{"id":3707,"date":"2020-09-07T09:20:03","date_gmt":"2020-09-07T09:20:03","guid":{"rendered":"http:\/\/urfinal.chitas.cloud\/?page_id=3707"},"modified":"2023-01-19T11:07:10","modified_gmt":"2023-01-19T11:07:10","slug":"desenhos-ao-jantar","status":"publish","type":"page","link":"https:\/\/ultimasreportagens.com\/en\/desenhos-ao-jantar\/","title":{"rendered":"Desenhos ao Jantar"},"content":{"rendered":"\t\t
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“A book of sketches\u2026 with black covers and good paper”\r\n\r\nCarlos Castanheira<\/blockquote>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\tI regularly invite \u00c1lvaro Siza to dinner at my house. There is always a pretext and above all there are always some foreigners, friends, clients, who justify the dinner and the invitations. But not only foreigners are the reason for dinner, there is also the reason for dinner, for dinner. But there are also dinners with Nuno Higino, a friend, for being responsible for the idea of commissioning the project for the Church of Santa Maria in Marco de Canaveses, for carrying it out and for being a friend.\r\n\r\nDinners, as there have been some, always have a theme. Once there was the need to illustrate a book of poems, by Nuno Higino, for children. He asked me what my opinion was on inviting Siza to illustrate the poems and I thought it best to think about a little dinner. It is worth talking to Clara, companion and producer of the dinners, with an Italian touch. I handle the liquids. The invitation was accepted, as usual, a date was set and arrangements were made for those who are transporting Siza and how to get there, as it is not easy, fortunately.\r\nDinner always starts in the kitchen, with a few things with a transalpine flavor and national liquids, from there it goes to the table and while having dinner there is talk of everything, nothing and almost everything.\r\n\r\nAt the end, passing through the caf\u00e9, Clara meticulously but also absently asks: Siza, would you like a grappa or a whiskey? And the answer is always the same:\u00a0Ohh! A grappa and then the whiskey!\r\nWith the grappa, we move on to the main theme of the dinner; the poems about horses for the book that would come to be called: All horses and seven more.\r\nNuno Higino had prepared the twenty poems on A4 sheets, with the texts in the upper left corner, short, almost all of them, some in a column leaving a lot of free space.\r\nWell, let’s go see those poems, asks Siza.\r\nRead the first, definition, and the reaction is immediate, take advantage of the free space and come out with the drawing.\r\n\r\nThe second follows; reads and exits drawing; the third, the fourth, the fifth, we silently receiving the reception, astonished despite being used to it. The intention was to hand him the poems so that Siza, with time, could make the illustrations, and there he was, in his time, poem by poem, glass by glass, sketch by sketch, putting his soul on paper almost like a improvised singer, to the challenge. It should be noted that the subject appeals to him: horses and stories around horses, despite the fact that he has only ever ridden in self-portraits armed with a condotieri.\r\nWe reached the last one, he, us, us and him, the twentieth, but the cape and other jokes are still missing. It turns out to be twenty-four.\r\nThe night became dawn, in addition to the drawing there was conversation, dinner was pleasant and profitable. We have to go home because tomorrow is work day, as usual.\r\n\r\nAt the last dinner with \u00c1lvaro and Nuno, the theme or reason was different; talk about his doctoral thesis in\u00a0aesthetic philosophy. A conversation with the character and reason for the thesis would really come in handy and for this type of conversation, nothing better than a dinner, one more within the same molds that make routine something pleasant\r\nDinner followed and after coffee, grappa and whiskey, we came to the conclusion that after so many years of contact and so many sketches, Siza had never drawn Nuno’s portrait. It’s for now! but the paper is missing! Clara runs through the paper and comes back with a beautiful book with black covers and good paper. In these things, with Siza close at hand, paper and pencil should never be lacking. It’s just that it’s necessary. In this case, providentially, there was even a book, with black covers and good paper.\r\nNuno poses, Siza opens the book, passes the first page, which he leaves blank (why is it that people tend to leave the first page blank?) and begins, in a conversational tone, dipping his beak in the glass of whiskey with a stone, portrait. He’s quickly done with it, but we can see he’s not satisfied.