My name is Davis Lisboa and I was born in São Paulo, Brazil (1965). I have studied Desenho de Comunicação at the ETE Carlos de Campos and Painting at the Centre d’Art i Disseny Escola Massana and at the Facultat de Belles Arts de la Universitat de Barcelona.
Since 1982 I’ve been working as a storyboard artist (storyboarder) creating storyboards (storyboarding) for various advertising agencies in Brazil, Spain, Russia, England or the United States.
In 1987 I moved to Barcelona, where I worked as a graphic illustrator in a design studio and two years later, I opened my own advertising illustration studio specializing in storyboards, layouts and artistic, figurative and contemporary oil on canvas paintings.
In 2005 I began to hold exhibitions as an artistic, figurative and contemporary painter at art galleries, cultural centers and art museums, and in 2009, I created the Davis Museum | The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona, a cultural entity recognized by the Generalitat de Catalunya, now, expanding my activity towards cultural management.
I have participated in several exhibitions, including Museum Show at Arnolfini, Bristol, England; Eleven: The John Erickson Museum of Art (JEMA) 10 Year Retrospective at The Harn Museum of Art, Gainesville, USA and at the Galería Bob Rauschenberg, Fort Myers, USA; Remix – 10 years in the mix at the en la Spor Klübü, Berlin, Germany; Small, Unusual and Specialist Museums Survey at the CRATE Studio and Project Space, Margate, England; Incubarte at Centro del Carmen, Valencia, Spain; FluxFest 2019, Pride Mail Project and Big Ideas in Small Art at The Rose Shelton Gallery, Toronto, Canada; Aquí y Ahora 6 – Power, corruption & lies at the Galería Blanca Soto, Madrid, Spain; VI Biennale Internazionale dell’Arte Contemporanea di Firenze, Italy; Holland Art Fair, The Hague; La Secció de les Pintures del Davis Museum, at the Casa del LLibre, Barcelona, Spain; NeoLatinísiiimo Art Biennial at the City Lights Gallery, Bridgeport, Connecticut, USA; Mirades des del confinament, con Joan Fontcuberta, Festival Cruïlla, Òmnium Cultural, Igualada, España, among others.
My works make part of several collections as the Artists Space, New York, USA; Biblioteca de la Facultad de Bellas Artes de la Universidad Complutense de Madrid, Spain; The Museum Of Modern Art (MOMA) Machynlleth, Wales; MuBE, Museu Brasileiro de Escultura e Ecologia, São Paulo, Brazil; Museo de Arte do Parlamento de São Paulo, Brazil; SAL Art Gallery, CW Post Campus of Long Island University; Brookville, USA; The HardDiskMuseum; Madrid, Spain and Paris, France; The Yellowstone Club, Big Sky, USA; The Istambul Contemporary Art Museum, Turkey, among others.
Since I finished my studies I have been focused on investigating the concept of museums created by artists, a narrative that has as precedents Marcel Duchamp’s La Boîte-en-valise, Robert Filliou’s Galerie légitime and Marcel Broodthaers’ Musée d’Art Moderne, Département des Aigles.
Title: Marcel Broodthaers (Stamps)
Description: “The Animated GIF From Davis Museum” is one of the 21 existing sections in the “Davis Museum, The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona”. The section consists of a collection of GIF animations made since 2016 by Davis Lisboa. The digital documents deal with the existing relations between the cultural politics and institutional critique, the conversion of the readymade as a cultural institution, the museum as a generator of social changes, art historical precedents and the conceptual relations of the museum as a symbolic object. “The Animated GIF” has subsections titled “Comics”, “Currencies”, “Exhibitions Posters”, “Google Maps”, “Library”, “Memes”, “Offline Exhibitions”,, “Online Exhibitions”, “Paintings”, “Poetries”, “Precedents”, “Quotes”, “Referendum”, “Screenshots”, “Videoexhibitions”, “Web”, “WhatApps” and “Stamps.” This section includes “Marcel Broodthaers (Stamps)”, an absurd loop animation, in which the artist uses the design of conventional letter stamps and make it visually pops. “Marcel Broodthaers (Stamps)” presents a diffuse limit between the irony and the homage of the artist.