Fernando Lemos e o surrealismo

Deitámos finalmente o olho às fotografias de Fernando Lemos, expostas até final de Abril no Sintra Museu de Arte Moderna. Trabalhos realizados entre 1949 e 1952 (e recentemente adquiridos pela colecção Berardo), apresentam-se em paralelo com obras surrealistas portuguesas e internacionais. A colecção Berardo em diálogo com obras do espólio da Fundação Copertino de Miranda, apostada na divulgação dos estudos Surrealistas.

Fixamos Fernando Lemos nos retratos de O’Neill, Arpad Szenes e José Viana, sendo injustos para com todos os outros trabalhos. Descobrimos Marcelino Vespeira e sorrimos com o surreal Mário Cesariny. Outras duas marcas: a porte-bouteilles de Duchamp e Miró em 1927 – Et les Seins Mouraient.

Sintra, Museu de Arte Moderna, Colecção Berardo - até 30.04.2006

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The Clockworks, Mayday Mayday

Mayday Mayday, the latest from The Clockworks, a four-piece Irish post-punk band from Galway, Ireland, now based in London. Formed in 2019, the band consists of James McGregor (vocals and guitar), Sean Connelly (guitar), Damian Greaney (drums), and Tom Freeman (bass). One of the most exciting new bands in the post-punk scene, a blend of indie rock and garage rock, with driving guitars and catchy melodies, currently working on their debut album. The Clockworks are a young band with a lot of potential, helping to bring Irish rock back to the forefront. Stay tuned!

Iain McKell, "New Gypsies"

"Historically despised the new Gypsies are there by choice, not heritage. Unrelated to the Roma, the movement began in 1986 when a group of Post-Punk Anti-Thatcher protesters headed out of London into the English countryside. McKell followed these New Age Travellers to the West Country and over the years he watched them become a hybrid tribe - the new gypsies - present-day rural anarchists, living the subversive lifestyle in elaborately decorated horse-drawn caravans." Iain McKell, "New Gypsies"

New Order - Video 5-8-6 [Extended 22:23 version]

“Video 5 8 6” is a song originally composed as “pap” (as Tony Wilson put it) for the opening night of the Haçienda on May 21, 1982. Parts of this pearl would become the basis for the Power, Corruption & Lies tracks “5 8 6” and “Ultraviolence”, as well as the associated 12-inch single “Blue Monday”.

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