Decomposition Documents: A Poetic Geography of Memory, 2017
In a city shaped by its latitude and mood, Jorge Da Cruz has found a terrain that mirrors the layered qualities of his work. Berlin—its stark winters, clouded skies, and ephemeral light—forms the atmospheric backdrop to Decomposition Documents, a project that moves between autobiography, political reflection, and visual poetry.
Da Cruz arrived in Berlin during one of those dark, heavy seasons, when sunlight rarely breaks through the dense cover of clouds. But rather than resist it, he absorbed it. The city’s quiet greyness, its slow rhythm, and its fragmented transitions between seasons became central to his artistic language. Berlin’s climate, with its sharp shifts and subdued light, doesn’t merely frame the work—it shapes it.
Jorge da Cruz | my integration documents-Printing, Drawing, Photo on paper 21X210mm x 297mm - 2010© Bethanien, Berlin
Decomposition Documents begins with a personal memory: a photograph taken in front of a gelateria in Barcelona, where the first ideas for the project began to form. This was Da Cruz’s first holiday after moving to Berlin—a moment of pause that allowed him to look back on his early days in a new country. The image, like many in the series, is casual, imperfect, and full of presence. Shot with a low-cost DIANA+ plastic camera, the photographs carry a soft distortion—grainy, tender, and unscripted. They capture seconds, not scenes.
What emerges is a visual essay on memory—its fragility, its interruptions, its permanence. The photographs and drawings in the series do not illustrate; they evoke. They function as visual footnotes to a broader narrative about migration, belonging, and the slow accumulation of personal and political weight.
In recent years, Da Cruz’s reflections have become increasingly shaped by the social and ideological tensions of our time. As far-right movements gain momentum across Europe, the emotional and psychological dimensions of integration—already complex—take on new layers. Decomposition Documents is not a direct political statement, but it carries within it the silent pressure of these realities. It suggests that memory and place are never neutral—that even the smallest moment is shaped by the world around it.
The project also includes 20 paper works—objects that merge image and text, fragment and thought. They do not seek to explain but to accompany. Loosely structured, they resist narrative closure. Each piece feels like a private note made public, inviting the viewer to sit with uncertainty, with longing, with things unfinished.
At its core, Decomposition Documents is not only about Berlin, nor solely about Da Cruz’s personal story. It is about the spaces between—between countries, languages, moods, and selves. It is a portrait of movement and stillness, of what we remember, and of what refuses to fade.
Berna Valada, Lisbon 2017
“one step before happiness" Jule Graf 2015
Framing the picture - framing the view. Our field of view is determined by the anatomical limitations of the eye, specifically its position and edges. The human field of view covers 220°. Anatomy dictates our field of view and our perspective, operating as a natural filter and frame for what we see, determining our perception of the world.
Our view of “one step before happiness" is additionally restricted by two black horizontal bars – creating the impression of looking out from a wartime trench. Of waiting in a bunker for the enemy to attack. Of contemplating the depths of the ocean through the periscope of a submarine. Perspective is distorted. The image is stripped of its hues. Any attempt to get closer to the surrounding area is diverted, thwarted by the frame.
This landscape, on the far-off planet Mars, can only be viewed on Earth thanks to technology. The artificial gaze of the periscope enables curiosity to take flight, helping the next generation to explore the possibility of life on the red planet. Fear of the unknown is overcome by curiosity about the fantastical. Both are manifested through technological means of observation. They are the source of this artificial gaze. The familiar in the unknown is brought closer by technology.”
On board at „Raumfähre“ Portuguese artist Jorge da Cruz Portrait and Interview by Sarah Zimmermann, Kassel - Berlin 2015
vivars.com
The biography of Jorge da Cruz sounds like a typical artist-biography: Born and grown up in a Lisbon suburb, he early discovered his passion for art. For the sake of his parents he first started a “down-to-earth” study, which he stopped in favor of art.
After his studies of art at the Lisbon University Ar.co: art and communication he already begun with own projects. In the absence of an own studio,
Jorge da Cruz focused on so called “artistic residences” in the last decade – changing homes, changing studios. He already lived In Portugal, Brazil, Morocco, India and Germany. Like a chameleon he adapts to his particular surroundings. Even more: He blends the constantly changing conditions and environments in his work; his paintings serve as mirror of the different places and contexts. Against this background the wide and sometimes oppositional use of colors, shapes and symbols makes sense: The pictures of the artist change similar to him and the places he lives and works. “Travelling Art” is the name, Jorge da Cruz chose himself to describe his work. After many years of searching and travelling da Cruz – at least for the moment – seems to be arrived. Since 2011 the 39-year-old is living in Berlin. Under the name of „Kollektiv Raumfähre“, he shares a studio with other artists in the legendary Kunstquartier Bethanien at Mariannenplatz. Da Cruz appreciates the special atmosphere and the community – although each artist mostly works on own projects. Two times a year, the Bethanien opens its gates for an open house, where a big group exhibition is being developed in advance. In da Cruz’ opinion Berlin is a very art- and artist friendly city – not only because it is proportionally cheap but – above all – because it assembles so many other artists.
