Um senhor passou à frente do meu carro a transportar um espelho emoldurado. Eu consegui ver a parte da frente do Boguinhas sem estar do lado de fora e com a leve sensação de estar em andamento...

O Samba do Crioulo Doido no Festival Alkantara

ESPECTÁCULO PÓS-OPERATÓRIO
Isabel Torres vs Jerôme Bel vs Luiz de Abreu
Ultimately, it can be said that the cultivated spectator derives the same values from Picasso that the peasent gets from Repin, since what the latter enjoys in Repin is somehow art too, on however low a scale, and he is sent to look at pictures by the same instincts that send the cultivated spectator derives from Picasso are derived at a second remove, as the result of reflection upon the immediate impression left by the plastic values. It is only then that the recognizable, the miraculous and the sympathetic enter. They are not immediately or externally present in Picasso's painting, but must be projected into it by the spectator sensitive enough to react sufficiently to plastic qualities. They belong to the 'reflected' effect. In Repin, on the other hand, the the 'reflected' effect has already been included in the picture, ready for the spectator's unreflective enjoyment. Where Picasso paints cause, Repin paints effect. Repin predigests art for the spectator and spares him effort, provides him with a short cut to the pleasure of art that detours what is necessarily difficult in genuine art.
Clement Greenberg, "Avant-Garde and Kitsch" (1939)

Tiger (Orange) and Trainer: With Three Figures (Red, Yellow, Blue), 2004

For your work Somewhere Behind Almost Right and Not Quite (With Orange), you used film stills from movies. What's the idea behind that?

When I first started using film stills, it was just because they were cheaply available. And what I was interested in was what you would call a profound imagery. It didn't necessarily have to be from film, it could also be from a photo album or on the street or in the newspaper. In other words, it would be imagery that's out in the world, and then you adapt it to your own ways. It's like words in a dictionary: you just use them, rather than make up your own words.
By that time, I was living in Los Angeles, where the movies are made. I found a place where film stills could be bought very cheaply. But I actually mixed them as well with photographs from newspapers. Then I realized that the movie stills fell into categories. Of course that seems obvious: the ones with guns would mean violence, people kissing would be love and so on. In the end, they're all clichés. I found the attempt particularly appealing to put some meaning back into something that has been completely emptied of meaning. It's almost like Dr. Frankenstein [laughs]. You try to make something come alive again, but it's never going to be alive as it was before. That's not a bad metaphor.

You made a series of works with photographs printed on canvas.

The dominant movement when I gave up painting was Abstract Expressionism. And the normal complaint you hear is that a child could paint like that. I just got tired of that, and so I thought, why not give people what they want? To me, it seemed the most obvious thing would be photographic imagery and text, words that you see in the magazines or newspapers. That would be more in their immediate experience. That's why I started doing that. I put those photographic pieces on canvas because it made them into art. If it's canvas, you don't even have to have anything on it and people still think it's art.

Ulrich Clewing, "It's almost like Doctor Frankenstein": An Interview with John Baldessari

John Baldessari: NOSES & EARS, ETC. - Galeria Cristina Guerra, 7Jun-9Set

Bairro da Malagueira projectado pelo Arquitecto Siza Vieira (iniciado em 1977)

O lote, a casa e a rua
A partir do agrupamento das casas em fita e sua inserção no sítio, desenvolvem-se distintas formas de conformação das habitações e seus espaços coletivos, que a semelhança de "quarteirões" de um bairro, caracterizam distintamente cada área, tendo-se na maioria das unidades construídas a seguinte sequência de espaços:

rua-pátio-casa-casa-pátio-rua;
público-privado-privado-público.

Cooperativas e produção habitacional
A construção do projeto Malagueira tem sido realizada na sua maior parte por associações cooperativas, cujos membros actualmente são os próprios moradores, que sob orientação técnica, administram a construção do projeto. Das 1.200 unidades realizadas, o sistema cooperativo foi responsável por 60% da produção; tendo a construção pública atingido 35% desse total, e a construção por particulares representar somente 5% do total. As cooperativas "Giralda" e "Boa Vontade", dirigem os trabalhos para a finalização das obras, abrangendo a construção de equipamentos e de espaços públicos.

Habitação social e habitação de custo controlado
O termo habitação de custo controlado é actualmente utilizado para traduzir a sistemática da produção que tem caracterizado a construção de habitações sociais na Malagueira, objetivando a redução do valor final do imóvel, através do controle de custos de material e mão-de-obra. As unidades têm o aval para a obra após a verificação final dos custos necessários para a construção. Os ajustes necessários são realizados entre o pessoal técnico responsável, reduzindo alterações no cronograma de serviços e improvisações que possam intervir na qualidade arquitetônica e construtiva do imóvel. As unidades foram inicialmente idealizadas para uma população de baixa renda, mas atualmente a população residente apresenta um nível de vida característico da classe média, sendo constituída por técnicos de nível médio, professores, pequenos comerciantes e funcionários de empresas públicas.

Excertos do texto Malagueira em Évora, no site Forum Arquitectura