Marco Godinho72dpi).pdf · through the way in which an artist nowadays manages to fashion a language for himself, based on bits and pieces of legend and the saga of the 1960s and

Marco Godinho

www.marcogodinho.com

[email protected]

Well aware that the age of ground-breaking narratives, manifestos, theoretical constructs, and personal mytholo-

gies—in a word, everything whose aim was to uphold new definitions of art—is very much a thing of the past, it is

through the way in which an artist nowadays manages to fashion a language for himself, based on bits and pieces

of legend and the saga of the 1960s and 1970s, that contemporary art, as a praxis, has managed to follow on from

contemporary art, as a historical moment. in the diversity and abundant nature of his output, Marco Godinho tho-

roughly incarnates the idea that being an artist today consists in defining areas of activity, and working out systems

of logic and programmes which, in return, call for the invention of ways of doing things. The big words—time, space,

work, society—do not define themes but are taken as materials, those which every artist must rub up against, and

which Godinho artfully takes hold of, which is to say by not separating thinking from making.

no guiding principle, be it thematic or formal, links these videos where the eye is ruined in the contemplation of

used objects which move about indefinitely on the water’s surface, or baggage going endlessly round and round on

a conveyor belt, and this series of photos based on a systematic survey of the presence of the infinity sign, in every

place? What relation is there between these works which set forth a process of writing, drawing or the creation of

tension, and these others which are based on simple observation, or a test? Probably nothing, other than one and

the same way of managing to convey one’s astonishment, and test codes and representations. Without trying to

prove anything, but with a desire and a will to suddenly see a buried reality appear, or something that is revealed

without our having been able to imagine it.

Patrick Javault (Translated into English by Simon Pleasance)

Extract text from The Passage of Lines, book ‘‘Endless Time Searching’’ Marco Godinho, 2013

co-published by ‘‘analogues’’ publishing house for contemporary art, arles & Gallery hervé Bize, nancy, France

Biography

Born in 1978 in Salvaterra de Magos in Portugal, Marco Godinho shares his life between Paris and Luxembourg. in a

conceptualist spirit, he is interested in subjective perception of time and space through exploration of the notions of

wandering, exile, experience, memory and time as it is lived. From 2000 to 2005, he studied at the École nationale

Supérieure d’art de nancy (France), at the École cantonale d’arts de Lausanne (Switzerland) and at the Kunsta-

kademie and Fachhochschule düsseldorf (Germany). Between 2005 and 2006, he completed a post-graduate at the

atelier national de recherche Typographique in nancy.

Since 2006, he has had several solo exhibitions, including at the casino Luxembourg – Forum d’art contemporain

(January–april 2013), at Faux Mouvement – centre d’art contemporain in France (March–May 2013), neuer

Kunstverein aschaffenburg in Germany (July–September 2012), at l’Espace pour l’art in arles, France (2012), at Mois

de la Photo in Montréal, canada (2011), at l’instituto de camões in Luxembourg (2008, 2011), at centre d’arts plasti-

ques et visuels in Lille, France (2009), at La chaudronnerie – Frac champagne-ardenne in reims (2007), and the

hervé Bize Gallery in nancy, which represents him (2007, 2009, 2012).

his works have been in many group exhibitions, including La force de coriolis at the Museo Universitario Universidad

from antioquia in Medellin, colombie, at Banco de la república in Bogota, colombie, at Museo de arte Moderno

de Buenos aires, argentine and at la Bienal Video y artes mediales, Santiago du chili (2013), Les lignes du geste

at Frac Lorraine & centre Pompidou in Metz, France (2013), Frac Forever, at centre Pompidou-Metz in France (2012),

Geografie erranti, at art Verona, italy (2012), The Material Feat, at Espace Labo in Geneva, Switzerland (2012), Les

mondes nomades et autres variations autour de la ligne d’horizon at Museo nacional de artes Visuales (MnaV) in

Montevideo, Uruguay (2011), Au bout du monde at Musée du Quai Branly in Paris (2011), Out-of-Sync. The Paradoxes

of Time at MUdaM – Musée d’art Moderne Grand-duc Jean in Luxembourg (2011), Mappamundi at the Fondation

Berardo in Lisbon, Portugal (2011), Marcher-Créer at the rencontres d’arles in France (2010), Expérience Pommery #

5 : L’Art en Europe, domaine Pommery in reims, France, Transplant Goes Landmark at the Kunsthalle Bergen in

norway (2008) and Sublimes objets, collections sans frontières VI at national Museum of contemporary art

and institut culturel Français in Bucarest, roumanie.

Exhibition view, Invisible More Visible More Invisible, Faux Mouvement – Centre d’art contemporain, France, 2013

a nylon safety strap wrapped and secured around the two columns of the art centre is connected to a metal plate maintaining the tension of the site’s architecture. revolving endlessly around the ensemble in search of a clue, the plate reveals a message in Latin, a message that – like a palindrome – can be read from either direction. This structure creates a semi-closed inner space, which can be entered to reveal an intimate territory for meditation.

In girum imus nocte et consumimur igni, 2012-2013

approximately 1000 m of nylon webbing, stainless steel cut to size, ratchet tensioner

Variable dimensions

a clock 30 cm/12 in. in diameter is altered, leaving visible just the second hand multiplied by twelve. Measurement

of a time in the present, with each second deleting the next. The clock thus becomes a kind of off-kilter, disoriented

wind rose looking for new references.


Endless time searching #3, 2008

White clock amended

diameter 30 cm


Forever Immigrant, 2012

Endorsing ink

Variable presentations and dimensions

a stamp marked with the words ‘’Forever immigrant’’ is printed successively on the walls, to create extended forms

that reminds those of clouds that make appear in the sky an atmosphere of mist. it raises the issue of immigration

and its always uncertainty. Both words emphasize the not belonging to a territory.

(...) is not real, 2013

Seven stacks of (a4) sheets, 500 sheets each, laser print

Variable dimensions

Seven piles of a4 paper are distributed on the floor throughout the exhibition space. a closer glance reveals various hand-written phrases that can be read, each questioning our relationship with reality. along the route, they can be collected in a bid to remove the doubt they engender. These affirmations of non-reality make us question our universal understanding of the world.

the paper with this sentece is not realthe space where we are now is not realthe air we breathe is not realthe geography around us is not realthe humain condition is not realthe past, the present, the future is not realthe whole universe is not real


While walking in norway’s nature with the writer Tomas Espedal, the artist by chance discovered the entrance

to an abandoned tunnel. This is a video narrative in a single shot which bears witness to the two men’s passage

through this stone subterranean structure. camera in hand, he keeps on filming, even when they are plunged in

the most total darkness.


