construct reveals a formal structure of thought and potential fragmentation that produces new links and assemblages between the works in the Berardo Collection and those alongside them, developing new possibilities of interpretation.
The museum space is thus transformed into a place of experimentation, the result of a “choreography” of thought processes. The aim is to provide a conceptual representation of a research model for the collection, which is constantly evolving and opening out onto a speculative, poetic horizon.
The Berardo Collection is acknowledged as a work in progress—a territory of infinite possibilities, always ready
to be deconstructed and modified, with a powerful tool for the mnemotechnic system lying in its interspaces. Georges Didi-Hubeman states, “The tableau would therefore be the inscription of a work (the grandissima opera del pittore, as Alberti wrote) that seeks to be definitive in the eyes of history. The table itself is only the prop for a work that must always be taken up again, modified, or even started over.”3
New works and relationships are shown in this new exhibition space, which aims to present pieces that were not included in the first instance of Constellations.
The exhibition will continue from 2020 with a phased intervention, just like in the first and second editions (opened in April and, now, in October), but located on Floor 2 of Museu Coleção Berardo. That floor presents a historical line from 1900 to 1960, which will undergo an analysis and intervention according to the same constellatory logic.
An extensively illustrated bilingual catalogue will be published by Stolen Books on an as yet unannounced date, and will include in-depth essays by the curators, Rita Lougares, José Bragança de Miranda, and Gonçalo M. Tavares on the subject matter of the constellation.