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David Melgueiro: Na rota da lendária viagem do navegador português pelo Árctico

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VIII Encontros da Revista Militar

One might, for example, remember the series of eight photographic diptychs presented at that exhibition, juxtaposing reproductions of sepia images, dating from the s and s, of vehicles car, propeller, plane, flying saucer , with colour images of domestic interiors in the s, equipped and furnished according to the aesthetic patterns that have since endured as a memory of the interior design of that time. In this way, the artist drew our attention to the fact that the growing enhancement and generalisation, throughout the 20th century, of the house as the locus of social and, in particular, family life was accompanied by the euphoric desire for, and increasing possibilities of, mobility within the territory and the conquest of space.

One could also refer, in passing, to the set of furniture-sculptures that he presented at his next solo exhibition, two years later: Appearing simultaneously as both furniture and sculpture, both utilitarian objects and works of art vaguely evoking the tradition of minimalist sculpture and, in particular, certain sculptures by Donald Judd , these pieces reflected, in an ironic and undramatic fashion, the already mentioned loss of autonomy of the art that the modernist paradigm had advocated, as well as the closely related phenomenon of the aestheticisation of everyday life, which is omnipresent in contemporary societies.

From onwards, the use of photography as a medium lost its central importance, although it did not disappear from his work, even reaching the point of its recently earning him the distinction of winning the BES Photo Prize. Design also lost importance as a field of references for him, even if his earlier questioning of its status and of works of art that simultaneously exist as functional objects reappears, with renewed effectiveness, in Celulight , a set of lamps made from the recycling of the brightly-coloured plastic packages produced at that time by the Portuguese mobile phone companies and thrown away each day in large numbers.

What is more interesting for the purposes of this text than simply noting that, in his early years, photography represented the principal medium of his work, is to emphasise the fact that the use that he made of it was systematically linked to the re-use and manipulation digital after of pre-existing images.

In fact, Miguel Soares was one of several artists from his generation who adopted different strategies of appropriation in the creative process with absolute naturalness.

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It was not long before his own acts of appropriation began to include mass-produced consumer objects, images and sounds from computer games, graphic features and images taken from the internet and musical themes used on the soundtrack of many of his videos and 3D animations. Like so many artists of his generation, Miguel Soares was aware of the legal impediments to re-using, for artistic purposes, materials that had been produced and distributed within the field of the cultural industries, a question that became an urgent one in the s with the dissemination of the video as an artistic medium and the consequent proliferation of works that took film and music as their sources for appropriation.

It was precisely this question that, in , he touched on in his first video, Copyright Law. Consisting of a cascade of hundreds of images spliced together from television and video cassettes, and having as its soundtrack and exempted from copyright the work Crosley Bendix discusses the Copyright Act , by Negativland, the video was conceived as a visual illustration of that passionate manifesto issued in defence of the free access for artistic purposes to images and sounds that are circulated through the mass media, subject to severe restrictions imposed by the cultural industries under the protection of purely economic interests.

The images were edited using two VHS recorders, employing cut and paste procedures that were analogous to the composition technique recurrently used by the group — the sticking together of fragments of magnetic tape that had been cut with a razor blade. A significant part of his work, in that period, took the form of sculptures and installations, made with mass produced materials and simple technological devices, which represented characters, objects, atmospheres and situations belonging to hypothetical worlds from science fiction.

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For example, in Vr Trooper , we come across what we suppose to be a futuristic station used for observation or surveillance: The installation simulates several bodies, either asleep or dead, that can be found lying on shelves, covered by purple satin sheets and wearing trainers of the same brand. The sheets gained greater volume under the effect of the air blown into them by electric fans connected to movement detectors, after which they returned to their former state of rest.

fog resistant - Portuguese translation – Linguee

In this way, the moment was suggested when the members of the sect, in accordance with the belief that led them to commit suicide, were teletransported by a space ship to another planet. In turn, Beep constructs the image of a flying saucer emitting a red light in a circular movement, as if it were reconnoitring the surrounding space — the sculpture reacts with light effects both to the sounds that it picks up and to the sound that it produces, static noise interrupted every minute by a beep.

This piece attained its greatest expressive force in the space of a former water tank in Madrid, where it was presented for the first and only time. During this period, Miguel Soares used a rudimentary video card the Creative TV Coder of Windows 95 to record sequences of images and sounds created from the manipulation of computer games. The two works of this nature that he produced, Your Mission is a Failure and Barney Online , different versions of which were presented in those years, open up the imagery of science fiction, already perfectly recognisable at that time, to the iconographic universe and aesthetic codes of computer games and futuristic cartoons, foreshadowing the 3D animations to which he so intensely devoted himself from the end of that decade onwards.

