Paris Photo 2013 | Carlos Carvalho Arte Contemporânea by Carlos Carvalho Arte Contemporânea

PARIS PHOTO | Nov 14 - 17 2013 Grand Palais, Paris, France

CARLOS CARVALHO ARTE CONTEMPORÂNEA, gallery exhibition room

CARLOS CARVALHO ARTE CONTEMPORÂNEA, gallery storage

DANIEL BLAUFUKS Daniel Blaufuks (Lisbon, 1963) Solo shows (selection) Utz, (Vera Cortes, Lisboa, 2012), Works on Memory, (curated by David Drake and Filipa Oliveira, Ffotogallery, Cardiff, 2012), Três quartos de memória (Fundação Eva Klabin, Rio de Janeiro, Brasil, 2011), Hoje é sempre ontem (curated by Luiz Camillo Osório, MAM, Museu de Arte Moderna, Rio de Janeiro, Brazil, 2011), Perecs Büro (curated by Sérgio Mah, Kunstverein Ruhr, Essen, Germany, 2010), A memória da memória, (Carpe Diem, Lisboa, 2010), O ofício de viver, Galeria Carlos Carvalho, Lisboa, 2010, Viagens com a minha tia / Travels with my Aunt, Solar - Galeria de Arte Cinemática, Vila do Conde, 2009 Album (Centro Cultural Vila Flor. Guimarães, Portugal, 2008), O Arquivo, Agencia Vera Cortes, Lisboa, 2008 Terezin, Galeria Manoel Macedo, Belo Horizonte, 2007, Blaufuks, Galeria La Caja Negra, Madrid, 2007, Cinema Motel, (Elga Wimmer PCC, New York City, 2006), No Próximo Sábado, (Gallery Carlos Carvalho Arte Contemporânea, Lisbon, 2006), A Perfect Day, (Museu do Chiado, Lisbon, 2005), Collected Short Stories, (Centro de Arte Moderna, Fund. Calouste Gulbenkian, Lisbon, 2003), Exile, Image Galery, Aarhus, 2001, Lisboa, Pessoa, Exílio, Saramago, Galeria Luís Serpa, Lisboa, 2001, Fotografias Recentes, Galeria Maria Martin, Madrid, 2000, andorra, Galeria André Viana, Porto, 2000, Uma viagem a São Petersburgo, Encontros de Fotografia, Coimbra, 1998, Flores para Walt e otras historias, Galeria Maria Martin, Madrid, 1998, The White Sands Project/ion Room, Project Room, ARCO, Madrid, 1998, O Livro do Desassossego, Galeria Luis Serpa, Lisboa, 1997, Tasso, Mois de la Photo, Paris, 1996, Ein Tag in Mostar, Haus der Kulturen der Welt, Berlin, Goethe-Institut, Madrid, 1996, London Diaries, Primavera Foto, Barcelona, Centro Cultural de Belém, Lisboa, The Akehurst Gallery, London,1994, A Terra é azul como uma laranja, Galeria Cómicos, Lisboa 1992, Fund. Athos Bulcão, Brasilía, 1995, Cinema Paraíso, Cinema Eden, Lisboa, 1991, My Tangier, Ministério das Finanças, Lisboa, 1991, Para mais tarde recordar, Galeria Ether, Lisboa, 1990 Group exhibitions (selection) Tarefas Infinitas, Fundação Calouste Gulbenkian, Lisboa, 2012 (curated by Paulo Pires do Vale) Between Times, Instants, intervals,

durations (Photoespaña.Teatro Fernán Gómez, Centro de Arte . Madrid, Spain, 2010), Da outra margem do Atlântico, alguns exemplos da fotografia e do vídeo português (curated by Paulo Reis, Centro de Artes Hélio Oiticica . Rio de Janeiro, Brazil), Parangolé: Fragmentos desde los 90 en Brasil, Portugal y España Patio Herreriano - Museo de Arte Contemporáneo Español, Valladolid (curated by Paulo Reis and David Barro), 2008, 50 Anos de Arte Portuguesa, (Fundação Calouste Gulbenkian, Lisbon, 2007), BES Photo, (Centro Cultural de Belem, Lisbon, 2007), Del Zero al 2005, (Fundacion Marcelino Botin, Santander, 2005), Erich Kahn, (Museu de Arte Moderna – Colecção Berardo, Sintra, 2005), 20 + 1, (Centro Galego de Arte Contemporânea, Santiago de Compostela, 2004), We Are The World, (Chelsea Art Museum, New York City, 2004), RE-Location Shake, (National Museum of Contemporary Art, Bucharest, 2004), Pallazzo delle Libertà, Palazzo delle Papesse, Siena, 2003, Arquivo e Simulação - Archive and Simulation, (LisbonPhoto, Centro Cultural de Belém, Lisbon, 2003), Artists in Residence 2002-2003, (Location One, New York, 2003), Open Studios, (International Studio and Curatorial Program, New York, 2002), London Art Biennale,(Shoreditch Town Hall, London, 2000), O Autoretrato na Colecção, (Fundação Calouste Gulbenkian, Lisbon, 1999), Linha de Sombra, (Centro de Arte Moderna, Lisbon, 1999), Biennale Internazionale di Fotografia, (Palazzo Bricherasio, Torino, 1997), En la piel de Toro, (Centro de Arte Reina Sofia, Madrid, 1997), Imagens para os Anos 90, (Fundação de Serralves, Porto, Culturgest Lisbon, 1993). Collections (selection) Byrd Hoffman Foundation, New York, Centro de Arte Moderna da Fundação Calouste Gulbenkian, Lisbon, Centro Cultural de Belém, Lisbon, Centro Galego de Arte Contemporânea, Santiago de Compostela, Colecção BES, Lisbon, Fundação PLMJ, Lisbon, MEIAC, Badajoz, Museu de Arte Contemporânea, Funchal, Museu de Arte Contemporânea - Colecção Berardo, Sintra, Palazzo delle Papesse, Siena, Sagamore Art Collection, Miami and The Progressive Collection, Ohio.