Something White, 2008

a walk with Tomas Espedal

colour film, sound, 10’42’, dimensions vary with installation

Endless time searching #2, 2008-2013

Graphite on wall

Variable dimensions

a wall drawing made with pencil, in the form of a spiral. The spiral’s circumference is determined by the limit of

the extension of the artist’s body and ends when the pencil is completely worn down.

Performance view, Les lignes du geste, 49 Nord 6 Est – Frac Lorraine & Centre Pompidou-Metz, France, 2013

The number on the door of casino Luxembourg – Forum d’art contemporain has been replaced by the numeral 8,

which is the same as Godinho’s house number. Placed horizontally in both places, the figure 8 suggests the sym-

bol of infinity. This almost imperceptible conversion raises the issue, even before entering the exhibition space,

of the habitat and premises that define one’s home, one’s roots. The act of entering a place that defines itself as

the house of infinity makes it possible to transcend overly simple and overly obvious clichés of identification in

the complex construction of each individual, suggesting a more nomadic, universal realm of identification that

involves learning to live together.

The Infinite House (House number), 2012

Stainless steel

9 x 14,5 x 1 cm

Exhibition view, Invisible More Visible More Invisible, Casino Luxembourg – Forum d’art contemporain, 2013

History Revisited (Memory Hole), 2007-2013

Modified encyclopaedias (of various kinds and origins)

Variable dimensions

a set of encyclopaedias of various kinds and origins, collected by the artist over a number of years, have gradually had all their pictures stripped out over time. Placed on the floor side by side, they become a kind of carpet of universal knowledge. This artistic act creates gaps and lapses in our shared memory, even as it questions the linearity of histori-cal archives. it also introduces a feeling of uncertainty conducive to new reinterpretations of what seemed immutable and established for all time. The subtitle Memory hole also alludes to the mechanism of deterioration that leads to the disappearance of all kinds of documents from an internet site or other archive, giving the impression that an event never occurred, a concept widely popularised by George orwell in his dystopic novel, 1984.



History Revisited (Loose Associations), 2007-2013

6 brushed stainless steel frames, 54 stainless steel wires, rotating hinges,

hanging pictures with holes taken from encyclopaedias of various kinds and origins

Variable installation dimensions, frames 310 x 200 cm each

Metallic frames strung with stainless steel wires have been assembled into giant screens. From the wires there hang thousands of pictures taken from encyclopaedias of various kinds and origins. The screens form a kind of maze or bar-rier that can be circumvented or traversed in various ways. Each picture has a hole, and hangs from the cable to create a subjective, fragmentary narrative of history in motion. The captionless pictures appeal to the beholder’s memory and summon up personal recollections and experiences.


History Revisited (Knowledge Process), 2013

cover of Le Grand Larousse Encyclopédique (volume 8) modified, shelf of lacquered aluminium

dimensions of cover 27 x 21 cm

The cover of volume eight of Le Grand Larousse Encyclopédique has been removed from the original book in order to become a kind of autonomous diagram of the way encyclopaedic knowledge of the universe is represented. To rein-force this idea, the number 8 on the cover was meticulously cut out and rotated ninety degrees, becoming the symbol of infinity. The cover was placed on a thin aluminium shelf, slightly tilted toward the ground, suggesting a viewpoint indicator or a mental map that might serve as a potential guide to the exhibition.

Untitled (The End), 2012-2013

charcoal on wall

Variable dimensions

The entire wall is blackened with charcoal. The phrase “The End” is left visible in the middle, but threatens to

disappear in turn. The installation evokes a movie screen and the closing title of an old film even as it solicits from

the beholder an ongoing mental projection, namely the start of a story to be made up by each individual.


Exhibition view, Invisible More Visible More Invisible, Neuer Kunstverein Aschaffenburg, Germany, 2012

Fortune Balance, 2013

one-cent euro coins

Variable dimensions

Two stacks of one-cent euro coins have been made, one starting from the floor, the other from the ceiling. The

stacks create a void, a gap, an absence between them. Like a concretion of stalactites and stalagmites, these

stacks assembled from the euro’s smallest monetary unit survive only thanks to a precarious balance – a fragile

existence that threatens to crumble at any moment.


Something Happens, 2009

Black silk, smoke machine, radio, timer

ø 60 cm, height 200 cm


a construction in the shape of a pillar or column is hidden by a magician’s black silk cape. once an hour, inside this hidden space, a radio tuned to a local station automatically goes on. For nearly five minutes, it broadcasts a live news report. Simultaneously, throughout the news report, an event creates temporal collusion: smoke rises from the cape and forms a thick, wide cloud that slowly spreads throughout the exhibition space. The fog then disappears in turn, leaving the object inactive following its moment of experimentation.

Universal Declaration, 2013

ink on paper

29.7 x 21 cm

The entire Universal declaration of human rights was copied by hand with a fountain pen in the form of a crossed letter, a system commonly used in the nineteenth century to save on paper and postage, which were costly at the time. one part of the text was written over another after rotating the paper ninety degrees, a method here repeated four times. The text gradually disappears, becoming illegible and simultaneously generating a geometric grid that evokes barbed wire.

This is a split holographic portrait of the argentinean poet and writer Jorge Luis Borges, based on a picture taken by argentinean photographer Eduardo comesaña in 1969. it shows the blind Borges with his eyes shut, attending a show. Through a mirror inversion of two photos (Borges was both fascinated and troubled by mirrors), and depending on the viewing angle, the beholder sees an elongated shape emerge in the middle, suggesting either a tiger eye (which, for Borges, was a perfect representation of time) or a “third eye.”

Blind Memory (The Eyes of the Tiger), 2012

hologram photograph

160 x 120 cm


Sideline Situation, 2013

Frosted mirror

200 x 300 cm

a large mirror is frosted across its entire surface except for a strip around the edge. This tiny part of the mirror thus retains its original function, raising questions about everything located on the edges, the periphery, the borderline of what is perceived to be real. The term “sideline” refers to certain sport fields, marking a line that cannot be crossed if you want to remain in the game. This metaphor constantly crops up in an everyday context, symbolising those lives and events that cling to the edge of the path in order to avoid stepping over the sideline and tumbling into nothingness.


Invisible More Visible More Invisible, 2011-2013

Sound piece for two speakers stereo loop, 12’

Variable dimensions


in a hallway through which visitors to the show are obliged to pass, two voices – one male, one female – echo one another by repeating the words of the title. The looping repetition of the conversation creates an impression of amnesia within the memorisation and alternation of the words, whose sequencing suggests a (false) palindrome. By injecting this hesitation into language, the words also explore the idea of increasing distance from a point of origin, a centre, represented here by the word “visible”. indeed, the word “visible” is “caught” between the words “more” and “invisible”. The further away you get, the more the meaning becomes imperceptible and uncertain, thus allowing the imagination to project itself onto other realities.

