"My name is Anastasia Venkova, and I am an artist and contemporary art theorist. I study the interconnections within art and its internal logic, research both current and past artists and their methods, and find systems and patterns in what is happening with art today. I have conducted numerous educational projects related to the theory and practice of art, recorded several courses for large educational platforms, and settled on my favourite way of talking about art: through artists and discussion."
INTERVIEW #1
A Guide to Finding Meaning in the Abstract. Minimal Maps.
What is contemporary art? What is the starting point?
There are several different answers to this question. It is generally accepted that Contemporary art refers to works created from around the 1960s to the present, while Modern art spans roughly from 1860 to 1960. However, these dates vary across sources, and the terms are often confused.
The most common definition states that contemporary art is simply any art being created today, regardless of its subject matter. However, this interpretation raises questions within institutional circles. For instance, if someone paints a vase of lilacs or a forest landscape in 2025, would that be considered contemporary art? Some argue that contemporary art is defined not just by when it is made but by its engagement with present-day issues, using the most relevant mediums.
The explanation that seems most logical to me is this: contemporary art began in the early 20th century, at a time when the world underwent rapid and irreversible change. I believe that meaningful art is inherently tied to social processes, to life and how it is perceived, to its rhythm. When life changes, art inevitably changes with it. The late 19th and early 20th centuries marked a period of profound and definitive transformation. Unlike previous upheavals, it became clear that the past could never return—society had entered a new era that required a new understanding of the world. And that is precisely what artists set out to explore.
Which museums of contemporary art would you recommend in Lisbon or around? What do you like about each one of them? Is there one (any permanent exhibition) that feels particularly special to you?
My absolute favorite is the CCB in Belém. Their modern art collection is stunning—logically structured and thoughtfully curated. While the museum doesn’t house the most famous works, it showcases early and lesser-known pieces by incredibly renowned artists, from Picasso and Dalí to Twombly and Hockney. Moving through the exhibition, you can grasp what I find most fascinating about this period of art: the logic of its evolution, the sense of continuity, and the dialogue—or rather, the polylogue—in which artists inevitably engage.
I also have a deep appreciation for MAAT, the Museum of Art, Architecture, and Technology. It stands out not for its permanent collection but for its temporary exhibitions. These large-scale projects merge the vision of the artist, curator, and even the architect of the museum itself, creating an immersive experience.
The Gulbenkian Museum is a wonderful place, both for its art and its gardens. It recently opened a contemporary art wing, but what I love most about it is its tranquility—the peaceful atmosphere inside and outside, the pleasant predictability of its well-balanced yet diverse collection, and a certain phantom nostalgia it evokes. There’s also a Rembrandt painting there that I’m particularly fond of.
And then there’s the Museu de Arte Antiga, which I love with a kind of irrational devotion. It houses Bosch’s Temptation of St. Anthony triptych, along with a remarkable collection of old paintings, sculptures, and ceramics. The museum also has a garden overlooking the port and the sunset, where opera evenings are sometimes held—a truly magical setting.
WHAT IS CONTEMPORARY ART
"I ALSO HAVE A DEEP APPRECIATION FOR MAAT, THE MUSEUM OF ART, ARCHITECTURE, AND TECHNOLOGY. IT STANDS OUT NOT FOR ITS PERMANENT COLLECTION BUT FOR ITS TEMPORARY EXHIBITIONS."
Is there a dialogue between the space and the art piece? For example, if I take an art piece and place it in my apartment, what will change? Will my perception of it shift? Will its relevance or meaning change?
This dialogue is always present and, in my belief and experience, always influences how we perceive art. In many ways, it was contemporary art that first began questioning the context in which a painting (and later, other mediums) is experienced. Before that, paintings in exhibitions were often displayed tightly packed, with little regard for their relationship to each other or the surrounding space.
Whether an artwork loses its meaning when taken home largely depends on the viewer—after all, it is the viewer who ultimately assigns personal meaning to art. Take Maurizio Cattelan’s banana, for example: it was recently purchased and eaten by its buyer, yet rather than losing its significance, it gained even more meaning—at least for that individual.
At the same time, the perception of art can change due to simple physical factors, such as the color of the wall it hangs on or the level of lighting. Would the Mona Lisa still be as captivating if it were placed in a small communal kitchen under a yellow lightbulb? It would certainly be much harder to appreciate.
I believe it is the viewer, buyer, or collector who gives an artwork meaning—one that is personally significant to them. That meaning can shift depending on context, just as we feel different in a vast echoing hall versus a cramped room. However, that doesn’t necessarily mean an artwork loses its essence simply by being relocated. That said, there is site-specific art, designed to exist only within the space intended by the artist, and this logic doesn’t apply in such cases
WHAT IS CONTEMPORARY ART
"I ALSO HAVE A DEEP APPRECIATION FOR MAAT, THE MUSEUM OF ART, ARCHITECTURE, AND TECHNOLOGY. IT STANDS OUT NOT FOR ITS PERMANENT COLLECTION BUT FOR ITS TEMPORARY EXHIBITIONS."
