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Untitled (Hommage to Mondrian), 2001, acrylic, six football balls, lots of people, variable dimensions. Intalled in group exhibition Urbanlab, Bienal da Maia, curated by Paulo Mendes, Maia, 2001. Collection Ivo Martins, on deposit at Fundação de Serralves – Museu de Arte Contemporânea, Porto. © Imagens Paulo Mendes

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Fernando J. Ribeiro_Skull Sculpture_2000

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Compulsive Skin, 2000, plaster, wood, magic markers, lots of people, 120x152x55 cm. Exhibited  in group exhibition Plano XXI, Portuguese Contemporary Art, Cinema & Music, G-MAC (Glasgow Media Access Centre),Glasgow, 2000, curated by Paulo Mendes and António Rego. Exhibited in group exhibition “Riso. Uma Exposição a Sério,” Museu da Electricidade, Lisboa, 2012. Collection  Ivo Martins, on deposit at Fundação de Serralves – Museu de Arte Contemporânea, Porto.

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 In group exhibition “Proximidades e Acessos: Obras da Colecção de Ivo Martins,”  curated by Miguel Wanschneider, Culturgest, 2004, Porto. © Imagens: Paulo Mendes

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Untitled (Femur), 1998, plaster, magic makers, lots of people, variable dimensions. Exhibited in group exhibition Acasos e Materirias, 1998, curated by Paulo M4endes, Círculo de Artes Plásticas, Coimbra, 1998. Collection Paulo Mendes, Porto. © Imagem: Paulo Mendes

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Flags

 

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World Cup (Geo-Political Map), 2005, acrylic paint, 12 football balls, lots of people, variable dimensions. installed in the group show Toxic. O Discurso do Excesso, curated by Paulo Mendes, at Angar K7, Fundição de Oeiras, 2005. © Imagens Paulo Mendes

 

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A la Recherche de la Révolution Française, 2014, post-its, lots of people, variable dimensions. Installed in group show Art Stabs Power,  curated by inês Valle, at Bermondsey Project, London, 2014. Collection Ivo Martins.

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Untitled (European Union), 2012, satin, Ruffles chips with ham flavor, wire, variable dimensions. Exhibited in solo show Close-up, 2012, Espaço Campanhã, Porto, 2012; in group show Art Stabs Power. Que se Vayan Todos!, curated by Inês Valle, at Bermondsey Project, London, 2014, and at Plataforma Revólver, Lisboa, 2014; in group show Them or Us, curated by Paulo Mendes, Galeria Municipal do Porto, 2017. Collection Ivo Martins.

 

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Untitled (Ground Zero), 2013, sponge, tripod, video camera, variable dimensions

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No Flag No Light, 2011, inkjet print, 72×49 cm; published in magazine Ascensor nº 0, Julho 2011, Ascensor_Contemporary Art Uni. Lda, Lisboa, 2011; exhibited in group show “Sem Quartel / Without Mercy”, Sismógrafo, Porto, 2014

 

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Untitled (USA-EU)Untitled (USA-EU), 2010, enamel, wood, 150x600cm, in group show “Invasões Contemporâneas: Arte nas Comemorações do Bicentenário das Linhas de Torres“, curated by David Santos. Installed at Vila Franca de Xira, 2010. Collection Museu do Neo-Realismo, 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.»

– David Santos inInvasões Contemporâneas: Arte nas Comemorações do Bicentenário das Linhas de Torres“, catalogue

 

 

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Untitled (Abandoned House), 2016, aluminium foil, plinth, 128x40x40 cm

 

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Untitled (Observatorium), 2016, aluminium, plinth, 147x40x40 cm

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Untitled (Cross), 2016, plinth, aluminum foil, 108x40x40 cm. Exhibited in group show Que Farei Eu com esta Espada?, curated by António Caramelo, Zaratan – Arte Contemporânea, Lisboa, 2017

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Untitled (Souvenir from Paris), 2015, plinth, aluminum foil, 113x40x40 cm

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Untitled (Single Bed), 2015, plinth, aluminum foil, 109x40x40 cm

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Untitled (Souvenir from Egypt), 2015, plinth, aluminum foil, 113x40x40 cm