Autre chose, 2010

digital projection, silent, loop, 40’’

Variable dimensions


This photographic work, exhibited as a digital projection, is based on the closing scene of Safaa Fathy’s film derrida Elsewhere. We see philosopher Jacques derrida walking in a timeless, lunar-like landscape in his native algeria. converted into black-and-white and negative, the pictures reproduce the moiré effect of the computer screen from which they were shot. Taking up derrida’s crucial notion of “deconstruction,” the nineteen-second scene is doubled by the insertion of blanks between each frame; furthermore, instead of using the conventional twenty-four frames per second, Godinho employed only one frame per second, thus creating a staccato impres-sion of the figure’s progression.

Moment of Intensity, 2013

Lighted globe, old bedside lamp with jade base, period switch, spy mirror set in wall

Showcase 80 x 60 x 60 cm

a lighted globe of the earth has been set on the jade base of an old bedside lamp and then placed in a showcase set into the wall. The part of the globe facing the beholder shows china and neighbouring countries, some of which, like china, are undergoing an economic boom. The United arab Emirates, for example, are among the world’s largest producers and exporters of oil. The globe remains lit day and night, even when the art centre is closed. Through the spy mirror, which creates an ambiguous impression of nearness, the beholder can also see the switch that would make it possible to turn off – briefly or forever – this earthly globe that never rests. in fact, the base of the lamp and the intimate shrine of the showcase allude to the private world of the bedroom, of sleep, of rest, and of the life cycle crucial to human existence. The constantly lit globe, meanwhile, projects the beholder into the reality of a hyper-productive, constantly functioning world. This reality, even though it may sometimes seem distant or abstract, has a direct impact on everyone’s daily lives. We now know that whatever happens on the other side of the world concerns us directly. The jade base of the lamp rai-ses the question of the symbolism of the objects used – in the East, for example, jade is thought to have many virtues, including warding off evil spirits and preventing decay.


A moment out of this time, Gallery Hervé Bize, Nancy, France

22 novembre 2012 – 2 février 2013

Exhibition views

A moment out of this time, Gallery Hervé Bize, Nancy, France

22 novembre 2012 – 2 février 2013

Exhibition views

Film dedicated to the observation of a building site on Kirchberg in Luxembourg. The Kirchberg quarter is rapidly ex-panding as a European hub and is one of the symbols of the European Union’s economic wealth. during the excavation works, the artist spent a day deciphering the attitudes, rhythm and operation of the building site. The result was a series of static shots that project a thought of poetic expression, at a given moment, outside the present. The artist endeavours to open up everybody’s imaginary world by attempting to conceal the overly obvious comparisons with a local or indivi-dual context. By adhering to a universal language instead, these mobile idea outlines allow different levels of interpreta-tion that, to a large extent, are a means of resistance towards a society excessively preoccupied with consumption. here, waiting becomes an asset for escaping from what is real, starting with the latter.

A moment out of this time, 2012

colour film, sound, 15’Variable dimensions

Summer Dreams (Hidden) #1-12, 2012

Blue Bic pen on calendar (Summer dreams art & image Grid calendar 2012)

30 x 30 cm each, Variable presentations

The monthly calendar “Summer dreams art & image Grid calendar 2012” is used as a prop to call into question the flaws and failed dreams of a contemporary society in search of the Eldorado of its dreams. in the calendar, every month features an idyllic, perfect place (Seychelles, Jimbaran Bay in Bali, caribbean, Bahamas, Mauritius...) where everyone can project themselves in the hope of actually staying there one day. The artist perceives this illusion as a mirage and underlines this idea by inserting some distance, a filter, through painstakingly blacking out all the images with the use of a pen (blue biro). The additional layer of varnish reflects other dream options for the imagination.

Navigation Instrument, 2012

iron bar, tree root, salt

120 x 95 x 95 cm

Like a compass, “navigation instrument” defines a temporary territory, a type of base camp, before continuing its path in a northern direction. indeed, the metal bar serves as an instrument to mark out the space by tracing a circle around it (filled with salt in this case). The tip, in turn, is pointed north and operates like a magnetised needle aligning itself with the earth’s magnetic field. Uprooted from its place of origin, a tree root is wedged by the stem, precariously staying upright.

Home dislocation, 2012

White spray paint on found gray PVc roller blind

128,5 x 77,5 cm, Variable dimensions

on the blinds of a used rolling shutter, the word “home” is reduced and deconstructed as many times as the artist speaks languages on a daily basis (five). These blinds, destined to be replaced by new ones, become a surface of experimentation for a new language. it questions the idea of a place of living, the idea of a nation, cosmopolitanism and the loss of stable reference points when a person is forced to move and constantly mix several languages and cultures. a creolisation of the language then appears essential and necessary for the reconstruction process of a new uncertain identity.

Departure (Destiny of rupture), 2012

Found chair and plumb bob,

ø 42 cm, height according to the room

a builder’s plumb line attached to the ceiling pierces the meshing of the straw base of a chair. The lead remains suspended above the ground. it suggests that it has not quite reached its destination and is being held back by a force that stops it from detaching itself completely from its point of departure. These two objects, heirlooms from the artist’s family, are arranged in such a way that they underline the idea of uprooting and rupture, the inevitable fate of those people who through necessity leave their place of origin. a perpetual foreign context becomes their place of refuge.

Survival Act, 2012

Bow saw blade, ligature wire, fake diamonds

ø 24 cm

The two extremities of a rusty manual saw blade are linked by binding mesh wire (used particularly in building founda-tions to link the metal mesh before the concrete slab is poured). in a henceforth circular configuration, this linking act gives this object, on the brink of extinction, a new lease of life. By imitating the work of a smith, the blade is transformed into a crown mounted with sixteen false diamonds. it finally becomes an object of celebration, a fake that alerts to the true value of objects, of attitudes and of real acts performed by everyone on a daily basis.

Every Day a Revolution, 2012

Wine bottles, red carnations flowers

diameter varies with the number of bottles

58 standard wine bottles are placed on the ground in a circle and receive a daily red carnation. The number 58 refers to the duration of the exhibition. The work refers to the tireless revolutions conducted by the peoples in the world that struggle for the right to freedom. The red carnation became the rallying symbol especially in contemporary insurgencies. The bottle also reminds a Molotov cocktail, a incendiary weapon used mostly by people in protests against the power in place.

