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Postcard: Paris by Night, 2015, inkjet print, 40×52 cm

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Postcard: Berlin by Night, 2015, inkjet print, 40×52 cm

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Postcard: Toronto by Night, 2015, inkjet print, 40×52 cm

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Postcard:Hong Kong by Night, 2015, inkjet print, 40×52 cm

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Postcard: Rio de Janeiro by Night, 2015, inkjet print, 40×52 cm

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Untitled (Folded Fashion Photo) 1, 2014, C-print, 73×53 cm

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Untitled (Amy Winehouse Smoking), 2012, C-print, 82x60cm

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Always There, (with António Caramelo), 2002, cardboard, paper, projector, variable dimensions. In In Transit, Porto. Col. Ivo Martins, Fundação de Serralves – Museu de Arte Contemporânea, Porto. © Imagens Paulo Mendes



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Untitled (Tomorrow Colonies),work in progress, 2014, earth, plastic buckets, spray paint, snow, variable dimensions. Displayed in the exhibition Bees Colonies, Noseland, Zurich, Switzerland. Photos Bruno Schlatter

Garbage cans are conceived to contain products that are supposed to be forgotten, to disappear from the face of earth. When half-buried garbage cans have nothing inside but black surfaces, they become holes in space that will be filled as time goes by, be it by plans, animals, or, even by human beings. Since scatology and utopia are always related, Untitled (Tomorrow Colonies) introduces a vertigo in the landscape, that is the symptom of metamorphosis time, of a time that produces an infinite delay in the definition of every existent being.

Fernando J. Ribeiro_post-its sculpture_2014A la Recherche de la Révolution Française, 2014, post-its, lots of people, variable dimensions. In Art Stabs Power, at Bermondsey Project, London

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Untitled (Barak Obama Dixit), 2012, post-its, variable dimensions

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Untitled (Study for a Flag), 2013, post-its, variable dimensions

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KILL ME

Untitled (Kill Me), 2001, post-its, magic markers, variable dimensions. © Imagens Paulo Mendes

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Everlasting Dream 9, 2014, inkjet print on dibond, 66x48x4 cm 

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Everlasting Dream 8, 2014, inkjet print on dibond, 66x48x4 cm 

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Everlasting Dream 7, 2014, inkjet print on dibond, 66x48x4 cm 

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Everlasting Dream 6, 2014, inkjet print on dibond, 66x48x4 cm 

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Everlasting Dream 5, 2014, inkjet print on dibond, 66x48x4 cm 

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Untitled (Fashion Model) 2, 2014 acrylic on wall, variable dimensions

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Untitled (Fashion Model) 1, 2014 acrylic on wall, variable dimensions

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Untitled (Celebrities Parties) 4, 2014, acrylic on wall, variable dimensions

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Untitled (Celebrities Parties) 3, 2014, acrylic on wall, variable dimensions

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Untitled (Celebrities Parties) 2, 2014, acrylic on wall, variable dimensions

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Untitled (Celebrities Parties) 1, 2014, acrylic on wall, variable dimensionsFernando J. Ribeiro_Adolfo Dominguez_2014

Untitled (Shopping Bags), 2014, acrylic on wall, variable dimensions

USAEU, 2010, enamel, wood, 150x600cm, in Vila Franca de Xira

«Fernando J. Ribeiro
Em Vila Franca de Xira, na varanda semi-circular que une a esquina da Avenida dos Combatentes da Grande Guerra com a Rua Alves Redol, (junto ao Museu do Neo-Realismo), Fernando Ribeiro apresenta uma imensa “bandeira” em duplicado especular que une também as duas simbologias de leitura política, económica e social mais decisivas do mundo ocidental. No longitudinal aparato pictórico aqui proposto, vemos apenas como a bandeira dos Estados Unidos da América absorve a simbologia estelar da bandeira da União Europeia. Com efeito, no espaço quadrangular azul onde normalmente se distribuem as estrelas referentes aos Estados americanos vemos agora as estrelas dos Estados europeus em forma circular, pontuando desse modo uma reflexão sobre a dependência europeia relativamente à omnipotente política norte-americana. Deste modo duplamente simbólico, o artista procura lembrar a invasão americana que desde o segundo pós-guerra e a execução do Plano Marshall tem vindo a transformar a Europa num parceiro político sem peso, cumpridor apenas das intenções de domínio dos EUA. Esta leitura permite-nos afirmar que as invasões dos séculos XX e XXI têm sido concretizadas, sobretudo, através do desenvolvimento de políticas económicas, financeiras e culturais, recorrendo por isso, cada vez menos, à força e às estratégias militares. Em última análise, é o signo e a sua transmutação constante que varrem o espaço físico e identitário, como nova apropriação ou domínio territorial.»

in “Invasões Contemporâneas: Arte nas Comemorações do Bicentenário das Linhas de Torres“, press release by David Santos.

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Tell Me My Name, 2010, 16 women perfume bottles, 16 men perfume bottles, variable dimensions. Performance undertaken in two shipping containers. In Contentores P28, Alcântara, Lisboa.

In two parallel industrial containers, perfume bottles of both sexes – feminine in one, masculine in ther other – are released to an imaginary vanishing point, in a way that the different scents will join on that same point.

It will leave behind material and sensorial traces which evoke themes related to sensuality and identity and also sexual (in)determination, deriving not only from the fact that both containers have the same lighting, but also from the information enclosed in the traces left by the performance.

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All Wishes, for Sale, 2004, cardboard, acrilyc paint, CDs, books, VHS tapes, vinyl, wire, variable dimensions. In Galeria Monumental. Lisboa. © Imagens Paulo Mendes

Int his exhibition books, VHS cassettes, and CDs were sold without labels or references to the titles and authors, so that the visitors bought them in a sort of blindness.

Compulsive Skin, 2000, plaster, wood, magic markers, lots of people, 120x152x55cm.  Col. Ivo Martins, Fundação de Serralves – Museu de Arte Contemporânea, Porto.

In exposição: “Riso. Uma Exposição a Sério,” Museu da Electricidade, Lisboa

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 In Culturgest, Porto, exposição Proximidades e Acessos: Obras da Colecção de Ivo Martins

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Untitled (Femur), 1998, plaster, magic makers, lots of people, variable dimensions. In CAPC, Círculo de Artes Plásticas de Coimbra. © Imagens Paulo Mendes

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