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Mappamundi
Mateo Maté Viajo para Conocer tu Geografia II, 2003

4
sonHar
Um motor do imaginário e do sonho its legends. We must lose ourselves in disturbing
Os artistas apresentados nesta secção pedem- oceans or on improbable summits, rediscover a
-nos que abandonemos os nossos hábitos, que viewpoint on maps which is neither imperative nor
esqueçamos a legenda do mapa para entrarmos indicative but truly conditional, like those children
melhor no mundo dos contos e das lendas. É pre- who start their game with “Let's pretend...”
ciso deixarmo-nos perder no oceano inquietante rÊVer
ou nos cumes improváveis, reencontrar um olhar Un moteur d’imaginaire et de rêve
sobre mapas que não estão nem no imperativo Les artistes présentés dans cette section nous
nem no indicativo, mas que têm um valor condi- demandent d'abandonner nos habitudes, d'oublier
cional, como as crianças que começam as suas la légende de la carte pour mieux entrer dans le
brincadeiras por «Agora eu era...». monde des contes et des légendes. Il faut se lais-
DreaMing ser perdre dans l'océan inquiétant ou les sommets
The force behind imagination and dreams improbables, retrouver un regard sur des cartes
The artists presented in this section request us to qui ne sont ni à l'impératif ni à l'indicatif mais bien
forsake our habits, to forget the legend on the map au conditionnel, comme ces enfants qui commen-
to better penetrate the world of make-believe and cent leur jeu par «On dirait que...».

SERVIÇO EDUCATIVO Qin Ga Long March Project: Site 8 – Lugu River, Lijiang, 2002 ▶

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Visitas orientadas e actividades (Escolas e Famílias)
Marcações e mais informações: servicoeducativo@museuberado.pt / Tel. 213 612 800/ www.museuberardo.pt
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Catálogo / Catalogue Textos / Texts / Textes: Franco Farinelli, Gonçalo M. Tavares, Guillaume Monsaingeon;
23,8 x 33,4 cm / 168 pp. / 130 ilustr. / 3 5 €
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ENTRADA GRATUITA
NO MUSEU
COLECÇÃO BERARDO
COM O APOIO