Exhibition view, Invisible More Visible More Invisible, Neuer Kunstverein Aschaffenburg, Deutschland, 2012

Eckige Schnecke, 2012

Translucent fabric, stack of (a4) sheets

Variable dimensions

a translucent labyrinth (suspended in the air) in the form of a square spiral draws its inspiration from drawings referring to the Musée à la croissance illimitée, a museum project that Le corbusier was to direct in the region of Erlenbach near aschaffenburg during the 1960s. having been abandoned, the project is relaunched by the nKa (neuer Kunstverein aschaffenburg) to turn it into its visual identity. Upon arrival in the centre of the labyrinth, a poetic message can be found on the ground (printed in the form of a flyer) inspired by an article published in German magazine “der Spiegel” no. 12/1962 tracing the history of the Le corbusier project.


a series of seven books, selected from the artist’s library for the concepts they convey, are placed on different recycled

stools. Each book is crossed by a blown glass model (always different) akin to the shape of a tree’s branch. These

models are directly inspired and made freehand on the basis of branches which the artist retrieved and used as a

walking stick during different walks. (Books: Giorgio agamben, “Le temps qui reste, Un commentaire de l’Épître

aux romains”, alain Badiou, “Logique des mondes, L’être et l’événement 2”, Zygmunt Bauman, “Le présent liquide,

Peurs sociales et obsession sécuritaire”, Gilles deleuze and Felix Guattari, “Mille Plateaux, capitalisme et Schizophénie 2”,

Peter Sloterdijk, “Sphères i, Bulles”, Slavoj Zizek, “La subjectivité à venir”, Jacques derrida, “La voix et le phenomena”).

Related stories #2-8, 2011

7 Books, 7 hand-blown glass objects

Books and dimensions vary with installation

In collaboration with Glass-Fabrik, Nancy and Cirva, Marseille, France

in the first version, made in 2007 for the exhibition “Merveilleux ! d’après nature” and “L’homme merveilleux” at the

château de Malbrouck in Manderen (France), flags made of transparent organza fabric replace all the conventional

flags present on the spot. a second version was then installed in 2008 around the central avenue of the domaine

Pommery in rheims (France) for the exhibition “Expérience Pommery #5 : L’art en Europe”. created from scratch with

27 poles and transparent flags, the same number as the 27 member countries of the European Union. a third version,

specially developed in 2011 for the exhibition “Plateaux” at the Plateau de Kirchberg in Luxembourg, made up of 12

poles and transparent flags, borrows, in circle form, the placing of the 12 stars of the European Union flag.

Domaine Pommery, Reims, France Château de Malbrouck, Manderen, France

Quartier du Parc Central, Plateau du Kirchberg, Luxembourg

Untitled (Transparent Flags), 2007-2011

Flagpoles, flags of transparent organza, each 150 x 255 cm


Two chairs are placed on either side of a table, disproportionately extended and covered with a rope of the same

dimensions. at each end of the rope, a knot and some red and black adhesive tape, the only distinctive sign marking the

difference between the two parts The table was first installed in the entrance hall of one of the buildings of the city of

Luxembourg (cercle Municipal), where the meeting was held for the first people involved with the accords of the com-

munauté européenne du charbon et de l’acier (cEca), forerunner of the present-day EU (European Union).

Exhibition view, Prix d’art Robert Schuman, Cercle, Luxembourg, 2011

Conversation, 2011

Wood, rope, tape

75 x 1000 x 60 cm

a double metal structure, in the shape of a spiral inspired by the dna helix, is grafted on and surrounds part of the

architecture of building cPE3 (centre Polyvalent de l’Enfance) in Luxembourg belonging to the European commis-

sion. The building houses children of different nationalities, who follow their parents in different countries on their

missions and for their work.

Spiral Nations, 2011

aluminium and wall

ø 300 cm and 1200 cm high

Collection Fonds Kirchberg, building (CPE3) Centre Polyvalent de l’Enfance (Parlement Européen), Luxembourg

a series of ideas accumulated in a digital file leaves no sign of dates, titles or places. a selection of these ideas is then

transcribed with a blue felt-tip on graph paper like an illumination.

Lost Ideas, 2010 (ongoing)

a serie of drawings, blue pen on blue graph paper

Each 29,7 x 42 cm

a set of video sequences, lasting a very short time and formally refined, recorded on travels, like so many displace-

ments and strolls made daily by the artist. The videos function like visual poems, perceptive haiku which question

micro-events of reality. For the “out-of-Sync, The Paradoxes of Time” show held in 2011 at the Mudam (Musée d’art

moderne Grand-duc Jean Luxembourg), a series of seven monitors (hantarex) of two different sizes was set on the

ground on platforms on castors. The wiring left visible started out from a central point as if to materialize a huge

network of connections.

Exhibition view, Out-of-Sync, The Paradoxes Of Time MUDAM, Musée d’Art Moderne Grand-Duc Jean, Luxembourg, 2011

The Evanescence of Things, 2003 (ongoing)

Films variable durations and presentations

in a way, this is a portrait of the year 2009 reproducing in drawings on tracing paper the headlines of the first day of

each month in the newspaper “Le Monde’’ during the year 2009, the period coming in the wake of the “worldwide

economic crash” of 2008. By the deletion of news, and retaining just the main titles and filling the spaces of pictures

with grey zones, the truthfulness of the past events becomes uncertain.

Le monde 2009 #1-12, 2010

a serie of 12 drawings, graphite on tracing paper

Each 55 x 40 cm, wall approx. 500 x 600 cm

Galerie l’Indépendance, Luxembourg

Le monde 2009 #1-12, 2010

a serie of 12 drawings, graphite on tracing paper

Each 55 x 40 cm, wall approx. 500 x 600 cm

Write the word “ailleurs/elsewhere” on a sheet of paper with a critérium pencil, as small as possible and as often as

possible. By the repetition of the word ad infinitum, a tireless quest for the representation of this non-place starts. The

sheet of paper is only about one-third filled, and suggests that the search will continue later on. an invisible image

appears, thus revealing a kind of abstract diagram resulting from this physical and mental experience.

Ailleurs, ailleurs, ailleurs #3, 2010

Graphite on paper

29,7 x 21 cm

in the form of a triptych, the phrase “in memory of human amnesia” is written in shaded colours with graphite on

paper. The deletion is justified on the left, in the middle and on the right, thus making reference to the propositions

available when a text is laid out and/or paginated.

In memory of human amnesia, 2008-2009

Triptych, graphite on paper

Each 17,5 x 148 cm

Galerie Hervé Bize, Nancy, France

Paper frames are cut out based on some fifty a4 format photographic prints coming from the artist’s book. The title,

date and page numbering, as well as the references and cut lines are printed on the edge of each frame. Some of

these frames are pinned to the ceiling and the others are fitted together to remain balanced, becoming a suspended

grid evolving in time and space.

