Find Me, I Kill You, 2018
Find me, I kill you, 2018, exhibition view at Calouste Gulbenkian Foundation, Lisbon
GRAVE, 2017, jersey fabric (among others), peach pits, cotton rope and thread, permanent marker, v7 glue, 175 × 55 × 20 cm
Porto Seguro / Safe Harbor, 2018, group of various objects: latex, cotton, magnet, eraser, wood, acrylic paint, bread, coffee, soil, fruit peels, v7 glue, cactus, lip balm, permanent ink, cooper cable, shell, silver, nail, stone, cardboard and tape, variable dimensions
Find me, I kill you, exhibition view, idem
X, 2018, cotton fabric, cotton rope and thread, electric cable, blue LEDs, 65 × 45 × 5 cm
(up) Direcção / Course, 2018, jersey fabric, latex finger cot, water, wood, red LEDs, 500 × 300 × 2500 cm (down) Vertigem / Vertigo, 2018, concrete pipe, acrylic paint, 150 × 50 × 50 cm
Direcção / Course (detail), idem
Agosto, 2017 / August, 2017, 2017,10 drawings, permanent ink on jersey fabric, 15 × 15 × 1 cm
ESTELA, 2018, jersey fabric (among others), wood, nails, cotton and polyester rope, 350 × 350 × 5 cm
ESTELA (detail), idem
Volta / Round, 2018, intervention with 18 LED bulbs in the Modern Collection hall, ~ Ø 450 cm
GRAVE, 2017, idem

Encontra-me, Mato-te / Find Me, I Kill You was a solo exhibition at the Modern Collection building of the Calouste Gulbenkian Foundation in 2018, curated by Leonor Nazaré.

“The exhibition is born of an intense personal experience that led the artist to question herself: as a singular identity, with her own body, and as a part of a whole.
Sara Bichão relates the panic she experienced in a volcanic lake when, swimming alone, halfway across the crater, she realised she was right in the middle of it. At that moment, she felt disconnected from herself, and she was unable to find the coordinates that give the body sense – land was not to be seen in any direction – and she felt at risk of becoming a tiny particle, with no importance or memory, whose history would turn out to be impotent in the face of the greater force of dissolution of nature. From the centre of the crater, and therefore from the centre of the earth, an invisible force triggered in the artist the emotion expressed by the title.
Although essentially sculptural, this proposition is intimately linked to drawing: through the comprehension of the space she creates and the manual way in which she produces her works.”
Sinopsis by Leonor Nazaré, 2018.

© Mariano Piçarra

Full text by Leonor Nazaré, 2018, for the catalog of Find Me, I Kill You below:

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Sara Bichão’s working process binds with emotional channels: to heal, to purge, to perpetuate, to play. The works are sculptural with a chromatic atmosphere specific to its own, which at times, are activated by the artist through performative actions. The materials used are often collected/offered/stolen, or come from other recycled and organic resources. More recently, Bichão has also been exploring experimental writing.

Sara Bichão is currently developing a long-term collaboration with La S Grand Atelier – Art Brut et Contemporain, in Belgium.

She was an artist-in-residence at Residency Unlimited (New York, USA) and Finisterrae (Ouessant, FR) in 2022, and has attended other residencies over the past years including: Porta 33 (2020, Madeira, Portugal); Cité Internationale des Arts (2019, Paris, FR); Artistes en Résidence (2017, Clermont Ferrand, FR). She received scholarships from the French Institute (2019, 2022), the Calouste Gulbenkian Foundation (2014) and the Luso-American Foundation (2022).

A selection of her solo shows include: Before I Get Sick at MEEL, Press (2021, Lisbon); What is the thing, What is it at Galeria Filomena Soares (2020, Lisbon); Find me, I kill you at Calouste Gulbenkian Foundation (2018, Lisbon); (2017) Coastal at Barbara Davis Gallery (2017, Houston); My Sun Cries at Portuguese Foundation of Communications (2016, Lisbon); Somebody’s Address at Rooster Gallery (2014, New York).

Some of her past group shows include: Slow Gala at 68 Art Institute (2022, Copenhagen); Twin Islands at Passerelle Centre d’art contemporain (2022, France); (2022) Traverser la nuit: Works From the Antoine de Galbert Collection at Museum of Art, Architecture and Technology (2022, Portugal); Performance 0 at BoCA – Biennial of Contemporary Arts (2021, Portugal); Clorophilia at Porta33 (2021, Portugal); Storytelling at Musée d’art contemporain de Lyon (2019, France); Un pyjama pour deux at Passages Centre for Contemporary Art in Troyes (2019, France); CHAMA at Atelier-Museu Júlio Pomar (2018, Portugal); What I am at Museum of Art, Architecture and Technology (2017, Portugal); }{ { } at Diagrama (2015, Mexico); 2015) Eccentric Exercise II at Kulturni Centar Beograda (2015, Serbia); Soundless Harmonies at Rita Urso Gallery (2014, Italy); Extending The Line at Arevalo Gallery (2012, USA).

Bichão was selected for the FLAD Drawing Prize (2021), Anteciparte’09 (2009), Fidelidade Mundial – Jovens Pintores (2009), BPI – FBAUL (2008).

Her work is part of art collections such as: Antoine de Galbert Collection, France; CACE (State’s Collection of Contemporary Art); FLAD (Luso American Foundation); PLMJ Foundation; EDP – MAAT Foundation; Calouste Gulbenkian Foundation; Carmona e Costa Foundation; MidFirst Bank Collection, Arizona, USA.

Texts (selec.)
Short notes

Sara Bichão
Palácio dos Coruchéus
Rua Alberto Oliveira, Atelier 41,
1700-019 Lisboa, Portugal

Galeria Filomena Soares
Rua da Manutenção n.º 80 (Xabregas),
1900-321 Lisboa, Portugal
+351 962 373 956

Barbara Davis Gallery
4411 Montrose Boulevard, Suite D
Houston, 77006 Texas, USA
+1 713 520 9200