31/01 – 25/04/2011
Janeiro 2011

Praça do Império · 1449-003 Lisboa · Tel: 21 361 2878 / 21 361 2913 · Fax: 21 361 2570 · museuberardo@museuberardo.pt · www.museuberardo.pt Comissário / Curator / Commissaire: Guillaume Monsaingeon
 [pt]
Mappamundi reúne artistas que, nos últimos 40
anos, trabalharam o mapa e interrogaram a repre-
sentação cartográfica para melhor nos tocarem ou
nos provocarem. Mapas para serem lidos ou para
serem vistos? Espelho tranquilo ou distorção do
mundo? Descrição, evocação, contestação? Longe
de exprimirem certezas, estes mapas desenham
as nossas dúvidas, os nossos combates e os nos-
sos sonhos.
As 4 partes de Mappamundi propõem um olhar
diferente, sucessivamente semiológico, sensitivo,
político e onírico.
No fim do percurso, uma sala documental su-
blinha a omnipresença da cartografia nas nossas
vidas quotidianas; no 1.º mezanino pode ser visto
um conjunto de vídeos e no 2.º uma instalação de
Miguel Palma.
[en]
Mappamundi assembles artists who, over the past 40
years, have worked on maps and who have questioned
cartographical representation in ways to better move
or provoke us. Maps to read or to look at? Simple mir-
ror or distortion of the world? Description, evocation,
protest? Far from expressing certainties, these maps
draw our doubts, our struggles and our dreams.
The 4 sections of Mappamundi afford a differ-
ent viewpoint, in turn semiological, sensitive, politi-
cal and dreamlike.
At the end of these sections, there is a docu-
mentary room which highlights the omnipresence
of cartography in our daily lives. A set of videos
can be seen on the 1st mezzanine and on the 2nd an
installation by Miguel Palma.
[fr]
Mappamundi rassemble des artistes qui, dans les
40 dernières années, ont travaillé la carte et interrogé
la représentation cartographique pour mieux nous
toucher ou nous provoquer. Cartes à lire ou à voir?
Miroir tranquille ou distorsion du monde? Description,
évocation, contestation? Loin d'exprimer des certitu-
des, ces cartes dessinent nos doutes, nos combats et
nos rêves.
Les 4 sections de Mappamundi proposent un
regard différent tour à tour sémiologique, sensible,
politique, onirique.
En fin de parcours, une salle documentaire
souligne l'omniprésence de la cartographie dans
nos vies quotidiennes. Un ensemble de vidéos est
proposé sur la 1e mezzanine, et sur la 2e l’installation
de Miguel Palma.
Detanico & Lain The World Justified, Centered, 2004
1
Descodificar
Um sistema de signos concebido para ser
descodificado
Foram necessários séculos para se colocar o
Norte no cimo dos mapas, para se impor a noção
de escala, para se escolher um meridiano de
referência, para se representar a linha do Equa-
dor... Aqui, os artistas «desmancham», de alguma
forma, as regras elaboradas por engenheiros,
geógrafos e geómetras. Mapas-mundo decom-
postos, mapas que revelam palavras escondidas,
leituras tipográficas ou jogos de escala: outras
tantas maneiras de interrogar e deslocar estes
códigos tácitos.
Decoding
A system of symbols conceived to be decoded
It took centuries to place the North at the top of
a map, impose the notion of scale, choose a refer-
ence meridian, represent the Equator by a line...
Here, the artists 'unpick', in a certain manner, the
rules knit together by engineers, geographers and
surveyors. Decomposed mappemondes, maps
revealing hidden words, deciphering typography or
scale systems: all ways of examining and livening
up these tacit codes.
décoder
Un système de signes conçu pour être décodé
Il a fallu des siècles pour placer le Nord en haut
des cartes, imposer la notion d'échelle, choisir un
méridien-référent, représenter la ligne de l'équa-
teur... Ici, les artistes «détricotent» en quelque
sorte les règles élaborées par ingénieurs, géogra-
phes et géomètres. Mappemondes décomposées,
cartes révélant des mots cachés, lectures typo-
graphiques ou jeux d'échelle: autant de façons
d'interroger et de bousculer ces codes tacites.
Jeanne Terwen-de Loos Landkarartenjurk, 1945-1946
2 3
Corporizar
Corpos, sensações e matérias
É tempo de revalorizar a natureza sensível dos
mapas, a sua materialidade, até mesmo a sua
sensualidade. Esta secção mostra o trabalho de
muitos artistas no sentido de restituírem aos
mapas esse poder sensual. Alguns trabalham com
objectos carregados de sentidos, como colchões
ou lençóis, outros obrigam os corpos a aproxima-
rem-se ou a sentarem-se juntos, outros realçam a
importância dos vestígios deixados pelos dedos
indicadores ao marcarem o «eu estou aqui».
Materializing
Bodies, sensations and matter
It is time to reassert the sensitive nature of maps,
their materiality, even their sensuality. This sec-
tion exposes several artists' work on how to re-
store this sensual power to maps. Some work with
objects that are fraught with meaning like mat-
tresses or sheets, others oblige bodies to come
together or to sit down side by side, yet others
underline the importance of traces left by fingers
indicating “I'm here”.
matérialiser
Corps, sensations et matières
Il est temps de revaloriser la nature sensible des
cartes, leur matérialité, leur sensualité même.
Cette section montre le travail de nombreux artis-
tes pour restituer aux cartes ce pouvoir sensuel.
Certains travaillent sur des objets lourds de sens
comme des matelas ou des draps, d'autres forcent
les corps à se rapprocher ou s'asseoir ensemble,
d'autres soulignent l'importance des traces lais-
sées par les index pour marquer «je suis ici».
Nelson Leirner Sem título, da série Assim é... Se lhe Parece. (detalhe), 1999+4
Contestar
Um instrumento de contrapoder e de combate
Os mapas tornaram-se tardiamente instrumentos
de contrapoder ao serviço de opositores e de
dominados. Ao dar a ver o invisível, ao refutar as
versões oficiais, os silêncios e a censura, a carto-
grafia torna-se contracartografia, radical carto-
graphy, arma para sensibilizar a opinião pública,
para denunciar, para preparar a acção colectiva.
Protesting
A combat instrument, a counter-power
Maps have belatedly become the tools of anti-
establishment forces, used now by oppositions and
the oppressed. In rendering the invisible visible, in
refuting official versions, silence and censorship,
cartography becomes counter-cartography, "radi-
cal cartography", a weapon with which to heighten
awareness, denounce or organize collective action.
contester
Un instrument de contre-pouvoir et de combat
Les cartes sont tardivement devenues des outils
de contre-pouvoir au service de minorités, d'oppo-
sants et de dominés. En donnant à voir l'invisible,
en réfutant les versions officielles, les silences et la
censure, la cartographie devient contre-cartogra-
phie, radical cartography, arme pour sensibiliser
l'opinion, dénoncer, préparer l'action collective.