\r\nThe conversation continues, smokes a cigarette, one more among many, picks up the pencil, with a soft lead, to make a scribble, to better explain the topic of conversation. He starts again with another portrait of Nuno, followed by another drawing. He calls Clara, Riccardo and Sara, and another beautiful drawing of the three comes out. The conversation ensues; I have some sketches by Siza, even done with my eyes closed, I’m going to get it, framed; It’s very beautiful, a woman, beautiful, in profile, with a mischievous look, a single line, but I don’t have one with my left hand. It’s for now! A drawing of a man’s torso comes out, with date and signature, all on the left. Another portrait and another, this time of myself. Another portrait, this time auto.\r\n\r\nAs the night progresses, the smoke, the conversation, the liquids, the themes vary. Women, men, torsos, women and a single woman, horses, horses with riders, Amazons with horses, Amazons without horses, bodies mutilated with beauty, with beauty, various positions, human, animalistic, sometimes almost erotic, superhuman . It feels like magic, which goes into the book. Close it to open it, draw it and close it again. The pace is slow but mind-blowing. By the way, there is little left, the book must be finished. Not even the cardboard on the cover is safe.\r\n\r\nClose it. He considers the task finished, it can be seen that he enjoyed it. One more sip, one more cigarette. The conversation is already long, dawn is already another day.\r\nAs in any work, the doubt factor is always present and he returns to the book to evaluate, more coldly, the result. There is a blank page, the one on the first sheet. He doesn’t waste time and a horse and his rider occupy it. Pencils are still there \u2026 but not paper.\r\n\r\nIt’s late, the kids are sleeping on the couch. He made sixty-two drawings in the book with black covers and good paper. It’s a pity to spoil this book by taking out a few pages. Nuno will have to wait for another occasion to have a portrait made by Siza. There will certainly be other dinners, another project and paper and pencil and \u2026. Siza is just like that, a world of drawing, drawing training, almost or even obsession, which leads, so often, to perfection, yours, that of a book with black covers and good paper with sixty-two sketches, made talking about serious things, some jokes, a lot of smoke, some alcohol and a lot, a lot of talent, after dinner.\r\n\r\nOne last discussion, between friends: who will have to take the car?\r\nIt’s just that leaving my house is harder than getting there.\r\n\r\nNice, November 9, 2006\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\t“At dinner”\r\nCarlos Castanheira\r\n\r\nI carry with me an enormity of drawing.\r\nAt a friend’s house, I collect old and recent memories of drawings that \u00c1lvaro Siza does at dinner. Before, during and after.\r\n\r\nThey are uninhibited drawings, freed from the workload and daily problems. Sometimes enraged by the content of criticism from friends, enemies, friend-enemies \u2013 and the secret conspiracy.\r\nAlways softened by wines and the soft torpor of distillates, pampered by the warmth of friendship.\r\n\r\nDrawings generated in secluded places on group trips, on the couch in some house, in a restaurant, among friends, admirers, strangers who are no longer.\r\n\r\nUse whatever paper is at hand, almost always of poor quality, the black notebook, the notebook of others, the textured recycled sheets, the pencil, which has to be soft, the BIC, the permanent ink, whatever is there, the hand. grappa or whiskey add texture, tones and scents. At other times, small cigarette holes give the design an early antiquity.\r\n\r\nHe draws, draws, at an accelerated pace as if an order had to be delivered, urgently. It is almost always slow, sleepy, but attentive. It seems lazy: it starts, starts over, sees and reviews, does and redoes.\r\n\r\nDraws with a sure but uncertain line. It seeks a correctness that always escapes evidence. Scribble, scribble, scribble on correction. Draw a single thread, as if it were a magic trace with an obvious and easy path. It starts with the twisted leg, runs through the thigh, the croup, the mane, the nostrils. And the horse is already drawn.\r\n\r\nIt portrays the group while smoking, sipping whiskey with two stones sailing. Others will follow.\r\n\r\nThe tip runs through the paper. There are easier models, by habit or by genesis. Others are more difficult. There are the restless ones, difficult to capture. There are the absent ones who, in the end, and in a magical gesture, are placed there, as is done today in photoshop. The \u2018scriber\u2019 also appears, almost always: either in full or in part, due to the presence of the hand that draws.\r\n\r\nI was entrusted with these fragile sheets laden with memories, stories, evenings well spent, over many years, where generations are portrayed. Dogs followed suit, cats too. The muses were never lacking, always slender and beautiful. Horses and Amazons are confused. Portraits and self-portraits are ironic. Siza draws like no one else. Monsters with sometimes obscene shapes, remind us of friend-enemies, which, due to the monstrous beauty of the design, are forgiven.