Irineu Destourelles/ Selected works 2011-2019            
             
         
Video stills from Supernatural Forces, Mental Health and Detail from Indoors (Forças Sobrenaturais, Doença Mental e Detalhe de Interior), 2019/ Digital HD File, 16:9, 11 minutes and 18 seconds, b&w, silent/ https://vimeo.com/349513915
Footage of a bouquet of plastic flowers filmed outdoors is over-layered with running texts by Destourelles on social attitudes to mental health in a fictional context. The texts in Portuguese and English stand as 'unrigorous' translations of one-another. The texts draw loosely on the findings included in two academic papers regarding social attitudes to schizophrenia and the state of democracy in Cape Verde which are interwoven with references to Portugal's socio-historical framework. These findings and references coexist illogically revealing an author for whom the mythological universe of the ex-colony and the history of ‘ex-mother-country’ have collapsed into one.
             
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Video stills from Several Ways of Falling Ordered Differently, 2019/ Digital HD File, 16:9, 4 minutes and 8 seconds, b&w, silent/ https://vimeo.com/335429741
Performance based video where Destourelles falls several times to the ground whilst he attempts to control the ways in which he falls with every mosaic displaying the falls sequenced differently. Filmed in his father's vegetable garden in the suburbs of Lisbon where the latter plants the same tropical vegetables he planted whilst growing up in Portuguese colonial Cape Verde
             
       
Video stills from One Hundred and Two Houses on Fire, 2019/ Digital HD File, 16:9, 9 minutes abs 43 seconds, b&w, silent/ https://vimeo.com/335738356
Composed of drawings made by Destourelles of houses consumed by fire from the inside displayed in succession.
             
         
Video stills from Ex-colonial Landscape with Different Filters, 2019/ MiniDV transferred to digital HD file, 4:3, 4minutes and 30 seconds, colour, silent/ https://vimeo.com/349520635
Single shot footage of a landscape from my native island of Santo Antão in Cape Verde, West Africa overlayered with a succession of different filters runs in parallel with a text that interweaves extracts from lyrics from 1980s and 1990s Portuguese pop songs with extracts from speeches made by the presidents of the two main opposing factions during the Angolan civil war (1975 to 2002 with interludes).
             
     
Video stills from Unevenly Spaced and Censored Anonymous Undergraduate Essay and Love for Gardens, 2018/ Digital HD file from MiniDV, 16:9, 10 minutes and 12 seconds, 16:9, colour, silent/ https://vimeo.com/248795511
Destourelles commissioned an essay with the title Black Conceptual Visual Artists and Critical Reception to an online essay mill company and specified the following texts as references: Henry E. Garrett's The Equalitarian Dogma published in 1961 in the first edition of Mankind Quarterly, a peer-reviewed journal that began in Edinburgh as a counter response to UNESCO's 1950s Race Question statements, and Charles Gaines' The Theatre of Refusal: Black Art and Mainstream Criticism (1993) included in a catalogue of an exhibition of work by black US conceptual visual artists. The essay runs over corrupted home-made digital footage of a London suburban home garden with key words crossed compromising the critical arguments of its anonymous author.
             
Video stills from Glossary of Political Words - Almost One-hundred Definitions, 2017/ Digital HD file, 16:9, 35 minutes and 39 seconds, colour, silent/ https://vimeo.com/221405982
Questioning the ways in which social darwinism and eugenics are implicit in public political discourse I attribute, often sardonic, alternative meanings to concepts found in a glossary of political words.
             
       
Video stills from White Balance Error and Nia (Subject with Straight Long Hair), 2017/ Digital HD file from DVCPRO HD, 16:9, 7 minutes and 48 seconds, colour, sound/ https://vimeo.com/212415413
A woman is closely followed by a gaze that curtails her personal space in the form of extreme close-ups which she systematically rejects turning away. Referencing traditional western conventions of feminine beauty she puts make up and does her hair which in the end she removes and undoes.
             
   
Video stills from Blurred Images of Two People Constrained by Time Fluctuating Between Acceptance and Rejection, 2016/ Digital HD file from DVCPRO HD, 16:9, 4 minutes and 2 seconds, colour, sound/ https://vimeo.com/186177241
Composed of a succession of short length shots it shows a woman and a man performing distinct and often contradictory actions. With their faces never fully visible throughout the piece the woman feeds fruit to the man as they go through a wide range of behaviours from affection to aggression with extradiegetic sound extracted from a youtube video where a porn-star responds to questions from her fans around the world.
             