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Untitled (Siamese Slippers), 2015, plinth, aluminum foil, 112x40x40 cm

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Untitled (My Favorite Book), 2015, plinth, aluminum foil, 108x40x40 cm

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Untitled (Island Books), 2015, plinth, aluminum foil, 121x40x40 cm

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Untitled (Private Space), 2015, plinth, aluminum foil, dimensions variable

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Forever Mondrian (The New York Times, Wednesday July 12, 2017), 2017, C-print, 80×68 cm

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Forever Mondrian (The New York Times, Wednesday July 12, 2017), detail

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Forever Mondrian (The New York Times, Wednesday July 12, 2017), detail

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Forever Mondrian (The New York Times, Wednesday July 12, 2017), detail

 

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Forever Mondrian (Público, Friday 7 Julho 2017), 2017, C-print, 80×68 cm

 

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Forever Mondrian (El Mundo, Friday 9 June 2017), 2017, C-print, 80×68 cm

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Forever Mondrian (El Mundo, Friday 9 June 2017), detail

 

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Forever Mondrian (Le Monde, Wednesday 5 July 2017), 2017, C-print, 80×68 cm

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Forever Mondrian (Le Monde, Wednesday 5 July 2017), detail

 

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Forever Mondrian (China Daily, June 23-29 2017), 2017, C-print, 80×68 cm

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Forever Mondrian (China Daily, June 23-29 2017), detail

 

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Forever Mondrian (China Daily, June 23-29 2017), 2017, C-print, 80×68 cm

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Forever Mondrian (China Daily, June 23-29 2017), detail

 

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Forever Mondrian (The New York Times, Friday 9 June 2017), 2017, C-print, 80×68 cm

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Forever Mondrian (Daily Mail,  Friday June 9 2017), 2017, C-print, 80×68 cm

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Forever Mondrian (Daily Mail,  Friday June 9 2017), detail

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Forever Mondrian (Daily Mail,  Friday June 9 2017), detail

 

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Forever Mondrian (The New York Times, Friday 9 June 2017), 2017, C-print, 80×68 cm

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Forever Mondrian (The New York Times, Friday 9 June 2017), detail

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Forever Mondrian (The New York Times, Friday 9 June 2017), detail

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Forever Mondrian (The New York Times, Friday 9 June 2017), detail

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Forever Mondrian (The New York Times, Friday 9 June 2017), detail

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Forever Mondrian (The New York Times, Friday 9 June 2017), detail

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Forever Mondrian (Signal, nº 1, August 1941), 2017, C-print, 80×68 cm

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Forever Mondrian (Signal, nº 1, August 1941), detail

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Forever Mondrian (Signal, nº 1, August 1941), detail

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Forever Mondrian (Penthouse, The International Magazine for Men, vol. 9, nº 9, 1974), 2017, C-print, 80×68 cm

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Forever Mondrian (Penthouse, The International Magazine for Men, vol. 9, nº 9, 1974), detail

 

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Forever Mondrian (Penthouse, The International Magazine for Men, vol. 9, nº 9, 1974), 2017, C-print, 80×68 cm

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Forever Mondrian (Penthouse, The International Magazine for Men, vol. 9, nº 9, 1974), detail

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Forever Mondrian (Penthouse, The International Magazine for Men, vol. 9, nº 9, 1974), detail

 

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Forever Mondrian (Life, vol. 37, nº 23, December 6, 1954), 2017, C-print, 80×68 cm

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Forever Mondrian (Life, vol. 37, nº 23, December 6, 1954), detail

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Forever Mondrian (Life, vol. 37, nº 23, December 6, 1954), detail

Post-its

 

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A la Recherche de la Révolution Française, 2014, post-its, lots of people, variable dimensions.; exhibited in group exhibition “Art Stabs Power”, curated by Inês Valle, at Bermondsey Project, London, 2014. Collection Ivo Martins.