Although Jorge da Cruz is artist with heart and soul there is something linear, technical adhered to his art. Fascinated by architecture and technical drawings, where every little centimeter is marked, he starts every picture with a rigorous and detailed drawing. In his works he combined both elements:
The accuracy and closeness of a (technical) drawing as well as the artistic “freestyle” with all his freedom and facings. In order to present his art da Cruz always strikes new and innovative paths. One of them is “Art by Mail”. As a variation to the usual exhibitions in galleries, the artist sends his works by mail now and then: As an art print, in postcard format. In addition to that he attaches an accompanying text and background information to the particular work. The recipient then can decide whether to keep, to redirect the postcard or even to buy the original drawing. Jorge da Cruz is still closely connected with his hometown Lisbon and has – what else could it be! – developed a little but special art-project here, too: If he is not in town on his own, he sublets his apartment to cultural interested visitors, who then can experience the city and follow the traces of art – of course with tips of the artist himself. More to this offer and to the work of Jorge da Cruz in the interview:
VIVARS.COM: Would you please briefly introduce yourself! Where do you come from, at what stage do you are at the moment and where – in a metaphorical sense – do you want to go? Do you have a philosophy of life?
JORGEDACRUZ: I was born in Lisbon, Portugal, and for the last years of my life I lived and worked a bit everywhere: Spain, India, Brazil, Morocco, Kassel :-). Since 2011 I have a studio in Berlin. I am currently in a very exciting phase of my career as an artist. A period of settling down in a city, a period of art collaborations with other artists ... a very creative phase indeed! My life philosophy maybe is: „Discover what you like to do, what really makes you happy, and have the courage to do it for the rest of your life.“
If you could describe your art in three sentences, what would you say? Can it be in three words? Physical, raw, instinctive.
With regard to the process of creation: How do you work? Are there any repetitive patterns you follow? Yes. Repetition and daily routines are super important for me. I always start any painting or video installation with a drawing. Then this process evolves naturally and turns into a series of events that change the final composition.
V: What sources of inspiration do you have?
JDC: I'd much rather talk about motivation than inspiration. Inspiration is too esoteric for me. I always have an urge to paint but I don't always feel motivated to do it. But then comes into the picture, I think, the discipline. I don't feel like doing it but I must continue, I must put the work forward. I feel, this has more to do with hard work than with inspiration. I love to work with other artists in close collaboration – with writers or other visual artists such as Ivo do Carmo, Frediano Bortolotti and more recently Carolin Schmidt. Team work is great in arts! This can be my perfect motivation.
V: What do you consider to be your most important work? Which one has a special meaning to you and why?
JDC: I think the one I'm more attached to is a group of three paintings called "Half of Leaf" (3X80x100, oil pastel, henna in wood canvas). It is a work I did in three different places in different times: Lisbon 2006, Fez 2007 and Kassel 2009. Maybe it means so much to me because I did it in three different and very important phases in my life. The paintings are now exhibited in a Berlin restaurant. If you come to Berlin check it out: Elsenstr. 30b!
V: You’ve chosen Berlin as a place to live and work – has this been a conscious decision? Could you describe the influence of the surrounding and the city to your work?

JDC: Everything happened by chance. It was a conscious decision but not a planned one. The influence of the surrounding is super important. I lived and worked in Kassel for two years, where I had a beautiful studio in the “Nordstadt” and all the necessary conditions – but I simply couldn't work. Kassel was too clean, too much order and silence. I came to Berlin and my work developed fast. That means that I need more chaos and disorder to work. Big cities are perfect for me. Berlin – until now – has been a paradise to work in arts. Kassel may be good to think and reflect about your art and I need that sometimes, too. Kassel is in my heart. Lots of friends and peace to think ...
V: As an artist, art is obviously very important to you. However, do you need an “art time-out” from time to time?
JDC: I don't have breaks from art. I live fully for it. Maybe what makes me come out from my studio is friends and family?
V: What do you think of vivars*?
