Quando Somos 2, Somos Três, 2018
Crawler, 2018, wood, fabric, cotton, aluminum, rubber, cane, string, acrylic paint, nails, stone and latex, 52,5 × 175 × 27,5 cm
Nerve, 2018, acrylic paint, cotton, bones, stone, chewing gum, string, wire, paraffin, tooth and sand, 164,5 × 90,5 × 104 cm
She has nothing to say, she has everything to say (with Manon Harrois) 2017~2022, fabric, wood, hinges, charcoal, tape, canes, string, acrylic, and water paint, permanent marker, cardboard, variable dimensions
Moon, 2018, fabric, wood, plastic, mirror, cardboard, acrylic paint, styrofoam, string, matches, stone and cotton, variable dimensions, Ø 64 cm
Moon (detail), idem
(left, by Sara Bichão) Skull, 2018, animal jaw, cotton, stone, fabric, tape and wood, 26,5 x 19 x 14 cm
(right, by Manon Harrois) Une belle hauteur, 2015, animal skull, plastic, wool and water paint, 30 × 14,5 × 12,5 cm
Time, 2018, fishing float and fabric, 30 Ø 26 cm
(left) Great solitary, 2018, 17 pieces w/ variable materials and dimensions
(right) Mirror, 2018, LED lamps, wood and jersey fabric, 82 × 82 × 10,5 cm
Last guard, 2018, wood, fabric, stone, cotton and acrylic paint, 57,5 × 72,5 × 51 cm
Quando Somos 2, Somos Três, exhibition view with works by Sara Bichão (left, right) and Manon Harrois (center) at the Portuguese Foundation of Communications in Lisbon

Quando Somos 2, Somos Três was a duo show of Sara Bichão and Manon Harrois at the Portuguese Foundation of Communications in Lisbon, Portugal, in 2018. It was organised by Galeria Bessa Pereira.

“When you’re alone, there are two of you. When there are two of you, there are actually three. When there are more than two, you’re alone.” I’m not sure when I read or heard these sentences, but I retain the memory of the reaction I had then: I knew them already, somehow – in my flesh. It makes little difference that our truths don’t belong to us; the less they’re “ours”, the more we recognize the authenticity of a genuinely piercing intensity. That recognition happens in solitude and can only be shared by two. Measurements are not dimensions.”
Mariano Piçarra, teacher and creative at the Calouste Gulbenkian Foundation, 2018

“Sometimes it’s even better when there’s two of us, it’s a game. We throw the ball back and forth, we move around, change our position. Here, that’s the heart of the matter with Manon and Sara: from where they depart and the paths they go through. The starting point is a cross, the one called «gendarme»; yet again, stories of circulation. Located in Cantal, this cross is devoid of its horizontal bar; a vertical cylinder remains, of which the imprint is serving as a standard to create the experience of a landscape. To measure what involves them and give it a proper language was the work of Manon and Sara. What we see appearing right now is what we would understand as paths.”
Martial Deflacieux, curator and director of Artistes en Résidence in Clermont Ferrand, 2017

© Pedro Guimarães

Digital catalog of the exhibition, 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