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

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

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Untitled (Panorama), 2009, post-its, variable dimensions. In  group show “A Nossa Língua não Cura”, curated by Isabel Ribeiro, Espaço Avenida 211, Lisboa, 2009

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Untitled (Kill Me), 2001, post-its, magic markers, variable dimensions.  Exhibited in group show “Regras do Jogo da Glória,” curated by Paulo Mendes, Artemosferas, Porto;2001; exhibited in group show  “Proximidades e Acessos: Obras da Colecção de Ivo Martins,” curated by Miguel Wanschneider, Culturgest, 2004, Porto; exhibited in group show “A Arte como Experiência do Real: Colecção de Ivo Martins em Depósito no Museu de Serralves”, curated by Nuno Faria, Centro Internacional das Artes José de Guimarães, Guimarães. Collection  Ivo Martins, on deposit at Fundação de Serralves – Museu de Arte Contemporânea, Porto. 

Performances

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Home Sweet Hole, in International Performance Festival, curated by Bruno Schlatter and Dominik Lipp, Noseland, Aarau, Switzerland, 20-6-2015. Video: Bruno Schlatter

Visitors are invited to produce an enclosure with a centripetal bias because guided by a character that will accomplish a succession of photographic records that will absorb the communitarian space. As the records go from the individual to the collective, the camera will go on mapping and appropriating the sense of place built by an ephemeral micro-community.

 

Lol Spam Lol, 2012. Performance realized in “Festival Verão Azul”, curated by Ana Borralho and João Galante, Lagos. Portugal, 2012. http://www.festivalveraoazul.com

Blind Date, 2010, presented at Caroline Pagès Gallery, during the “Campo de Ourique Gallery Weekend”, on October 29 and 30 at 10 pm; Lisboa, 2010. Video by Luis Sezões. 

 

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Tell Me My Name, 2010, 16 women perfume bottles, 16 men perfume bottles, variable dimensions. Presented in Projecto CONTENTORES, curated by Sandro Resende and José Jesus, Alcântara, Lisboa, 17 th June 2010. http://www.contentoresp28.com

In two parallel industrial shipping 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. Tell Me My Name is a performance undertaken by the artist in two shipping containers. 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.

Tell Me My Name é uma performance executada pelo artista em dois contentores de carga marítima. Dela ficarão vestígios materiais e sensoriais, vestígios esses que remetem para questões relacionadas com a sensualidade e a identidade, e ainda para a (in)determinação sexual, que decorre quer do facto de ambos os contentores terem a mesma iluminação, quer da informação presente nos vestígios deixados após a realização da performance.

Film

 

Welcome Back, 2016, film, 6′ 14”

Love or Die, 2015, film, 5′ 49”

Body and Soul, 2015, film 5′ 13”. Presented in Sessões da Buganvilia # 6, Screening: Fernando J Ribeiro, curated by António Caramelo, Zaratan – Arte Contemporânea, Lisboa,  2015

Love, 2015, film, 4′ 15”. Presented in Sessões da Buganvilia # 6, Screening: Fernando J Ribeiro, curated by António Caramelo, Zaratan – Arte Contemporânea, Lisboa,  2015

 Fear and Hope, 2015, film, 3′ 48”. Presented in Sessões da Buganvilia # 6, Screening: Fernando J Ribeiro, curated by António Caramelo, Zaratan – Arte Contemporânea, Lisboa,  2015

 

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Mandela, 2012, film, PAL, sound, B&W, 10′ 21”. Presented in solo show Close-up, Espaço Campanhã, Porto, 2012; and in Sessões da Buganvilia # 6, Screening: Fernando J Ribeiro, curated by António Caramelo, Zaratan – Arte Contemporânea, Lisboa,  2015

 They and You, 2015, film, 3′ 48”. Presented in Sessões da Buganvilia # 6, Screening: Fernando J Ribeiro, curated by António Caramelo, Zaratan – Arte Contemporânea, Lisboa,  2015

Lol Spam Lol, 2012. Performance realized in “Festival Verão Azul”, curated by Ana Borralho and João Galante, Lagos. Portugal, 2012. http://www.festivalveraoazul.com

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Untitled (One Heart, One Soul), 2016, nails on wall, variable dimensions

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Untitled (Forever), 2015, nails on wall, dimensions variable

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Untitled (Dream), 2015, nails on wall, variable dimensions

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Untitled (NO), 2015, nails on wall,  dimensions variable

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Untitled (Square), 2015 nails on wall,  dimensions variable

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Untitled (Look), 2015, cardboard box, charcoal, variable dimensions