DANIEL BLAUFUKS, A mão esquerda, (from the series O Ofício de Viver), 2010, C-Print, 120 x 175 cm

DANIEL BLAUFUKS, Mão com pistola de brincar, (from the series O Ofício de Viver), 2010, C-Print, 70 x 100 cm

DANIEL BLAUFUKS, Um copo de água, (from the series O Ofício de Viver), 2010, C-Print, 70 x 100 cm

DANIEL BLAUFUKS, Aula de anatomia, (from the series O Ofício de Viver), 2010, C-Print, 70 x 100 cm

DANIEL BLAUFUKS, Panorama de Veneza, (from the series O Ofício de Viver), 2010, C-Print, 70 x 100 cm

DANIEL BLAUFUKS, An Unfinished Story, 2003, diptychs, C-print, 160 x 240 cm

DANIEL BLAUFUKS, One Sunday Afternoon, 2003, diptychs, C-print, 160 x 240 cm

DANIEL BLAUFUKS, The Route to Leh, (from the series Collected Short Stories), Dyptich, 2003, C-Print, 160 x 240 cm

DANIEL BLAUFUKS, As moedas de ouro, (from the series O Ofício de Viver), 2010, C-Print, 70 x 100 cm

DANIEL BLAUFUKS, The Blue Film, (from the series Collected Short Stories), Dyptich, 2003, C-Print, 160 x 240 cm

DANIEL BLAUFUKS, One Day, (from the series Collected Short Stories), Dyptich, 2003, C-Print, 160 x 240 cm

We may define Daniel Blaufuks as an artist capable of contradicting the norm, who expandes and deformes the landscape in order to allow different levels of reading that will in many cases elude his initial intentions. To a certain extent, almost all of Daniel Blaufuks´s works are in the manner of a polyphonic experiment, from arranged ideas; a montage of sequences in a cinematic style, independently of the fact that in many cases it does not valorise a narrative linearity, but, rather, a game of language in the sense of Wittengenstein. In Blaufuks´s work everything has to do with the evolution of the thought process, like a river capable of shaping its own course and ending at the right place. Everything is the product of an event about which we know nothing and in which it doesn´t matter who the protagonists are. Everything is true, and what is not, is pure imagination. Or, in any case, a series of notes that will be of use to him in another story in images, one of those stories capable of building itself. Blaufuks is interested in that suspended moment, that is his decisive moment, precisely the non-decision, the event resulting from the space between two virtual events, the moment of lack of communication in this universe of continuous communication, of saturation of apparently decisive instants, that do not allow the encountering of meaning, at every second, in a simple gesture. Thus, each photograph points out an option, a choice, a phrase, word or story. DAVID BARRO

A world like this one, just a little different “A rabbi, a real cabbalist, once said that in order to establish the reign of peace it is not necessary to destroy everything nor to begin a completely new world. It is sufficient to displace this cup or this stone just a little, and thus everything. But this small displacement is so difficult to achieve and its measure is so difficult to find that, with regard to the world, humans are incapable of it and it is necessary that the Messiah come. Benjamin’s version of the story goes like this: The Chassidim tell a story about the world to come that says everything will be just as it is here. Just as our own room is now, so will it be in the world to come; where our baby sleeps now, there too will it sleep in the other world. And the clothes we wear in this world, those too will we wear there. Everything will be as it is now, just a little different”. G. Agamben, The Coming Community First of all, one must make a distinction between photography and image. The photograph refers to a certain scale, to a relationship with the body, to the point (in space and time) where photography and everyday life meet, of all people and of all things. In the limit, one could say that a photograph is an object. A special object — because it regards other objects —, but an object nevertheless: it is exposed, hanging or projected on a surface; it is in our homes, on the dresser, on the bedside table or on the wall. It can be a portrait, a landscape, a driveway – but the photograph is always conditioned into becoming a thing. Not the image: the image can be a concept, an intuition, a vision. In the limit, and using a Benjamin’s metaphor referring to Baudelaire’s poems, photography is a house of images. In this essay, we are interested in photography, or rather, the photography of Daniel Blaufuks. Because his world isn’t constructed with images stolen from the everyday, nor is he interested in registering things as one sees them, that is to say, his work is not focused in the survey of visual elements that continuously populate our field of vision, nor is it in the visual clichés. His relation is with a world that runs deeper, closer to the origin, to the unconscious, to the nameless. Blaufuks’s Blaufuks’ gesture is no stranger

