31 December 2009

Untitled

NVM017011-002
Arrifana (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

26 December 2009

FOCUS: “Altas Luzes” by Rita Carmo

Rita Carmo, photographer for Blitz magazine, showed her perspective of music and musicians  by her photographs taken over the years. Now, some of that work (about 200 pictures) can be found in the book entitled “Altas-Luzes” (Highlights).

Publisher website.
Rita Carmo’s blog.

Altas-Luzes-001

21 December 2009

Untitled

NVM017008-002 
Arrifana (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

17 December 2009

‘SCAPE: Ansel Adams


Freeway Interchange, Los Angeles, Ansel Adams 1967

15 December 2009

Untitled

NVM017007-002
Arrifana (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

14 December 2009

EROS: Robert Mapplethorpe


Sonia and Tracy, Robert Mapplethorpe 1988

13 December 2009

Untitled

NVM016032-002 
Arrifana (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

07 December 2009

FOCUS: “Father:Land” by Ara Oshagan

“My father died in June 2000.

A few years before that, he and I decided to embark on a project about Karabagh: a remote mountainous area next to Armenia. A region where the Armenians fought and won a fierce war of independence after the collapse of the Soviet Union. A region still with militarized borders and no political recognition. A place in transformation: the people, the land, the very way of life in political, social, existential upheaval. A place that is part of our distant homeland.

(…)

Father:Land is a project about origins and identity. A project about a place and a people emerging out of a dark history, transforming, forging a new identity, searching for themselves and a new way of life. And also about a very personal becoming, an emergence.”

in Burn Magazine
Ara Oshagan’s website

Sushi, 2006

05 December 2009

Untitled

NVM016005-002 
Paris (France), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

04 December 2009

FOCUS: “The Accidental Theorist” by Edgar Martins

“The imagery of The Accidental Theorist is less a set of pictures than a series of moments that have become independent of causation or function. It resembles a set of location shots for unmade films from lost scenarios. I am often drawn to spaces where I can prioritise poetic memory over concrete topographies.
(…)
Shooting largely on the same set of Portuguese beaches over a period of two years, I sought  to distance myself from conventional spatial representation. 
Shot with a an analogue 4x5 large format camera and making use of long exposures (but not long enough to register star trails) the images are surprisingly flat. “

Edgar Martins’ website

03 December 2009

Untitled

NVM016022-002
Paris (France), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

01 December 2009

‘SCAPE: Ed Ruscha


From the series “Twentysix Gasoline Stations” by Ed Ruscha, 1962

27 November 2009

Untitled

NVM016027-002
Paris (France), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

26 November 2009

FOCUS: “An American Nightmare” by Michael F Mcelroy

“Howard Mallinger and his family were hit by the unexpected. They had moved to Sunrise, Florida, 3 years ago from the Bronx to live their version of “the American Dream”: they put down most of their life savings on a condominium. Life was grand, when without any warning Sheryl was diagnosed with stage 4 brain cancer. Howard was told by the doctors that his wife had only a few months to live, and they should prepare for her death. That’s when things started to spiral out of control. They got behind on their mortgage and utilities. Howard tried to negotiate with their lenders to no avail.  The bank foreclosed on their home and the power was turned off six months ago. With hundreds of thousands of dollars in medical bills piling up, Howard had to file for bankruptcy.  This is not the script an embattled Howard Mallinger, 65, planned for his twilight years. Though Mallinger is now broke and feels humiliated by his circumstances, his commitment to Sheryl and his kids is unwavering, despite battling his own ailments, including trouble walking.”

in Burn Magazine
Michael F Mcelroy’s website

25 November 2009

Untitled

NVM016002-002
Paris (France), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

24 November 2009

‘SCAPE: Guillaume Zuili

untitled
Untitled (Lisbon), Guillaume Zuili 2003

23 November 2009

Untitled

NVM015037-002
Cordoba (Spain), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

22 November 2009

‘SCAPE: Jan Adamski


Cerro Chusq´arbal, San Andrés Sajcabajá, Guatemala, Jan Adamski 2009

19 November 2009

Untitled

NVM015031-002
Seville (Spain), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

29 October 2009

Away

I will be away for two weeks starting tomorrow and I will not be updating the blog in that period. But I will return. Please return as well.