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Untitled (THANK YOU), 2015, cardboard, charcoal, variable dimensions

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Untitled (Star), 2014, paper, spray paint, variable dimensions

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Untitled (SOLD), 2014, frame, plastic, spray paint, variable dimensions

Fernando J. Ribeiro_Graffiti Sulpture_2014

Untitled (OK), 2014, plinth, paper, spray paint, variable dimensions

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Untitled (The Books I Should Read), 2015, wood, books, spray paint, variable dimensions

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Untitled (Go Home), 2015, wood, paint, paper, China ink, variable dimensions

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Untitled (Just Looking), 2015, wood, paint, inkjet print, 172x60x40 cm

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

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

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

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

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

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Untitled (Souvenir) 1, 2015, 54×36 cm, inkjet print

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Untitled (Souvenir) 2, 2015, 54×36 cm, inkjet print

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Untitled (Souvenir) 3, 2015, 54×36 cm, inkjet print

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Untitled (Newspaper), 2015, inkjet print, 52×41 cm

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

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Untitled (Project for a Cube), 2012, magazines pages, variable dimensions

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

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Always There (with António Caramelo), 2002, cardboard, photocopies, projector, variable dimensions; curated by Paulo Mendes. Presented in In Transit, Porto, 2002. Collection Ivo Martins, on deposit at Fundação de Serralves – Museu de Arte Contemporânea, Porto. © Imagens: Paulo Mendes

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Untitled (Smoke), 2014, inkjet print, wood, paint, 102x40x40 cm. Exhibited in individual exhibition Self-Service, curated by Óscar Faria, Sismógrafo, Porto, 2014

 

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Fissure (Pulp Fiction, Psycho, Lolita, Crash), 2012, wood, paint, books, inkjet on paper, 203x40x40 cm. Exhibited in solo show Close-up, Espaço Campanhã, Porto, 2012

 

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Fissure (Pulp Fiction, Psycho, Lolita, Crash), detail



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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, curated by Bruno Schlatter, 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.

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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. Exhibited in individual exhibition Self-Service, curated by Óscar Faria, Sismógrafo, Porto, 2014

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Everlasting Dream 6, 2014, inkjet print on dibond, 66x48x4 cm. Exhibited in individual exhibition Self-Service, curated by Óscar Faria, Sismógrafo, Porto, 2014

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Everlasting Dream 5, 2014, inkjet print on dibond, 66x48x4 cm.Exhibited in individual exhibition Self-Service, curated by Óscar Faria, Sismógrafo, Porto, 2014 

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Untitled (White Paper over Fashion Magazine), 2014, inkjet print, 77×62 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

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Untitled (Split), 1, 2014, inkjet print on dibond, 67x49cm. Exhibited in individual exhibition Self-Service, curated by Óscar Faria, Sismógrafo, Porto, 2014. Collection Óscar Faria, Porto

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Untitled (Split) 2, 2014, inkjet print on dibond, 67x49cm. Exhibited in individual exhibition Self-Service, curated by Óscar Faria, Sismógrafo, Porto, 2014

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Untitled (Kiss) 2, 2014, inkjet print, 31x45cm. Exhibited in individual exhibition Self-Service, curated by Óscar Faria, Sismógrafo, Porto, 2014

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Untitled (Kiss) 1 2014, inkjet print, 31x45cm. Exhibited in individual exhibition Self-Service, curated by Óscar Faria, Sismógrafo, Porto, 2014

 

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Untitled (Neons and Chanel), 2009, Chanel nº 5, neons, variable dimensions, curated by Isabel Ribeiro and Mauro Cerqueira; installed at A Certain Lack of Coherence, Porto, 2009

In an old , dirty, and damaged space are spread allover it 300ml of Cahnel nº5, and the parts of that same space are totally open, just as neons constitute the only light source.

