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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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F_J_RIBEIRO_Untitled (World Cup)

F_J_RIBEIRO_Untitled (World Cup)

F_J_RIBEIRO_Untitled (World Cup)

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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.

 

Fernando J. Ribeiro_Ground Zero_2013_sculpture

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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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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.

Fernando J. Ribeiro_Flag_2013_post-its

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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. 

Fernando J. Ribeiro_ Fashion POSE_2014

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

 

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

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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

 

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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

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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.

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

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

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

 

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

 

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

 

 

 

 

 

 

 

 

 

 

 

 

Fernando J. Ribeiro_Pandora Sculpture_1999

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

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

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

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

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

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

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

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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

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