\r\n\r\nIn a rage to draw and copy the masters.\r\n\r\nSometimes it makes me angry just to see it. Not because of the envy of not doing it, but because of the envy of persistence, of using every moment, any moment, to exercise, improve, research, discover. Drawing in Siza is proof of dissatisfaction and nonconformity.\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\tSometimes it makes me angry not to have it.\r\n\r\nNot because of the envy of not having one, but because of the intoxicating beauty of that little three-second drawing that synthesized form, content, a thought, a life.\r\nCritics, many of the so-called friend-enemies, will say that these drawings will not be the most important aspect of the work of \u00c1lvaro Siza, the acclaimed, rejected and inconvenient Architect.\r\nOthers will make comparisons with the great ones, in an exercise of unnecessary pluricultural demonstration, but in itself interesting, by comparison, unnecessary and unreasonable, but evident.\r\nThey have also done so with regard to other activities, wishes and pleasures that \u00c1lvaro Siza has exercised, by desire, by ability.\r\nWhat does it matter?\r\n\r\nTo us, his presence at home or on a trip is infinitely dear to us. Those moments, almost religious, when he draws, convey to us the serenity and pleasure of drawing.\r\nA habit that is lost little by little and that will be, is, the privilege of a few.\r\n\r\nThere would be many more drawings that many friends have and that would certainly be available to exhibit. But exhibitions have their limitations. A thank you to everyone.\r\nThere will be other opportunities to exhibit these spontaneous gems by \u00c1lvaro Siza. There was no shortage of other nights. And many of them at dinner. And friends around.\r\n\r\nGaia, November 4, 2009\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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\n\t\t\t\tEXHIBITION . \u00c1LVARO SIZA – SKISSOS AT DINNER\r\nMost of my drawings obey a precise goal: to find the Form that responds to the Function and free itself from function \u2013 and from effort \u2013 opening itself up to an unpredictable destiny.\r\nSimultaneously or not, \u201con the side\u201d, another drawing appears.\r\nDrawing of pleasure, of absence, of rest, it intersects with the other, because we are completely alienated from nothing.\r\nOne or the other can appear on the same sheet of paper, seemingly strangers, voluntarily or involuntarily related.\r\nA meticulous portrait or a random risk can instantly illuminate the patient research, traversing the corridors of memory, without there being any appeal or awareness of it.\r\nDrawing is a project, desire, liberation, registration and a way of communicating, doubt and discovery, reflection and creation, contained gesture and utopia.\r\nDrawing is unconscious research and it is science, revelation of what is not revealed to the author, nor does he reveal, of what is explained in another time.\r\nFreed, the other drawing leads to conscious drawing.\r\n\r\nNovember 2001\r\n\r\nAlvaro Siza\r\n\r\nCASA DA ARQUITECTURA has the book\/catalogue of the exhibition available for sale at Lugar do Escolha\/Funda\u00e7\u00e3o J\u00falio Resende in Valbom, Gondomar.\r\n\r\nThe title \u00c1lvaro Siza \u2013 Esquissos ao Dinner is also the title of the exhibition. It shows a selection of drawings, or sketches, that the Architect \u00c1lvaro Siza has carried out over the years, quietly, at friends’ houses, in restaurants, showing another version of this great artist’s abilities and versatility.\r\n\r\nhttp:\/\/casadaarquitectura.pt\/node\/72\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

“A book of sketches\u2026 with black covers and good paper” Carlos Castanheira I regularly invite \u00c1lvaro Siza to dinner at my house. There is always a pretext and above all there are always some foreigners, friends, clients, who justify the dinner and the invitations. But not only foreigners are the reason for dinner, there is […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_header_footer","meta":[],"acf":[],"_links":{"self":[{"href":"https:\/\/ultimasreportagens.com\/en\/wp-json\/wp\/v2\/pages\/3707"}],"collection":[{"href":"https:\/\/ultimasreportagens.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/ultimasreportagens.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/ultimasreportagens.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ultimasreportagens.com\/en\/wp-json\/wp\/v2\/comments?post=3707"}],"version-history":[{"count":4,"href":"https:\/\/ultimasreportagens.com\/en\/wp-json\/wp\/v2\/pages\/3707\/revisions"}],"predecessor-version":[{"id":402615,"href":"https:\/\/ultimasreportagens.com\/en\/wp-json\/wp\/v2\/pages\/3707\/revisions\/402615"}],"wp:attachment":[{"href":"https:\/\/ultimasreportagens.com\/en\/wp-json\/wp\/v2\/media?parent=3707"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}