Rita de Almeida Leite

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	<title>Rita de Almeida Leite</title>
	<link>https://ritadealmeidaleite.com</link>
	<description>Rita de Almeida Leite</description>
	<pubDate>Mon, 03 Feb 2025 20:14:43 +0000</pubDate>
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		<title>the presence of absence</title>
				
		<link>http://ritadealmeidaleite.com/the-presence-of-absence</link>

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		<pubDate>Mon, 03 Feb 2025 20:14:43 +0000</pubDate>

		<dc:creator>Rita de Almeida Leite</dc:creator>
		
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&#60;img width="3456" height="2304" width_o="3456" height_o="2304" src_o="https://cortex.persona.co/t/original/i/3fd1d8d5c3d0bf89dca038eba38eec3cd743c4e6989a1d4253bd7f65649f940e/EXPO01.JPG" data-mid="1394810" border="0" data-scale="59"/&#62;&#60;img width="3456" height="2304" width_o="3456" height_o="2304" src_o="https://cortex.persona.co/t/original/i/8e82422ae43322d9dea70339c8562593423979bea87899b507ccf4b2359aadef/EXPO02.JPG" data-mid="1394812" border="0" data-scale="59"/&#62;&#60;img width="3048" height="1976" width_o="3048" height_o="1976" src_o="https://cortex.persona.co/t/original/i/3ce1bb88316952dd4650f1ca551a37dd00c5e904cdb05b420be723a030c85a25/EXPO06-copy.jpg" data-mid="1394813" border="0" data-scale="59"/&#62;&#60;img width="3456" height="2216" width_o="3456" height_o="2216" src_o="https://cortex.persona.co/t/original/i/3477e98075ec4e19d51c92f046befd0f050718d28aa14d4bf7adddb3802301de/EXPO07.JPG" data-mid="1394811" border="0" data-scale="59"/&#62;


2018, prolepse , Faculdade de Belas-Artes da Universidade do Porto, PT


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&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#60;img width="936" height="1321" width_o="936" height_o="1321" src_o="https://cortex.persona.co/t/original/i/f69b1a81f9553b77bbf55f55c3009d775ef073e910d8feaa183b4471d2c1a253/webdrop_EXPO15.png" data-mid="1394825" border="0" data-scale="34"/&#62;.&#38;nbsp; &#38;nbsp; &#38;nbsp;&#60;img width="1108" height="1580" width_o="1108" height_o="1580" src_o="https://cortex.persona.co/t/original/i/05a96cbf7a0915b7381afc2179997828aedf23f034c449a7053bab7b58a03bff/webdrop_IMG_3982-copy.png" data-mid="1394822" border="0" data-scale="21"/&#62;

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1. herbário (marca residual), papel reciclado, A5 . 2014 - até ao presente


2. 004, óleo, gesso acrílico e pó de mármore s/tela, 90x80 cm3. 011, óleo, gesso e cola vinílica s/tela, 24x18 cm4. 008, óleo, gesso acrílico s/tela, 24x18 cm5. 001 óleo s/tela 60x50 cm6. gravura, verniz mole sobre gesso cerâmico, 2,5x24x16 cm


	As imagens que constituem o projecto surgem a partir de um arquivo pessoal.Um herbário, a partir do qual é feito um levantamento das manchas residuais deixadas pela secagem de elementos naturais. O projecto é uma reflexão sobre a ideia de ausência como constituinte da presença, isto é, o modo como uma coisa ou objecto tanto se constitui por aquilo que é como por aquilo que não é. Esta correspondência é pensada através da relação das marcas deixadas sobre o papel, que representariam então a ausência e seriam, simultaneamente, constituintes do referente ou por outras palavras, da presença, que neste caso é representada pelos elementos arquivados. 
Os processos explorados dividem-se entre a pintura e a calcografia, sendo que a primeira permite uma vertente mais interpretativa, enquanto a segunda procura a possibilidade de fixação do instante. A fixação do estado actual das manchas conservadas, com a possibilidade ilimitada da sua reprodução. Há igualmente uma vasta exploração de materiais, que vão desde o gesso ao pó de mármore, à areia, à cola vinílica e à resina.
	

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		<excerpt>           2018, prolepse , Faculdade de Belas-Artes da Universidade do Porto, PT     &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;  &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;...</excerpt>

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		<title>Untitled page</title>
				
		<link>http://ritadealmeidaleite.com/Untitled-page</link>

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		<pubDate>Sat, 25 Jan 2025 21:46:50 +0000</pubDate>

		<dc:creator>Rita de Almeida Leite</dc:creator>
		
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		<description>
  
    enxerto a luz/em tudo o que nomeio.
  

      ánthos týphos.
    
    
      o vazio do branco.
    
  
       S/TÍTULO.
    
    
      primeiro fascículo.
    
  
      quimigramas.
    
    
      DOSE 03.
    
    
      dias e dias.
    
  
      luz oblíqua.
    