to the expectation of redemption: the world he constructs is a promise of order, beauty, intensity, sensibility and harmony. In this world, everything is as it is in our world, just a little different. There, which is how Benjamin designates the promised world, is the presentation of something that belongs to the sphere of intuition and memory. And this is the fundamental connection with the work of Daniel Blaufuks: what one expects is rooted in memory, and that is why photography is such a powerful tool in the knowledge of what can never be known: the promised world. Blaufuks’s Blaufuks’ work is a promise in the sense that the images he renders real can be shared, communicated, experimented, they are entrances: to a point of view, to an experience, to a community. A time and space based community emerges through his photographs: men and objects are almost like we know them in our shared life, just a little different. And it is in that slight difference, which is at the same time a gap and a chasm, that the space where Blaufuks’ works is born, the pace where he places the camera and over which his gaze is suspended.

only apparent. Each element contributes to the construction of a field where photography emerges under a new light, clearer, more exacting and reaching further. Photography is space because it is power, the place where meaning occurs and where the current existence of what is presents/presented becomes once again potency, and because of that it is special: a place of metamorphosis, magic, transformation. It is a special space, because it is above all opening. Photography is never closure, but rather a threshold: it draws a boundary line beyond which everything is a little different, even if everything looks the same as here. The definition of photography as space — and note that we are not speaking of the space of the photograph — affirms its own nature, its singularity as technique and expressive tool. Photography is memory, because it fights forgetfulness: the physiognomy that draws from time — the characterization of the so-being of the moment, captive to a remembering activity, to remember the dead, to honor the legacy one receives and to render account to the days that go by. In the limit, photography as memory is in/at ou is serving sem of the service of that which demands not to be forgotten, which cannot be forgotten, which must not be forgotten. Therefore, it also has an ethical, political and moral task to perform.

The world created by the artist wants to save another world, to prevent its dissolution in the silence, in the absence of image, in the absence of shape. That is why the idea of album or atlas is so fitting to him: it designates the effort to secure a certain understanding of the mysterious nature that the world always possesses. And photography is the place where things and images settle in a unit of meaning, an indiscernible unit, compact and subsisting, which remains operating and powerful: it continuously projects its consequences and its shadows on what exists.

It is a text, and its so-being requires that it is read. The metaphor of reading is very convenient, both regarding the relationship established between photography and the world, and the subsequent relationship established between its visitors and occupiers and the photograph: we read the photograph because it transforms the world into reading matter. To be text is to demand a never ending activity of decoding and intelligibility that provokes and puts in action the entirety of the individual’s powers of intelligence and sensibility. It is about canceling the passivity and entertaining nature that photography can have. It is not about a manifest, but rather about creating the conditions where it can be seen.

Referring to his own activity, Blaufuks writes:

Another aspect must be highlighted if we are to look at photography as text. By demanding to be read, photography demands the presence of an other, it demands community, sharing, meeting. This reading game has rules: only he who knows the language can read, the one who learned the grammar, who knows the meaning of the words, who can establish a living community with the text. The difference is that photography is made of images, and one believes that there is no need to learn to see. Blaufuks’s work is exactly the opposite: it highlights the need to learn to see, to know where to place oneself in order to create a place where the one who gazes

“Photography is a space. Photography is a memory. Photography is a text. Photography is a postcard. Memory is an image.” Space, memory, text, postcard and image seem to be placed on the same level, as if one could move directly from one to the other, but the sameness is

and the photograph can meet. Because, in the limit, reading is not only to recognize the existence of another voice, of another life, of an other, but it also establishes the possibility of meeting an infinity of others. The world the Messiah will bring has the same nature: it isn’t a complete break with the world as we know and understand it; rather, it shares our nature, our clothes, our homes. What is surprising is that all of us can recognize and identify that world, because it refers to something we carry inside: it has the nature of evidence. Photography is a postcard because it reminds us of what is far away, it shortens the distance, cancels the absence. To be a postcard is to assume the composite character, organized in the different layers and materials of the photograph: constructed with prefabricated images to which specific, intimate elements are added. In the postcard picture one projects and constructs the unique character of the individual, and thus of the postcard — infinitely reproduced and serialized — becoming something singular and conquering its aura. Finally, to claim that memory is an image is to re-state that a whole life, the whole world and all the things have a place in the image: that anything can compose an image, a symbol, an allegory. And that the image refers to the core of all possible thought. The world that is to come is also an image that is engraved in the sensitive core of the complex phenomenon of hope, reconciliation, and concordance. The work of Daniel Blaufuks presents, constructs and promises images, and in this activity he uncovers the difference between things, the folds that hold the gaze together with time.

DANIEL BLAUFUKS, Candelabro (da série from the series O ofício de viver) 2010 C-Print 120 x 160 cm Ed. 3 + 2 P. A. Ed. 3 + 2 A. P.

