The site for the paisagem estranha entranha project is online. We chose English as the site language. Each instance, or appearance, of the project builds on the previous ones. Here is a link to paisagem-estranha-entranha, enjoy!
Terra cinza multimedia resulted from a collaborative action, based on the initial Terra cinza work. Armando Ribeiro (The Chroniclers) edited the original version of the work,Pedro Gomes Marques selected David Shea’s song Giton’s theme. David contributed his music to this multimedia piece. The original work is still recognisable, but the multimedia ensemble presents an additional dimension, a poignancy and a presence that are difficult to describe, better experienced. A beautiful collaboration, thank you!
António Ferro a vertigem da palavra – word vertigo – , by Margarida Acciaiuoli, is a book about the rhetoric, politics and propaganda of the Estado Novo before and after the 2nd World War. Bizâncio Editora, Lisbon.
Photograph of the Assembly of the Republic, thank you to the Parlamentary Historical Archive. São Bento Palace, Lisbon.
Cut, shuffle, deal is the name of this work, part of Emergir – identity specific, an installation/exhibition presented by Maria Tomás (installation), Miguel Proença (multimedia), and Cristina Azevedo Tavares (curator) at the Casa dos Gessos do Museu Militar de Lisboa ( Plaster House of the Lisbon Military Museum).
This is an installation – an ambience that offers the viewer a different visual and aesthetic experience of the Casa dos Gessos and its works, keeping untouched the statue of D. José I, in the sense that its role as a gigantic pivot point, imposed by its monumental presence occupying the centre of the building, is untouched.
Focusing on the D. José I piece, Miguel Proença works to deconstruct the “urban” gaze through the photographs taken at the Terreiro do Paço square of the bronze statue of D. José I referencing the master plaster from which it was cast. He virtually places it in an impossible situation; in the Casa dos Gessos, and as such it once again dialogues with the other sculptures in a relation of proximity, through the grid of a chess board that evokes the bi-coloured floor of the room. It thus subverts the reading of this magnificent piece by Machado de Castro, polemical in its time, the master plaster is also extraordinary, as is the involved foundry work.
The room, only periodically opened to the public, exerts a fascination on those that enter it, be it the scale of the sculptures in relation to the building, be it the details that we can still observe after the casting to bronze, as by the group of pieces and the visual relationships that we can establish between them.” (Cristina Azevedo Tavares, curator, November, 2013, translated).
Emergir – identity specific and Cut, shuffle, deal was open to the public, from October 8th 2013 at the Casa dos Gessos, at Campo de Santa Clara, nº 62, in the vicinity of the National Pantheon, in Lisbon.
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).
The final version of the project can be seen here: Photon Corrosion
Milano Free magazine · covers
During the Milan years (1997-2001) one of the commissioned works was for the newly launched Milano Free magazine (Media UP). This was a city guide based on local goings on in terms of art and culture. Here a few of the covers photographed for the magazine, more will be added as I unpack my Milano boxes (1997-2001). I had the privilege of living about 100m away from Santa Maria delle Grazie, a Dominican monastery with the Cenacolo Vinciano (Leonardo’s Last Supper) on the refectory wall, during the time of its last restoration in preparation for the 2000 Jubilee. These visits later led to the “Sunday afternoon” work, a 3 x 0,4 montage work.
Milano vista da Miguel Proença
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.
Arts & Traps from earth to sea (Artes & Artimanhas da terra para o mar)
2000, Photo book (B&W), bilingual (pt/en), with Raquel Delgado Martins (text), design by Patrícia Proença.
Casa das Artes de Tavira, 2000.
A selection of works and additional information on the Publications page.