When, how and why was the 2009 work ‘A Sopa’ (The Soup), by the artist duo João Maria Gusmão + Pedro Paiva, acquired?

The 2009 work ‘A SOPA’ (THE SOUP) by the duo João Maria Gusmão + Pedro Paiva was acquired almost immediately after its production.

The decision was made the instant I first saw it.

It is indeed an extraordinary work that fits perfectly into what I am as a collector.

When buying a work, I was never interested in its journey, but in some cases, I am interested in its creator.

I did not buy this one because of its creators. It was for the emotional beauty I felt when I saw it. It is a masterpiece of originality, beauty, technique, good taste, curiosity, fear, solidarity and learning. It contains all the elements dear to percipient humans, in addition to being brilliant in its execution, both technically and as an idea.

In addition to having been in Venice in the year in which the duo represented Portugal, this work was part of the large exhibition presented at the Centro de Arte Oliva ‘Os animais que parecem moscas’ (Animals that look like flies), which was considered one of the best exhibitions of 2017. Can you tell us a little about this exhibition?

The exhibition that my friends held at Centro de Arte da Oliva in 2017 was considered by many national and international critics as the best exhibition of the year.

However, its impact at the time, due to the lack of mediation at the national level, was almost nil.

The artists, who held it at my request, gained nothing from it, which was a pity and a source of regret, and I would be remiss not to thank them deeply for having held it and for allowing me the opportunity to have seen it come to life.

It really was an extraordinary and magical exhibition. It contained fantastic pieces that provoked unique sensations and ecstasy in those who saw them. One of the best exhibitions, for its size, that I have ever seen. A beautiful exhibition of pure illusionism, held by a duo of geniuses.

So what kind of relevance does the work ‘A Sopa’ acquire within the core works contained within the collection from this duo of artists? Why choose to exhibit ‘A Sopa’ in Appleton’s ‘Art Collections’ cycle?

As for ‘A SOPA’, it was part of this wondrous event.

Although Darwin did not intend to say it, some were left with the idea that, in his book The Theory of Evolution, it was proposed that Humankind descended from the ape, which is not true, nor did he write that.

He said that Humankind descends from a common ancestor. In its evolution, one branch now contains the apes, with Homo sapiens on the other.

But so it seems, and that is the great beauty of this work and the brilliance of the artists, which is why it is one of the best works in the Norlinda / José Lima Collection (in my personal opinion) and thus the obvious choice for the project in Appleton’s ‘Art Collections’ cycle.

How old is the Norlinda and José Lima collection? How was your connection to the Centro de Arte Oliva established and how does it work today?

We’ve been collecting for about 40 years. As you know, we’ve had the collection at the Centro de Arte da Oliva in S. João da Madeira for about 10 years and without going into too much detail, I can only say that the collector has not yet achieved, far from it, not even 20% of the goals that led to exhibiting the collection.

The ‘demands’ are many, the wills are few and the mediation is almost non-existent. And, in that aspect, I will say no more.

What does it mean to be a collector in Portugal? Faced with a small and limited market, do you feel a greater responsibility?

The collector in Portugal is a ‘strange’ species with many facets, not all of them virtuous.

In my case, first of all, passion for art. Secondly, following the public exhibition, the desire for the collection to reach all audiences and for that I spare no effort so that everyone, and I mean everyone, can enjoy it, of course with due care with the place where this is presented and with guides / preceptors to provide the most basic information, the necessary information for a better understanding of contemporary art.

Then, the less virtuous side, social recognition that I shrink from, the act of possession and the importance of possessing.

Much more could be said, but I think it is enough to understand what good and bad can be thought of a collector.

Are you a compulsive or rational collector?

I’m more of an impulsive than a rational collector. I buy what I like without taking much external opinions into account, which I consider to be a mistake, the collection has some advantages for that reason, but also many disadvantages.

I like and would like to show my collection systematically, first in my region (District) and then expand its scope until it is recognised throughout the country.

It is always available for this, especially to schools, universities, art centres, or other similar institutions. International recognition does not interest me, and even many people don’t even know about it in the city where I live. I have solutions, I lack partners.

Exchanges, debates, conferences, getting out of the box and ‘passing on’ the collection to all audiences, doing legwork, first at a regional level and then, much later, nationally, is what the collector wants.

And I won’t say more because I shouldn’t, but I’m always prepared to help make CONTEMPORARY ART part of the culture in Portugal and reach all audiences.

For my part and regarding my collection, the availability is total.

João Maria Gusmão + Pedro Paiva “A Sopa”, 2009
 Film 35mm (transferred to 16mm), color, silenced, 3’35’’
 Portugal’s representation in the 53rd Venice Biennale, DGARTES, Ministério da Cultura, Portugal.

Thanks to Jardim Zoológico de Lisboa.

Colection Norlinda e José Lima in deposit at Centro de Arte Oliva

Patron HCI; Colecção Maria e Armando Cabral