Before Hooves Grow considers the island as both a fantasy of escape and a site where isolation produces material change. Taking Madeira as its point of departure — historically imagined through narratives of abundance, cure, remoteness and reinvention — the exhibition places these projections alongside allopatric speciation, the evolutionary process through which geographically isolated populations gradually develop distinct characteristics.
Extending this process to the human body, the works imagine what prolonged isolation might produce: hooves adapted to steep terrain, or voices capable of travelling across mountains. Through this speculative evolution, the desire to escape and become otherwise is pushed towards an absurd conclusion: adaptation becomes so complete that departure may no longer be possible.
What´s for dinner?
(2022)
Location
Capela da Boa Viagem, Funchal
Dates
2022
Materials / media
Mixed fabric, aluminium, ropes
Photo Credits
Hélder Folgado
What’s for dinner? looks at dopamine, serotonin, oxytocin and endorphins beyond the human body, tracing how these chemicals shape behaviour across species — from optimism in starlings and social bonding in orcas to aggression in honeybees and hibernation in brown bears. Drawing on scientific diagrams and behavioural studies, the exhibition gives visual form to these microscopic processes, unsettling the idea that emotions such as hope, attachment or anticipation belong exclusively to us.
Against a culture increasingly invested in managing mood, productivity and ‘wellness’, these biological mechanisms become a way of questioning how much control we actually exercise over how we feel. Moving between scientific research, humour and speculation, What’s for dinner? approaches the pursuit of feeling better as a recurring biological loop: anticipation, reward, satisfaction, decline — and the inevitable desire for whatever comes next.
Before Hooves Grow considers the island as both a fantasy of escape and a site where isolation produces material change. Taking Madeira as its point of departure — historically imagined through narratives of abundance, cure, remoteness and reinvention — the exhibition places these projections alongside allopatric speciation, the evolutionary process through which geographically isolated populations gradually develop distinct characteristics.
Extending this process to the human body, the works imagine what prolonged isolation might produce: hooves adapted to steep terrain, or voices capable of travelling across mountains. Through this speculative evolution, the desire to escape and become otherwise is pushed towards an absurd conclusion: adaptation becomes so complete that departure may no longer be possible.