    
      5-7-5.
    
  
      assimilação.
    
    
      na mão.
    
  
      estender e voltar.
    
  
      preto, branco, verde.
    
  
    alisavas os vincos da cama/ como quem põe ordem mundo.
  
</description>
		
		<excerpt>enxerto a luz/em tudo o que nomeio.                     ánthos týphos.                 o vazio do branco.                           S/TÍTULO.            ...</excerpt>

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		<title>na mão</title>
				
		<link>http://ritadealmeidaleite.com/na-mao</link>

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		<pubDate>Mon, 13 Jan 2025 23:19:32 +0000</pubDate>

		<dc:creator>Rita de Almeida Leite</dc:creator>
		
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		<description>~ on going
 2019 — presente


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  &#60;img width="1536" height="2048" width_o="1536" height_o="2048" src_o="https://cortex.persona.co/t/original/i/7b9b75ddfaa8256f33c61b3449749895ce5ebbba9e181d0c5a159e84bde56e97/2023_1510.JPEG" data-mid="1392153" border="0" data-scale="9"/&#62;
  
  &#60;img width="2448" height="3264" width_o="2448" height_o="3264" src_o="https://cortex.persona.co/t/original/i/a6dc77000ce2f19ec3b24ac75beb388146c4c86aafc42aa401f5441f992c1569/2020_8633.JPG" data-mid="1392157" border="0" data-scale="9"/&#62;
  &#60;img width="1536" height="2048" width_o="1536" height_o="2048" src_o="https://cortex.persona.co/t/original/i/f77817db42cfb6be5552c54e7d8ec0991ef8ebe47ed4103ca1c1c630e10ab02e/2022_04.JPEG" data-mid="1392158" border="0" data-scale="9"/&#62;
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  &#60;img width="1536" height="2048" width_o="1536" height_o="2048" src_o="https://cortex.persona.co/t/original/i/87317c3ea58d54230548b8741b84fdb0439598dace36cf6d3ec68c49d5263437/2022_46.JPEG" data-mid="1392159" border="0" data-scale="9"/&#62;
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  &#60;img width="1536" height="2048" width_o="1536" height_o="2048" src_o="https://cortex.persona.co/t/original/i/d0c7064e793006f76b33f9efd49207be47945d1be0c18106fb3b6c72ffb1ef98/2023_0380.JPEG" data-mid="1392161" border="0" data-scale="9"/&#62;
  
 &#60;img width="1536" height="2048" width_o="1536" height_o="2048" src_o="https://cortex.persona.co/t/original/i/e11e162f1fe70f6511b350b8d3b3c8577632cd30b0ab009052a516c0c48875f2/2022_12.JPEG" data-mid="1392162" border="0" data-scale="9"/&#62;&#38;nbsp;&#60;img width="2048" height="2731" width_o="2048" height_o="2731" src_o="https://cortex.persona.co/t/original/i/3c3047ccb9123e68454a597dbfdc97199a313e18c8a52e368468c0e579b23c23/IMG_1176.JPEG" data-mid="1392163" border="0" data-scale="9"/&#62;

  
      amostra — arquivo de coisas na mão iniciado em 2019 e que continua em crescimento
      até hoje o arquivo reúne um total de aproximadamente 400 imagens tiradas entre 2019 e o presente.
&#38;nbsp; &#38;nbsp;
    
  
&#60;img width="1536" height="2048" width_o="1536" height_o="2048" src_o="https://cortex.persona.co/t/original/i/e8796f7c20e6cbde98ffe62acc895a20af53d7ca8eaa88b1ac11427f7a68f5b5/2023_2207.JPEG" data-mid="1395697" border="0" data-scale="50"/&#62;


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</description>
		
		<excerpt>~ on going  2019 — presente                                   &#38;nbsp;                amostra — arquivo de coisas na mão iniciado em 2019 e que continua em...</excerpt>

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	<item>
		<title>gestures of maintenance &#124; Pietra Galli</title>
				
		<link>http://ritadealmeidaleite.com/gestures-of-maintenance-Pietra-Galli</link>

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		<pubDate>Sun, 12 Jan 2025 12:07:07 +0000</pubDate>

		<dc:creator>Rita de Almeida Leite</dc:creator>
		
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		<description>
	gestures of maintenance

Nowadays I look after the objects that live with me. I see them as organic matter just like my own body, that deteriorates with use and relies on the choices I make.
But it wasn’t always this way. The act of restoring something and lengthening its worn-out existence seemed to my teenage self an old-fashioned and stubborn act. Wasn’t it so much easier to replace something old with something fresh and still untouched?
At the time, I didn’t see objects as an extension of my body, I wasn’t aware of my presence in the world as a reactionary and relational presence at all times. It was my grandmother who first taught me how to mend, and it was from then onwards that I developed an attentive eye to the second life I could give to certain things.Slowly, the maintenance of objects and the places where I live spread to my relationships. I started noticing how these need nurture as they also rust and wear out with time. Also in my relationships with others, holes and scratches would surface, threads would tangle and colours would fade. Just as it happens with objects, these damages need polishing and adjusting for them to work again.

