Terra cinza – a conscientious position is part of the cycle Floresta – Ecossistema Sustentável (The forest – a sustainable eco-system) organized by the Álvaro de Campos Municipal Library in partnership with Tavira em Transição, Movimento de Eco-Cidadania Ativa (Tavira in transition, an active eco-citizenship movement), This cycle includes the photography exhibition Terra cinza – a conscientious choice by photographer Miguel Proença, and a group of conferences and debates concerning the forest.
“In Miguel Proença (1963) we may be projected in two worlds. One macrocosmic the other microcosmic. The decision will be ours. But the shadows will always be there and will accompany the virus or the planet.”
“Terra cinza revisited” continues and updates “Terra Cinza” (Ashen Land) work, first shown in 2012. The initial work was based on a clearly defined intention and time-frame. The present exhibition presented at the Museum of Archeology and Ethnography, Setúbal (MAEDS) results from reviewing, rethinking and setting the initial work to a now time frame. As guidelines for this revisit and update, the ideias of non-place, in particular, and landscape, in general, served as base. The impulse and idea for the initial work
“resulted from visits to the Caldeirão hill range in southern Portugal during devastating fires. The results of these fires served as the motivation and the urgency of Ashen land . The ancestral relationships and livelihoods of the local populations with their environment and ecology radically changes, radically disappears, in a matter of hours. The Ashen land scape and ecosystem that result from this “inferno” made clear the need to produce work dominated by little or faded colour, by grey and black. This charred ecology, this ashen(ed) land, with its livelihood sustainability radically questioned, is dominated by brand new shining wind generators, a XXI century icon.”
More about the initial work at “Terra Cinza”. Opening on july 10 at 21:30 at the MAEDS, Portugal, “Line and Space” with 4 exhibitions by Fábio M. Roque (photography), Filipe Rodrigues (drawing), Miguel Proença (photography) and Rogério Paulo Silva (multimedia). Through september 15. Prints available.
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.
The term “Skenographia” is based on an ancient painting practice. Ancient Greece presented us with the idea of sculpture as a possibility of representation, a representation that in its perfect state gains life, becomes human. The Greeks also developed a system of representation, of translation, from three dimensions to two, in scenery painting, designated “Skenographia”. Contasting to sculpture, Skenographia could at most aspire to be a copy, an illusion, a mimesis, without a possibility of humanity.
For this exhibition, proposed by António Guerra, a path of exploring the open and suggestive idea of illusion within conventional photographic practice. Going back to methods employed in the XIX century the possibility of photographing perfection – sculptures – and re-presenting them in an illusory form, as stereoscopic pairs.
This work is in a certain way a development and continuation of work Cut, shuffle, deal produced for the installation“Emergir – identity specific”, Military Museum’s Plaster House, in Lisbon. If that situation called for following the photographic montage route [cut, shuffle, deal], the present work is strictly within conventional/analogue photography.
About the Group show/installation: In Ludo, curated by António Guerra at the MiMo (Museum of the Moving Image), Leiria,
Nov. 9 – Dec. 28, 2013
Photography and sculpture by João Daniel, Jorge Ricardo, Miguel Proença and Isabel Garcia