 
Video stills from Parsing – First and Second Half of an Essay, with Blank Spaces and Mistakes, Running in Simultaneous, 2016/ Digital HD file from original text, 16:9, 13 minutes and 22 seconds, b&w, silent/ https://vimeo.com/125368000
Runs what would have been an informative essay written by Destourelles on James VI of Scotland/James I of England and his son King Charles I's beliefs on the exercise of power if words that denote status, time and place had not been removed.
             
           
Portrait Three of a Man with a Bad Head, 2016/ Pencil on paper, 8 x 8 in, 20.5 x 20.5 cm
             
           
Video still from Emotional Review of Biennial, 2016/ Digital file from MiniDv tape, 4:3, 13 minutes and 13 seconds, colour, sound/ https://vimeo.com/170237475
An unedited essay is read in English by an open-source text-to-voice software application that makes errors every-time it reads African language based words. The essay, on the Dak'Art 2010 African Contemporary Art Biennial's exhibition at the IFAN Museum of African Arts in Dakar, divulges into the uneasy relationship between African tradition and western influence. The essay was written by Destourelles the day after he visited the biennial in an hotel room in Accra from which the video's background footage was filmed.
             
     
Video stills from Twenty-five Profiles – Extracts from Interracial Adult Marketing Material with Explicit Words Taken Out, 2015/ Digital HD file from found text: 16:9, 11 minutes and 55 seconds, b&w, silent/ https://vimeo.com/125348605
Text based video work composed of phrases extracted from profile descriptions of female porn-actors listed on a website specializing on white-female/black-male interracial pornographic content. The phrases which play on racial stereotypes have words with explicit content and other offensive meanings removed.
             
   
Video stills from New Words for Mindelo's Urban Creole, 2014/ Digital HD file from original text, 16:9, 10 minutes and 26 seconds, b&w, sound/ https://vimeo.com/125346710
Displays neologisms, aimed at enriching the vocabulary of the substratum creole language in Cape Verde spoken in informal contexts. Based on Destourelles experience of living and working in his native Cape Verde the neologisms, made from agglutinating names of Portuguese colonial administrators and names of Greek mythology characters, propose parallels between colonial history and the social dynamics that have emerged in the country since the end of single-party Marxist regime and the beginning of democracy in 1990.
             
           
Self-portrait With No Eyes and Half a Smile or Civilized with Hair Blowing in the Wind, 2014/ Oil on canvas, 15.7x 15.7 in, 40 x 40 cm            
             
           
Section of a (Lucrative) Landscape, 2014/ Oil on canvas, 11.8 x 11.8 in, 30 x 30cm            
             
           
Superimposed images of a Borderline Location, 2012/ Digital print, 19.7 x 19.7 in, 50 cm x 50 cm
Composite image from the superimposition of photographs taken in Donegal, Republic of Ireland.
             
           
Video stills from Absence of Movement and Suspension of Time, 2011/ Digital file from MiniDv tape: 4:3, 17 minutes and 31 seconds, colour, silent/ https://vimeo.com/359584391
Playing on our understanding of time in relation to movement the frame speed of footage recorded from the kitchen window of a flat Destourelles lived in in the city of Mindelo in Cape Verde is determined by the presence and absence of people within the frame. When there are no people present the frame speed is drastically diminished without this being perceptible.
             
           
Video still from Metathesiophobia, 2011/ Digital HD file from DVCPRO HD and found sound, 16:9, 100 minutes and 54 seconds, b&w, sound/ https://vimeo.com/51804614
A cropped long single-shot of three characters sitting at a table. With repetitive actions split and pack the white powdery content of plastic containers into small portions. The voiceover is an - at first - imperceptibly adulterated audiobook of Rene Descartes's 'Meditations on First Philosophy' (1641).
 
