The multimedia project paisagem estranha entranha Arles 2017, was presented during the professional week of the Les Rencontres de la photographie 2017, as part of the Festival Voies Off. Curator (co-curated with Armando Ribeiro), paisagem estranha entranha Arles continues to build on landscape photography in an expanded sense, as the genre – landscape – is here presented also fragmented by practise.
This edition of paisagem estranha entranha had as a base the previous versions; Tavira (2012) and Porto (2014) received the first editions and Arles the third and current one. This latter edition made possible showing the work to a wider and more specialised – in things photographic – public. Future versions will, of course, build on the existing foundation and routes.
A big thank you to all those involved, you made it possible, hope you’re all here: Corinne Dumas, Patrick Massin, Bruno Lopes, Lai Carneiro, Paula Ferreira, Freya Najade, Jenny Sansom, Julie Hascoët, Chris Scott Moskovich, Anne Holmes, Pedro G. Marques, José Bacelar, Leonardo Wen, and Mark Van Hoen aka Locust.
On Photographs and landscape matters to the South:
Admitting the ideia of photographs constructing landscapes, beyond the simulation of the image and its eventual relation to subject and fact, this exhibition aims to tread a critical territory, bringing together artists, images and landscapes of the South; of Europe, of the Tagus, and of the Algarve.
The subjectivity of landscapes, re-invented, ordered and disciplined by images; have they an ideological perspective on the present and on the contemporary? What is South? Is it a Place? What is a landscape? Landscape is always an image.
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.
Ruth’s Room – installation, curated & produced by Ilídio Salteiro.
Ruth, of Dutch origin, a music teacher at the conservatory, lives in Tavira, and collects contemporary works of art from artists with whom she has contacted over the past 30 years. This installation, curated and produced by Ilídio Salteiro, takes place at the Casa das Artes during its 30th year, and presents Ruth’s Room and contemporary collection including works by:
Ana Hatherly, Bartolomeu Cid do Santos, Catarina Botelho, Costa Pinheiro, Fernanda Fragateiro, Isabel Sabino, Ivo, João Hogan, João Onofre, Jorge Martins, Jorge Pinheiro, Jorge Vieira, José Faria, Julião Sarmento, Júlio Pomar, Manuel Batista, Manuel João Vieira, Margarida Palma, João Vieira, Miguel Proença, Nuno Calvet, Paula Rego, Pedro Cabrita Reis, Pedro Calapez, Pedro Proença, René Bertholo, Samuel Rama, Susana Themlitz, Vespeira and Xana. Continue reading “Installation – Ruth’s Room”→
“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
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
Corrosion by light (t. of Corrosão pela luz) is the working tittle for this process that explores the photographic self portrait genre approaching a cognitive frontier. It was initially presented in postcard format (10x15cm) at the 2007 initiativa-X at Arte Contempo a Lisbon gallery (2004-2012).
Invitation for the exhibition Milano vista da Miguel Proença, at “Le Biciclette” gallery, Milan, 18th July 2001. This exhibition resulted from over a year collaboration with the local guide “Free Milano Magazine”. The exhibition included photographs used for magazine covers during 2000-01 as well as reportage work and Fiera di Sinegaglia . Walking, wandering and meandering through central Milano from 1997 to 2001 served as a base for the photographic work.