ANTONIO CONTADOR

PROJECTS —
2019
        APOGÉE ET DÉCLIN #3
        FM - PUBLICATION
        FM - WALL PAINTINGS
2018
TCA #6
TCA #5
TCA #4
APOGÉE ET DÉCLIN #2
FM - SEL SOLAIRE
2017
FM - CABIDELA
FM - PUBLICATIONS
MONUMENT TO THE CHICKEN #2
2016
TCA #3
APOGÉE ET DÉCLIN #1
L
2015
FM - TALK & WALK
FM - PUBLICATIONS
FM - BROADCAST
FM - TALK
FM - WALK
TCA #2
MATÉRIAS BAIXÁS #2
OLUR #3
OLUR #2
2014
MATÉRIAS BAIXÁS #1
SAM
2013
FM - PRINTS
TU TE TUS
S
2012
MARCHE FUNÈBRE...
TCA#1
JE N’Y SUIS POUR RIEN
10 KM POUR RIEN
STIMULO
2011
MONOLOGUES EN COURANT POUR RIEN
2010
MONUMENT TO THE CHICKEN #1
OLUR #1
SENTINELLES
J’AI BIEN DÉTRUIT TA LETTRE
2009
MONOLOGUES WHILE WALKING UP THE STAIRS...
2007
PERSIFFLEUR


CURATING & AL. — 
2017
DEEEP
2014
TFR #3
2013
FLAMME PARPAING
2012
REVISITING ERNESTO DE SOUSA IN KASSEL
TFR #1
LE CHAT EST DANS LA FORÊT
2011
NOT YET
2005
RUIDOSO


PRESS —
2017
LE RÉPUBLICAIN LORRAIN
REVUE DIALOG
2016
LE TÉLÉGRAMME
OUEST FRANCE
2014
LE QUOTIDIEN DE L’ART
2013
UP MAG. (TAP - AIR PORTUGAL)
FROG


PAPERS & BOOKS (AS AN AUTHOR) 
2018
DA OPERÂNCIA E INOPERÂNCIA...
2017
THE ARTIST’S WITHDRAWAL... A NOÇÃO DE ESPERA...
2010
VERS UNE ESTHÉTIQUE DE L’ATTENTE
2004
SLAVES, CANNIBALS, BLACKS AND DJS...
2001
MUSIC AND THE IDENTIFICATION PROCESS OF THE YOUNG BLACKS IN PORTUGAL
BLACK YOUTH CULTURE IN PORTUGAL
1998
GENERATION CONSCIOUSNESS AND
ETHNICITY: FROM THE 2nd GENERATION TO THE NEW LUSO-AFRICANS

1997
RITMO E POESIA: OS CAMINHOS DO RAP






Mark
THE ARTIST’S WITHDRAWAL FROM THE ARTWORK: THE CASE OF THE GOODBYE MAN (SENHOR DO ADEUS)
Article - Revista de História da Arte/Série W︎



Abstract:

João Manuel Serra (1931-2010) owes his media impact and his pseudonym — the senhor do adeus (the “goodbye man”) — to the fact that he spent the last evenings of his life waving to drivers as they passed through the Picoas and Saldanha areas of Lisbon. Many people sought to pay him a posthumous homage by waving to drivers from those places where previously he was most frequently to be found. This paper reflects on the ways in which the goodbye man might be inscribed in the field of the arts and of performance in particular. Such an inscription is in no way self-evident due to the fact that the two fundamental aspects — authorship and work — on which any inscription of this nature should be based are extremely difficult to pin down in this case. The problem can be expressed as follows: the goodbye man is the author of a gesture that is artistic in nature, for otherwise the waving is an artwork without any owner; the wave and its repetition testify to what is an artistic limit gesture, since it is nothing more than an act of politeness, and therefore a political act.

Full article︎