

Vasco Futscher (b. Lisbon, 1987) is an artist based in Lisbon. His practice and specifically the ceramic body of work that he’s been developing since 2010 are characterised by a synthetic approach to various traditions not commonly found mixed together. By combining elements of architecture, pictorial references that span art history or the decorative arts, as well as a deep interest in “common” elements that make up our world, he seeks to offer hybrid objects that defy categorisation but instead aim to slip through these divisions.
Solo exhibitions include Volte Face (2024, Ar.Co, PT), Gifts ( with Rebecca Watson Horn, Figura Avulsa, 2024 PT), Rien ne va Plus (with Jorge Nesbitt, 2024, Brotéria, PT), Anjo Solidão (With Gabriel Ferrandini2021, BoCA, PT), Contrato Promessa (2021, Kubik, PT), String Theories (2020, A Montanha, PT), Masks, Tablets and Loose Birds (2019, Annex 14, CH), Cousins Germains (2018, Institut Camões, LUX), Instruction Manual I & II (2017, Modulo, PT), and Ceramics (2014, Modulo, PT).
Group shows include The exhibition is ongoing and open to permutation (Cabo Ruivo, 2022, PT), Treffen in Guincho / Ernesto de Sousa (Galeria Av. da Índia, 2021, PT), Triângulo (Brotéria 2021, PT) 2021The Pathfinders, (2019, PT), Segunda Categoria (2017) Portugal, Portugueses, Museu Afro-Brasil (2016, BR), Prémio Fundação EDP Novos Artistas 2015, MAAT (2015, PT), and À Maneira do Ar.Co, Galeria João Esteves de Oliveira (Lisbon, 2012).
Alongside his studio practice, he has been teaching ceramics since 2014, and is currently head of the ceramics department at Ar.Co.
He graduated from Ar.Co, Centro de Arte e Comunicação Visual in 2013, after studying visual arts and ceramics, and from Universidade Nova de Lisboa in 2009, where he got a degree in economics.
05.10.2024 - 15.11.2024
Volte-Face, at Ar.Co Xabregas
Vasco Futscher has been working with concepts of repetition and generalization, which take shape in the collection of works gathered here. More than mere redundancy, it is about echoing the rhythm of time in sculptural pieces that derive from one another, like a metonymic process where the parts stand for the whole. Before metaphor, however, there is the plane of immanence: things in the world— a brick is a brick is a brick is a brick, et voilà!
As we enter the gallery, we see a rhythmic fortress of equidistant bricks, separated by intervals that allow us to break through the elliptical barrier of time’s kiln and imaginatively penetrate its inner space. The curved wall can be followed to the right or the left, both leading us to the point of eternal return. Like the 24 hours of the day, like the sun that sets only to rise again the next morning, labor too repeats itself endlessly—rhythm & repetition, like an assembly line. Little room for chance. Yet even industrial mass production has its glitches—a gap, a gasp—an interval or rupture that, in an instant, returns us to our fragile human condition. Within the brick wall, only the shapes of imagination remain—human or otherwise, chimerical beings.
Excerpt from the text by Bernardo José de Souza.