DANIEL BLAUFUKS, S/ título Untitled (da série from the series Endless End) 2009 C-Print 30 x 40 cm

DANIEL BLAUFUKS, Untitled (from Hiato series), 2009 C-Print, 60 x 80 cm

DANIEL BLAUFUKS, Untitled (from Hiato series), 2009, C-Print, 120 x 160 cm

DANIEL BLAUFUKS, Usonia (Blau nยบ 12), 2007 C-Print 120 x 160 cm

DANIEL BLAUFUKS, Candelabro (da série from the series O ofício de viver) 2010 C-Print 120 x 160 cm

DANIEL BLAUFUKS, O jardim de Eugène Delacroix (da série from the series Um mundo igual a este mas ligeiramente diferente), 2013, Inkjet print, 120 x 160 cm

DANIEL BLAUFUKS, O guia Baedeker (da série from the series Um mundo igual a este mas ligeiramente diferente), 2013, Inkjet print, 120 x 160 cm

DANIEL BLAUFUKS, O saco de fruta (da série from the series Um mundo igual a este mas ligeiramente diferente), 2013, Inkjet print, 120 x 160 cm

MÓNICA DE MIRANDA Porto, Portugal, 1976 Solo shows Erosion (curated by Gabriela Salgado, Appleton square . Lisbon, Portugal, 2013), An Ocean Between us (curated by Gabriela Salgado, Plataforma Revolver . Lisbon Portugal, 2012), Tuning (National theatre . Utrech, Holland, 2009), Just do it (curated by Fatima Lambert, Quase galleria . Oporto, Portugal, 2009), Underconstruction (curated by Paul Goodwin, Pav. 28 . Lisbon, Portugal), London caravan (INIva . Londres, Inglaterra, 2008), New geographies (exposição itinerante: Plataforma Revólver . Lisbon, Portugal e ImagineIC, Amsterdam, The Netherlands), Tunning A1 (Voyeur project . Lisbon, Portugal, 2008), New Geographies (198 Gallery . London, GB, 2007), Black sheep: do not pull my hair (Studio News Parade . London, GB, 2005), Routes (The Red Gate Gallery, London, GB, 2005). Group exhibition (selection) Do silêncio ao outro hino (Centro cultural português . Praia e Mindelo, Cabo Verde, 2012), Once Upon a time (Carpe Diem . Lisboa, Portugal, 2012), Arquivos secretos (Arquivo fotográfico de Lisboa . Lisbon, Portugal, 2012), L’art est un sport de Combat (Musée des Beaux-Arts . Calais, France, 2011), An then again (Pavilhão Preto, Museu da Cidade . Lisboa, Portugal, 2011), This Location (Mojo Gallery,Dubai, 2011), She is devil (Studio Stefania Miscetti . Roma, Italia, 2010), Teresiasvideos de artists made in Portugal, (Centro cultural de Espana . Montevideo, Urugai, 2010), Whose map is it? (Iniva . London, GB, 2010), This location (The Mojo gallery, Dubai, 2010), New Territories (Pav 28 . Lisboa, Portugal, 2009), Mundos Locais (no âmbito da iniciativa “Allgarve 2008”, Centro Cultural de Lagos . Lagos, Portugal, 2008), Paradise (Museum of Modern Art Hertogenbosh . Hollanda, 2007), Do u hear me (Gulbenkian, O Estado do Mundo - Instalação de som . Lisboa, Portugal, 2007), United Nation (Singapore Fringe Festival, Singapore, 2007), Identity and History (Living Gallery . Itália, 2007), Un-furnished, File . Rio de Janeiro, Brasil, 2007), Lore and Other Convergence, (em colaboração com Janini Antonini, INIVA and Live development Agency . London, GB,

2006), De-colonized Bodies:Video portraits (em colaboração com Guilhermo Gomez Penã and la Pocha Nostra, The art Pavilion, Live developmente agency . Londres, GB, 2006), Black sheep “Do not pull my hair” (Conjunction , Londres , Birmingham, Stoke-on-Trent, GB, 2006), Welcome goodbye Adeus Obrigada (The blue elephant Gallery, apoiado pela Gulbenkian. Londres, GB, 2006), Territories (October Gallery . Londres, GB, 2006), Changing Skins - Rencontres Internationales (roARaTorio, Paris e Berlin, 2006), In the back of our Hands (Centro Pablo de Cuba . Havana, Cuba, 2006), Road lines (Contemporary digital art museum . Buenos Aires, Argentina, 2006), Un-furnished (Node . Londres, GB), European’s Workers Union (Liverpool Biennale and London Biennale . Liverpool e Londres, GB, 2006), London Biennale Self-portraits - exposição realizada dentro do âmbito da retrospectiva do trabalho de David Medalla. (curated by Guy Brett, ICA-Instituto Contemporâneo de Artes de Londres . Londres, GB, 2005), Insomnia - Dis-Covers (Bargehouse, South Bank . London,GB, 2005), In the bag-Changing Skins and Inside out (Brixton Art Gallery . London, GB, 2005), We are the revolution (Elastic Gallery . Whitechapell, London, 2005) 2004 In between the Lines: In Search of identity-New visions (Doncaster Museum, Exposição colectiva de arte contemporânea com artistas británicos da diaspora, participação de artistas: Mona Hatoum, Paula Rego , Shirazeh Houshiary and Balraj Khanna. Exposiçao apoiada pelo Ministério das Artes de Inglaterra . Doncaster, GB, 2004), Crossing The Borders (The Point . Doncaster, GB, 2004), Percursos, Sentidos Grátis, Convento de S. Francisco . Coimbra, Portugal Changing Channels (The Backfabrik . Berlim, Alemanha, 2004), London Biennale (Gallery 294 . Londres, GB, 2004), Labyrinth (Horniman’s Museum . Londres, GB, 2004), Memories (Victoria & Albert Museum, Londron, GB, 2004)

