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Double Village

Double Village

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.

Jellyfish · Citizenship Congress · Calouste Gulbenkian Foundation · mp

Calouste Gulbenkian Foundation · Citizenship Congress · Jellyfish · mp
Congresso da Cidadania (Citizenship Congress), Fundação Calouste Gulbenkian, 13 &14th March 2015 (invitation) · mp

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:

Rogério Paulo Silva
Henrique Vieira Ribeiro
Site da Faculdade de Belas Artes – Eventos | Congresso da Cidadania

Estranged trees · series

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.

Continue reading “Estranged trees · series”

Luísa Ferreira – “In search of another body”, Photography, São Brás, until Oct. 2014

In search of another body (À procura de um outro corpo) installation by photorapher Luisa Ferreira · São Brás · view  · mp
View of the installation component of “À procura de um outro corpo”, by photographer Luísa Ferreira
À PROCURA DE UM OUTRO CORPO (“In search of another body” [free translation]) is a surprising photography exhibition that resulted from the photographer’s contact (in 1992) with a collection of sculptures by two local artists, Rosalina Passos e Joaquim Passos, active during the 20th century.
 
The photographs capture the artistic impulse of the pieces, a notable combination of contemplation, expression and torment. They are exhibited in two interior locations in São Brás (see below for details), joined by a short walk where an exterior installation with photographs accompanies the viewer though lesser known public town spaces. The opening weekend (Aug.1-3) installation was also walked by a mysterious cloaked female figure. Overall, amazing!
 
Texts and production by Graça Passos, the exhibiti will be on display until October.
 
 Locations:
Antiga Farmácia Passos, Rua Gago Coutinho, 53 
 
Museu do Trajo, Rua Dr. José Dias Sancho, 61
São Brás de Alportel
 
 

On my street – jacarandas

Miguel Proença, Jacarandas © 2014
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.

Until “Camera Lucida” 1961-1980, on Barthes

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.

 In Camera Lucida (1980), Barthes approaches photography differently, trying to establish the terms of reference – outside of semiology – to understand its essence, or, what differentiates photography from other types of image. In this sense Barthes offers the idea of equivalence between the referent and its photographic representation. To this representation he adds the concepts of studium – the general interest raised by photography – and punctum – the incisive and poignant detail, to arrive at the awareness of photography as “this was”. The association of “this was” with the notion of punctum, expands the equation to include Time, and, necessarily, establishes the link between the photographic image and Death[1]. Connecting these concepts, Barthes proposes the idea of photography as adventure, should the spectator decide to embark.

Conclusion

It is notable that Barthes liberates himself from the semiotic approach from previous work to try and understand photography’s revelatioCamera 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.

 [1]. The connection between staging/theatre established in the work also submits to Death.

Bibliography

Barthes, Roland, Chambre Clair, Editions du Seuil, Paris, 1980.

Barthes, Roland,Le message photographique, in Communications 1, (?), Paris1961

*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.