There are always other possible directions, 2009

inkjet print on 50 a4 sheets of cut paper

dimensions vary with installation

To read the complete, seven-volume edition of Marcel Proust’s book “a la recherche du temps perdu”, the artist put

on a daily performance for several months. Each page is torn out after being read and stored in see-through plastic

bags. The action stops at the last volume titled “Le temps retrouvé” which remains intact in its entirety. all the ele-

ments are then stored on a shelf unit with seven shelves.


Du temps perdu à la recherche du temps #1, 2009

complete edition of À la recheche du temps perdu of Marcel Proust amended

Transparent blue bags with crumpled book pages, approx. 200 x 85 x 70 cm

Du temps perdu à la recherche du temps #1, 2009

complete edition of À la recheche du temps perdu of Marcel Proust amended

Transparent blue bags with crumpled book pages, approx. 200 x 85 x 70 cm


65 photos (post card format, 10 x 15 cm et 15 x 10 cm) made over several months during daily walks taken by the

artist, emphasize the symbol of infinity, as it can be found in nature and in the urban space. installed side by side

in the exhibition venue, they draw a skyline at the artist’s eye level.

À l’infini, 2007-2009

65 color photographs, 10 x 15 cm and 15 x 10 cm


Kunstraum, Vaduz, Liechtenstein

Some 400 cardboard boxes of the same size form the beginning of the construction of a house which remains unfi-

nished. The work may take on different looks, depending on the place and the display space. all the boxes are spray

painted gold, apart from four of them (i.e. 1% of the whole collection) which are covered with 24-carat gold leaf.

Temporary Housing, 2009

400 cardboard boxes, gold paint, 24 carat gold, each 25,5 x 30,5 x 22,5 cm


Kunstraum, Vaduz, Liechtenstein

on a mountain of bank documents cut up with the help of paper shredders, a neon, in a sequence of flashes, shows

the words noUS, no US, US no. no US in English is the negation of the noUS in French, and US no is the acronym

for “United States naval observatory”, one of the oldest astronomical observatories in the USa.

Nous, 2009

neon, paper


Centre d’arts plastiques et visuels, Lille, France

The word “Timeless” is written by perforation on two walls built facing each other. They trace a frontal viewpoint, the

“pause” symbol in the exhibition venue. Each hole is linked by a black elastic cord which crosses the whole of the two

walls. at each end, the cord is held by a knot which, in some places, does not connect with the other side. it then slides to

the inside of the corridor and forms a tracery of threads which become an obstacle to be got around, both physically and

mentally. The word “Timeless” cannot be completely read, or else only by assimilating the voids and solids of each wall.

For this readability, the spectator must move about continually.

Timeless, 2009

Two wood walls, white acrylic paint, 2000 m of black elastic rope

approx. 250 x 250 x 650 cm

a series of paper maps (of city centres in the world’s metropolises) bought by the artist on his travels, are com-

pletely repainted with the same colours based on the original, thus making all the indications helping to get your

bearings and identify the maps disappear.

White map #1, 2008

Tempera and acrylic on map

80 x 60 cm

Transplant, Dale i Sunnfjord, Norway

Large walking shoes for crossing rough terrain were made from scratch by the artist on a journey in norway. Stan-

dard rubber soles (mountain style) were each cut in the middle and then glued back together, the two front parts

together and the same procedure for the two back parts. The stitching, which surrounds the shoes, traces the sym-

bol of infinity which extends to the form of the asymmetrical tongue. This work is situated at the crossroads of the

fields of design, sculpture and performance, because the artist made a film to test the shoes which subsequently

became a fully-fledged sculptural object.

Shoes for experienced walkers, 2008

Leather, modified soles

Each 21 x 30 x 12 cm and colour film, silent, 2’ loop

Shoes for experienced walkers, 2008

Leather, modified soles

Each 21 x 30 x 12 cm and colour film, silent, 2’ loop

The symbol “update current page”, most often used on the internet to relaunch a failed search, is here enlarged and

reproduced in white neon based on a sketch drawn by the artist. Through its contextual shift, the work proposes upda-

ting the imagination each time the eye passes over the symbol.


White neon

72 x 74 cm

a clock was vandalized and is thus deprived of its original function.


clock amended

ø 30,5 cm

reinterpretation of a map showing the territorial identity of the Grande région or Greater region(a term describing

a political agreement between the four regions situated at the heart of Europe, the German Länder of the Saar and

rhineland-Palatinate, the Lorraine region in France, in Belgium, the Walloon region and the French- and German-

speaking communities of Belgium, as well as the Grand duchy of Luxembourg) in a shift of context. The artist has

covered four of these maps with the elementary colours of the famous Bic biros (red, green, blue and black).

GR #1-4, 2007

Black, red, blue, green pens (Bic) on Map

Each 140 x 100 cm

FRAC Poitou-Charentes, Angoulême, France

The sentence ‘‘Tenho em mim todos os sonhos do mundo/i carry in me all the dreams of the world’’, written on 15

January 1928, is taken from the poem “Tabacaria” by Álvaro de campos, one of the many heteronyms of Fernando

Pessoa. it is made with about 2,645 steel nails, using “Times new roman” font, on a wall in the area accommodating

it. “Times new roman” was created in the same period, in 1931, by Victor Larden, under the supervision of Stanley

Morison (Monotype), for the London daily newspaper “The Times”, which had commissioned him to come up with a

bookwork character that could become universal, and be used for many purposes in printing. The sentence can only

be read from a certain distance, and thus requires the viewer to move about. The sentence is here closely connected

with the utopia of immigration, exile, and peoples thinking about leaving their country of origin to find an Eldorado

where all their dreams might be fulfilled.

Tenho em mim todos os sonhos do mundo, 2007

Sentence removed from the poem Tabacaria dated 15-01-1928 from alvaro de campos

one of Fernando Pessoa’s heteronyms, ca. 2645 nails, variable dimensions

Tenho em mim todos os sonhos do mundo, 2007

Sentence removed from the poem Tabacaria dated 15-01-1928 from alvaro de campos

one of Fernando Pessoa’s heteronyms, ca. 2645 nails, variable dimensions

La Chaudronnerie - FRAC Champagne-Ardenne, Reims, France

The physical limits, the origin of geographical boundaries are experimented with in the form of a double projection video, in which the artist films himself walking beside the atlantic ocean, following the contours and rhythms of this irregular territory, to its uttermost limit. Located in Portugal, ‘’cabo da roca’’ is the westernmost point of the European continent. Without physical preparation, or adequate equipment, the body is threatened with danger by the risk of slipping. This feeling, underpinned by the dimension of the projection of the videos in actual size, is increased during the moments when the empty spaces obtained during the descent of the rock and the climb back up overlap.