MÓNICA DE MIRANDA, Sem título - da série “Erosion”, 2013, Imp. dig. com tintas de pig. em papel semi-mate, 70 x 100 cm

MÓNICA DE MIRANDA, Sem título - da série “Once upon a time”, 2011, Imp, digital com tintas de pigmento em papel semi-mate, 60 x 90 cm (cada), Ed.3 + PA

MÓNICA DE MIRANDA, Once upon a time. Triptico video Hd, som 6’’, 3 ecras de projeção em madeira, ed. 1/5+PA

MÓNICA DE MIRANDA, Sem título (Once upon a time), 2012, Imp. digital com tintas de pigmento em papel semi-mate, 90 x 60 cm, Ed.3 + PA

ONCE UPON A TIME…AN OCEAN BETWEEN US…AND NEVERMORE…. by Fátima Lambert So far my cultural identity has been an “imaginary home” a place of imagination, thoughts and feelings. Home here will be perceived to have no fixed physical locations—instead, home may relate instead to a mental or emotional state of refuge, belonging or comfort. (Mónica de Miranda, 2012)

“Ce qu’on voit dans les voyages n’est jamais qu’un trompe l’oeil. Des ombres à la poursuite d’autres ombres.” (2) What better way to affirm the journey, but through film? Undoubtedly different authors expressed this conviction. With regard to the works of Mónica de Miranda, we are located in the video production (also installation oriented) and photography - embedded that video to which it refers, thus closing a circle of thought that is psycho-geographic. The identity will have the nationality of the self. And the self will be pasting this, overlapping layers that do not match the chronology or the sum of the months, and the dissolution of decades ... Layers of existence that reside in locations identified, mapped and circumscribed. Monica de Miranda continues a research aimed to gain knowledge of her own cultural matrices, recovery in ancestry, the result of clarity and rigor that goes from the sociological and anthropological to the aesthetic. There are no legitimate revenue streams, existing or general strategies to access to the supposed authenticity of identity - being it one, or being it plural. Each author will have their reasons and proceed accordingly to access it and, in this case, these options are entrenched and determined The I [read the identity] is a search , some authors, in successive assumptions of themselves described it as self-portraits and, often, are self-representations. Sometimes representative axiology is assumed for self-enactment that after its externalisation it validates and introspects itself . Thus, we have sought in the images of external personhood , adding to them attributes , working them in places converted into scenarios and exacerbating certain canonical stipulations: a mixed ideological requirement and aesthetic celebration.

The personality lives in the imaginary succession of time and in its compound of over locations , Sto. Augustine[3]already knew that. It resides on the unequivocal grading, crisscrossed with duration and instant at the intersection of places (which is inevitable) and its ephemerality, in more or less the lucid science of guessing belonging . For that belonging is not just the result of an analysis, critique and reflection (for indexing subjective epistemologies ) before raises the “close, closer”, in a prototype of the others - all those who cross, or only interact and hunch each other ; those who were only a mythical belief - excerpts from an inheritance adulterated or not, those who know are not known but lived as complete. All existing at the same time as the author - Monica de Miranda - in order to recognize the path ancestry: gathers them so. The time that mobilizes, also implies a sense of historical time, not only biographical, chronological and the mythical. Safeguarding the typological distinctions, they are involved, contributing to its definition in the current coordinates. It might be thought of a miscegenation of times, places and hence aesthetic. Not that from there it originates any contamination , instead a consolidation and mastery that results in artistic work. The gaze is not neutralized, either in suspension of contexts or circumstances.

there are no naive gazes to be authentic at 100%. Perhaps only in scope that moved Voltaire, Almada Negreiros[4] or Manoel de Barros. These authors and according to the corresponding periods in which their activity was developed - the supposed naivete and waste of parts and of different authenticity, spontaneity, irony, criticism, lucidity and many other qualities and principles, providing axiologies were they were consistent. However, their reflections lead, to direct paths in search of the most genuine and consistent assertions. So to build up visions wishing to regain (= earn back) what has happened or existed of essential in the lives of others, even to life itself and individuated as an inconclusive outcome that needs to be clarified, repudiated and / or celebrated. II. I can see now, at the end of my map zone that this book is shaped as an architectural ensemble.5 The viewing of a video implies distinct phases - in terms of aesthetic perception - which are unlikely to generalize because of circumstances arising from spectators. Moreover, the video itself is a product of the conditions, contexts and the author states, as well as its intent and operational decision. As for the aesthetic reception, in the Once upon a time at first, “strikes up,” noting the images with analytical order, so to speak, trying to capture / see. In a second