Road – Nevada Desert, Ansel Adams

28 October 2009

Untitled

NVM015036-002
Cordoba (Spain), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

27 October 2009

‘SCAPE: Evandro Teixeira

Voltar / Return
Ruins of Canudos Old Church, Evandro Teixeira

26 October 2009

Untitled

NVM014029-002 
Neves-Corvo Mines (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

22 October 2009

FOCUS: “Father:Land” by Ara Oshagan

“My father died in June 2000.
A few years before that, he and I decided to embark on a project about Karabagh: a remote mountainous area next to Armenia. A region where the Armenians fought and won a fierce war of independence after the collapse of the Soviet Union. A region still with militarized borders and no political recognition. A place in transformation: the people, the land, the very way of life in political, social, existential upheaval. A place that is part of
our distant homeland.
(…)
Father:Land is a project about origins and identity. A project about a place and a people emerging out of a dark history, transforming, forging a new identity, searching for themselves and a new way of life. And also about a very personal becoming, an emergence.”
in Ara Oshagan’s website

Kashatagh region, near the border with Iran, 2006

20 October 2009

Untitled

NVM014024-002
Castro Verde (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

19 October 2009

FOCUS: ‘Foreclosure and Abandonment’ by Eve Morgenstern

“Influenced by Walker Evans’s images of vernacular architecture in the United States and Bernd and Hilla Becher’s images of houses and industrial buildings in Germany, this project will be an extensive archival record of the unstable state of the American home today and will expand to include images from Las Vegas, Stockton, Tampa, Denver, Buffalo and Cleveland.”
in Burn Magazine

“In this particular body of work I explore the American cities of Detroit and Oakland where the architecture and stability of the home is under duress.”
in Eve Morgenstern’s website

eve_morgenstern_abandoned_house

16 October 2009

Untitled

NVM013029-002
Paris (France), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

15 October 2009

‘SCAPE: Edgar Martins


From “Accidental Theorist” series, Edgar Martins

13 October 2009

Untitled

NVM014021-002 
Pulo do Lobo (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

12 October 2009

FOCUS: ‘Massillon’ by Jeff Charbonneau and Eliza French

“(…) their visual language and spirit find root in a shared responsiveness to sources in 19th-century art and  culture. As a result, Charbonneau & French, who have collaborated since 2003, have compiled an impressive body of work brimming with mystery and sensuality,
self-consciously but elegantly Gothic—stills, it would seem, from an Edgar Allan Poe film adaptation directed by Ingmar Bergman, or Fellini’s take on Lewis Carroll.
(…)
Although many of the images provide an erotic frisson, the effects are less soft-core than soft-edge, applying a present-day visual interpretation of the “romantic” to the true romanticism—erratic, obsessed, tempestuous—of the 19th century”

by Peter Frank in On View
Charbonneau and French website

11 October 2009

Untitled

NVM014020-002
Pulo do Lobo (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

08 October 2009

EROS: Irving Penn


Gisele Bundchens, Irving Penn

Photographer Irving Penn dies, aged 92

07 October 2009

From the series: Aseptic

Aseptic   adj., 1. Free of pathogenic microorganisms; Using methods to protect against infection by pathogenic microorganisms. 2. Lacking animation or emotion.
The American Heritage Dictionary of the English Language
NVM013033-002
Paris (France), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

Previous from the same series

05 October 2009

EROS: Jan Saudek


Little Jane, Jan Saudek 1988

01 October 2009

From the series: Deus Ex Machina

In the ancient Greek dramatic theater (and later on the Roman), to enhance the ‘terrible’ effect, a deity’s statue was lowered by means of a machinery – the Deus Ex Machina. Often, this was the turnaround point, when the divinity would bring the solution to a difficulty or to a probable dead end. Still, today’s people expect their god to bring them miracles as a reward of their faith. It is their despair that keeps the machina working.

Deus ex machina comes from Latin and is literally ‘god from a machine’. The camera, made from intricate mechanisms, mirrors and optical prisms, is a perfect alchemist tool were inorganic chemistry delivers the epistemological immortality imprisoned in the gelatinous emulsion. The camera as the machina.
NVM013031-002
Paris (France), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

Previous from the same series

FOCUS: “The Muddy Pastorales” by Jindřich Štreit

“When I take photographs, I am thinking about it a lot. I admit that the village excites me still. Being in France or some other country, when I am driving a car in some landscape and looking at the people in the field, I sometimes think I will go mad. This gets me going somehow. But because one is driving there for some other reason, one says to oneself. No, you must not. I am finding myself in such difficult moments quite often…Village is for me eternal subject matter. I thought over in which other villages I still could be tempted to take photographs, in Greece, Portugal… Many other themes could be named. What is important, however, is to get oneself more under the surface.”