 

 

 

 

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Untitled (Newspapers Collection), 2013, newspapers, variable dimensions

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Untitled (Sliced Visão Magazine), 2014, C-print, 53×73 cm

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Untitled (Fashion Time), 2013, fashion magazines, photocopies, variable dimensionsInstalled in the individual exhibition Self-Service, curated by Óscar Faria, Sismógrafo, Porto, 

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Untitled (Backwards, Again), 2013, Elle magazines, Vogue Sport magazine, mdf, 42x55x49,6 cm.Installed in the individual exhibition Self-Service, curated by Óscar Faria, Sismógrafo, Porto,  

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Untiitled (Vogue), 2012, magazine, inkjet print variable dimensions. Installed in the individual exhibition Close-up, Espaço Campanhã, Porto, 2012

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Untitled (Cross), 2012, magazines, variable dimensions

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Freedom Go to Hell (London, 3 February 2006), 2012, plastic table, plastic chairs, puzzle, lots of people, variable dimensions. Installed in the individual exhibition Close-up, Espaço Campanhã, Porto, 2012

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 Lost and Found, 2012, magazines, paper, tape, cardboard, wood, pastels, lots of people, variable dimensions; in “Limbo” group exhibition, curated by Pedro Cabral Santo, at Plataforma Revólver, Lisboa, 2012

 

HITLERBLONDI-copy2-copyUntitled (Blondi and Hitler Contemplating the Bavarian Alps), 2014, C-print, wood, nail, variable dimensions. Installed in the group exhibition A Boca do Inferno / Hell’s Mouth, curated by Óscar Faria, Sismógrafo, Porto, 2014

F_J_RIBEIRO_LIGHT SHAOW
Untitled (Blind Mirror), 2010, enamel, wood, mirror cardboard, 34x22x4 cm: Collection António Olaio, Coimbra. Exhibited in group exhibition. MONO (a propósito do grupo GICAPC/CORES CAPC 1976/1978), curated by António Olaio, CAPC   Círculo de Artes Plásticas de Coimbra, Coimbra, 2010ecstasy_-netUntitled (Ecstasy), 2010, graphite, wood, enamel, 34x26x4 cm. Exhibited in group exhibition Oitenta Anos de Desenho, Escola Secundária António Arroio, Lisboa, 2015

 

fribeiro_pope-copy

Untitled (The Pope), 2012, acrylic, collage, wood, 63x49x7cm

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Untitled (Smile on Me), 2009, C-print, wood, enamel, 88x68x6,5cm. Exhibited in individual exhibition Horizonte e Outros Brilhos, Galeria Presença, Porto, 2009

Fernando J. Ribeiro_T Shirt Sculpture_2015

Untitled (My New Jersey), 2015, inkjet print, 98×63 cm

Fernando_J._Ribeiro_Untitled (Private International Magazine), 2012

Untitled (Lonesome Affairs), 2012, shirt, c-print, wire, variable dimensions

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PRIVATE4

Untitled (Lonesome Affairs), details, 2012, shirt, c-print, wire, variable dimensions

COAT

COAT-3

COAT-4

 

Untitled (Coat-Pajama), 1998, cloth, paint, wood, wire, 94 x 52 x 18 cm, handmade by the artist. Exhibit in group show,  “Acasos e Materiais 1”, CAPC, Círculo de Artes Plásrticas de Coimbra, 1998, curated by Paulo Mendes; and in group show “Proximidades e Acessos: Obras da Colecção de Ivo Martins”, Culturgest, Porto, 2004, curated by Miguel Wandschneider. Collection Ivo Martins, on deposit at Fundação de Serralves – Museu de Arte Contemporânea, Porto. © Imagens: Paulo Mendes

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F_J_RIBEIRO_WISHES-FOR-SALE1

F_J_RIBEIRO_WISHES-FOR-SALE1

F_J_RIBEIRO_WISHES-FOR-SALE1

F_J_RIBEIRO_WISHES-FOR-SALE1

F_J_RIBEIRO_WISHES-FOR-SALE1

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

In this work books, VHS cassettes, and CDs are sold without labels or references to the titles and authors, so that the visitors buy them in a sort of blindness.