“phase” that requires the viewer to engage in an acuity, fulfilling the act of isolating (if possible ...) elements that are stabilized (like there were a house) in the images in each of the 3 screens. The task can be risky and stressful, in what is being requested to each one, and may be imposed before the 3 projections: redounding ultimately a sense of achievement and overcoming perceptual / aesthetic. Lets explain why:, finished editing the film and subsequent deployment / sedentarization in the space of technological devices to do the projection of video, necessarily affect the reading of content (imagery and semantic). The viewer (aesthetic subject) gets closer or distant in an aggregator process that operationalizes the pragmatic motives and explores the psycho-affective conditions regarding the appropriation aesthetic (and scope) of the work - as aesthetic object. It is then here rendered the potencial of establishing individual maps , defined from the stimulus that viewers can develop through their contact with the video installation - Zones of Contact. The video makes present - before the subject that experiences - a complex plurality, curiously clear and shared on the multiple nature (and synchronous) of iconographic content and semantic. Provides a certain complicity, artistic corollary of deliberations which direct the design and hence the production.

Contemplation is a requirement. The time it takes to contemplate, in this work does not match the “real” duration of the same. It is a typical case of experiencing lasting psychological duration and not the one that is timed. It is the chronology of each one of us, more than what succeeds in other cases , because the hieratic predominates in the capture of images and its presentification (alone and together) as it infect us. Be this a explicit case that relates to this slowness d’apres Milan Kundera or the poetic duration term that Peter Handke made explicit! Extrapolation of imagery of the stillness and duration is a form of fighting the transient . It’s an aesthetic that evokes the current concept of Tableau vivant contextualized and injected from anthropological and societal purposes. Heiress of this pragmatic that combines visual and performing arts, popular in the XIX century , when actors and extras professionals or amateurs - recreated and staged situations and stories that then were decoded by an elitist or wider public. In this case, Tableaux vivants configure episodes, converted to actuality and simultaneously turned into fables. The actuality is reflected in what the author wanted, the tales also belong to her, but also to anyone who visualises the videographic piece installed. In artistic practice, which is much distant to the free “entertainment” game, without concept, the images established and choreographed by Monica de Miranda and the hieratic stillness have become evocative of the happening factor, promoting an ephemeral topic. Given some “stills”, isolating them, so some passages of the triptych dominates the static form of appearances: being of the artist herself, her daughter and the man - who here embodies the masculine gender and both the identity of one or another mate of hers. The character of each - Mother / Daughter / Man - has the valence and pragmatic adjacent to the figures / persona in a Greek theater, ensuring character and typologies of belonging - social, ideological and existential. They represent them beyond themselves , a symbolic assumption, acquiring the “scenarios” that inhabiting an allegorical function. The option for the joint in three projections, with times out of compass by reference to space and time contained in capturing images, confers greater stability in stance and on the claim of the people “typified”, objects and scenarios, more than there were the induction of an effective dynamism . It

generates a paradox: it is known that there is a situation before and after of the situation/ fixed location but this does not become something irreversible. As if we knew that the duration of the scene engenders a strategy to dominate the chronology, for reassurance . Progressing: the assumptions of historical content (privacy versus socio-cultural contemporary history) crossed by poetic images, injected into the presentation of circumstantial ages (Biographical times) privileged , they dominate the passage of time. Through an acting dynamic, in active principle of causality, are the product simultaneously, of this slowness of decisions that presided over the convocation of the drawn scenes, giving them an almost ontological acuity in his own irreversibility. That is, regardless of the decision, or the acting or its absence or cancellation , what happens is unavoidable, hence the appearance of this passive stance surpasses the triyptic videographic images. In certain passages, the development of movements, such as walking, sitting, lying down, pull over ... further accentuates the stop, giving it a supraexistential relevance. III. “…a fine voice is the most universal thing that can be figured; and while the narrow individual that uses it presents himself before the eye, he cannot fail to trouble the effect of that pure universality..”6 The photos do not replace the real , they ttransform it , making it more absent because they reverse the record. They allow to expand and extend their intrinsic knowledge to whom sees them or to whom know that. Photographs should be read because the whole framework has the concept of an Atlas, according to Aby Warburg. That is, the Atlas is a visual way of knowing; allows to give shape to a wisdom in a visual mode. The images contains a superior knowledge and / because visual. Recalling the study of Georges Didi-Huberman[1], Atlas - in this sense - presents itself as “epistemic paradigm of knowledge.” The sequence of photographs associated with the result of the video, a kind of atlas embodies a individual / personalised , which integrates an argument ( a script), and can be applied (with appropriate safeguards, by a process of projective-introspectionn) to others. The photographs are understood in this context as pages. As a book, they let themselves be “handled” by favoring different interpretations of the world,