JDC: I wasn’t really surprised when I heard about vivars! I met the initiator when I was living in Kassel. It was in the context of the project “Dorf-Eigen-ART”, where Sylvia Kernke was very active. I felt that she would realize some other cultural or artistic projects sometimes. I really like the project. But of course – like any other online-project – the success of the platform depends on the people who use it.
Kassel 2014
Ponts entre les cultures"
Jorge da Cruz Opening - July 19th, 2011 - 18 hours
In the foyer of the European Patent Office in Munich.
“The title provides a rather concrete impression about the character of the works exhibited. Two worlds are combined with regard to their symbols, to their typical elements, they are bridged and communicate with each other regardless of the real political or theological positions. The visitor is invited to think about on a global level and to follow up new ideas, confrontations and relationships.:
Jorge da Cruz, born in Lisbon, studied art in the Portuguese capital as well, then opened up to a more complex view by travelling through different parts of the world. Currently he used to live in Berlin.
His interest focusses on Buddhism, Christianity, Islam, Shivanism - on the teachings and symbols of all principal religious teachings in the European and Asian world. His media style combines a Shiva deity with the cross, arrows with animals of Hinduism. His collages are dominated by a centralised composition, The rough brush stroke and the contours - partially and irregularly covered by colour - remind us of the wall paintings in Stone Age or of contemporary developments.
The alignment of various symbols or parts of them in stripes beside each other point to experiences with films and help to establish an advanced type of composition.
It is also up to the visitor to discover the bridges and to consider the novel and surprising relationships. "
President of Culture Club at the European Patent Office, Hermann Schifferer,
“ponts entre cultures” Einführende Worte zur Ausstellungseröffnung Jorge da Cruz Munich 19-07-2011, by Christine Hubenthal
“Jorge hat mich dazu eingeladen bei der Eroeffnung dieser Austellung etwas zu sagen. Das ist natuerlich eine grosse Ehre fuer mich! Danke! Ich moechte die Gelegenheit nutzen, um Ihnen von dem Ort zu erzaehlen, wo die meisten der von Jorge hier ausgestellten Arbeiten entstanden sind: Suedindien, Tami Nadu.
Ich habe von 2005 bis 2007 in Indien gelebt und dort in der Landwirtschaft gearbeitet. Bei einer Reise kam ich nach Pondycherry, wo sich unerwartet ein Portugiese an meinen Cafeetisch setzte, wir kamen ins Gespräch. Es war Jorge Cruz, der mir erzählte, dass er Maler sei und Dank eines Stipendiums des portugiesischen Kulturministeriums nach Pondycherry gekommen sei, um dort zum Thema “Utopia et Matter”, also “Utopie und Materie, oder Material”, zu arbeiten. Er lud mich in sein Atelier ein, wo ich ab diesem Zeitpunkt viel Zeit verbrachte, um Jorge beim Arbeiten zuzusehen. Ich konnte also den gesamten Entstehungsprozess seiner Bilder mitverfolgen.
Jorge hatte sein Atelier in einer mit Strohdach abgedeckten Bambushuette am Strand eingerichtet. Vorne war sie offen, also ohne Glas, einfach offen. Durch das fensterlose und recht weit vorstehende Bambusdach, war es ziemlich dunkel in dieser Huette: ein Segen, denn die Sonne brannte meistens mit voller Wucht vom Himmel.
Jorge hatte aus Europa keine Materialien mitgebracht, und war nur mit einem Rucksack angereist. Er wollte seine Arbeit aus dem entstehen lassen, was ihm vor Ort begegnen wuerde. Die erste Arbeitsphase fuer sein Projekt bestand eigentlich nur aus Recherche: Auf der Suche nach Leinwaenden lernte er einen indischen Kuenster kennen, der ihm all seine Leinwande baute und mit dem sich Jorge viel austauschte. Farben, Malereien und Pigmente spielen eine wichtige Rolle im oeffentlichen Leben in Suedindien. Jorge verbrachte viel Zeit damit durch die Strassen zu wandern und die Menschen bei er Verrichtung ihres Alltags zu
beobachten, immer auf der Suche nach Materialien und Maltechniken fuer seine Arbeit. Vor vielen Häusern finden sich wunderschöne Zeichnungen, die mit Pigmenten, in einer ganz bestimmten Rieseltechnik gezeichnet werden. Sie sind ein Zeichen dafuer, dass das Haus geputzt wurde, ganz normal, völlig alltäglich. Ähnlich sind auch die Windschutzscheiben vieler Busse, Autos und Rikshas mit kuntvollen Zeichnungen versehen, sie wurden für die Fahrt gesegnet. Viele Frauen tragen einen roten Punkt auf dem dritten Auge und einen oben auf der Stirn am Haaransatz. Der auf dem dritten Auge ist nur Schmuck, der am Haaransatz dagegen ein Zeichen dafür verheiratet und demnach bereits vergeben zu sein. Manche Männer und Frauen sind kahlgeschoren und haben den Kopf gelb bemalt, das Resultat eines hinduistischen Rituals. Manche Männer tragen den roten Shivastreifen auf der Stirn.
