nuno vieira matos' photography

Goodbye Gérard

2011-02-13T14:20:00.001Z

Gérard Castello-Lopes, one of the best known Portuguese photographers died yesterday in Paris. Thanks to him, we now have a good illustration of the 50s in Portugal instead of the regime approved pictures. Some people called him the Portuguese Cartier-Breson. I prefer to say that Castello-Lopes was able to bring an European style to our endogenous country.

Thank you Gérard.

Away

2011-01-11T09:23:00.002Z

Due to some projects happening in simultaneous requiring my full effort I've paused posting here. However, please be informed that the return is imminent.

Cheers

Untitled

2010-11-04T20:43:00.000Z

Baltimore, MD (USA), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

motion pictures: Bruce Gilden

2010-10-30T10:48:00.001+01:00

Untitled

2010-10-26T12:14:00.000+01:00

Baltimore, MD (USA), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

motion pictures

2010-10-21T21:02:00.001+01:00

You need to install Adobe Flash Player, or use an HTML5 browser that supports H.264 video.

Untitled

2010-10-17T21:48:00.000+01:00

Baltimore, MD (USA), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

Large Format Camera with Paper

2010-10-14T21:50:00.001+01:00

Yesterday Ricardo brought his Large Format camera to the lab. We took a 24x18 RC paper and placed it in the negative holder. Four minutes of exposure at f4.5 gave a dark negative print. This is the positive image from the digitalized negative. After this session we were happy like small kids. Can you blame us?

Untitled

2010-10-07T19:03:00.000+01:00

Vila Viçosa (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

EROS: Robert Demachy

2010-09-30T21:56:00.001+01:00

Study (Nude), Robert Demachy 1906

Untitled

2010-09-27T19:25:00.001+01:00

Baltimore, MD (USA), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

‘SCAPE: Josef Koudelka

2010-09-19T15:56:00.001+01:00

France, Josef Koudelka 1987

Untitled

2010-08-30T19:43:00.000+01:00

Vila Viçosa (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

FOCUS: “Chica Barbie” by Carl Bower

2010-08-25T16:25:00.001+01:00

“Set against a backdrop of poverty, crime, and the hemisphere’s longest running civil war, nowhere are the contests more ubiquitous and revered than in Colombia. In these carefully scripted shows of fantasy, beauty as a concept, commodity and singular goal is stripped to its raw elements. There is no ambiguity or pretense that anything else matters.

The queens are celebrities. Many of the roughly 400 contests a year can shut down a small town for days as thousands jam plazas and parade routes for a glimpse of them. Icons of a rigidly defined ideal, the contestants highlight the conflated relationship between beauty and attraction. Many of them seem familiar, stirring recollections of the same perfect features seen elsewhere, along with the identical flirtatious laughter, mock surprise and relentless optimism. In their quest for adoration, they erase all traces of individuality.”

Carl Bower’s website.

Away

2010-08-06T22:50:00.001+01:00

See you in two weeks…

Untitled

2010-08-06T22:47:00.000+01:00

Vila Viçosa (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

EROS: Robert Demachy

2010-08-05T18:54:00.002+01:00

Untitled

2010-08-03T11:07:00.000+01:00

Douro’s region (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

‘SCAPE: Mitch Epstein

2010-07-27T22:23:00.001+01:00

Omaha, Nebraska, from the series “What is American Power?”, Mitch Epstein 2008

Return

2010-07-25T13:05:00.001+01:00

It is been a while since I do not post here. Time constraints along with the fact that I am in serious need for some vacations are the main reasons. However, another reason was preventing me to post more often. I was able to get a space to assemble my own printing lab. It is a small space but has an interior room, a living-room/kitchen and a bathroom with a shower cabinet, and best of all: is near my house. It’s perfect. I’ve painted the interior room mostly in white (matt); the part where the enlargers will be placed (about 1/3) was painted black.

The installation is still temporary; in the second semester I am planning to have something more permanent, including two workstations.

Some pictures to show you (taken with my mobile so ignore the low quality):

The enlarger (Opemus) with two safety lights (for now placed on the table), all the necessary accessories and a fan (Portugal weather); you can see the black background.

Here you can see the white and black paintings; I have decided to not paint all the room in black because that would decrease the lighting capacity of the safety lights.

Because I want to have low start-up and wrap-up times, the trays are covered with wood panels to prevent evaporation and oxidation; this way I just need to remove and place the panels which takes less time than transferring the chemical between the trays and the recipients. Let’s see if this works. This is the part where I realize that I am not young anymore; I definitively need to have a table there.

