Untitled

BARBARA WALRAVEN
ALL DEFENCELESS IS PRECIOUS
The lonely landscape of the Alto Alentejo, the remote location of the farm, the desolate way of living
sprout vulnerability and sorrow.
Yet Barbara Walraven’s art is not merely about infinite sadness or tragedy; it also breathes love and
care. It bonds with all that is defenceless and makes it precious. In this bonding lies the characteristic
individuality of her work.
This way of living and being as well provokes creativity and the skills to solve problems, not only in artistic matters, but also in daily life.
Her work is no therapy whatsoever; it shows ability and craftsmanship and delivers a tribute to artistic
renewal in addition to providing contemporary art with a surprising surplus value.
Due to the advancing desertification, the fate of a great part of Southern Europe, water is becoming a
precious good. This creates a marked contrast with the great respect, fear even, that Barbara Walraven, being Dutch, has for the destroying powers of water. Out of this duality arises a number of works,
entitled “ Worst Case Scenario nr.1: Under The Water”. Exhibited as complete environments rather than
separate objects, this line of her art “immerses” the spectator in this fear.
Another subject explored extensively: animals. The artist’s isolated way of living leads to tremendously
tight bonds with the animals close to her. It goes with farm-life that she has to live together with and
treat animals she doesn’t like, or even feels threatened by.
From watchdogs barking in the night – and attacking their owner – to fearful pigs - also attacking their
owner - to the beauty of a favourite cat, Sheba. From the death of another favourite, Ramses, to “Worst
Case Scenario nr.2: Vlo”, named after her disobedient dog (“Flea”).
And then there is the “necessary” killing; a nightmare for one who has an extreme respect for all living
creatures and life itself.
All these things are evidently related to the one who tells their story: Barbara Walraven. Throughout her
work runs a feminine thread, it is a woman who has to deal with these emotions, it is a woman, by nature predestined to give life, who has to take life, a vulnerable being who has to deal with a tough and
hard existence.
Therefore the appearance of roses, a pre-eminent symbol of femininity. And the constant presence of
women figures - her art actually is a very detailed self-portrait.
Nevertheless there are influences from outside the gates. First of all her preferred and highly appreciated model, Suze, very often appearing in Barbara’s work. But also the opportunities offered by theater
groups to produce the sceneries for their plays. Or the settings she provided for the buildings where the
mental health department of the district holds its conferences. And off course the countless exhibitions
in derelict spaces, “normally” not considered suitable for such interventions.
And luckily it is not all trouble and affliction, sorrow and gloom.
Not infrequently there is a wink or an mollified smile: “Worst Case Scenario nr.3: Visitors” for instance.
Or what to think of “Dog’s Life” and “Walking the Dog”.
And eventually, after the vulnerability and the sorrow, the lonely landscape of the Alto Alentejo, the
remote location of the farm, the desolate way of living sprout peace of mind.
A final word is called for.The artist strongly rejects all those texts and explanations that nowadays tend
to accompany exhibitions and other utterances of contemporary art. She actually objected to this brief
introduction to her own art as well, and only agreed to its inclusion in the catalogue after fierce persuasion.
She feels that such an introduction takes away a great deal of the magic of discovering what lies beyond
the boundaries of the first glimpse, the first impression.
She assumes the spectators to be able to draw their own conclusions, and use their own fantasy and
creativity without being obliged to follow the instructions manual.
Nevertheless….
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Castelo de Vide, - Castelo -, 1986.
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Sheba, 1986.
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Fear For Pigs, Lisbon - Club 50 Artes -, 1993.
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Sorrow, Portalegre - Galeria Municipal -, 1993.
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Requiem For Ramses, Amadora - Galeria Municipal “Artur Bual” -, 1994.
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Babies, Cáceres - Complejo Cultural “El Brocence” -, 1994.
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Prisões, Lisbon - Biblioteca Nacional -, 1995.
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Thank You For The Roses, Beirã - Termas da Fadagosa -, 1996.
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Thank You For The Roses 2, Portalegre - Fábrica Robinson “Arcos” -, 1997.
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Suze Engel, Portalegre - Fábrica Robinson “Sala das Rolhas” -, 1998.
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No Title, Ponte de Sôr - Biblioteca Municipal Galouste Gulbenkian -, 1998.
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Rainhas, Coimbra - Casa da Cultura Municipal -, 1999.
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Dedicated To You, Redondo - Convento São Paulo -, 1999.
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No Title, Porto - ArtHobler Art Gallery -, 2001.
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Psychosis 1, Portalegre - Fábrica Robinson “Condutas” -, 2001.
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Psychosis 2, Braga - Fábrica Confiance -, 2001.
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Worst Case Scenario 1: Sob Agua, Portalegre - Fábrica Robinson “Arcos” -, 2004.
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Close Your Eyes And See, Cáceres - Museo de Arte Contemporâneo -, 2002.
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No Title, Porto - Casa Deco -, 2003.
