Fátima Spínola has a degree and a postgraduate degree in Painting from the Faculty of Fine Arts of the University of Lisbon. Between 2012 and 2014 she participated in Madeira Island as a plastic artist and co- manager of the “Mad Space Invaders artistic collective” and since 2012, she has been co-manager of the “Espaço 116” project. Between 2017 and 2019 she developed curatorship and production projects, exhibitions and Urban Art and since 2000 exhibited in Portugal, Spain, Italy and Brazil, being represented in the Imago Mundi collection by Luciano Benetton (Italy), in the Périplos - Arte Portugués de Hoy collection at the Center for Contemporary Art in Malaga (Spain) and in private collections in Switzerland, France, Scotland, Portugal and Brazil

Stolen kisses / Covid -19

The night they have separated our eyes, our hands,
our lips from their passionate or compassionate caresses, the stars of
an increasingly dark silent and distant sky began to shine
a remote light that we weren't prepared for, because we’re used to a smooth and monotonous transit always the same.
The everyday life of the gesture has turned into absence.
The greed of time was interrupted by removing us from the exercise of daily emotions
without knowing what would become of our bites, our kisses,
now interrupted, suspended, stolen by a messenger without name and form apparent.
An unknown intruder, ambassador of delusions and fears that
they seemed to belong to ancient tragic lists written with
inks
blue on tanned lambskin and which today is laid down in instantaneous alphanumeric lists their inauspicious seal.
So I thought about the denied sweetness of millions of kisses and lips closed, suspended in doubt
fear of contact and everything to which that simple gesture, but
universal had raised us from childhood to death through
love, dreams, emotions.
These "Stolen Kisses" designs begin on a journey I made in
my studio from the early days
of the Pandemic to get to this Madeira island until today
I don't know yet and that my works will see before
myself. Ambassadors of a firm belief that all this can
to be forgotten in the simple and eternal magical gesture of a "Kiss" fearless.

Collage
Having an exhibition is a good excuse to take a trip and visit a city or town, but not as a tourist.
For me it involves getting to know the residents, especially those interested in the art, and the area.
Once I reach my destination I enjoy collecting local materials such as maps and information to build my psychogeographic maps that show the places where I have been, which illustrate my physical and mental paths as portolans.
They are paper proofs of my movements, of my observations, of my casual encounters on the walls or on the ground.
Layers of feelings.
Alluvial layers on which the gaze has settled.
This time, however, it will not be so.
In the virus age of Covid 19, exhibitions travel without the accompaniment of the author.
The author stays at home, on the sidelines, as if he had already died.
It's a shame because I would have been happy to have a short holiday in Madeira, in Funchal.
But now I have to look at it on the internet, at least to realize it roughly.
Just as visitors to the exhibition will look at it on their computer screen or Ipad or smartphone or standing beyond the windows, aseptically, safely, without risk of contagion.
It is social and artistic distancing.
There is nothing that can be done, but it will still be as if I had been there.
And in truth I have been there, through interposed collages. They will be able to tell me.

was born in Rome in 1932 into a family of artists: her father Mario was a sculptor, while her mother Francesca was a painter and puppeteer. She attended art school, studying with Giuseppe Capogrossi, and went on to study at the fine arts academy, where she met her professor Toti Scialoja, an important figure in her career as an artist.
At the end of 1958 she went to live in Paris, where Tristan Tzara sold her his studio. She met many artists in Paris, including Jean Paul Riopelle and Alberto Giacometti, as well as Samuel Beckett. In 1964 she met Goffredo Parise, her life-long partner; she surrounded and nourished herself with friendships with writers and poets such as Guido Ceronetti, Andrea Zanzotto, Cesare Garboli and Valerio Magrelli. She produced two big ceramic doors for the Nuovo Olimpia cinema in Rome.
She is the only female figure to be part of the Piazza del Popolo School with Mario Schifano, Franco Angeli and Tano Festa. 
Fioroni was the only woman to take part in the Piazza del Popolo School with Mario Schifano, Franco Angeli and Tano Festa. An eclectic artist who liked to use a variety of different media, she went from the silver works of the sixties to canvases and drawings made with enamels and industrial paints to aluminium, experimentation with photography and, lastly, a vast ceramic production. Beginning in 1993 she produced her ceramics in Bottega Gatti in Faenza, also frequented by Mimmo Paladino and Luigi Ontani, creating works about fairy-tales, magic and fantasy worlds and holding solo shows in prominent galleries in Italy and abroad.
“All my work shares a sort of common theme, which is childhood: a very particular kind of childhood, spent among highly visionary elements. All this plays an important role in the choice of certain things, of certain frames, even of certain ways of imagining space. A space that is always very far away, as if it were taking place on a stage”.

places himself in the panorama of contemporary art as a countercurrent artist, far from schematizations or collocations that recall belonging to contemporary groups and movements. Giacinto Cerone is a "solitary" sculptor conscious of his contemporaneity, far from telling the complexity of artistic and human events and the present and instead tended to anticipate the story of what happened and what will come. The artist is charged with universal and everyday passions that invoke the state of the future man and evoke the memory of the ancient one.
In the poetics of the author anticipation and memory chase each other, they do not recognize each other, sometimes they overlap and flow into a new language, but without ever losing themselves in the obviousness of mere and exclusive linguistic research. The artist travels along two parallel paths: sculpture as a narrative medium that goes beyond the descriptive statement to deliver itself to the conceptual act; drawing as a representation of an implacable truth, prompted by the physicality of one's body, a premonition of the final effigy.