PEDRO COSTA: COMPANY
FROM 19 OCT 2018 TO 27 JAN 2019
Each film is a letter written by a thousand hands.
Companhia brings together works by Pedro Costa produced in collaboration with sculptor Rui Chafes, photographer Paulo Nozolino and film directors Danièle Huillet, Jean-Marie Straub and Chantal Akerman.
The exhibition also features works by artists who Pedro Costa repeatedly summons to his films, including poet Robert Desnos and photographer Jacob Riis, as well as paintings, drawings and films that have accompanied Costa’s life and work as a filmmaker. These include works by Pablo Picasso, Robert Bresson, António Reis, Walker Evans, João Queiroz, John Ford, Jeff Wall, Jacques Tourneur, Maria Capelo, Andy Rector, Jean-Luc Godard and Max Beckmann, among others.
Exhibition architecture conceived by the architect José Neves.
An exhibition organized by the Serralves Museum of Contemporary Art, coordinated by Filipa Loureiro and Marta Almeida, with the collaboration of Nuno Crespo and Marta Mateus.
Pedro Costa was born in Lisbon, he left his course of studies in History to attend classes taught by the poet and filmmaker António Reis at the Lisbon Film School. His first film Blood had its world premiere at the Mostra Cinematografica di Venezia in 1989. Casa de Lava (Down to Earth), his second feature, shot in Cabo Verde, was shown in Cannes, in 1994. Some of his other feature films include Ossos, In Vanda's Room and Where Does Your Hidden Smile Lie? on the work of Danièle Huillet and Jean-Marie Straub. He directed Sweet Exorcist, a segment of the omnibus feature Centro Histórico, with Manoel de Oliveira, Aki Kaurismäki and Víctor Erice. His work has been presented in galeries and museums around the world. Cavalo Dinheiro was awarded the Leopard for best direction at the Locarno International Film Festival in 2014. He is working on a new film Vitalina Varela.
Pedro Costa: An Unwritten Story
(an interview by Agnieszka Szeffel)
Published by Wydawnictwo w Podwórku
We shouldn't work like bankers, our guiding interest mustn't be economic, says Pedro Costa, the subject of one of the retrospectives at this year's New Horizons, in an in-depth interview with Agnieszka Szeffel. This is a story about cinema that is born of trust, great friendship and hard work, with a conscious approach to social and urban margins, which also happen to be the margins of the film market. One of the most outstanding filmmakers in European cinema and one of its most consistent outsiders, the Portuguese director spent years filming immigrants from Cape Verde, who, by fate or necessity, have ended up in the suburbs of Lisbon. My films came to be because I met someone, says the protagonist in Pedro Costa's book, An Unwritten Story, recalling Vanda, Vitalina and Ventura, as well as Chaplin, Bresson and Straub. This is primarily a story about finding your own way, your own world view, to becoming a filmmaker who is-as Costa is fond of saying about Godard-a researcher at a museum of the human species.