From Kayelitsha to Maison Tropicale: Looking at Ângela Ferreira’s space metaphors on memory, reification, and belonging (original) (raw)
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2021
E, na contemporaneidade, importante perceber as interacoes entre a producao artistica e o publico. Neste artigo formula-se, partindo da frase de Paul Klee “a maioria nao esta connosco”, uma reflexao no sentido de perceber o fenomeno que se conhece como divorcio publico-arte. Faz-se um enquadramento do fenomeno e, recorrendo a teses de Max Horkheimer e Theodor Adorno, relativas a industria cultural e a teses de Gilles Lipovetsky, que aborda o tema da hipermodernidade, pretende-se compreender a expressao deste afastamento entre publico e arte na sociedade atual. Neste sentido, temas como a mediacao e a componente performativa da arte, a capacidade sensivel e percetiva do publico na circunstância historica e a hipermodernidade e a relacao do individuo com o tempo, tornam-se temas indispensaveis de ser abordados para a presente analise.
Geraldo de Barros: Photography as Construction
H-ART. Revista de historia, teoría y crítica de arte, 2018
This essay analyzes the form and content of Brazilian artist Geraldo de Barros’ 1951 exhibition Fotoforma. In the Fotoforma photographs, Barros employed photography as a process of construction. With photographs of construction materials as his building blocks, Barros rebuilt urban space by layering his negatives with artistic interventions, drawing attention to the tenuousness (physical and theoretical) of São Paulo’s urban structure. The experimental form of Barros’ oeuvre, as well as his interest in vernacular spaces, creates a place for marginalized narratives to enter the dialog of Brazilian modernization. Resumen Este ensayo es un análisis de la forma y el fondo de la exposición de 1951 del artista Geraldo de Barros titulada Fotoforma. En las fotografías de Fotoforma, Barros empleó la fotografía como un proceso de construcción. Con fotografías de materiales de construcción como su fundamento, Barros reconstruyó el espacio urbano mediante la combinación de sus negativos con intervenciones artísticas, llamando la atención a la falta de solidez (física y teórica) de la estructura urbana de São Paulo. La forma experimental de la obra de Barros, así como su interés en espacios vernáculos, crea un espacio para que narrativas marginalizadas entren en el diálogo de la modernización del Brasil. Palabras clave Arte moderno de Brasil, fotografía experimental, São Paulo, urbanización, marginalización. Resumo Este ensaio constitui uma análise da forma e do fundo da exposição de 1951 do artista Geraldo de Barros, intitulada Fotoforma. Nas fotografias de Fotoforma, Barros empregou a fotografia como um processo de construção. Com fotografias de materiais de construção como o seu fundamento, Barros reconstruiu o espaço urbano por meio da combinação dos seus negativos com intervenções artísticas, chamando, assim, a atenção para a falta de solidez (física e teorética) da estrutura urbana de São Paulo. A forma experimental da obra de Barros, bem como o seu interesse por espaços vernáculos, cria um espaço para que narrativas marginalizadas entrem no diálogo da modernização do Brasil. Palavras-chave Arte moderna do Brasil, fotografia experimental, São Paulo, urbanização, marginalização.
PORTO ARTE: Revista de Artes Visuais, 2017
Organization by Alexandre Santos and Ana Maria Albani de Carvalho, the book "Imagens: arte e cultura" (Images: art and culture) (Editora da UFRGS, 2012, 336 pages) gathers 19 articles and essays that investigate the relations between image and culture in the spheres of history, theory and criticism. The texts present studies from researchers who share interest in the reflection on the mechanical image-especially the photographic one, from its emergence in the 19th century to the present-and the later practices of image production, such as the cinema, the video and the digital. The book has as important contribution the establishment of interchanges between different approaches and research methodologies related to the phenomenon of the image.
2020
This article presents three research gestures (enlarging, dismantling and diverting) undertaken at the photographic archive of the Sylvio de Vasconcellos Photo-Documentation Laboratory, in order to highlight aspects that have established a field of debate regarding city, technique and everyday life. This was engaged upon with sources from the Photo-Documentation Service in the School of Architecture at the Universidade Federal de Minas Gerais, chiefly from the years 1954 to 1964. The research gestures, as poetics, experimented with ways of “making the archive speak”. They also provoked sounds when they brought into discussion the ordinary life captured through photography, and the implications of this technical mediation in the practice of the city and in constructing representations and discourses. By penetrating the devices of the patrimonial archive and focusing on the historical plot surrounding the vernacular, these gestures have glimpsed critical updates of what was discarded,...
PHOTOGRAPHY, MEMORY AND IDENTITY FOTOGRAFÍA, MEMORIA E IDENTIDAD
The interest of this work lies in the revision of some of the elements of language inherent to audiovisual creation, through the analysis of a specific case belonging to the photographic medium, and located in the geographical space of the Moroccan city of Fez. The photographic perspective that interests us here is that of the ratification and certification of the referent that reproduces the photograph, based on the description that "every photograph is a certificate of presence" (Barthes, 1990), which together with its essence , places it in what we could metaphorically call, a mirror of reality, apprehending all that it reflects. Its physical essence captures the "trace of light" beyond the mirror that inverts it, in that magical distillation of light in the darkness of the camera, which as a metaphor for the cave, will place us in the perspective of the knowledge of the social sciences. In this way, every photograph tends to transfer physical space to move it into mental space, in clear association with memory. This relevance and photographic effectiveness will seldom have anything to do with the intentionality of the author, since this visual production is within the reach of the community that assumes it, configuring itself as strong elements of the identity, together with the imaginaries that it invokes and the construction of cultural archetypes. KEY WORDS: documentary photography-identity-social memory frames-imaginary-Fez-orientalism-photographic theory. RESUMEN El interés de este trabajo radica en la revisión de algunos de los elementos del lenguaje inherentes a la creación audiovisual, mediante el análisis de un caso concreto perteneciente al medio fotográfico y situado en el espacio geográfico de la ciudad marroquí de Fez. La perspectiva fotográfica que aquí nos interesa es la de la propia ratificación y certificación del referente que reproduce la fotografía, atendiendo a la 1 José Muñoz Jiménez: Professor of the Department of Audiovisual Communication and Advertising of the University of Málaga, he is a specialist in documentary photography and audiovisual media. His research in audiovisual communication is related to the field of anthropology and fine arts. josemunoz@uma.es
DOCUMENTÁRIO/ DOCUMENTARY, 2018
Documentary, 2018 “Documentary” brings together different strategies for registering the work process developed for the creation of the choreographic work with the same name, which premiered at Festival DDD 2018. Gathering contributions from several collaborators, we put together different documentation proposals that underline different aspects of the work developed through creative residences in Lisbon, Porto, Vila do Conde, Barcelona and Guimarães, between August 2017 and October 2018. These different documentation strategies represent pieces of a process that unfolds with each attempt to describe it. Production / Edition: Joclécio Azevedo. Authors: Joclécio Azevedo; Cláudia Galhós; Daniel Ribas; Melissa Rodrigues; Olivia da Silva; Paulo Mendes; Pedro Tudela; Rita Castro Neves; Susana Neves Translation: Júlia Ferreira. Review: Júlia Ferreira and Paulo Vasques. Design: Lina & Nando. Project financed by: República Portuguesa – Cultura, DGArtes – Direcção-Geral das artes