Cabo da Roca, 2007

colour film diptych, sound, 10’

Variable dimensions

‘’Welcome stranger’’ is the name that was given to the world’s largest gold nugget discovered by John deason and

richard oates at Moliagul (Victoria) in australia on 5 February 1869. This title, made in white neon, uses the artist’s

handwriting. in a way it is a tribute to immigrants and peoples relentlessly looking for an easier life.

Untitled (Welcome Stranger), 2007

White neon

300 cm x 60 cm

La Chaudronnerie - FRAC Champagne-Ardenne, Reims, France

This work uses the memory of worn shoes which were offered by people encountered by the artist in the month of

december 2006. after using the shoes as a concrete mould for the piece titled “Trophées/Trophies”, they are here

re-used in a circular configuration on a wall in the exhibition venue.

The Saved Shoes #2, 2007

68 cut shoes

ø approx. 400 cm

‘’all around’’ is a sort of round ping-pong table, divided into twelve parts, like the division of a clock. The net revolves

on its own axis in one minute. Because the table can, in an absolute sense, accommodate up to twelve players, these

latter must revolve at the same speed as the net so as not to be jostled or bumped into by their fellow players and

opponents. So the rules have to be invented by each participant. if nobody plays, the net endlessly counts the time

that passes.

All around, 2007

Wood, acrylic paint, vinyl marking, engine, 12 rackets with ping-pong balls

diameter 274 cm and 92 cm high

Inaugural exhibition, Capitale Européenne de la Culture 2007, Luxembourg & Grande Région

“The horizon refound” is a work around the idea of dissemination and horizon. When works belonging to the collection

of the Frac Lorraine were distributed in several venues in the region, the artist drew on the floor of the venue in the

Frac, in Metz (France), an abstract map scattered with dots and letters evoking the image of a constellation. For each

dot, the artist wrote a short poem printed in a book with the format of a passport, and, with the help of silvered adhe-

sives, he dispersed each dot, by sticking them to a feature of the architecture in each venue. So everyone was able to

retain a trace of their own itinerary by having themselves stamped in passing at each stage. The book thus turned into

a personal art object in its own right. Everyone was able to write their own thoughts in it, because there were blank

pages corresponding to unreferenced dots on the map drawn in Metz.

HR 11, Musée d’art contemporain, ÉpinalHR 03, Unité d’habitation Le Corbusier, Briey

FRAC Lorraine, Metz, France

L’horizon retrouvé, 2007

31 adhesive mirror texts, artist book, 13 ink stamps, acrylic paint, orientation table



For the website of the Galerie hervé Bize in nancy (France), the artist came up with a series of seven possible ways

to get to the gallery from the railway station at nancy. Each trajectory is filmed continuously and projected in

the exhibition venue. all the journeys are then transcribed in a neon maquette and accompanied by 21 drawings

inspired by fragments taken from the videos. The artist was keen to continue this work on the contact page of the

gallery’s website, where the videos would be available to replace the usual details of the address and cartographic

landmarks. Each potential visitor could thus get to the gallery by choosing one of the seven routes and view it so as

to memorize it, once arrived on the spot.

Rythme vital (7 propositions de déambulation quotidienne), 2007

neon 7 colours, wooden box, acrylic paint, 220 x 160 x 14 cm, 7 couleur films, sound, variable durations,

21 drawings, mixed media on paper, each 29,7 x 40 cm

a book/catalogue conceived like an atlas, explores, with one aim in mind, an individual, collective and interactive

process. What is actually simultaneously involved is a catalogue for a group show, and personal research for graphic

grids exploring the notion of variability, as well as a note-pad. The images and texts are not directly visible when

the book is opened, you have to cut the double pages for the content to be revealed. The only visible feature is

made up of the grids which helped with the book’s composition. For each of the artists, a different organizational

system was produced.

Portugal Agora – À propos des lieux d’origine, Aide-mémoire, système appui idées, 2007

catalog and artist book, 360 pages, iSBn 978-2-919923-74-8, 24 x 17 cm

Mudam Editions, Luxembourg

Portugal Agora – À propos des lieux d’origine, Aide-mémoire, système appui idées, 2007

catalog and artist book, 360 pages, iSBn 978-2-919923-74-8, 24 x 17 cm

Mudam Editions, Luxembourg

a physical (paper) map was cut up into sixty individual vertical strips, tallying with the measurement of time, in

seconds and minutes. The thin strips, which are rolled upon themselves, can be put together as wished, proposing,

from one intervention to the next, ephemeral visions of the world. The strips unroll slowly depending on the tem-

perature of the space; they can also be stored after having elastic bands put round them in a transparent tube,

making the object easy to transport.

Le monde nomade #1, 2006

Physical or political map, cut in 60 vertical strips


FRAC Lorraine, Metz

Le monde nomade #1, 2006

Physical or political map, cut in 60 vertical strips


This eternal calendar proposes 12 exercise books of differing shapes and sizes, all completely empty, for experimen-

ting with our time-related subjectivity. a month may thus be offered or lent to someone to share time in common.

These fragments, after use, can thus become sculptural traces of the passage of time, and they can be subsequently

re-updated.

Un temps au présent #1 (Calendrier éternel, 12 propositions d’espaces pour expérimenter le temps), 2006

12 note books cut in 372 a4 sheets, box, 62 x 44 x 3 cm


Un temps au présent #1 (Calendrier éternel, 12 propositions d’espaces pour expérimenter le temps), 2006

12 note books cut in 372 a4 sheets, box, 62 x 44 x 3 cm


Museu da Electricidade, Lisboa, Portugal

a coded alphabet explores the notions of centre and periphery. akin to a labyrinthine representation of language, the

alphabet is used essentially as a wall painting to activate anonymous messages. it may also be used in a digital version

to compose texts. The pink colour is the shade given to the symbols which are not recorded in the page-numbering

programme during the creation of the alphabet. Because the artist only drew the 26 basic symbols of the roman

alphabet, the other symbols thus appear like an absence, a void. The artist uses this pink colour to evoke a flaw, “an

amnesiac absence” of memory. The phrases visually become complex structures of our thought and unveil directions,

arrows which revolve around the centre without ever reaching it.