INTERVIEW #1
A Guide to Finding Meaning in the Abstract. Minimal Maps.
"My name is Anastasia Venkova, and I am an artist and contemporary art theorist. I study the interconnections within art and its internal logic, research both current and past artists and their methods, and find systems and patterns in what is happening with art today. I have conducted numerous educational projects related to the theory and practice of art, recorded several courses for large educational platforms, and settled on my favourite way of talking about art: through artists and discussion."
What is contemporary art? What is the starting point?
There are several different answers to this question. It is generally accepted that Contemporary art refers to works created from around the 1960s to the present, while Modern art spans roughly from 1860 to 1960. However, these dates vary across sources, and the terms are often confused.
The most common definition states that contemporary art is simply any art being created today, regardless of its subject matter. However, this interpretation raises questions within institutional circles. For instance, if someone paints a vase of lilacs or a forest landscape in 2025, would that be considered contemporary art? Some argue that contemporary art is defined not just by when it is made but by its engagement with present-day issues, using the most relevant mediums.
The explanation that seems most logical to me is this: contemporary art began in the early 20th century, at a time when the world underwent rapid and irreversible change. I believe that meaningful art is inherently tied to social processes, to life and how it is perceived, to its rhythm. When life changes, art inevitably changes with it. The late 19th and early 20th centuries marked a period of profound and definitive transformation. Unlike previous upheavals, it became clear that the past could never return—society had entered a new era that required a new understanding of the world. And that is precisely what artists set out to explore.
Which museums of contemporary art would you recommend in Lisbon or around? What do you like about each one of them? Is there one (any permanent exhibition) that feels particularly special to you?
My absolute favorite is the CCB in Belém. Their modern art collection is stunning—logically structured and thoughtfully curated. While the museum doesn’t house the most famous works, it showcases early and lesser-known pieces by incredibly renowned artists, from Picasso and Dalí to Twombly and Hockney. Moving through the exhibition, you can grasp what I find most fascinating about this period of art: the logic of its evolution, the sense of continuity, and the dialogue—or rather, the polylogue—in which artists inevitably engage.
I also have a deep appreciation for MAAT, the Museum of Art, Architecture, and Technology. It stands out not for its permanent collection but for its temporary exhibitions. These large-scale projects merge the vision of the artist, curator, and even the architect of the museum itself, creating an immersive experience.
The Gulbenkian Museum is a wonderful place, both for its art and its gardens. It recently opened a contemporary art wing, but what I love most about it is its tranquility—the peaceful atmosphere inside and outside, the pleasant predictability of its well-balanced yet diverse collection, and a certain phantom nostalgia it evokes. There’s also a Rembrandt painting there that I’m particularly fond of.
And then there’s the Museu de Arte Antiga, which I love with a kind of irrational devotion. It houses Bosch’s Temptation of St. Anthony triptych, along with a remarkable collection of old paintings, sculptures, and ceramics. The museum also has a garden overlooking the port and the sunset, where opera evenings are sometimes held—a truly magical setting.
Is there a dialogue between the space and the art piece? For example, if I take an art piece and place it in my apartment, what will change? Will my perception of it shift? Will its relevance or meaning change?
This dialogue is always present and, in my belief and experience, always influences how we perceive art. In many ways, it was contemporary art that first began questioning the context in which a painting (and later, other mediums) is experienced. Before that, paintings in exhibitions were often displayed tightly packed, with little regard for their relationship to each other or the surrounding space.
Whether an artwork loses its meaning when taken home largely depends on the viewer—after all, it is the viewer who ultimately assigns personal meaning to art. Take Maurizio Cattelan’s banana, for example: it was recently purchased and eaten by its buyer, yet rather than losing its significance, it gained even more meaning—at least for that individual.
At the same time, the perception of art can change due to simple physical factors, such as the color of the wall it hangs on or the level of lighting. Would the Mona Lisa still be as captivating if it were placed in a small communal kitchen under a yellow lightbulb? It would certainly be much harder to appreciate.
I believe it is the viewer, buyer, or collector who gives an artwork meaning—one that is personally significant to them. That meaning can shift depending on context, just as we feel different in a vast echoing hall versus a cramped room. However, that doesn’t necessarily mean an artwork loses its essence simply by being relocated. That said, there is site-specific art, designed to exist only within the space intended by the artist, and this logic doesn’t apply in such cases