F_J_RIBEIRO_BELLY-SCULPTURE1

Untitled (Horizon), 2009, enamel on canvas, wood. Exhibited in individual exhibition Horizonte e Outros Brilhos, Galeria Presença, Porto, 2009 

F_J_RIBEIRO_BELLY-PAINTING1

Untitled (Horizon) 5, 2009, enamel on canvas, wood, 67x57x28cm. Exhibited in individual exhibition Horizonte e Outros Brilhos, Galeria Presença, Porto, 2009

F_J_RIBEIRO_BELLY-PAINTING1

Untitled (Horizon) 3, 2009, enamel on canvas, wood, 70x60x24cm. Exhibited in individual exhibition Horizonte e Outros Brilhos, Galeria Presença, Porto, 2009

 

F_J_RIBEIRO_BELLY1

Untitled (Horizon) 4, 2009, enamel on canvas, wood, 67x57x25cm. Exhibited in individual exhibition Horizonte e Outros Brilhos, Galeria Presença, Porto, 2009

 

Fernando J. Ribeiro_Belly Painting_2008

BELLY-2

Untitled (Horizon) 1, 2008, enamel on canvas, wood, 71x62x14,5 cm

 

 

 

 

 

 

 

 

 

 

 

 

F_J_RIBEIRO_STAIN

Untitled (Stain) 6, 2009, graphite and enamel on paper, 53x73x3cm.  Exhibited in solo exhibition Horizonte e Outros Brilhos, Galeria Presença, Porto, 2009

Microsoft Word - Document1

Untitled (Stain) 4, 2009, graphite and enamel on paper, 53x73x3cm. Exhibited in solo exhibition Horizonte e Outros Brilhos, Galeria Presença, Porto, 2009

Fernando J. Ribeiro_Pandora Sculpture_1999

Untitled (Pandora), 1999, enamel on wood, 51×28,5×46 cm

Fernando J. Ribeiro_Cyclops Sculpture_1996

Untitled (Cyclops), 1996, boot, inkjet print, variable dimensions

Fernando J. Ribeiro_Bag Sculpture_1995

Untitled (Secrets), 1995, oil on wood, suitcase, 46,5×33,5×12 cm. Collection Luísa Cunha, Lisboa

CORNER-BALL

CORNER-BALL-2-copy

Untitled (Corner Ball), 2001, plaster, acrylic, 47 cm diameter. Collection Ilda Marques and Emídio Ferra, Almada

Fernando J. Ribeiro_Legs sculpture_1996

Untitled (Legs), 1996, plaster, ballpoint pen, 103x38x27,5 cm. Exhibited in solo show at Galeria Arte Periférica, Lisboa, 1996

Fernando J. Ribeiro_texts on Ana Borralho & João Galante_2014

Untitled (Legs), detail, 1996, plaster, ballpoint pen, 103x38x27,5 cm

F_J_RIBEIRO_Ether

Ether, 1996, skull, magazines pages, 27x20x14cm. Exhibited in solo show at Galeria Arte Periférica, Lisboa. Collection Galeria Arte Periférica, Lisboa.

NOSE

Untitled (Nose), 1996, plaster, acrylic, hair, wire, 72x32x41cm. Exhibited in solo show at Galeria Arte Periférica, Lisboa; and in group show “Acasos e Materiais 2”, curated by Paulo Mendes, CAPC, Círculo de Artes Plásticas, Coimbra, 1998

NOSE-2

Untitled (Nose), detail, 1996, plaster, acrylic, hair, wire, 72x32x41cm

Untitled (New York), 2010-2012. C-print, 56x37cm

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Untitled (New York), 2010-2012. C-print, 56x37cm

ny76-copy2

Untitled (New York), 2010-2012. C-print, 56x37cm

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Untitled (New York), 2010-2012. C-print, 56x37cm

ny122-copy2

Untitled (New York), 2010-2012. C-print, 56x37cm

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Untitled (New York), 2010-2012. C-print, 56x37cm

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Untitled (New York), 2010-2012. C-print, 56x37cm

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Untitled (New York), 2010-2012. C-print, 56x37cm

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Untitled (New York), 2010-2012. C-print, 56x37cm

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Untitled (New York), 2010-2012. C-print, 56x37cm

print105-copy

Untitled (New York), 2010-2012. C-print, 56x37cm

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Untitled (Philadelphia), 2010, C-print, 56×37 cm

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Untitled (Atlantic Ocean), 2010, C-print, 56×37 cm

print97-copy

Untitled (Lisbon), 2011, C-print, 56×37 cm

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Untitled (Madrid), 2012, C-print, 56×37 cm