Margarida Garcia

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"Since I always have some obscure preconception, distantly connected in some way with whatever I am looking for, I have only to begin boldly and the mind, obliged to find an end for this beginning, transforms my confused concept as I speak into thoughts that are perfectly clear, so that, to my surprise, the end of the sentence coincides with the desired knowledge. I interpose inarticulate sounds, draw out the connecting words, possibly even use an opposition when required and employ other tricks which will prolong my speech in order to gain sufficient time for the fabrication of my idea in the workshop of reason."Heinrich von Kleist, On the Gradual Production of Thoughts Whilst Speaking

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Upcoming:

Ungravings,
Galeria Diferença
Opening May 28 2025

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Selected Works:

Blind Man's Buff
Appleton Square
2022-2023

"Some artists produce works and others absence of works, or they install a non-production of absent works. It might mean saying goodbye to the art scene and believing that transgression is possible. But it does not work like that. Rather, it is about vanishing into the work itself and into artistic practice.
One could think of the many medieval anonymous artists and cathedral builders. But in her case the work of art is the simulating act of the vanishing of the artist and the vanishing of all ideas and intentions.
The images thus created, appear, they are apparitions. In order to obtain those images or apparitions, the artist must circumvent, sabotage, avoid her own image practice. It is not enough to assume that the artist never coincides with her work and that the work always articulates the artist's blind spot.
The blind spot should be isolated as much as possible and be able to appear on its own. Therefore, the image must appear, without production or creation, or artistic intention. Only then does the image appear as a thing, as the artist's blind spot. The artist thus engages in procedures aimed at eliminating or ignoring any form of positive or affirmative artistry. The artist places herself in the notorious tradition of the trickster or saboteur. But who or what is being tricked or sabotaged? In the first place, it is the artist who deceives herself and it is the materials, instruments and techniques that are sabotaged in order to escape production and presentation. The artist is therefore always an escape artist. The artistic is the escape from production, from the creative, from the conceptual, from the aesthetic, from the intentional, from the laziness of converting ideas into images.""The Lady Vanishes", Björn Schmelzer on Blind Man's Buff, Galeria Appleton, Lisboa, 2022

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Housewife Pessimism
Paper View
2023-2024

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Margarida Garcia (Lisbon, 1977)
Develops work in music, film, installation and drawing since 1997.
In 2006 completed her Master of Fine Arts, from Parsons School of Design, New School University in New York.
She was awarded with the Experimental Multimedia Art fellowship Ernesto de Sousa, by Calouste Gulbenkian Foundation, Luso American Foundation and Experimental Intermedia Foundation.
In 2018 she publishes together with Björn Schmelzer, a 500 page book/catalogue Time Regained, a Warburg Atlas for Early Music, by MER publisher in Gent, Belgium.
Some artistic collaborations include, Thurston Moore, Loren Connors, Mattin, David Maranha, Manuel Mota, Jeff Perkins, Marcia Bassett and graindelavoix, having presented work in Festivals such as Freedom of the City in London, Music Lover's Field Companion in Newcastle, Erstquake in New York, High Zero in Baltimore, MadeiraDig in Madeira, Oscillation Festival in Brussels amongst many others. More here.

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contact :
margaridaigarcia @ gmail . com

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