So when you first showed me the pictures of a market tent, that you saw by accident one day and that was mended all over, we spoke for a few hours about a range of symbologies we saw in that object. 
In each repair attempt of the tent, we saw an example of the connections we create with people and the maintenance that they require. We agreed on how the act of repairing something doesn’t mean going back to what it was before, but the opportunity of a new beginning. 
Each mending on the tent, of its own size and shape, represents a scar from a past damage. Together, they mark an existence in constant movement that only lives on through these small gestures of maintenance, which you described as a “geography of caring”.

In the pictures you showed me, the holes that are still open have been circled with a pencil, which shows someone’s intention to fix them in the near future. This attentive eye of someone who cares about the preservation of something or someone present in their lives is what we both try to nurture in our day to day.
The attention to the small things and their repairs can not only develop our relationships but also our perception of time, making us recognise the past and preserve the present according to a future.


 Pietra Galli
	

&#38;nbsp;
	
	
	 PT

</description>
		
		<excerpt> 	gestures of maintenance  Nowadays I look after the objects that live with me. I see them as organic matter just like my own body, that deteriorates with use...</excerpt>

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		<title>cv ~ bio eng</title>
				
		<link>http://ritadealmeidaleite.com/cv-bio-eng</link>

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		<pubDate>Sun, 12 Jan 2025 11:38:42 +0000</pubDate>

		<dc:creator>Rita de Almeida Leite</dc:creator>
		
		<category><![CDATA[]]></category>

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		<description>Rita de Almeida Leite b. 1996, Porto, Portugal

works and lives in Porto.interdisciplinary artist.ritagil.dealmeida@gmail.com &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;

education2024 abr — jul Cultural Production Course — Instável Centro Coreográfico, Porto, PT2024 nov — jul Digital Publications Design, Editing, and Management Course — FBAUP, Porto, PT2023 fev—jul Professional Internship, Oficina Mescla — Screen Printing and Printmaking Studio, Porto, PT2022 jan—jul Facilitators Course. Community Artistic Practices, PELE — Associação Social e Cultural, Porto, PT2019—2020Post-Graduate in Fine Arts, FBAUP, Porto, PT2017—2018 Almeida Garrett Mobility Program, FBAUL, Lisbon, PT
2014—2018B.A. Degree in Fine Arts, Painting, FBAUP, Porto, PT


selected group exhibitions

2024 ensaios de uma colecção: novas aquisições da Galeria Municpal do Porto, Galeria Municipal do Porto, Porto, PT2023 uncertain neighbours, Galeria Mármol, curated by Matias&#38;nbsp; Roman Aleman e Paulo Mariz, Porto, PT2023 a primeiro, Interior, curated by Teresa Arêde, Viseu, PT2023 a vida: modo de usar, Festival Barlos, curated by Maria Miguel von Hafe, Barcelos, PT2023 preto branco verde, Casa da Imagem, Bienal de Fotografia do Porto, curated by Susana Lourenço Marques, Porto, PT2023 estender e voltar, Linha Amarela, Campanice Studio, Porto, PT2023 o limite do meio, Galeria Municipal do Montijo curated by Teresa Neto, Montijo, PT2022 assimilação, Espaço Pontes, Fundão, PT2021 s/título nº2, Útero, Lisboa, PT20205-7-5, exposição virtual CONTER, Galeria Dentro, Porto, PT2020 after illusion, Online Exhibition curated by Island Gravity


2020 novo acordo, FBAUP, Porto, PT2019 a imagem contextualizada, Arquivo Municipal Fotográfico, 
curated by José Luís Neto,&#38;nbsp; Lisboa, PT2019 perímetros, Galeria Painel, ISPUP, Porto, PT2018 prolepse, FBAUP, Porto, PT2017 as fotografias e o resto #02, FBAUP, Porto, PT2016 imagens do corpo interior, ICBAS,Porto, PT


residencies, distinctions and grants
2023 órbita #5, festival súbito, galeria aartes e sekoia artes performativas, Porto, PT2023 preto branco verde: residências bioimages, residency grant, Porto, PT2021 tropismo fotográfico #2, residency grant, Bienal de Fotografia do Porto 21’, Porto, PT2018 honourable mention in the acquisition prize - finalist students, FBAUP, Porto, PT


publications and collaborations

2023 a imagem contextualizada, Arquivo Fotográfico, Lisboa, PT2022 primeiro fascículo, Paralaxe, Porto, PT 2022 jornal S/Título Nº2, printed magazine, Lisbon, PT2021 tropismo fotográfico #2, o vazio do branco,&#38;nbsp; Bienal de Fotografia do Porto 21’, Porto, PT2020 alix nº1, photography and cinema journal, Porto, PT2019 in contrast: A fotografia, os livros e o resto, Scopio Editions, Porto, PT2019 dose 03, printed and online magazine, Porto, PT


acquisitions, collections
2023 aquisições, Coleção Municipal de Arte , Galeria Municipal do Porto, PT


professional experience
2024—to present&#38;nbsp; Cultural Procduction, Artistic Projects and Communication — Cultivamos Cultura, PT2022— 2023 Studio Assistant, Oficina Mescla — Screen Printing and Printmaking Studio, Porto, PT&#38;nbsp;
	
