• December 12th to March 1st
Loops.Lisboa is transforming.

Five years ago Loops.Lisboa was born as an initiative of Festival Temps d’Images Lisboa with the complicity of The National Museum of Contemporary Art - Museu do Chiado with the aim to reflect on, and celebrate the Loop as a language. For our four first editions we organized a juried national Portuguese Open Call competition and exhibited the finalist loops at the museum.

For our fifth edition we are delighted to reveal the birth of an international network dedicated to the probing of the form of the Loop. Starting in 2020, the network partners will organize a series of projections, installations, encounters and interventions around the Loop.
The network is composed of Film and Video Art curators from several countries: Mario Gutiérrez Cru (Festival Proyector, Madrid - Spain); Sandra Lischi (Onda Video, Pisa - Italy); Torn Van Vliet (WWVF, Amsterdam - The Netherlands); Cine Esquema Novo collective (Porto Alegre - Brazil) and Loops.Lisboa/Festival Temps d'Images (Lisbon - Portugal).

To celebrate this new international direction, Loops.Lisboa 2019 edition will be showing an exhibition of Marcel Duchamp’s Anémic Cinéma (1926) and Bruce Nauman's Good Boy Bad Boy (1985) at The National Museum of Contemporary Art.

Come join us for the Opening of Loops.Lisboa on December 12th, 2019.

Irit Batsry and Alisson Avila

Good Boy Bad Boy

Bruce Nauman
1985, 18’

Conceived as a didactic moral statement, the installation employs two actors, Joan Lancaster and Tucker Smallwood, who are presented in close-up, like newscasters, on two separate monitors. Each recites a one-hundred-line commentary on the human condition that includes passages such as “I was a good boy/You were a good boy/We were good boys” and “I hate/You hate/We hate/This is hating.” Directly confronting the viewer, they deliver each repetition with increased emotional intensity, shifting in and out of sync with one another.

Tom van Vliet’s collection.

Bruce Nauman (1941)
Bruce Nauman is a wildly influential artist whose work has explored the poetics of confusion, anxiety, boredom, entrapment, and failure since the 1960s. Nauman was a key figure in the experimental film and video movement of the late 1960s and early 1970s with such works as Dance or Exercise Around the Perimeter of a Square (Square Dance). After 1973, film and video become conspicuously absent from his work, replaced largely by language-based neon sculptures. He returned to video more than a decade later, with Good Boy Bad Boy.

Anémic Cinéma

Marcel Duchamp
1925-1926, 7’05’’

This characteristically dada film by Marcel Duchamp consists of a series of visual and verbal puns with nonsense phrases inscribed around rotating spiral patterns, creating an almost hypnotic effect. “Thought provoking and offensive are possible ways to interpret the ten optical discs and corresponding puns displayed in the film. The word play of French syllogisms gleefully collides with the protruding-receding optical illusions of the rotating spheres. Julien Levy called the film 'Spirals' and screened it repeatedly at his gallery during the 1930s.” — Bruce Posner

Marcel Duchamp (1887-1968)
“Arguably the 20th century's greatest art iconoclast, Marcel Duchamp devoted his entire career to debunking pre-existing ideas about art, which he believed should appeal to the intellect rather than the senses. Encouraged by the storm of controversy sparked by his painting Nude Descending a Staircase, No. 2 at the 1913 Armory Show, Duchamp moved to New York in 1915. He was extremely active in the fledgling American avant-garde, editing several Dada magazines, inventing word games and puns, and designating ordinary objects as “readymade” works of art. During this period, he cemented a life-long working friendship with Man Ray.” — Michael R. Taylor