Toda a Linha Recta é Um Arco de Um Círculo Infinito

text “Every Straight Line is the Arc of an Infinite Circle"
by Sérgio Fazenda Rodrigues (curator)

Valter Ventura conducts a search for the understanding of the human condition. A search for what informs it's primordial terms; a search for it’s stated repetition throughout various times and cultures, but also a search for what is particular to each period and place, answering to a cultural or social specificity.
At first glance, he holds what one would consider a taxonomical vision of the world, describing, analyzing and classifying simple actions and objects. But in its true nature, his work stands as a poetic way to question the expression of things that don’t belong to a pure scientific domain.
In fact, when the author grants the results of his search, he urges a new way of looking at things. A way that questions both the nature of mankind, and the method museums assign to displays this knowledge. And, as so, by urging this new look, he reports the incompleteness of the fraction and reaffirms the veracity of the whole.

Valter Ventura exhibits a series of images that detach the presence of matter from something that has no physical body.
He displays a group of photographs of a human skeleton, set upon a wall. Far from an explaining mood, their organization relates to inventory logic, or to a form of classification.
The skeleton is disjointed and the bones that compose it are isolated in separate sheets of paper. These papers also reveal some folds and wrinkles that relate them to a group of information, which is usually stored away and is only used for study purposes.
In the opposite corner stands a video that documents an archaic process of developing fire. Shot inside the studio, the work guides our attention towards the tools and the process that is used to create the flame.
These two works complement each other in a circular fashion, or in a cycle of death and birth, of stillness and movement, or of matter and energy. Endlessly repeated in an act of search, there’s a joint demand between comprehension and enchantment that has always shaped the true nature of man.

Collecting objects with a symbolic and/or documentary value, as well as the desire to preserve their memory has always been an ever-present need. Since their birth Museums have emerged as houses of knowledge that, over time, mirror the understanding of what surrounds us.
Valter Ventura intervenes in a museum whose spatial display does not question human exposure beyond a rational category. However, the author accepts that knowledge has a moving character, and that deep information only emerges from a time engaged crossing of different perspectives.
In fact, by accepting that the knowledge we hold on objects and their comunication is but a section of a broader way, the author reinforces the need for a more complex and comprehensive perspective. A perspective that changes the way we look upon things.

Therefore Valter Ventura is proposing something that explores human nature, and ponders the understanding we have on it. Something which is not bounded to the single part, to the simple presentation of the object, or the linear understanding of facts, but rather something that conceives the expression of a whole, questioning it’s communication and rendering a poetic dimension onto which it is linked with.
Between permanence and absence, between what endures and what is ephemeral, between the body and the spirit, man is perpetuated, section-by-section, in an endless path. In this way, a single trail is actually part of a much broader reality, or as J.L. Borges had mentioned, every straight line is the arc of an infinite circle.