	
	 PT

</description>
		
		<excerpt>Rita de Almeida Leite b. 1996, Porto, Portugal  works and lives in Porto.interdisciplinary artist.ritagil.dealmeida@gmail.com &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;...</excerpt>

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	<item>
		<title>EN about me</title>
				
		<link>http://ritadealmeidaleite.com/EN-about-me</link>

		<comments></comments>

		<pubDate>Sun, 22 Dec 2024 10:15:44 +0000</pubDate>

		<dc:creator>Rita de Almeida Leite</dc:creator>
		
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		<description>
	There is no measure for the lightness that results from the process of restoring all the essential fragments of the delicate experience of the inevitable. It is a process of “letting it happen”; of lowering the arms and learning to accept reality. It is the look at a touch, a whisper, a trace: the vestige left by an encounter between two bodies. The dialogue established between all images, whether they have greater or lesser tangibility, is that of the apprehension of a residue – the play of light that these tiny elements present with their surroundings, the trace left by the presence of something in a particular place. When considering the touch of two unconscious bodies, one considers the independent dialogue: the tree that falls unheard, the drop of water that dries unseen, the leaf that withers without being touched. This dialogue happens, impassive to the passing observer, and is captured in media res.


For Rita, who enters as the mediator of contact between vestigial elements, her task is to organize and arrange the chaotic natural randomness, walking the fine line where the casual event meets the deliberate. The clear connection that manifests between the apprehension of the trace and the activation of memory. The image presents itself as a matrix that has witnessed the casual touch; the hand collaborates in the process of remembering, reactivating the event.


There is a strong focus on the reading of the work, which is remarkable for the organization and scrutiny it undergoes. The hand that comes to activate the event of remembering does not work from a cold, calculated premise, from an analytical or pragmatic observation. There is an emotional sensitivity operating in the decision to reanimate, in the process of exalting these small phenomena. However, there is still a calculated order in the results. Her reading of her own work is quite open. Her presence as an observer-curator aims to ensure the safety of the moment; to guarantee its importance. The same deliberate gaps in the images presented for the artist herself also serve to entice the viewer to seek a closer relationship with the pieces that are produced. The small details; the minutiae with which the most precise moments are captured.


It is a love letter to life that in no way seeks to hide the ruin that comes with it. The most prominent vestige is precisely this trace of life that passes indifferently to us. The reading we make of the world is the only thing that has any influence on the perception we then have of these images – these brilliant ghosts that comfort and highlight the apparent, the ordinary, the seemingly ordinary, and the commonly transcendental with which we stumble daily. I look at the walk along the bus route and see a flower that I immediately store as an image, either mentally or photographically. My eyes do not know how else to work this communication between the world that enters through my pupils and the objective reality; there is no barrier to mediate this inevitable invasion. I immediately think of Rita, and how she surely already has a much more beautiful and delicate flower carefully catalogued in a herbarium, along with the leaf of the plant that accompanies it.


	The minuteness that brings me closer to the flower on the ground is the same minuteness that presents itself to the viewer; that invites a closer approach, a deeper engagement and experience. An obligation to witness the simplest, the fragile. Coincidentally, there is not much fragility in the work presented to us as viewers. It is an unchanging fossilized reality, unfolding in different media, sometimes more or less brittle, but never presenting itself as fragile. The experience of the sensitive is not an experience of the fragile.

There is something surgical in the white light that bathes the entire work. An attempt to exhaust any secret that might be present in the materials, washed by this brilliant flood. Light. Impressions made by light. In Rita’s work, everything is light; it is the vehicle that the image finds to present itself, and perhaps this is why there is such a strong presence of light in her work: there is a deep desire to make the contact that happened immensely clear. The emotional and sensory need to illuminate the subject, so that all the visual aspects that, in turn, already carry the light, become obvious. Light is not just an element that illuminates; it is also, often, an element that belongs to the image being prepared for the viewer, one of the elements that makes contact in the work and makes any pretense of exploration possible. It emerges as a divine guide. There is something incredibly spiritual – not religious – in the images presented. Not religious, because there is no need for devotion, no particular sense of admonishment to be offered in front of these images, but there is still a sense of finding a unity, of finding the apparent sacred union made in the images. Something murmured about this support that now murmurs to the viewer. There is indeed something immensely spiritual to be observed in the process Rita applies to these images, these herbarium elements, and in everything she touches with the greatest attention: an exaltation of the smallest demonstrations of life when in contact with some of the largest – the stamens of flowers that are celestially enveloped in sunlight.