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Dark Rose, Portalegre - Igreja do Convento da Santa Clara -, 2003.
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Worst Case Scenario 2: Dogs; Vlo, Porto - ArtHobler Art Gallery -, 2003.
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Worst Case Scenario 2: Dogs; Vlo, Portalegre - Fábrica Robinson “Arcos” -, 2004.
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But Only Time Will Tell, Braga - Mire de Tibães, Mosteiro de São Martinho -, 2005.
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But Only Time Will Tell, Évora - Lanconium e Praefurnium, Câmara Municipal -, 2005.
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But Only Time Will Tell, Portalegre - Museu da Tapeçaria Guy Fino -, 2006.
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Walking The Dog & Dog Life, Marinha Grande - Museu do Vidro -, 2006.
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Worst Case Scenario 3: Visitors, Vuren - Fort Vuren -, 2007.
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Worst Case Scenario 1: Under The Water - Again -, Fort Altena, 2009.
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On The Waterline, Almada - Convento dos Capuchos -, 2009.
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Barbara Walraven
Born in Buenos Aires, Argentina, in 1956.
Studies at the Tilburg and Breda Art Scools in The Netherlands (1973-1981). Realizes countless individual exhibitions since 1979, above all in The Netherlands, Portugal and Spain. From 1984 on she lives
and works in Castelo de Vide, Portugal.
Solo Exhibitions (selection)
2009: On the Waterline, Convento dos Capuchos, Almada, Portugal; De Watermolen, Meerseldreef, Belgium; Worst Case Scenario Nr.1: Under The Water -Again-, Fort Altena, Netherlands.
2008: Worst Case Scenario Nr.1: Under The Water, Galeria Municipal, Marinha Grande, Portugal; Prémio
Crisform, Marinha Grande, Portugal.
2007: Worst Case Scenario Nr.3: Visitors, Fort Vuren, Vuren, Netherlands; Galeria Quattro, Leiria, Portugal; El Trovador, Lanchuelas, Spain.
2006: Dog Life & Walking the Dog, Museu do Vidro, Marinha Grande, Portugal; But Only Time Will Tell,
Museu da Tapeçaria Guy Fino, Portalegre, Portugal.
2005: Museu Municipal do Crato, Crato, Portugal; But Only Time Will Tell, Mosteiro de São Martinho de
Tibães, Mire de Tibães, Braga, Portugal; But Only Time Will Tell, Lanconicum e Praefurnium, Câmara
Municipal, Évora, Portugal; But Only Time Will Tell, Igreja de São Vicente, Évora, Portugal; CDSSS Galeria, Portalegre, Portugal; A Magia da Rosa, Fábrica Robinson, Portalegre, Portugal; Fábrica Robinson em
Pintura, Fábrica Robinson – Sala dos Arcos -, Portalegre, Portugal.
2004: Worst Case Scenario Nr.2: Dogs, Vlo, Museu da Tapeçaria Guy Fino, Portalegre, Portugal; Worst
Case Scenario Nr.1: Under the Water, Fábrica Robinson, Portalegre, Portugal; Worst Case Scenario Nr.2:
Dogs, Vlo, Fábrica Robinson, Portalegre, Portugal; Dark Rose, Igreja do Convento de Santa Clara, Portalegre, Portugal; Meninas, Instituto Politécnico, Portalegre, Portugal; CDSSS Galeria, Portalegre, Portugal.
2003: Galeria Quattro, Leiria, Portugal; Galerie de Hamermolen, Apeldoorn, Netherlands; Galeria Santa
Clara, Coimbra, Portugal; Thank you for the Roses, Biblioteca Municipal, Campo Maior, Portugal; Dark
Rose, Igreja do Convento de Santa Clara, Portalegre, Portugal; Galeria Cristian Franco, Badajoz, Spain;
Galeria Arthobler, Porto, Portugal.
2002: Worst Case Scenario Nr.1: Under The Water, Museu da Água, Reservatório da Patriarcal, Lisbon,
Portugal; Close Your Eyes and See, Museo de Arte Contemporânea, Cáceres, Spain; A rose is a rose is a
rose, Galeria Belo Belo, Braga, Portugal.
2001: Psychosis 1, Fábrica Robinson – Condutas -, Portalegre, Portugal; Psychosis 2, Fábrica Confiança,
Braga, Portugal; Siemens Fórum, Amadora, Portugal; Museu Martins Correia, Golegã, Portugal; Galeria
Artitudo, Castelo de Vide, Portugal; Museu de Santa Maria, Açores.
2000: Alcântara Studio, Lisbon, Portugal; Galeria Santiago, Palmela, Portugal; Galeria Fitares, Sintra,
Portugal; Palácio Povoas, Portalegre, Portugal.
