in the art world for new artists?
FS: For some sites in particular, which set out the same old names and are closed to young artists and for those that do not fit well in those categories, yes. The mad space invaders cover people of all ages, artists with careers, some more visible than others, various types of training and even self-taught. We tried other zones of intervention that the works can be seen in different areas and that there is another opening. It's not just a matter of space; it is mostly the way we expose.
HMU: The most interesting of MADS is to have a very open minded about the people who constitute the collective art. We accept all kinds of people who feel a great need to expose, which comes from other courses, which come with the desire to express themselves and would not have been possible in other areas. I think that all humans have an artistic side within himself, only a few explore this aspect more than others. It is an opportunity for young people to go into museums, art exhibitions and biennials, which are complicated means, because you need to have a route. It's like a lesson for those who have never participated in such events. The conceptualizing of a work, how to show it before an audience, all these are concepts that are rooted to present their works. Help them understand what is contemporary art, its significance and symbolism. It's not just paint a line and have a certain aesthetic beauty, although it is part, the artistic canons are changing as the generations. Sometimes I hear people say I do not understand anything about this! It is above all a change in mental attitude and awareness. Hence the importance of this type of artistic activities from the general public.
However, there are contemporary artists who support the idea that it is the viewer who must interpret. It is in the eyes of the beholder.
HMU: I, for one, do not put titles on my art, my work as an artist is based on symbolism, because I'm conceptualizing, I write for myself, and potentially to any jury, because otherwise they think I do not know what 'm making. That is why I defend this idea in contemporary art, because it depends on the interpretation of each. It is a way to broaden the horizons of the artists incur in art and in the eyes of those who see them. It is a seed. From this exhibition people will have a greater opportunity to participate, because it is a new group with many young artists in the learning process and it is normal that they fear a contemporary work, they do not know how to act, or the answer given to the paradigm. It is a process that will drive within the artistic community.
FS: Just to question but not to bring a conclusion is the function of the work itself. The likes and dislikes, the beautiful and the ugly, today is not the real answer of art.
