When the text To look for knowledge wherever it exists was already at an advanced stage of preparation, I decided to read ACJ’s articles and other texts and began to realize that I had involuntarily re-contextualised certain phrases, even entire phrases, and converted these thoughts into illuminating projections that I had used as interpretations of ACJ’s work as artist, designer and cultural animateur, judging them to have explanatory relevance, while realising that they coincided comfortingly with my perception of the ethical and aesthetic value of his work.
I’m sure I could have added many other quotations to those set out below. But it was never my intention to present and exhaustive “survey” here, merely a handful of examples, which for our purposes can be ordered according to content rather than chronology.

After the doing begins the re-doing
(in “O paradoxo da razão”, Desassemblages exhibition catalogue, 1998)

…It is about going to the edge of reasons and reconstructing what exists, a kind of pilgrimage to the past of objects, their remains, and appropriating their history, reconverting them, taking away the functionality they once had”.
(in “O paradoxo da razão”, Desassemblages exhibition catalogue, 1998)

Two essential things interest me: ideas and decisions.
(in “A casa das velhas”, Entreposto 5, 2002)

In any perfume… it is the essence that produces the scent.
(in “A casa das velhas”, Entreposto 5, 2002)

The only victory is the one we achieve over ourselves”.
(in ”Torna-te como água”, Entreposto 5, 2002)

His work complete, the creator stands back.

…between past and future, between languages and cultures.
(in “Alquimia criativa”, Entreposto 3, 2002)

…transmutation of the idea rather than the substance.
(in “Alquimia criativa”, Entreposto 3, 2002)

Creative thought can no longer be an individual act.
(in “A matéria inovadora”, Entreposto 3, 2002)

…innovation is no more than a potential benefit so we do not put all our eggs into one basket.
(in “A material inovadora”, Entreposto 3, 2002)

Today, societies tend to disregard borders and speak the same economic language.
(in “A reinvenção do ábaco” Entreposto 3. 2002)

…I do not believe in the compartimentalizing of knowledge in watertight containers.
(in “A iniciativa Segundo Schubet”, Entreposto 5, 2002)

We are all partly to blame for the trend towards ethnocentrism.
(in “Educação umbilical”, Entreposto 3, 2002)

Creating is an act of decodifying and foreseeing scenes and visions of the development of the cultural legacy inherent to what which we create. The weight of the culture within which the act of creating takes place is not wholy indifferent to this, as it is upon the religious, ethnic and moral traditions, or through their rejection, that this process rests.
(in “Criatividade e lugar”, Lugar de cidadania, 1998-99)

The act of creating stems then not from the ascent to the divine, but from the perceptibility of the essence; from the nullification of the ego as a conscious and physical entity co-existing with a reality built on appearances, on illusions that tend to obscure, layer upon layer, the essence of the pure conscience, shorn of the interference that leads to a more purified understanding of different levels of reality.
As we have already discussed, the act of creating is not uninfluenced by geography. It presides over the creative birth itself, determining its setting, circumstance and cultural inheritance, defining its roots from which other roots should grow, subordinating it to a context from which it should also leave, so that, later, it might make a prodigal return.

(in “Criatividade e lugar”, Lugar de cidadania, 1998-99)

It is to archetypes and signs then that the creator resorts to establish his particular language.
(in “Criatividade e lugar”, Lugar de cidadania, 1998-99)

Technology awakens the creator to new creative possibilities, not only in terms of virtual language, but even in the re-using and updating of other more traditional forms of expression.
(in “Criatividade e lugar”, Lugar de cidadania, 1998-99)

…besides new economic, juridical and even governmental orders, the digital era of the information society presages alternative forms of artistic creation on immaterial media, but no less democratisation really than wood printing, lithography, metal engraving or screenprinting.
(in “Criatividade e lugar”, Lugar de cidadania, 1998-99)

…their time will come as one age gives way to another.
(in “Nas comissuras do tempo”, Lugar de cidadania, 1998-99)

The decay of current ideas is spreading not only to artistic creation itself, but to the world of economics and trade.
At the painting level, for example, and in an era when the virtual is digital, the painter of the future will dispense with the brush, just as the graphic designer dispensed with glue for mounting texts. Painting is slowly freeing itself from the physical act of painting to concentrate on its essence: the investigation of forms.

(in “Entreposto e virtualização”, Lugar de cidadania, 1998-99)

Knowing so little about so little, I merely try to look for knowledge wherever it exists.
(in “O Yin do Yang”, Lugar de cidadania, 1998-99)

From Revista Macau