Medusa – work in progress, is an ongoing piece originally based on a documentary photography tradition. The initial version of Medusa was publicly screened in September 2010 with the tittle Who’s a jellyfish in multimedia format. The piece participated in a London presentation of the ASA Collective. In this initial version “Medusa – work in progress” was based on the concept of a Jellyfish/Medusa, that of following sea currents and only capable of nourishing itself from what is contacted during its meanderings/wanderings. Continue reading “Medusa – work in progress”
Double Village is the exhibition catalogue tittle. Double Village opened in 2013, and presents photographic work of the authors concerning the moving and resettling processes of Luz village and its population.
Photographs by Afonso Alves, António Carrapato, Benjamim Enes Pereira, Fernando Guerra, Miguel Proença, and Pedro Pacheco, texts by António Carrapato and Miguel Proença.
AAVV, Beja: Museu da Luz/ EDIA, 2014, ISBN 978-972-8666-16-3.
Presented at the Calouste Gulbenkian Foundation (Lisbon), Alforrreca no Charco (“Jellyfish in pool”) participates in the Citizenship Congress. Rupture and Utopia for the Next Democratic Revolution lineup, with other works, by Rogério Paulo Silva and Henrique Vieira Ribeiro, among others.
13-14 March 2015, Calouste Gulbenkian Foundation, Lisbon.
Links relevant to Calouste Gulbenkian event:
Estranged Trees series
Estranged Trees is about creating (en)strange(d) images of trees, rendered strange, using traditional black and white photography practices. The aim is to question our colonising relationship with nature and landscape, where, to simplify natural complexity, we impose our patterns. These contribute towards creating a global landscape type, that taken to its last instance becomes a non-landscape, or a non-place. Through the gradual appearance of its shadow, the tree is here reduced to a simplified, iconic and manipulable object; a route that the work follows on, that end in the inversion of the tree shadow.
During the work, tight framing was used, in order to explicit on one hand, the complexity and density of nature (even nature that appears static) and on the other, to imply and grow on the referred colonising relationship. This implied relationship moves to an explicit one with the appearance of the tree shadow, an easily manipulable graphic symbol, that in the last photograph is turned upside down.