Joaquim Sapinho, Candles (Esmola), 2016. View of the exhibition Liquid Skin – Apichatpong Weerasethakul, Joaquim Sapinho, MAAT, 2016. Photograph: Bruno Lopes
In the 21st century, the relationship between visual arts and cinema is a central theme in cultural debates. Artists make films, filmmakers host exhibitions, some films are also installations, images can also be sculptures. Artists who hail from cinema or the visual arts – whether through their education or careers — are working on both objects and images, be they fixed or moving, testing the furthermost limits of imagination and freedom — in other words, of art itself. The films by Apichatpong Weerasethakul — such as Blissfully Yours, Uncle Boonmee Who Can Recall His Past Lives (Palme d’Or 2010, Cannes) or Cemetery of Splendour — and Joaquim Sapinho – Haircut, The Policewoman or This Side of Resurrection — offered us unique moments which helped to redefine today’s visual landscape.
The starting point for Liquid Skin is the space of the Boiler Hall itself, which offers an exceptional relationship between interior and exterior, using the interchangeability of the museum and its outside space, dominated by the river and the Lisbon light. The challenge of bringing together the two artists is achieved under the sign of light, as light makes it possible to both draw spaces and create images, including the ones of things we cannot see. As is true of water or fire, light blurs the contours of the surface of bodies, allowing all their metamorphoses: the eternal cycle of renovation.
Apichatpong Weerasethakul, Fireworks (Fans), 2016. View of the exhibition Liquid Skin – Apichatpong Weerasethakul, Joaquim Sapinho, MAAT, 2016. Photograph: Bruno Lopes
The work Fireworks (Fans) by Apichatpong Weerasethakul will only be exhibited from sunset onwards.