Sol Souple, 2019
Facets, 2019, recycled paper, glue, acrylic paint, chewing-gum, 19 × 181 × 6 cm
Sol Souple, 2019, exhibition view at MAC Lyon
Sol Souple, exhibition view, idem
Some intimacy, please, 2019, towel, soap, 70 × 49 × 12 cm
Breath in, breath out, 2019, trunks, recycled paper, acrylic paint, thread, bag, 124 × 104 × 18 cm
Sun and its shadow, 2019, wood, metal, acrylic paint, variable dimensions
The lover and its shadow, 2019, work clothes, recycled paper and recycled plastic, marker, water ink, permanent ink, thread, linoleum, 220 × 150 × 175 cm
Good night, 2019, wood, sheets, t-shirt, thread, 362 × 162 × 13 cm
It's time, 2019, plate, fork, chewing-gum, acrylic paint, 23 × 25 × 3 cm
Thirsty cup, sweaty t-shirt, 2019, glass, t-shirt, acrylic paint, 13 × 10 × 10 cm
Sol souple (drawings), 2019, pen, permanent ink, pencil on paper, 90 × 92 cm (21 × 14.5 cm each)
Jordan told me to jump, duties don't, 2019, shoes, colored lights, cable, acrylic paint, 450 × 36 × 10 cm (variable dimensions)
Sol Souple, exhibition view of the public visiting the exhibition space during the artist's residency

Sol Souple, an installation for the Storytelling project, curated by Matthieu Lelièvre at the Museum of Contemporary Art of Lyon in 2019.

“Storytelling is an exhibition in progress. Seven artists (Chourouk Hriech, Lou Masduraud & Antoine Bellini, Sara Bichão, Celsian Langlois, Hannelore Van Dijck and Violaine Lochu) involve the spectators in the process of creating it. They have been invited to do a two to three-week residency one after another in an exhibition space that gradually becomes the exhibition. It is a new kind of “arts laboratory” that deconstructs the codes of the classic art show, inverting the chronology and interrogating the modes of mediation as well as the relationship with the visitors. The rules of the exhibition are similar to those of the old Surrealist game exquisite corpse, a variation of the parlour game called “Consequences”, in which playersin which players write in turn on a sheet of paper, folding it over so that the next player continues the story without knowing what has gone before. (…)
Sara Bichão chose to make the time of her residency in the macLYON studio apartment do double duty as both a lived experience and the subject of her artistic project. The residency “became” a performance. She chose to duplicate the space and the surroundings of the apartment by creating a shadow, which was to become the author of the works in her exhibition space. She addressed questions of public and private space, the individual and the group, experiencing the encounter with the public as a significant challenge. The eleven days of her residency were conveyed as eleven aspects of herself in the form of faces in recycled paper with mouths formed from chewed chewing-gum.”
Excerpt of the text by Matthieu Lelièvre for the catalog of Storytelling, MAC Lyon, 2019

© Blaise Adilon

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