1999: Casa Municipal da Cultura, Coimbra, Portugal; Centro Municipal da Cultura, Castelo de Vide, Portugal; Galeria Quattro, Leiria, Portugal; Casa da Cultura, Póvoa de Lanhoso, Portugal; Dedicated To You,
Convento São Paulo, Redondo, Portugal; C.R.S.S Hall, Portalegre, Portugal.
1998: Casa Municipal da Cultura, Cantanhede, Portugal; Biblioteca Municipal Calouste Gulbenkian,
Ponte de Sôr, Portugal; Centro do Parque Natural de São Mamede, Castelo de Vide, Portugal; Rural Arte,
Castelo Branco, Portugal; Fábrica Robinson – Sala dos Arcos -, Portalegre, Portugal; Suze Engel, Fábrica
Robinson – Sala das Rolhas -, Portalegre, Portugal; Palácio Póvoas, Portalegre, Portugal.
1997: Thank You For The Roses 1, I.P.J. Leiria, Leiria, Portugal; Meninas e Paisagens, Centro Cultural
de Arronches, Arronches, Portugal; Thank You For The Roses 2, Fabrica Robinson, Portalegre, Portugal;
Cultureel Centrum Parnassos, Utrecht, Netherlands.
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1996: Termas da Fadagosa, Beirã, Portugal; Prisões, Galeria Tempo de Luna, Elvas, Portugal; Lions Club
de Lisboa, Lisbon, Portugal; A rose is a rose is a rose, I.P.J., Portalegre, Portugal; Galeria Municipal,
Portalegre, Portugal.
1995: Prisões, Biblioteca Nacional, Lisbon, Portugal; C.R.S.S. Hall, Portalegre, Portugal.
1994: Álamo Galeria, Portalegre, Portugal; Requim for Ramses, Galeria Municipal “Artur Bual”, Amadora,
Portugal; Babies, Complejo Cultural “El Brocence”, Claustro do Convento San Francisco, Cáceres, Spain;
Galeria Espiral, Oeiras; Espaço Veredas, Sintra, Portugal; C.R.S.S. Galeria, Portalegre, Portugal.
1993: Galeria Arcade, Estoril, Portugal; Clube 50 Artes, Lisbon, Portugal; Solvay Duphar Galerie, Weesp,
Netherlands; Álamo Galeria, Portalegre, Portugal; Salas do Castelo, Campo Maior, Portugal; Galeria Municipal, Portalegre, Portugal.
1992: Sol e Serra, Castelo de Vide, Portugal; Galeria Arte Sá, Seixal, Portugal; Quinta da Marinha, Cascais, Portugal; Álamo Galeria, Portalegre, Portugal; Salas do Castelo, Campo Maior, Portugal.
1990: Holon, Gebouw Beuk & Veght, Breukelen, Netherlands.
1989: Universiteit Nijenrode, Management Development Centre, Breukelen, Netherlands.
1988: Veghtconsult, Management Development Centre, Breukelen, Netherlands.
1987: Salas do Castelo, Campo Maior, Portugal.
1986: Castelo, Castelo de Vide, Portugal.
Group Exhibitions (selection)
2009: Galeria Trema, Lisbon, Portugal.
2008: 7ª Bienal do Vidro, Marinha Grande, Portugal.
2007: Arte Madrid – Feira de Arte Contemporânea, Madrid, Spain; F.A.C. Lisbon, Portugal.
2006: 6ª Bienal do Vidro, Marinha Grande, Portugal.
2005: F.A.C. Lisbon, Portugal.
2002: MEIAC, Badajoz, Spain.
2000: F.A.C. Lisbon, Portugal.
1999: Percursos de Arte, Lisbon, Portugal.
1998: Galeria André Soares, Braga, Portugal.
1995: 1ª Bienal de Arte A.I.P., Porto, Portugal.
1994: Convento de São Francisco, Portalegre, Portugal; Palácio dos Anjos, Algés, Portugal.
1992: 2ª Feira de Arte Moderna, Portimão, Portugal.
1991: 2º Encontro Portugal-Espanha, Badajoz, Spain.
1981: Cultureel Centrum de Beyerd, Breda, Netherlands.
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This publication would not have been possible without:
Crisform, Damen Shipyards, Drukkerij Damen, Paul Looijmans and Vipex.
Special thanks to:
Sara Barbosa, Nelson Dinis, Suze Jansen, Jorge Matias, Paul Looijmans, Alfredo Poeiras, José Rosa and
Judith Vega.
Lay Out:
Barbara Walraven & Bert Holvast
Photography:
Barbara Walraven & Bert Holvast, except pages 108, 109 and 111: Jorge Santos
Printed by:
Drukkerij Damen, Werkendam
© Bert Holvast. All rights reserved, protected by law by Pictorecht, Amsterdam. No part of this edition
may be reproduced or transmitted in any form or by any means, electonically or mechanical, including
photocoping, recording or by any information storage retrieval system, without the autor’s permission.
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THEN ALL THE VISIBLE IS TEMPORARY
YET ALL INVISIBLE ETERNAL