The fluidity with which the work is made is also an important part of this process of understanding the experience of the sensitive. The random is desired and, to some extent, it stops being random. There is a very clear intention to let things simply happen as they must. The quimigrams or oil paintings live precisely from Rita’s intervention in the process of "initiating" the random. What happens in this reaction between different materials, forms, colors, elements, is beyond the reach and control of the author. The following work is simply moderation of the results, interpretation of the signs, apprehension of the traces. The unexpected does not need to be tamed. It only needs to be carefully studied and cataloged. Like the people around us, the world around us is also alive, in constant motion, in perpetual turmoil. There may be no measure for the experience of the inevitable, but there is certainly the possibility of making sure it does not go unnoticed. I find in one of my notebooks a note I took from an artist’s book that Rita presented to me some time ago. In her words: “Where there is light, I run after it.”


Text by Nuno Ferreira  for the First Issue of Paralaxe.
	
	
	PT

</description>
		
		<excerpt>There is no measure for the lightness that results from the process of restoring all the essential fragments of the delicate experience of the inevitable. It is a...</excerpt>

		<!--<wfw:commentRss></wfw:commentRss>-->

	</item>
		
		
	<item>
		<title>artwork</title>
				
		<link>http://ritadealmeidaleite.com/artwork-1</link>

		<comments></comments>

		<pubDate>Fri, 09 Feb 2024 15:45:27 +0000</pubDate>

		<dc:creator>Rita de Almeida Leite</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">451576</guid>