reinventing readings - of each one of us , agreeing with their circumstances - Ortega y Gasset dixit ... The images designed by Monica de Miranda are structured from a thought transferred in composition. Looking at the pictures alone, seizes up what is a “secret geometry” of its composition, heiress of established knowledge (canons) - going back to the Renaissance - by Leon Battista Alberti-. It should be noted that the secret geometry and depth have been applied to works of art of the 20th century , notably by authors like Madeleine Hours or Bouleau Charles, among others. The visual thinking which governs the composition can be latent, or underlying applied therefore. Each element in the photograph occupies a space that is yours and only there could be - is the conclusion that one has, it seems to stabilize an area of perfectibility. Hence, also, the legitimacy is urgent because of the “delay” (topic about which reflected rather the purpose of the video by the author). This concern in the organization of the image to be, is denotative of aesthetic principles that are assumed to be primordial because revealing the contents and ideas as fundamental. Each unit is indispensable for the visual reading of the whole that is the picture and the selection of pictures, and the consistency of this series. Each offers a unique presence and is individuated exemplar of a whole, can extrapolate from the parameter of the author / biography to others that determine it. The elements / visual singular units are located in internal and external plans, equivalent to the desired conceptual: the evident notes disclosing an extreme intimacy give rise to gigantic factors (and public) of social and human. The architecture of the interior of the house or hotel accentuates the figure . The fact that is there does not gain the right to dwell or of a “home.” Is “home” but also holds out the possibility that it is a place of passage, of transience double meaning: someone who travels there or internal displacement of the” I” of “selves” (in analytical terms). Figures monopolize the attention of the viewer, linking it to excerpts of spaces that are shredded depending on your aesthetic and symbolic interests - as mentioned before. It is a kind of “traveling”, which is brought about from the photos and videos, and has no place in those addresses or actual scripts. However, presides over an imperative demand to the visitor who takes a seat and becomes a belonger of the story.

Power would undertake, along with the author, a sort of imaginary pilgrimage, following the highlight of the tour to the sacred places selected by Monica de Miranda.

[1] By myself, I live and I am in Lisbon... I have been in London... Never been to Mindelo... Never been in Luanda only dreamt about it. I do not live in Rio de Janeiro but it always lives in me [2] Cf. St. Augustine, Confessions, written in the 3rd Century AC. [3] Almada Negreiros, portuguese artist, poet, writer, born at the Island of S.Tomé, 1893;Manoel de Barros, contemporary brasilian poet, born in Mato Grosso (Cuiabá), 1916. [4] “Les routes et les pays ne nous apprennent rien que nous ne sachions déjà, rien que nous ne poussions écouter en nous-mêmes dans la paix de la nuit.” Amin Maalouf, Le Périple de Baldassare,Paris, Grasset, 2002, pp.36-37 [5] Giuliana Bruno – Atlas of Emotions, NY, Verso, 2002, p.5 [6] J.W. Goethe, Wilhelm Meister’s Apprenticeship, ebook The Harvard Classics Shelf of Fiction, Vol. XIV, Copyright © 2001 Bartleby.com, Inc. http://www.bartleby.com/ebook/adobe/314.pdf (consultado em 29 Setembro 2012) [7] Cf. texto de Georges Didi-Huberman in Catálogo da exposição Atlas – como levar o mundo às costas, Madrid, Museu Centro de Arte Reina Sofia, 2011, p.14 e ss. http://www.o-u-t.org/#!texts/ vstc7=f%C3%A1timalambert

MĂ&#x201C;NICA DE MIRANDA, Untitled (an Ocean Between Us), 2013, digital print, 60 x 90 cm

MÓNICA DE MIRANDA, Sem título (Once upon a time), 2012, Impressão digital com tintas de pigmento em papel semi-mate, 90 x 60 cm

MÓNICA DE MIRANDA, Sem título, da série “An Ocean between us”, 2013, Caixa de luz, 2 x (90 x 60 cm), Ed. 3 + PA

EURICO LINO DO VALE Eurico Lino do Vale was born in Oporto, in 1966. He lives and works in Lisbon. He is graduated in Photography Studies by Ar.Co. Lisbon Center for Art and Visual Communication in Lisbon, Royal College of Art in London and Academy of Fine Arts in Düsseldorf, Germany and has been exhibiting regularly since 1992. [Solo shows] Retrato(s) da Aldeia da Luz (Museu da Luz Aldeia da Luz . Mourão, Portugal, 2009), Retratos dos Túmulos dos Reis de Portugal (Carlos Carvalho Arte Contemporânea . Lisbon, Portugal, 2007) and A Nova Geração (Centro de Arte Moderna da Fundação Calouste Gulbenkian . Lisbon, Portugal, 2001). [Group exhibitions] Colectiva (Galeria Oliva Arauna. Madrid, Spain, 2011), Da outra margem do Atlántico, exemplos da fotografia e vídeo português (curated by Paulo Reis, Centro de Artes Hélio Oiticica, Brasil, Portugal, 2010), Aperture (Palácio Cadaval . Évora, Portugal, 2009), Retratos de Sombras (BES Photo – Museu Colecção Berardo. Lisbon, Portugal, 2008), Photoespaña (Centro Cultural Conde Duque . Madrid, Spain, 2008), Colecção BES (Museu Colecção Berardo. Lisboa Lisbon, Portugal, 2008), [RE]VISITAÇÕES_a partir de Pontormo (curated by Luís Serpa, Galeria Luís Serpa . Lisbon, Portugal, 2005), Extensão do olhar (CAV Centro de Artes Visuais . Coimbra, Portugal, 2005), Contrato Social (curated by João Pinharanda, Museu Rafael Bordalo Pinheiro . Lisbon, Portugal, 2005), Densidade Relativa (Centro de Arte Moderna . Lisbon, Portugal, 2005), horizont(e) (Cordoaria Nacional . Lisboa Lisbon, Portugal, 2004), Contemporary Art from Portugal (European Central Bank . Frankfurt, Alemanha Germany, 2002), Accrocharge 04/02 (Galeria Luís Serpa . Lisbon, Portugal, 2002), Roundgang (Kunstakademie Düsseldorf, Alemanha Germany, 1999), Lab 8 (organized by João