Mental Type, 2005-2009

Wall painting and digital typography


A B C D E

F G H I

J K L M

N O P Q

R S T U

V W X Y Z

Mental Type, 2005-2009

Wall painting and digital typography


MARCO GODINHO

Born 1978 in Salvaterra de Magos, Portugal

Lives between Paris and Luxembourg

represented by Galerie hervé Bize, nancy, France

www.marcogodinho.com

[email protected]

EDUCATION

2005-06 Post-diploma, anrT (national atelier for Typographic research), nancy, France

2003-05 dnSaP (higher national diploma of Visual arts), School of Fine arts, nancy, France

2004 research, EcaL (cantonal School of Fine arts in Lausanne), Switzerland

research, Kunstakademie & Fachhochschule, düsseldorf, Germany

2000-03 dnaP (national diploma of Visual arts), School of Fine arts, nancy, France

SOLO ExHIBITIONS

2013 - Invisible More Visible More Invisible, Faux Mouvement, Metz, France

- Invisible More Visible More Invisible, casino Luxembourg – Forum d’art contemporain, Luxembourg

2012 - A moment out of this time, Galerie hervé Bize nancy et École des Mines, nancy, France

- Invisible More Visible More Invisible, neuer Kunstverein aschaffenburg, Germany

- Close to the disappearance, Espace pour l’art (association asphodèle), arles, France

2011 - Marco Godinho, Le Mois de la Photo, Montréal, canada

- Marco Godinho, one-man-show, Salon du dessin contemporain, Paris, France

2009 - Continual Changes, Galerie hervé Bize, nancy, France

- Timeless, centre d’arts Plastiques et visuels de la ville de Lille, France

2008 - Shoes for experienced walkers, Transplant, dale i Sunnfjord, norway

- centre d’art contemporain de la ville de dudelange, Luxembourg (avec Sébastien Gouju)

- Sometimes be here and there at the same place, instituto de camões, Luxembourg

2007 - In memory of human amnesia, Galerie d’art du Théâtre d’Esch, Luxembourg

- À plein temps, Galerie hervé Bize, nancy, France

- The saved shoes, La chaudronnerie/Lycée Val de Murigny, Le collège/F.r.a.c. champagne-ardenne, reims, France

2006 - Quelques minutes en retard ou un temps en avance, octave cowbell, Metz, France

- At this moment I have time. I have time at this moment. Kiosk, Luxembourg,

invited by aica (international association of art critics)

GROUP ExHIBITIONS

2013 - Museo Universitario Universidad de antioquia, Medellin, colombia

- Banco de la república, Bogota, colombia

- Museo de arte Moderno de Buenos aires, argentina

- Bienal Video y artes mediales, Santiago du chili, chile

- Mois européen de la photographie, Luxembourg

- Alt.Macht.Neu, Villa Vauban, Musée d’art de la Ville de Luxembourg

- Les lignes du geste, 49 nord 6 Est – Frac Lorraine & centre Pompidou-Metz, France

2012 - Geografie erranti, art Verona, italy

- Frac Forever, centre Pompidou-Metz, France

- Arpenter la ville, Works of the collection of the Frac Limousin, chapelle Saint Libéral, Brive, France

- Sunset, Frac Poitou-charentes, site de Linazay, Linazay, France

- The Material Feat, Espace Labo, Genève, Switzerland

- Nothing, naMiMa (Gallery of the School of Fine arts in nancy), France

2011 - Les mondes nomades et autres variations autour de la ligne d’horizon,

Museo nacional de artes Visuales (MnaV), Montevideo, Uruguay

- Au bout du monde, Musée du Quai Branly, Paris, France

- Realfictions, Galerie l’indépendance, dexia BiL, Luxembourg

- Totalité vécue - les collections ergastule, Espace adagio, Thionville, France

- Unique, Galerie 9, nancy, France

- Double Fantasy, Galerie hervé Bize, nancy, France

- Plateaux, Quartier du Parc central, Plateau du Kirchberg, Luxembourg

- Prix d’art Robert Schuman, cercle-cité, Luxembourg

- Mémoires obliques, Frac Poitou-charentes – Lycée Émile combes, Pons, France

- Out-Of-Sync, The Paradoxes Of Time, Mudam, Luxembourg

- Mappamundi, Fondation Berardo, Lisbon, Portugal

2010 - d’Gëlle Fra, hall 75 Bascharage, Luxembourg

- Collection Ergastule, Galerie 9, nancy, France

- Marcher-Créer, Les rencontres d’arles, national School of Photography in arles, France

- Drawing Now, Salon du dessin contemporain, carroussel du Louvre, Paris, France

- The great public sale of unrealized but brillant ideas, project by Sarah Vanhee, centre Pompidou-Metz

2009 - Through the Looking-glass, Kunstraum, Vaduz, Liechtenstein

- Festival arbres et lumières, installation Focusing Life, Quai du Mont-Blanc, Geneva, Switzerland

- C’est confortable [...] mais ça prendra du temps, the art group daté at agent double, Geneva, Switzerland

- La fête est permanente, F.r.a.c champagne-ardenne au Musée de l’ardenne, charleville-Mézières, France

- Keep your options open, 1989-2009, Galerie art attitude hervé Bize, nancy, France

- Quelque chose du temps, F.r.a.c Lorraine au centre de détention, Toul, France

- Salon du dessin contemporain, Galerie art attitude hervé Bize, Paris, France

- 008. Collection : nouvelles connexions, F.r.a.c Poitou-charentes, angoulême, France

- Lá Fora, Museu da Electricidade - central Tejo, Lisbon, Portugal

2008 - Festival arbres et lumières, installation Focusing Life, city of Luxembourg

- Transplant goes Landmark, Kunsthall, Bergen

- Blast from the past, Galerie art attitude hervé Bize, nancy

- Stranger than Paradise, Galerie Presença, Porto, Portugal

- Frontières, Médiathèque, Forbach, France

- 27 Graphistes pour l’Europe, Paris airports

- Expérience Pommery # 5 : L’Art en Europe, domaine Pommery, reims, France

- Lá Fora, Praça da Liberdade (building Fernando Távora), Viana do castelo, Portugal

- Frontières, La galerie - Espace Georges Brassens, Talant, France

- Greetings from Luxembourg. Musée de l’histoire de la ville du Luxembourg

- Premier Salon du dessin contemporain, Galerie art attitude hervé Bize, Paris, France

- L’Homme Merveilleux, château de Malbrouck, Manderen, France

- P2P, Bureau/casino Luxembourg – Forum d’art contemporain, Luxembourg

2007 - Portugal Agora - À propos des lieux d’origine, MUdaM, Musée d’art moderne Grand-duc Jean

- Show Off, Espace Pierre cardin, Paris

- Différences partagées, Former Steelworks, dudelange, Luxembourg

- Merveilleux ! D’après nature, château de Malbrouck, Manderen, France

- L’horizon retrouvé dans l’exposition À l’horizon de Shangri-la, Frac Lorraine, Metz

- Sublimes objets, collections sans frontières VI,

national Museum of contemporary art and French cultural institute, Bucharest

- Cabo da Roca, 24 hours to celebrate contemporary art in France,

January 17, 2007 from 6:20 p.m. to 6:30 p.m., La chaudronnerie – F.r.a.c. champagne-ardenne, reims

- Roundabout, rotonde 2, Bonnevoie (inaugural exhibition, European capital of culture 2007), Luxembourg

2006 - Mulhouse 006, Mulhouse

- Antipodes, Frac Lorraine, Metz

(...)