		<description>&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#60;img src="data:image/png;base64,iVBORw0KGgoAAAANSUhEUgAAAGQAAABkCAYAAABw4pVUAAAAAXNSR0IArs4c6QAAAERlWElmTU0AKgAAAAgAAYdpAAQAAAABAAAAGgAAAAAAA6ABAAMAAAABAAEAAKACAAQAAAABAAAAZKADAAQAAAABAAAAZAAAAAAvu95BAAANM0lEQVR4Ae2dC5RVZRXH9zFeKoiAJO8Q5LFkkZqOCcwMM0gRJqQSkAVitCh7uFS0tMIoMsBsqaugYlECAivMiFIg3jO8TGgRA8USkcUgrHECB0F5hQOcfvvMOat53Hvn3HvPufcM831r7fnO+R577++/v/09z8yImGAQMAgYBAwCBgGDgEHAIGAQMAgYBAwCBgGDgEHAIGAQMAgYBAwCDR8BK8pNyLXlAApefVHkg8tETtsiR9F3H2lvkbaXtJLNlpRHuQ3J6hZ1gxxCwa6JGoWR3sQwRcQbMNKarZacTFQ+6nmRNkiBLU3Oi7RqItK6UuRK4k4A3xvqC/VB+U8D8FXVQD7D8zLyFnUUWfuKJReq5TWIx0gbpD4EXYPdgocUYoRhlM+HeBWhYWV4zHNXiMxZY8lpTWsIoUEbpDbA+bZ0xTDjlWhYX83nuYLoBeJfNoTh7JIySHUDsSDIpXFTSRuq6RhEJ/8nt4gsxH14jWa4ZA3iwY3X5DN0PU1D89y09VjjW1ss2eeVMXGmEbDFwmPuz7PlCGRDZ6BJmVbDj7xL3kOqg4BR2uAdzzHrP+Cmz2NZ9p0dlujqLBKhURnEQxzDjOf51zS+JVSCgYYXW/IfLz+bcaM0iALOkrkvm5SlPN4AHfgYy2aMsl/zshkarUEU9AG2tGWzubzqUY4QD2Oy36V52QqN2iAK+i22XHG5yB8B4vO8vseKLI/9ylvGINlCoMooTTHKMtcoOnwNytac0ug9xOsH6ikcs6zjfQBesvO/IrnZWH055z6eUo05VvCbiYxgWaynxzdjnFmNGY/ItJ0lcW82jR/qBpJd/oTIKNaYFXF39TbxKTVQY8YiMm0fZMs89RJobSaVMnNIHLRZ7Uwm6yg0lKFrbJxiJjmTCOAdD7heUobHtMqEbOMhCVDeLLKAbK5QpBNAPZSgaGBZxiCJoKy6yJriFpnM+VfLRMWDyDMGqQdFPjPaSBH1knYcRoZ+h2IMUo9BNJud+3SN2TROHm0LJyvhhcgdnTCJtqe5+dAnoT5QO6g1xBdB8gFUitK76EkbOW/ay3tGAnqpLP30aNgmS9aEJZTT5+wHNl9taOg4euA4tMmBEnYUyjkfXFFPjzleZCiZk4EvSl5C7M+QrZdboRkkYcMRHGpgkrwaMB9FyCOQ98GbXqe+Dm2n8dor9WuRkwDfnPe2PHeHBkGDIfUmDcdpyE8oMxuvUU8KPAy05ROMVQfQ4Sy9uANyTgUuBIZZM4ieE9G459GhDcSjrIZ+T6OX01gOWxMHTmf1yPwuSj1EIwq1NEy2A9ZY6h/U96ADe5GNGD0feaMYtv4cNP+s8NPhCXrZ3XDpAd5Ket9N6SgDj5GAVeryrOD59nT4xasL/x+oDPQP7SQYg2cucGXaGWkM9zKG+H1oND3tztctKUlHC3i82kLkVjykCD7t4L9usC0D0uEZqy6rrQ1u+pBY+UGkoXtmAvNFd+aL9UjrAe0AvHu5vz4UpHQdxrjHmAvPCdD7yMhBxoGgZNCGJrThGPz0GKVzGL8KkREPoSE6eeupaQ9AKqKnFQZtDAWdS6ZKVgST3J7clt62REHUvCACc5MuGLZDFjLSGmbj6RO+QfhqEOVfQoHrMYZOuiPDXKKqURi+xiCrFJk5yH44XuNTSYev8wEEwOkeKfAQukHyRB6nEXo1Wl6JMehloSwXqyOz3pJjeIcen+su+yn10Or56TzD1/siJRSDBObOsRoJEDpv/Jg87CH3b7Ocb59iFY2bxqqmPSAQSWfiywD4EEoXYdgTcSuRwfj+F1ZDrBdkIDp8k6QZiconked8pI0+Dc8gAKFnQMyzspA5Y10SjRZduuK+P6XhhdRzzo/UqgCsu/RK8hcwoE9JZGTKP035lcRfpUvMpLKySCugSBnyNXib0qq3gH5q+0IJ7A160ZvfhPl5GtDz75aU+RGkh3flIs+gmA45qt9ZfhSD5H4IlnID7wXETYmV5wiWvTuJ64R+tjRj13mUcnoWdiNes7tOoSQT3B37Qaq9A7/uSVavt3hoQxbgPQgQ2rNf9GsM+q/FF8/zqTeO+ueIp2OB52svAjD2deTPhe6AVrC/yYklY48lHzHWrUSH++BVSJy2QZDn/VJpKDeIoUzqBSw1UfzL2h0QoPsCXyFf5DEKqjFOUG8IPXBabWMoIzyiFEt/jsdVAN2RXvULTY8VyN/opuvpcdrho4ZoEFZTtwJEB4B9e6Ml//CDAkPBxyn