Untitled (Tomorrow Tools), 2019, bones, enamel, wood, dimensions variable. Exhibited in group show “Trabalho Capital. Ensaio sobre Gestos e Fragmentos”, curated by Paulo Mendes, Oliva Creative Factory, São João da Madeira, 2019.
Untitled (Thank You), 2017, 3 acrylic glasses, 25x11x12 cm, 3 plinths, variable dimension. Installed in group show “Them or Us”, curated by Paulo Mendes, Galeria Municipal do Porto, Porto, 2017.
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, on deposit at Fundação de Serralves – Museu de Arte Contemporânea,
Untitled (The Nose), 1996, plaster, acrylic, hair, wire, 72x32x41cm. Exhibited in solo show at Galeria Arte Periférica, Lisboa; in group show “Acasos e Materiais 2”, curated by Paulo Mendes, CAPC, Círculo de Artes Plásticas, Coimbra, 1998, and in group show “Trabalho Capital. Greve Geral,” curated by Paulo Mendes, Centro de Arte Oliva, São João da Madeira, 2020
Untitled (Milky Way), 2001, plaster, acrylic, 47 cm diameter
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 Plásticas 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
Untitled (Ground Zero), 2013, sponge, variable dimensions
Untitled (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
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, 2010
Untitled (Old Shelf), 2014-19, platex, enamel, 61,5×48,5×23 cm
Untitled (Look), 2015, cardboard box, charcoal, variable dimensions
Untitled (All the Answers), 2014, telephone, variable dimensions
Untitled (One Heart, One Soul), 2016, nails on wall, variable dimensions
Untitled (Forever), 2015, nails on wall, dimensions variable
Untitled (Dream), 2015, nails on wall, variable dimensions
Untitled (NO), 2015, nails on wall, dimensions variable
Untitled (Square), 2015 nails on wall, dimensions variable
Untitled (Secrets), 1995, oil on wood, suitcase, 46,5×33,5×12 cm. Collection Luísa Cunha, Lisboa
Untitled (Legs), and detail,1996, plaster, ballpoint pen, 103x38x27,5 cm. Exhibited in solo show at Galeria Arte Periférica, Lisboa, 1996
Ether, 1996, skull, magazines pages, 27x20x14cm. Exhibited in solo show at Galeria Arte Periférica, Lisboa. Collection Galeria Arte Periférica, Lisboa.
Untitled (Cyclops), 1996, boot, inkjet print, variable dimensions
Untitled (Head), 1996, sheepskin, pioneers, paper, wire, 54x36x23 cm
Untitled (All My Diaries), 2020, paper blocks, ink, variable dimensions
Untitled (Pandora), 1999, enamel, wood, 51×28,5×46 cm. Exhibited in group show “PansY: Amores Perfeitos,” curated by Ana F. Cravo, biblioteca municipal de Portalegre, Portalegre, 2019.
Untitled (Project for a Cube), 2012, magazines pages, variable dimensions
Untitled (Daily Mail), 2013-19, newspapers, variable dimensions
Untiitled (Vogue), 2012, magazine, inkjet print variable dimensions. Installed in solo show Close-up, Espaço Campanhã, Porto, 2012
Untitled (Skinless Chair), 2014, chair, enamel, polyurethane foam, variable dimensions
Untitled (Organic Table), 2012, adhesive tape, glass, variable dimensions
Untitled (SOLD), 2014, frame, plastic, spray paint, variable dimensions
Untitled (OK), 2014, plinth, paper, spray paint, variable dimensions
Untitled (The Books I Should Read), 2015, wood, books, spray paint, variable dimensions
Untitled (Crosswalk), 2021, Lego bricks, dimensions variable
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
World Cup (Geo-Political Map), 2005, acrylic paint, 12 football balls, lots of people, variable dimensions. installed in the group ow Toxic. O Discurso do Excesso, curated by Paulo Mendes, at Angar K7, Fundição de Oeiras, 2005. © Imagens Paulo Mendes
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.
In group exhibition “Proximidades e Acessos: Obras da Colecção de Ivo Martins,” curated by Miguel Wanschneider, Culturgest, 2004, Porto. © Imagens: Paulo Mendes
In António Olaio (coord.), O Colégio das Artes em Directo do Museu Nacional de Arte Antiga, Colégio das Artes da Universidade de Coimbra, Coimbra, 2017
Untitled (Femur), 1998, plaster, magic makers, lots of people, variable dimensions. Exhibited in group exhibition “Acasos e Materiais”, 1998, curated by Paulo Mendes, Círculo de Artes Plásticas, Coimbra, 1998. Collection Paulo Mendes, Porto. © Imagem: Paulo Mendes
All Wishes on Sales, 2004, cardboard, acrilyc paint, CDs, books, VHS tapes, vinyl, wire, variable dimensions. Installed at Galeria Monumental. Lisboa, 2004. © Imagens Paulo Mendes. In this work are sold books, VHS cassettes, and CDs without labels or references to the titles and authors, so that the visitors buy and consume them in a sort of blindness.
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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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
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
To Clean Up, 1999, black vinyl, black leather, variable dimensions. Installed in group exhibition Perverse Space Room, curated by Paulo Mendes, at W.C. Container, Edifício Artes em Partes, Porto, 1999. Images by Paulo Mendes
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.
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
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.
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.
Untitled (Ground Zero), 2013, sponge, tripod, video camera, variable dimensions
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
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 in “Invasões Contemporâneas: Arte nas Comemorações do Bicentenário das Linhas de Torres“, catalogue
Untitled (Horizon), 2009, enamel on canvas, wood. Exhibited in individual exhibition Horizonte e Outros Brilhos, Galeria Presença, Porto, 2009
Untitled (Horizon) 5, 2009, enamel on canvas, wood, 67x57x28cm. Exhibited in individual exhibition Horizonte e Outros Brilhos, Galeria Presença, Porto, 2009
Untitled (Horizon) 3, 2009, enamel on canvas, wood, 70x60x24cm. Exhibited in individual exhibition Horizonte e Outros Brilhos, Galeria Presença, Porto, 2009
Untitled (Horizon) 4, 2009, enamel on canvas, wood, 67x57x25cm. Exhibited in individual exhibition Horizonte e Outros Brilhos, Galeria Presença, Porto, 2009
Untitled (Horizon) 1, 2008, enamel on canvas, wood, 71x62x14,5 cm
Untitled (Landscape), 2003, oil on wood and paper, 51x61x3 cm
Untitled (Rita), 2002, inkjet print, markers, frame, 55×44,5 cm: Collection Paulo Mendes, Porto
Fernando J. Ribeiro 