RESIDENCIES

2011 - cirVa Marseille with Glass-Fabrik, France

- Frac Poitou-charentes – Lycée Émile combes, Pons, France

2010 - dale Sko, dale i Sunnfjord, norway

- Ergastule, nancy, France

2008 - Transplant, dale i Sunnfjord, norway

2007 - cité internationale des arts, Paris, France

2006-07 - Frac du Grand Est, Frac champagne-ardenne, reims, France

WORKSHOPS

2013 - Instrumental Architecture, project IN SITU, Lycée classique de diekirch, Luxembourg

- Sculpture de voyage, project Cap Futur, Lycée technique Bel-Val, Esch-sur-alzette, Luxembourg

in collaboration with casino Luxembourg – Forum d’art contemporain

2012 - Creative Process, instituto de camões, Luxembourg

2011 - Creative Process, Art Freak Workshops, Mudam, Musée d’art moderne Grand-duc Jean, Luxembourg

- Creative Process, Frac Poitou-charentes – Lycée Émile combes, Pons, France

- Expérience Musée 2011, Mudam, Musée d’art moderne Grand-duc Jean, Luxembourg

2009 - Île de Bengtsar, in collaboration with Théâtre de personne & Lyse Seguin, Finlande

- detention centre in Toul in collaboration with Frac Lorraine, Metz, France

2008 - Transplant, in collaboration with Tomas Espedal, dale i Sunnfjord, norway

- Cartographie mentale, Mudam, Musée d’art moderne Grand-duc Jean, Luxembourg

2007 - centre d’art contemporain la Synagogue de delme – École d’aulnois/Seille, France

INTERVENTIONS, COLLABORATIONS & VIDEO PROjECTIONS

2012 - Sound work in collaboration with the artist Benjamin dufour and scenography work around

the body with Fábio Godinho (actor, dancer, musician and stage director) for the exhibition

Invisible More Visible More Invisible, neuer Kunstverein d’aschaffenburg, Germany

- Screening of the video Something White in the program Des Territoires,

ÉSaL (École Supérieure d’art de Lorraine), Metz, France

- round-table conference, Une résidence d’artiste peut en cacher une autre,

casino Luxembourg – Forum d’art contemporain, Luxembourg

2011 - round-table conference, Lucidité. Vues de l’intérieur, with anne-Marie ninacs,

curator of the 12th Edition of the Mois de la Photo in Montréal, canada

- In conversation with Marco Godinho, in the program Art Museums are bad for you at Mudam,

Musée d’art moderne Grand-duc Jean & University of Luxembourg

- In conversation with Marco Godinho, Frac Poitou-charentes – Lycée Émile combes, Pons, France

- Screening of the video Something White in the program Les yeux la nuit, Maison Lillebonne, nancy

- Projection of the photographic project À l’infini réalisé realized between 2007 and 2009,

Portfolio night, (cna) centre national de l’audiovisuel, dudelange, Luxembourg

2009 - Seminar, First Professional Days, École Supérieure d’art de Lorraine, Metz, France

- Projection of the photographic project Sans Titre (The saved shoes), 2007,

Portfolio night, (cna) centre national de l’audiovisuel, dudelange, Luxembourg

2008 - In conversation with Marco Godinho, Transplant, dale i Sunnfjord, norway

- Sometimes be here and there at the same place, performance in collaboration with Fábio Godinho,

instituto de camões, Luxembourg

2007 - Screening of the video 365 jours, en 7 minutes, 1 par 1, centre d’initiative et de Gestion Local d’Esch, Luxembourg

2006 - In conversation with Marco Godinho, Frac champagne-ardenne, reims, France

2005 - Screening of videos in the program Les yeux la nuit, Maison Lillebonne, nancy

ARTIST BOOKS & CATALOGS (SELECTION)

2013 - Endless Time Searching, edited by Galerie hervé Bize, nancy & analogues, arles, distribution Les presses du réel, dijon

- Invisible More Visible More Invisible #3, edited by Faux Mouvement – centre d’art contemporain, Metz, France

- Invisible More Visible More Invisible #2, edited by casino Luxembourg – Forum d’art contemporain, Luxembourg

2012 - Invisible More Visible More Invisible #1, edited by casino Luxembourg – Forum d’art contemporain, Luxembourg &

neuer Kunstverein aschaffenburg, Germany

2007 - artist Book & catalogue for the exhibition Portugal agora - À propos des lieux d’origine at the Mudam, Luxembourg

- Passeport, L’horizon retrouvé, poems in haïku form by Marco Godinho, edited by Frac Lorraine, Metz, France

CURATOR

2011 - Mémoires obliques, selection of works from the collection of Frac Poitou-charentes, Lycée Émile combes, Pons, France

2009 - curator for the French part of the Prix d´Art Robert Schuman 2009, Metz, France

SCHOLARSHIPS, AWARDS AND NOMINATIONS

2013 - Project stipend, Œuvre nationale de Secours Grande-duchesse charlotte, Luxembourg

2012 - Project stipend, Ministère de la culture, Luxembourg

- Project stipend, Fondation independance, Luxembourg

2011 - nominated at the Art Price Robert Schuman, cercle-cité, Luxembourg, by Marie cozette (La synagogue de delme)

2010 - nominated at Prix Edward Steichen, Luxembourg, by hélène Guenin (centre Pompidou-Metz)

- Edition stipend, Ministère de la culture, Luxembourg

- Edition stipend, Focuna, Luxembourg

2009 - Edition stipend, (cnaP) centre national des arts plastiques, France

- nominated at the public art project The outdor Gallery of the city of Gdansk, Pologne, by Enrico Lunghi (Mudam)

2007 - Stipend to produce the first solo exhibition in a gallery in France, (cnaP) centre national des arts plastiques, Paris

2006 - First Prize, XXii Biennial Esch, Luxembourg

PUBLIC COLLECTIONS

- Loterie nationale, Luxembourg

- Ministère de la culture, Luxembourg

- Fonds d’urbanisation et d’aménagement du Plateau de Kirchberg, Luxembourg

- F.r.a.c Poitou-charentes, angoulême, France

- F.r.a.c champagne-ardenne, reims, France

- Musée de l’histoire de la ville du Luxembourg

- F.r.a.c Limousin, Limoges, France

- centre d’art de la Ville de dudelange, Luxembourg

- conseil général de la de la Moselle, France

Marco Godinho72dpi).pdf · through the way in which an artist nowadays manages to fashion a language for himself, based on bits and pieces of legend and the saga of the 1960s and

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