Fiadeiro, Lugar Comum, Fábrica da Pólvora . Barcarena, Portugal, 1998).[Collections] Centro de Arte Moderna da Fundação Calouste Gulbenkian, Lisbon, Portugal, Maison Européene de la Photographie, Paris, France, Fundação PLMJ, Lisbon, Portugal, Arquivo Fotográfico da Câmara Municipal de Lisboa, Lisbon, Portugal, Banco Central Europeu, Frankfurt, Alemanha Germany, BES Art Banco Espírito Santo, Portugal, Lisbon, Portugal and Museu Temporário, Lisbon, Portugal

EURICO LINO DO VALE, Portraits of shadows series, 2008, silver and gelatine print, 115 x 115 cm

EURICO LINO DO VALE, Portraits of shadows series, 2008, impress達o em papel de gelatina e brometo de prata, silver and gelatine print, 115 x 115 cm

PORTRAITS WITH TIME David Barro I believe that just one photograph is enough to understand Eurico Lino do Vale’s work. Just one portrait is capable of concentrating all of his concerns, and is a reflection of the conflict that emerges when one’s gaze is tense. Because, rather that portraits, what Eurico proposes are re-doublings, derivations that have to do with what is absorbed in the photographic moment, and above all with memory, which, like a tombstone, weighs upon one’s way of focusing what is portrayed. Enmanuel Sougez stated this very well: “in order to perpetuate emotion the image should be precise and contain the causes of the attraction. The mind cannot be content with the flou of a memory, but should wish to find, at each recall, the whole concrete nature of its adventure. Only photography is capable of satisfying that desire”.

without being overloaded. It seems like the time of the exhibition in the portraits by Eurico Lino do Vale are a lifetime, a sort of nostalgia that appears in the pleated world of shadows, of syncopated notes, in which all is silence. For that reason I imagine that he shuns the view of photography as painting in order to see it more as a poem, as life flowing, or the emulsion of emotion. I short, I am talking about a certain tactile dizziness that slips itself into the elementary, from which existence becomes radical and the – static – image carries out an ascetic mobility. We thus become aware of a sophisticated, seriated and serious photgraphy, which seems to be documentary, but only virtually, as, although in these latest works he shows the public the tombs of the kings of Portugal, it is the deep gaze, or rather a deconstruction of the principles governing it, that allow this architecture as a portrait to point out a place, a memory, but above all a time: that of inevitable destiny and that of photography – time as setting.

In short, what is being referred to is the possibility of capturing the concrete, or in other words, managing to make the emotion rest and be sustained. And this is what Eurico Lino do Vale’s photography does; whether in capturing images of the inhabitants of Alfama, children, common people indeed, and now tombs of the kings of Portugal, with that striking black and white, certainly because it is within this that it becomes more easy for us to come across the lost forms, that mark that time takes care of in leaving it behind as place for memory, as a mysterious permanence. In this world of strangeness, photography stands out as a revelation. The black and white sculpts the matter, as if it had been brusquely sculpted; and makes nature still. Because the white strips bare and stops being meticulous, allowing the photograph to be dense

EURICO LINO DO VALE, Portraits of shadows series, 2008, impressão em papel de gelatina e brometo de prata, silver and gelatine print, 115 x 115 cm

EURICO LINO DO VALE, Levantamento do Palรกcio da Rosa, 2010, impressรฃo em papel a cores, colour print, 40 x 40 cm

Eurico Lino do Vale, S/ TĂtulo (da sĂŠrie Portraits of Women), 2002, lambda print, lambda print, 100 x 100 cm

Eurico Lino do Vale, D. Manuel II, 2007, impress達o em papel de gelatina e brometo de prata, silver and gelatine print, 115 x 115 cm

EURICO LINO DO VALE, D. Manuel II, 2007, impress達o em papel de gelatina e brometo de prata, silver and gelatine print, 115 x 115 cm

Eurico Lino do Vale, S/ TĂtulo (da sĂŠrie from the series Portugal 1998), impressĂŁo em papel de gelatina e brometo de prata, silver and gelatine print, 115 x 115 cm

Eurico Lino do Vale, S/ TĂtulo (da sĂŠrie from the series Cocktail party), 2000, impressĂŁo em papel de gelatina e brometo de prata, silver and gelatine print, 80 x 54 cm

Eurico Lino do Vale, S/ TĂtulo (da sĂŠrie Germany 1997/1998), 1998, impressĂŁo em papel de gelatina e brometo de prata, silver and gelatine print, 115 x 115 cm

EURICO LINO DO VALE, S/ Título (da série Germany 1997/1998), 1998, impressão em papel de gelatina e brometo de prata, silver and gelatine print, 115 x 115 cm