Galería Rafa

Dalila Gonçalves

Y el otro lado suspira

Man has always been conditioned by a concept that has marked his vital rhythms: time. An abstract idea –at the same time relative– that nowadays directs our routines and sometimes makes us live constrained, in constant struggle with our environment.

Within this insistent clock that marks a countdown, the footprint of the passage of time worries us greatly. However, at the same time, we are attracted by the added value –or subtracted, depending on how you look at it– that it gives to people, objects and in general to everything that surrounds us.

It is precisely this last question that Dalila Gonçalves (Castelo de Paiva, Portugal, 1982) tries to investigate through a series of installations and photographs. Using a children’s toy, a windmill (cata-vento), she creates a metaphor about time as a modifying agent. This artifact represents this duality, where the passage of time leaves a trail of memories of our daily life on the elements, pointing and scarring on them –the moving air, the meteorological–.
For her, objects are nothing more than the result of the agglomeration of experiences, places where life and its compass stamp their mark. Her work tries to trace and examine the scars that time has left on them, subjecting them to an analysis in order to know their path, but also allowing these elements to speak for themselves.

Although his production speaks to us of the transience of existence –in the manner of the “tempus fugit” so often used in the Baroque–, it also invites us to rest, to stop in the midst of this hyper-accelerated world in which we live, to observe and listen to what everything around us has to tell us.

Materials plays an important role in the work of this Portuguese artist, considering them as the engines of her ideas. In them she finds a form of expression full of revelations, through which to reflect their permeability, where the processes of artistic practice and everyday life are the main protagonists.

Her work makes us reflect on time and its progression, always in constant advance. It is the objects, marked by a history product of the person who used them and the course of life, which become the main protagonists of a temporal game where the artist encourages us in a way to flee from the speed of life, urging us to look beyond the world before our eyes.

July 2015
Paloma Soriano


Dalila Gonçalves
Castelo de Paiva, 1982.
Vive y trabaja en Oporto, Portugal.
Licenciatura en Artes Plásticas, especialidad Pintura. Facultad de Bellas Artes, Universidad de Oporto.
II Edición Curso de Fotografía del Programa Gulbenkian Creatividad y Creación Artística. 
Master de Enseñanza de Artes Visuales. Facultad de Bellas Artes y Facultad de Psicología. Universidad de Porto.
Programa Inov-Art del Taller del artista Ignasi Aballí. Barcelona.
Doctorado de Arte y Diseño. Facultad de Bellas Artes. Universidad de Porto.
No ouvido há labirintos e cristais. Galería Rafael Ortiz. Sevilla, España.
Amanhar. Galería Nordés. Santiago de Compostela, España.
Solo Project – ZonaMACO SUR – Rodriguez Gallery. Mexico DF, México. 
Céu da boca, Rodríguez Gallery, Poznan, Polonia
Estampa 2019. (Solo Project) La Consciencia de las Cosas. Stand Rodríguez Gallery. Madrid, España. 
Sopro Seco, Fundación Marso, México DF, Mexico 
Nem tudo no navio se deteriora no porão. Lehmann + Silva. Oporto, Portugal.
Orquídeas en la mesa de billar. Centro de Arte de Alcobendas. Alcobendas, Madrid. España.
SP-Arte (Solo Project). Stand Galería Lamb Arts. Sao Paulo, Brasil.
Artesantander 2017 (Solo Project). Stand Galería Rafael Ortiz. Santander. España. 
Kneaded memory. Centro Cerámica Triana. Sevilla, España.
The clock has no place in the woods. Galería Lamb Arts. Londres, Reino Unido.
Cata-vento. Galería Rafael Ortiz. Sevilla, España.
ARCOmadrid 2015. Stand Kubik Gallery. Madrid, España.
Processo Circular. SUBTE. Montevideo, Uruguay.
Procedere é Processo. Kubik Gallery. Porto, Portugal.
760.000 segundos. Galería Caroline Pagès. Lisboa, Portugal.
Lembro-me deste Sítio de Algum Lugar. Sput&nik. Porto, Portugal.
Laboratório Irreversível.  Quarto Escuro. Porto, Portugal.
Proscénio. Sala Poste-ite. Edificio Artes em Partes. Porto, Portugal.
Tempus Fugit. Galería Caroline Pagès. Lisboa, Portugal.
Paper Routes- Women to Watch. MNWA, National Museum of Women in the Arts. Washington. USA.
La mirada. Fotografías y collages. Galería Rafael Ortiz (virtual).
Nuevos cánones. Entre la escultura y la arquitectura. Galería Rafael Ortiz (virtual).
Fiat Lux: Nueva Colección Pilar Citoler. Centro de exposiciones CajaGranada Puerta Real. Granada, España.
Zona Maco. Rodríguez Gallery. México.
Panorama. Imágenes de la Nueva Coleccción Pilar Citoler. Vimcorsa. Córdoba, España.
ARCOmadrid 2019. Stand Galería Rafael Ortiz. Madrid, España.
Wait Museu de Arte Moderna e Contemporânea Coleçcão Berardo, Lisboa, Portugal.
SWAB Art Fair 2018. Stand Galería Rafael Ortiz. Barcelona.
Cabinet of True Horizons (how far can you see?) Rodríguez Gallery, Polonia. 
Lo digerido. Espacio Dorffi. Lanzarote, España.
Sp Arte. Stand Lamb Arts Gallery. Sao Paulo, Brasil.
Art Lima. Stand Lamb Arts Gallery. Lima, Perú.
La Collection BIC. Le Centquatre-Paris. París, Francia. 
Here and Elsewhere. Edificio Vizcaya. México D.F, México.
A Preto e Branco. Fundacion PLMJ, Sociedad Nacional de Belas Artes. Lisboa, Portugal.
ARCOmadrid 2018. Stand Galería Rafael Ortiz. Madrid, España.
Fondation Hippcréne. Otazu Foundation Collection. París, Francia.
Urgent Perspectives #1. Projektraum Viktor Bucher. Viena, Austria.
UNTITLED, Miami Beach. Stand Galería Rafael Ortiz. Miami. USA.
ARTBO. Stand Galería Lamb Arts. Bogotá, Colombia.
JAd Bi. Stand Galería Madragoa. Lisboa, Portugal.
Quid Pro Quo. Panal 361. Buenos Aires, Argentina.
ARCOmadrid 2017. Stand Galería Rafael Ortiz. Madrid, España.
Belle Époque Centrum. Blankenberge, Bélgica.
Colección Davis Museum at Wellesley College. Wellesley, Massachusetts. USA.
Colección de la Fundación PLMJ. Lisboa, Portugal.
Colección Figueiredo Ribeiro.
Colección Fundación Otazu. Navarra, España.
Colección Fundomar. Sevilla, España.
Colección Instituto IPSAR. Roma, Italia.
Colección José María Civit. Barcelona, España.
Colección Navacerrada. Cantabria, España.
Colección olorVISUAL. Barcelona, España.
Colecção António Cachola. Museu de Elvas Arte Contemporânea. Elvas, Portugal. Frances Reynolds Collection. Londres, UK.
Friedrich Christian Flick Collection. Berlín, Alemania.
Museo de la Facultad de Bellas Artes de Oporto. Portugal.
Museo al Aire Libre. Colección de Arte Público de Oporto. Portugal.
Nueva Colección Pilar Citoler. Zaragoza, España.
Water Closet 7. Lx Factory. Lisboa, Portugal.
Colecciones Particulares en Portugal, España, Alemania, Francia, Reino Unido, Bélgica, Brasil, Colombia México y USA.