/I8oSyX2ArgeMcUMxewK852sU0MPIsXhN11iFYbZf04l7xMpPNo1DNprmBNUz8BCKh9B7C1RTNPc9kVPnG1RpRSuXsQBYpfXrC3jPu5R5DbKopx5TJ6CDHtHo5KPzSNqBOelKZYI87QiBh1AMgpafUk0BY6tfjWng3VoWheb4raPlkFGiMfV7aFw7YAinjfzgMf0AH2dPg9wP0+dWl4OjbN3k9FIAx1mjE+sqq/7AZE6hfpCNQpvqr/D/EshwVqEwiNeWjm5pFm/pB+R0cbkcTp9bXQ7xGlG3ZBIpgNRJizMMHfJTLZdeR0ObU/ZEsY+7kOo8qZen78j0dtDVs9XS3d18X8vuGpVjvGB9hx9ZDccgKOt9LuPrmOSsOMcpOqS0BFnfnYQjdv0LDnpJdZbKy4ljheFuYsJFQqyKcdJu1HQMvSdOflrJvhufjBSUxTmc9aEznNRXVw8EAfY9yjUtcL0rUR3dPLK/GAfzVymHOJnJGYl+9lkjDLWlNXyHQOdxvxU1MlN/ceZHeMbcjKbOtqpmKAaBteMZzaruDXzpSAPf0IL09GHxKmCEwVBRuTi/MbsQS6gnLt7MEUmsOixRH6dMCxq5Vg8cY5VJJq3Alhbw09vIi/S4bcnU9Vs2LIM4u9mmSSw1aehfVWkMMiGe8pTR4aeA+BpiPUqZiDHG4yM63NUI7r7kURJtMp+qkZniCx45iKqXI7ek2HL+hkqKnOJXC8UgAHBQRRL3jC+6Zg6N/BN0BLDzcm0ZUTO36o0NwFSeyJae7OJ7sV+ZhzF4rRk4SlHQlsJL9wxLKLejZomU30ZpTfj62ielIiUUg8DUWfEQ9/GrlHtEMs0tPxfUu9Wu+zdLzmGIrQB8oHae967DCp65mPccaB+G+baXl06s18PwGq08MMiSdHglqhuKQRD4L1fobYmE187bIvJb0pbT4GuJVwPu9bXLJHrXjyjOc3YFcPdQ7jgeOhLjHU9Ux28ernYveulQuZtjHa99fqv7LheKQZjwilQDgCnwrYkWZC7g8O4rPLHwcv7SwjY85esYhvPD+IH8lpSbity91LsNuW/zPBCvi7k3ic8pfg48H3ZzZ8UvlX4O+ocQ2Hmz2SuH+bUA07/Ykn8nI0V/RZkeOR8QnCGCWL/nXUq8iV5/mOdKLNSJ5+7wvRP6LKQXYTZlXiF+MCjPgJdeV95BtA7eFUzs3TjqZ+sUTqBt4QR67CyY6/j9c8b9J1KRAhB3A8IM+PStpz62kQ2UnYIhgl2OVnWuN9BBh9/v0ZZn69ElrezQDAKY2oBtgFTOTc51OiGnpCk798H8sUv4fAHqh8JdiJm3nb+p+C5j7lbdIMbaGKYkr1Ylls/6yet85JZxrdArTO+oJTr4V+69/4lh9DdZJwXPPXyOzE3XoPtRtw1fCl9i/BPSQGTTe6e7jJ4cbjuHh4HwzQgThio8bwGy2uMhqxmqQlvqVm9PKKssT8Bmcb4Q3817j9Mi3/XSG0KcV6WvLhiOYpCJDUFnXzoyuefi8hehMzz39lUpy4XQ8y6oEp0vMIfoCu7SCjTudzoO07idjMstotw69BwEnVZ9oe9nWtdQhyyvMewZHsHt90I3sVL5jTA+e3lRitUY6PMapHuaWcwbM6KkX6C64B39abD3V3ZmBso8AGZ48Qj08zxjEZ0mI501ANVTZ0Gjh9Loc5AOXzMj4Sm68bPlCUjnDB2mftUojOGZkQaPghyjEM8vyOKcgvz20ApIDXEByvic4eGS1dj1FG/42sl7ZldfDEeAPwmqgNQYR7if/0xWQXGFZ21y1TmFAyj9a6B6TqUfVE/nQPHZlI9YfKIJ+MNYXExDnnM1wPNqaKL70Z1PLuEVy5pBtEkMVy25v3gBJXTjpV8flhLP5OxrQZCG0VOCk9yNIEc3pzmQLvPKiB7jbuNlfY9KyKpBPBAYsvRfS8zm3fkgGsPo0f1i3hey9NSdftJBr3E5+tdl7BfhNYaYr0CdO5oKlk/PsPyeHcWDwkgYRIHSlQ3HFfcwjP0QwG520viBgmUYaAMxv5vj/EOwUrzqGHsbOr1zcaVedhV1ulCuN/V786yXVLdTvrnHh3gXNJuyi6JoCE9PdI5eYJzX8X08oGrv7pCihhepX0L9VXjKH4qTvCRLUWba1SJpkOqt4gi/Hz2+EEX7qweQ1w3SfzvRijQiOcWP0zy/w/Nh4j2878QI2zBCBWkmGAQMAgYBg4BBwCBgEDAIGAQMAgYBg4BBwCBgEDAIGAQMAgYBg4BBIMMI/A+AncD90JIsvAAAAABJRU5ErkJggg==" alt="" data-scale="100"&#62;&#38;nbsp; 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  &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
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&#38;nbsp; 