About
Working across diverse media Irineu Destourelles reflects on ways in which selfhood is constructed in relation to the experience of discursive violence. Born in Cape Verde and lives and works in Edinburgh.
Solo exhibitions
2020 A Batida Que Faz-te Sujo (The Beat That Makes You Dirty), CAPC - Círculo de Artes Plásticas de Coimbra, Coimbra, Portugal
2019 Subtitulizar/Subtitling, Project Space, Calouste Gulbenkian Museum, Lisbon, Portugal
2017 Tainted Verbal, Transmission Gallery, Glasgow, Scotland, UK
2017 Unturning, Summerhall, Edinburgh, Scotland, UK
2014 Autoestrangeirismo, Atelier Concorde, Lisbon, Portugal
2011 Thinking According to Rectangular Images, Portuguese Institute - Mindelo, Mindelo, Cape Verde [irdc]
Group exhibitions
2019 Apa Kabar? (What's new?), Showroom MAMA, Rotterdam, The Netherlands
2019 South-South: Between Land and Sea Film Programme, Goodman Gallery, Cape Town, South Africa
2019 Another Country II, City Art Centre, Edinburgh, Scotland, UK
2018 Another Country, Alice R. Rogers & Target Galleries, St John’s Art Centre, Minnesota, USA
2017 Be Right Back, 8-10 Rhoda Street, London, England, UK
2017 A Glimmer of Freedom (Unsolicited Exhibition Program, Apexart, New York), Tarrafal Concentration Camp, Santiago, Cape Verde
2016 Being and Becoming: Complexities of the African Identity, UNISA Art Gallery, Pretoria, South Africa
2015 Telling Time [Special Exhibition], Rencontres de Bamako Biennale (10th edition), Mémorial Modibo Keïta, Bamako, Mali
2015 Customer Experience, Special Projects, VI Moscow Biennale of Contemporary Art, National Centre for Contemporary Arts, Moscow, Russia
2015 Sex Macht Gut/ Sex Does Good, Sprechsall, Berlin, Germany
2014 Ilha de São Jorge, Fondazione Giorgio Cini, San Giorgio Maggiore island, Venice, Italy
2013 Southern Panoramas, Videobrasil 18, SESC Pompeia, São Paulo, Brazil [irdc]
2013 Escena Caboverdiana, Casa Africa, Las Palmas, Spain [irdc]
Group screenings/ Festivals
2018 AfroScots: Glasgow School of Art, Scotland; and Edinburgh School of Art, Scotland, UK
2017 Áfricas Utópicas (selected works from the Associação Cultural Videobrasil Collection), Espaço Transversal da ArtRio 2017, Rio de Janeiro, Brazil [irdc]
2017 Bomb Factory Artist Film Festival IV, The Bomb Factory Art Foundation, London, England, UK
2017 AfroScots, Galerie de l'Université du Québec à Montréal, Canada
2015 Ilha de Sao Jorge: ICA London, England; and Hangar Bicocca, Milan, Italy
2015 Capture All, Transmediale, Berlin, Germany
2014 Arquitecturas Film Festival, Lisbon, Portugal
Artist talks/ Panel discussions/ Symposiums/ Collaborative projects
2017 The Plaza, Embassy Gallery, Edinburgh, Scotland, UK (cp)
2017 Collective Blackness (Black Radical Imagination and LUX Scotland) Talbot Rice Gallery, University of Edinburgh, Scotland, UK (s)
2017 A Glimmer of Freedom, CITCEM - Transdisciplinar Investigation Centre, University of Porto, Portugal (s)
2017 Summerhall, Edinburgh, Scotland, UK(with Neil Cooper and Holly Knox Yeoman)
2017 Transmission Gallery, Glasgow, Scotland, UK(with Tiffany Boyle)
2015 Hangar Bicocca, Milan, Italy (with Stefano Rabolli Pansera)
2015 Hangar Artistic Research Center, Lisbon, Portugal (with Ana Balona de Oliveira and Manuela Ribeiro Sanches)
2013 Casa Africa, Las Palmas, Spain (with Orlando Britto Jinorio, Tchale Figueira, and Leao Lopes)
2011 Mindelo, Do We Have Culture? Public Meetings, Various Venues, Mindelo, Cape Verde (co-chair with Rita Lobo)
Residencies
2015 Hangar Artistic Research Center, Lisbon, Portugal
Grants/ Awards
2017 The Hope Scott Trust, Edinburgh, Scotland, UK
Interviews/ Reviews...
2019 Campos, Cristina: Irineu Destourelles – Subtitling, Calouste Gulbenkian Museum, Umbigo Magazine, Lisbon, p. 26.
2019 Fabiana, Rita: I am not here. I am here Notes on an accidental body-place
https://gulbenkian.pt/museu/en/publication/irineu-destourelles-subtitulizar-subtitling/
2017 Cooper, Neil: Irineu Destourelles – Unturning, productmagazine.co.uk
https://www.productmagazine.co.uk/ideas/art-review/
2015 Nolasco, Ana: Entrevista a Irineu Destourelles, IADE
http://arquipelagoscriativos.unidcom-iade.pt/?page_id=296
Education
2003 MA Fine-Arts Central St. Martins College of Art and Design, London, England, UK
1998 BA Fine-Arts Willem de Kooning Academy, Rotterdam, The Netherlands
Teaching experience
2009-2012 Lecturer in History of Art and Design at the M_EIA Institute, Mindelo, Cape Verde [irdc]
Contacts
mail@irineudestourelles.com
+44 (0)785 1954 194
             
             
             
ⓒ 2020