“Beholder's Share" is a solo booth installation presented by Galeria Francisco
Fino and the artist Diogo Evangelista at the 2024 edition of Liste Art Fair.

The installation comprises a mural painting and six unseen artworks that
investigate the relationship between humans and technology, the organic and
the mechanical, and the generic versus the individual.

The installation features six cutouts created with mirror paint and UV printing
on acrylic glass. These mesmerizing pieces depict imaginary flowers,
collaboratively designed with the assistance of AI.The mechanical flower-like
structures convey a sense of motion and speed, inviting viewers to contemplate
their dynamic nature.

Being mirrored, the reflection of these artworks creates an illusionary space
that can appear static or dynamic depending on the surrounding movement.
This space, although nonmaterial, can be measured and is limited by what can
be seen, solely formed by the movement of light rays.This intangible yet
measurable space is solely formed by the interplay of light rays, offering a
captivating visual experience.

In addition, there is a bold phrase painted on the wall: "The Love Below." This
evocative phrase serves as a focal point, inviting viewers to engage with it as
poetry or an information snippet. The artist intends for the phrase to be viewed
as a slogan or road sign, where small snippets of information might enter one's
consciousness. The scale of the work insists upon an embodied interaction with
the words, emphasizing its simultaneous poetic nature and its ability to exist
both within and outside of its immediate context.

The title, "Beholder's Share," draws inspiration from Alois Riegl's theory,
coined in 1850 as part of the Vienna School of Art History. Riegl posited that art
is incomplete without the perceptual and emotional involvement of the viewer.In
line with this theory, the artist asserts that these new pieces come to life
through the environment and the spectators, making them integral to the
artwork's creation. The appearances of these artworks are infinite, constantly
influenced by their surroundings. Furthermore, the installation prompts viewers
to reflect on the intersection of art, technology, and the human experience. By
utilizing AI in the creation of imaginary flowers, the project raises questions
about the role of artificial intelligence in artistic production, blurring the
traditional boundaries between artist and artwork.This symbiotic relationship
between humans and machines results in a dynamic and ever-evolving creative
process. It's also worth noting that Diogo Evangelista's fascination with
surfaces extends beyond their reflective qualities. By incorporating the viewer
and their environment as essential components of the artwork, the artist
underscores the interactive nature of the installation. The dynamic relationship
between the spectator and the artwork creates an ever-shifting and evolving
experience, emphasizing that art is not static but rather a fluid process.
Ultimately, "Beholder's Share" aims to provoke contemplation on the
boundaries between the organic and the mechanical, the tangible and the
intangible, and the individual and the collective.Through the fusion of
technology, aesthetics, and viewer engagement, "Beholder's Share" invites
audiences to reconsider their perception of art and its immersive potential, exploring the transformative power of transubstantiation in the experiential age.

ARCOmadrid 2024

Helena Almeida | Daniela Ângelo | Vasco Araújo | Panmela Castro | José Pedro Cortes | Diogo Evangelista | Karlos Gil | Igor Jesus | David Maljkovic | Adrien Missika | Priscila Rooxo | Marta Soares | Tris Vonna-MichellBOOTH 9A26

Helena Almeida | Daniela Ângelo | Vasco Araújo | Panmela Castro | José Pedro Cortes | Diogo Evangelista | Karlos Gil | Igor Jesus | David Maljkovic | Adrien Missika | Priscila Rooxo | Marta Soares | Tris Vonna-Michell

BOOTH 9A26