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	enxerto a luz/ 
em tudo o que nomeio.
	

ánthos týphos.


      o vazio do branco.


&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;the presence of absence &#38;nbsp;&#38;nbsp;
	
	
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; primeiro fascículo.
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
	
	
quimigramas. 
	
	&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp; Zn

 &#38;nbsp; 
    
      DOSE 03. &#38;nbsp; &#38;nbsp;
	
	
dias e dias: 
aparecendo, desaparecendo.

 
&#38;nbsp; &#38;nbsp;&#38;nbsp;luz oblíqua.
	
	
	&#38;nbsp; 5-7-5.
	 

 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; 
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;
	
	&#60;img width="1536" height="2048" width_o="1536" height_o="2048" src_o="https://cortex.persona.co/t/original/i/000220261ac2151dd7e2bc2a1863be891b84e5dc0c34483c27ae6ea9e784caa8/IMG_2207.JPEG" data-mid="1392143" border="0" data-scale="67"/&#62;
	

	 &#38;nbsp; 
assimilação.

&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; na mão.


&#38;nbsp;

	
&#38;nbsp;
	
	
estender e voltar.
	
	
&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;preto, branco, verde.
	

	&#60;img width="1798" height="1284" width_o="1798" height_o="1284" src_o="https://cortex.persona.co/t/original/i/f130f212d34af150d2bf960360ef561932daf2c129aa4738db0f68910eac13b4/dropIMG_6592.jpg" data-mid="1394475" border="0" data-scale="100"/&#62;
	
	
	 &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp; &#38;nbsp; alisavas os vincos da cama/ &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; como quem põe ordem mundo.
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</description>
		
		<excerpt>&#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp; &#38;nbsp;&#38;nbsp;&#38;nbsp;      &#38;nbsp; &#38;nbsp;...</excerpt>

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	<item>
		<title>actos de manutenção &#124; Pietra Galli</title>
				
		<link>http://ritadealmeidaleite.com/actos-de-manutencao-Pietra-Galli</link>

		<comments></comments>

		<pubDate>Sun, 28 May 2023 22:34:45 +0000</pubDate>

		<dc:creator>Rita de Almeida Leite</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">443525</guid>

		<description>
	actos de manutenção

Hoje observo e cuido dos objectos que vivem comigo.Vejo-os como matéria orgânica, assim como o meu próprio corpo, que se corroem com o passar do tempo, à medida que os vou usando e das escolhas que vou fazendo.
Mas nem sempre foi assim. O acto de remendar algo, de estender a sua existência já gasta parecia para o meu eu adolescente um acto teimoso e antiquado. Não seria muito mais fácil repor algo antigo por algo fresco e intocado?Ainda não via os objectos como uma extensão do meu corpo, não tinha a percepção da minha presença no mundo como uma relação reaccionária a tempo inteiro. Foi a minha avó quem me ensinou a remendar pela primeira vez e a partir daí comecei a ter especial atenção para a segunda vida que podemos dar a certas coisas.Naturalmente, a manutenção dos objectos e dos lugares onde vivo repercutiu-se para os relacionamentos que tenho. Relacionamentos que também precisam de cuidado, que se gastam e enferrujam com o tempo. Também nas minhas relações com os outros criam-se buracos e arranhões, fios que se emaranham e cores que perdem a sua vivacidade. São gastos, que assim como com um objecto, precisam ser polidos e ajustados para voltarem a funcionar.


Quando me mostraste as imagens de uma tenda de feira, coberta de remendos, que te deparaste um dia por acaso, conversamos durante algumas horas sobre as diversas simbologias que víamos naquele objecto. Víamos em cada tentativa de reparação da tenda, um exemplo das conexões que criamos perante os outros e da manutenção que elas necessitam. Concordamos sobre como o acto de consertar algo não significa voltar atrás, mas sim a oportunidade de um novo começo.Cada remendo presente na lona desta tenda, de um tamanho e formato único, demonstra uma cicatriz, que regista um dano passado. Marca uma vivência em transformação constante, que apenas continua através destes pequenos actos de manutenção, formando o que descreveste como uma «geografia de cuidado».
Nas imagens que me mostraste, os buracos ainda existentes na lona também estavam sinalizados, marcando a necessidade e vontade de consertá-los num futuro próximo. Este olhar atento e observador, de alguém que se importa com a preservação de algo ou alguém presente na sua vida é um olhar que ambas procuramos cultivar no nosso dia a dia. A atenção às pequenas coisas e às suas reparações desenvolve não só as nossas relações mas também a nossa conexão temporal, reconhecendo um passado e preservando um presente de acordo com um futuro.


&#38;nbsp;Pietra Galli


	 EN
</description>
		
		<excerpt> 	actos de manutenção  Hoje observo e cuido dos objectos que vivem comigo.Vejo-os como matéria orgânica, assim como o meu próprio corpo, que se corroem com...</excerpt>

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	</item>
		
		
	<item>
		<title>Painel</title>
				
		<link>http://ritadealmeidaleite.com/Painel</link>

		<comments></comments>

		<pubDate>Sat, 27 May 2023 20:35:00 +0000</pubDate>

		<dc:creator>Rita de Almeida Leite</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">443498</guid>

		<description></description>
		
		<excerpt></excerpt>

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	<item>
		<title>artwork antigo menu</title>
				
		<link>http://ritadealmeidaleite.com/artwork-antigo-menu</link>

		<comments></comments>

		<pubDate>Sat, 27 May 2023 10:39:42 +0000</pubDate>

		<dc:creator>Rita de Almeida Leite</dc:creator>
		
		<category><![CDATA[]]></category>

		<guid isPermaLink="false">443483</guid>

		<description>
	
	
&#38;nbsp;

	enxerto a luz/em tudo o que nomeio. estender e voltar. S/TÍTULO.

assimilação. o vazio do branco. 5-7-5. quimigramas. DOSE 03. alisavas os vincos da cama/como quem põe ordem no mundo. luz oblíqua. dias e dias. preto, branco, verde.

 onde as coisas se tocam. 

ánthos týphos.
primeiro fascículo.


</description>
		
		<excerpt>&#38;nbsp;  	enxerto a luz/em tudo o que nomeio. estender e voltar. S/TÍTULO.  assimilação. o vazio do branco. 5-7-5. quimigramas. DOSE 03. alisavas os...</excerpt>

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