Jindřich Štreit’s website

30 September 2009

Untitled

NVM013019-002
Paris (France), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

29 September 2009

FOCUS: “Cosmos Maya” by Jan Adamski

“Today, expressions of their long lost traditions, condemned by the Catholic church are regaining life in Guatemala and Mexico. Mayan conscience  in all its purity, in which the elements of nature are of great importance and where the relationship and respect between humanity and planet Earth is mutual.”

in Burn Magazine
Jan Adamski’s website

28 September 2009

From the series: Aseptic

Aseptic   adj., 1. Free of pathogenic microorganisms; Using methods to protect against infection by pathogenic microorganisms. 2. Lacking animation or emotion.
The American Heritage Dictionary of the English Language
NVM013017-002Paris (France), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

Previous from the same series

27 September 2009

‘SCAPE: Sean Gallagher

From China’s Growing Sands, Sean Gallagher

25 September 2009

From the series: Aseptic

Aseptic   adj., 1. Free of pathogenic microorganisms; Using methods to protect against infection by pathogenic microorganisms. 2. Lacking animation or emotion.
The American Heritage Dictionary of the English Language
NVM013002-002Paris (França), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

24 September 2009

‘SCAPE: André Cepeda


Afurada, André Cepeda 2005

22 September 2009

From the series: Deus Ex Machina

In the ancient Greek dramatic theater (and later on the Roman), to enhance the ‘terrible’ effect, a deity’s statue was lowered by means of a machinery – the Deus Ex Machina. Often, this was the turnaround point, when the divinity would bring the solution to a difficulty or to a probable dead end. Still, today’s people expect their god to bring them miracles as a reward of their faith. It is their despair that keeps the machina working.

Deus ex machina comes from Latin and is literally ‘god from a machine’. The camera, made from intricate mechanisms, mirrors and optical prisms, is a perfect alchemist tool were inorganic chemistry delivers the epistemological immortality imprisoned in the gelatinous emulsion. The camera as the machina.
NVM0033021-002
Toledo (Spain), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

Previous from the same series

21 September 2009

EROS: Robert Mapplethorpe

mapp1
Lisa, Robert Mapplethorpe 1981

20 September 2009

From the series: Aseptic

Aseptic   adj., 1. Free of pathogenic microorganisms; Using methods to protect against infection by pathogenic microorganisms. 2. Lacking animation or emotion.
The American Heritage Dictionary of the English Language
NVM0029035-002
Madrid (Spain), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

Previous from the same series

18 September 2009

FOCUS: “Born Kings” by Alessandro Penso

“From the first Italian “gay pride” to the conquest of real and proper meetings, both at the local and national levels, this exuberant movement, the result of different stories and souls, has looked for a thread with a common language, speaking, above all, about the right to exist. So, in this work, the body becomes the protagonist, the soul and instrument for this assertion. As in “Born Kings” shows, stereotypes are overcome by means of the same stereotypes and, with slashing irony, a temporary identity is sought, to be discarded after a few minutes. The moments preceding the exhibitions are recurrent and it is exactly there that the complexity at the bottom of my research is to be found. The glances emerging from the masks artfully created to frame them and never to hide them are superimposed to the muscles that contract while in the shadows loneliness and affection emerge.”

Alessandro Penso’s website

17 September 2009

From the series: Deus Ex Machina

In the ancient Greek dramatic theater (and later on the Roman), to enhance the ‘terrible’ effect, a deity’s statue was lowered by means of a machinery – the Deus Ex Machina. Often, this was the turnaround point, when the divinity would bring the solution to a difficulty or to a probable dead end. Still, today’s people expect their god to bring them miracles as a reward of their faith. It is their despair that keeps the machina working.

Deus ex machina comes from Latin and is literally ‘god from a machine’. The camera, made from intricate mechanisms, mirrors and optical prisms, is a perfect alchemist tool were inorganic chemistry delivers the epistemological immortality imprisoned in the gelatinous emulsion. The camera as the machina.
NVM0030037-002 
Madrid (Spain), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

Previous from the same series

16 September 2009

‘SCAPE: André Cepeda


Untitled (Porto), André Cepeda 2008

15 September 2009

From the series: Aseptic

Aseptic   adj., 1. Free of pathogenic microorganisms; Using methods to protect against infection by pathogenic microorganisms. 2. Lacking animation or emotion.
The American Heritage Dictionary of the English Language
NVM0029013-002 
Aveiro (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

Previous from the same series

14 September 2009

FOCUS: “Marilyn and I” by Yury Toroptsov

«“Marilyn and I” started in June 2005 at the Julien’s auction house in Los Angeles where a friend of mine bought an authentic summer dress designed by JAX from the personal wardrobe of Marilyn Monroe. The dress has a strong evocative power. It became an essential element of my artistic project.
(…)
With the dress folded in my photographer’s backpack I went to meet a lot of people at their homes and work places where I collected and recorded the stories of men and women of all ages and all social categories who share at least one thing in common – a strong personal emotional attachment to Marilyn Monroe.»

13 September 2009

From the series: Aseptic

Aseptic   adj., 1. Free of pathogenic microorganisms; Using methods to protect against infection by pathogenic microorganisms. 2. Lacking animation or emotion.
The American Heritage Dictionary of the English Language
NVM027022-002
Aveiro (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

Previous from the same series