Your Mission is a Failure records a series of performances by the artist in the virtual environment of some computer war games including MechWarrior 2 , Dark Forces , Doom , Descent 2 and Duke Nukem 3D. Recorded in real time, these performances relate various specific actions dissociated from the logic of these games, such as, for example, continuously dying hence the title of the work, which corresponds to the message of the computer game Command and Conquer when the player fails in his mission , becoming immortal, exploring and going beyond the frontiers of the scenic space of the games, or making music with the respective sounds.

The fragmentation and pasting together of images and sounds that have been decontextualised from the narrative plot inherent in the games, as well as the playful exploration of the possibilities and limits of the games outside the protocol and objectives that they propose, arouse in the spectator a feeling of strangeness that is exacerbated by moving from the virtual environment of the computer to the wall of the exhibition space, where the videos are projected in large formats.

In a second and shorter version of this video, the crucial importance of the sound in creating this feeling of strangeness was reinforced by positioning in the centre of the projection a psychedelic light box reused from a solo exhibition in , which reacted to the sound through a sensor.

In the videos made from computer games, Miguel Soares found a way to bring to his work what at that time was one of his favourite recreational activities, having reached the point of spending several hours a day playing and interacting in front of the computer. Even more flagrantly than in the previous video, Barney Online provides an eloquent testimony to the crossover between artistic practice and a certain playful activity that is accompanied by an aesthetic investment. The video joins together excerpts from the virtual performances of a character Barney , embodied by the artist, over roughly two years in the Internet game Quake TeamFortress, as a member of the largest and oldest clan he got to be one of its leaders who in Portugal, as in many other countries around the world most of them numbering between 10 and 40 members , dedicated themselves daily to playing this game, establishing their own rules for the admission of members, as well as for the organisation and functioning of the clan.

The brief messages that run along the upper strip of the images provide additional clues about the nature of the events and situations that are documented, but these remain obscure for most people, who are not familiar with the codes that are only accessible to those who have been initiated into the game.

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What is imposed on the spectator is the hypnotic flow of a display of colossal violence. The video joins together excerpts from the virtual performances of a character Barney , embodied by the artist, over roughly two years in the Internet game Quake TeamFortress, as a member of the largest and oldest clan he got to be one of its leaders , who in Portugal, as in many other countries around the world most of them numbering between 10 and 40 members , dedicated themselves daily to playing this game, establishing their own rules for the admission of members, as well as for the organisation and functioning of the clan.

From the mids onwards, and with even greater emphasis towards the end of the decade, when a completely new generation began to emerge, a growing number of young Portuguese artists adopted video as a medium. In fact, video offered an extremely attractive alternative to the traditional media, proving itself to be particularly effective for artists who were interested in broaching and commenting upon aspects of contemporary reality, constructing fictional narratives, exploring performative situations, examining the influence of time as a mediating factor of perception, or incorporating references from an expanded cultural landscape, with particular emphasis being given to film and music.

In an initial phase, videos were made using cameras that filmed in the Video 8 or Hi8 format and two VHS or S-VHS reproducers , this being the equipment that was available at that time and which very soon became obsolete as a consequence of the breakneck speed with which technological changes were being introduced, accompanied by their immediate democratisation. The introduction onto the market of increasingly sophisticated digital cameras and computers at accessible prices, as well as software that was easy to use for the editing and post-production of images and sounds, created extremely favourable conditions for the use of video in artistic production, exponentially increasing the creative possibilities and the quality parameters that were now within reach of artists, without the need for them to rent equipment or to seek the help of professionals.

Considering the great fondness that he felt, from the very outset, for technological devices that were characteristic of the period and accessible to non-professionals, it is not surprising that Miguel Soares was one of the first Portuguese artists of his generation to work with video. However, while many of his peers centred their artistic practice on that medium, he made a quite different and atypical choice, preferring to use 3D animations as the quintessential arena for his work from the end of the s onwards.

As it did not take him long to realise, the tools that he had chosen to perform these first experiments with animation were manifestly not up to the task — the animation had to be done manually, frame by frame, before passing through an extremely slow process of rendering converting the 3D model into final images. In , before he definitively abandoned the project, and at a time when the rendering of each frame was taking him as long as 13 hours, Miguel Soares recovered the model of the city in order to make Y2K , his first work of 3D animation to be presented publicly. Remaining faithful to his persistent do-it-yourself attitude, Miguel Soares began to use not only computers with an ever greater processing capacity, but also non-professional 3D modelling and animation software, which, despite its being very basic, offered him much greater possibilities for figurative composition.

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