All diese Beobachtungen haben auf die ein oder andere Art Eingang in Jorges Bilder gefunden, oftmals entfremdet und ihrer Funktion entledigt, umfunktioniert. Tempelfarben, Pigmente, Henna, Aufkleber und Stempel hat Jorge ebenso verwendet, wie die traditionelle Rieseltechnik, die die Frauen nutzen, wenn sie die reinigenden Hausarbeiten beendet haben. Ich moechte Sie einladen, sich die Bilder von Nahem anzusehen und auf Entdeckungsreise nach diesen Elementen zu gehen.
Viele von Jorges Bildern zeigen Gottheiten, oder religieoese Symbole. Ich selbst war damals tief beruehrt von dem selbstverstaendlichen Umgang mit Spiritualitaet, den ich in Tamil Nadu – und auch anderen Teilen Indiens – beobachten konnte. In Europa koennen wir mit Spiritualiaet offensichtlich nicht viel anfangen, den Umgang damit empfinde ich oftmals als verkrampft, manche verlieren dabei die Bodenhaftung zu verlieren. In Suedindien dagegen ist Spiritualitaet das Normalste ueberhaupt. Die erste Frage, nach “what ist your name?”, die einem oftmals gestellt wird, ist “what ist your god?”. Einmal habe ich auf diese Frage geantwortet, dass ich keinen Gott habe. Das haette ich nicht tun sollen, denn irgendeinen Gott muss man schon haben; das zeigte mir zumindest die besorge Reaktion des Fragenden. In Zukunft sage ich immer ich sei Christin, womit sich alle zufrieden zeigten. Wobei das kein Hindernis war, dass ich in verschiedene Tempel mitgenommen wurde und auch mir der rote Punkt auf die Stirn verpasst wurde. An Weihnachten habe ich muslimische
Frauen in Burka in einer christlichen Kirche Weihnachten feiern gesehen, völlig selbstverständlich, alltäglich. An Jorges Bildern kann ich erkennen, dass auch er tief beeindruckt von dieser allgegenwaertigen Spiritualitaet und der unglaublichen Toleranz war, die wir in Suedindien erleben konnten.
Jorges Ansatz die Recherche ueber Kultur, Maltechniken und lokale Materialien in seine Arbeit zu integrieren, macht aus meiner Perspektive die Arbeiten unglaublich spannend. Ich sehe Jorges Bilder wie eine Collage aus all dem Erlebten und Gefundenen. Und an vielen Stellen sind die Arbeiten deutlich von dieser Geschichte gezeichnet. Obwohl Jorge beim Maler Gobi Leinwaende mit dem Maß 90×90 cm, also ein Quadrat, bestellt hat, hat keine der Leinwaende wirklich diese Abmessung und nur wenige tatsaechlich einen rechten Winkel. Sie sind eben das Produkt echter Handarbeit mit einfachsten Mitteln hergestellt. Auch alle Rahmen sind vor Ort gebaut, in einem kleinen Laden, der bis obenhin vollgestellt war, nachdem wir seine Bilder dorthingebracht hatte, um sie rahmen zu lassen. Um die Bilder fuer den Transport nach Lissabon zu verpacken, mußten wir den Buergersteig vor dem Laden nutzen, mitten zwischen Massen von Fussgaengern, die staendig an uns vorbeispazierten. Viele solcher Herausforderunge gehoeren also mit zum Entstehungsprozess der Bilder und sind deshalb essentieller Bestandteil der Arbeite selbst.
Nun habe ich Ihnen also von Suedindien erzaehlt. Aber auch die anderen hier ausgestellten Arbeiten sind als reisende Kunst entstanden. Bevor sich Jorge dafuer entschieden hat ein festes Atelier in Berlin einzurichten, hat er ausschliesslich im Rahmen von artistic residences gearbeitet und auf diese Weise die Not, ein Atelier zu haben, zur Tugend gemacht. Fuer mich besonders bezeichnend ist, wie sehr die Entstehungskontexte seine Bilder beeinflussen.
So, und nun habe ich genug erzaehlt. Viel Spaß beim Entdecken dieser Ausstellung!”
Christine, Munich 2011
