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.
|View of the installation component of “À procura de um outro corpo”, by photographer Luísa Ferreira|
|Jacarandas, © Miguel Proença 2014|
Here is a photograph of the jacarandas in bloom on D. Carlos I Avenue in Lisbon, a reply to a post by photographer Luísa Ferreira on the same subject.
Its always a challenge to photograph the things we know from everyday contact, and this is one of those cases, as I live nearby. Here is a moment where in the “everyday” is “cracked” by a jagged edged opening for … perception.
In the Photographic Message (1961), Roland Barthes approaches photography from Semiology, through denotative and connotative codes, the latter necessarily bound to culture. “Signification is a dialectic process that solves the contradiction between natural and cultural man”. In this process the paradox of photography is presented, where an inert object is converted into language.
It is notable that Barthes liberates himself from the semiotic approach from previous work to try and understand photography’s revelatio. Camera Lucida shows us the path of this adventure – personally and culturally loaded – and at the same time points out the limitations of theories originating in linguistics in approaching the photograpic image. Death permeates the work and, I don’t know if by chance, Barthes was killed by a laundry truck while crossing the street, the year Camera Lucida was published.
Barthes, Roland, Chambre Clair, Editions du Seuil, Paris, 1980.
Barthes, Roland,Le message photographique, in Communications 1, (?), Paris, 1961
*This article was originally written in Portuguese in the context of Art History. This post is the first English version, written in 2014. It was originally published on the blog Photography as Device [PAD] a On photography: Until “Camera Lucida” 1961-1980. That blog is no longer maintained.
The English tittle “Camera Lucida” is misleading, as it specifies indicates a device instead of a concept.