This is the shower cabinet. I bought a smaller shower cabinet floor to use as a washing tank; it is built with a polymer which makes it lighter and cheaper; my next challenge, to place it higher.

Finally, my first print being washed; 24x18 FB paper of a street scene needing some serious mask for the sky.

I’ll post more pictures when a more definitive installation is set up.

I want to thank Ricardo Canelas and Cristina for all the support.

Untitled

2010-06-14T21:41:00.000+01:00

Douro’s region (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

EROS: Imogen Cunningham

2010-06-12T00:01:00.002+01:00

Twinka, Imogen Cunningham 1974

Untitled

2010-05-30T23:05:00.000+01:00

Évoramonte (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

‘SCAPE: Signerad Lennart Olson

2010-05-23T18:02:00.001+01:00

Untitled

2010-05-09T09:50:00.000+01:00

Armação de Pêra (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

‘SCAPE: Anne Lass

2010-05-02T17:02:00.003+01:00

Untitled (Praia das Maçãs), Anne Lass 2009

It started

2010-04-19T21:10:00.001+01:00

More information here. Please show.

Untitled

2010-04-18T22:45:00.000+01:00

Vila Real (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

Exhibition

2010-04-15T21:51:00.001+01:00

All set for the opening of “Richard III” exhibition, Saturday, April 17th, 6pm. Please show!

More informations can be found here.

FOCUS: “Superficielle” by Ricardo Canelas

2010-04-15T21:44:00.001+01:00

What happens when an entire city collapses beneath water and the most absolute despair? More significantly, what happens to that same city after such catastrophe? Ricardo Canelas takes us there in the eyes of a spectator that most of the times seems invisible and inconsequent to the routine life of the inhabitants. Resigned, people seem to live holding times, probably still surprised for what happened, perhaps profoundly tired. Canelas carefully composed a vanitas in a form of a photographic set for our own abandonment.

NVM

Ricardo Canelas’ website.

Untitled

2010-04-12T22:53:00.001+01:00

Vila Real (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

Exhibition

2010-04-11T17:57:00.001+01:00

This body of work results from an interpretation, using Photography, of the creative process involved in staging Shakespeare’s play “Richard III” by Grupo de Teatro de Letras, directed by Avila Costa. Like Power itself, Richard also attracts the audience to the machiavellian swirl of conspiracy through his monologues. In those moments Richard shares the stage with his thoughts and the latter with our curiosity for a certain evilness for conquest. Richard mirrors us. Once set, we start finding Richard in all the other characters and a sense of claustrophobia emerges from this play.

Building such plot is made with masks after deconstructing the perception of an individual of that staging. Words group together into sentences, that break into lines which will need the actor to be in the zone. The actor is an interpreter and carries the immense responsibility of showing it to us, without the safety net of writing, canvas or photographic paper, developed and fixed. Through photography and exposing the result in an almost chronological fashion, a history is built remaining necessarily incomplete. Stage tension is transmuted in the suspension of the bodies in the paper and the masks are crystallized in the only context delivered by the photographic subject. In the end, the work exhibited tries to be as timeless as the play itself, not because there is an implication but because of the play subject on its own.

Nuno Vieira Matos
nunovieiramatos@gmail.com
http://nunovieiramatos.blogspot.com
http://www.nucleoartefotografica.com

Thanks to: Avila Costa for the opportunity and availability, to the actors in GTL for the cooperation (Andre Canario, Andre Pardal, Bruno Matay, Carolina Rocha, Catarina Salgueiro, Claudia Pinto, Isabel Martins, Ivo Santos, Joana Araujo, Joana Lima, Joana Campelo, Jorge Albuquerque, Jorge Completo, Mariana Vieira, Marisa Russo, Miriam Vieira, Monica Carrusca, Raquel Cipriano), Joao Figueiredo Dias for the support and logistics, Flavio Nunes for the videos, Nucleo Arte Fotografica for the opportunities it allow, Mafra Municipality for the space, Pedro Ramos for the availability and strong commitment, and Cristina for being there always.

FOCUS: “Lisbon at Night” by Luis Pavao

2010-04-10T11:16:00.001+01:00

"There is no demagogy or easy transient here: there is the patient and passionate search from the one who lives in the night. The result is a different look: the night is not autonomous in it’s own space, unsuspected horizons are now overcome, characters that are not waste of the daylight come to live; they live by those hours their moment of existence (…)”

Translated from the online book store here.

Untitled

2010-04-07T22:24:00.000+01:00

Vila Real (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

FOCUS: “Bullying in Mirandela” by nelson d’aires

2010-03-26T23:00:00.000Z

“Past Tuesday, after being beaten by an older student, 12 years old Leandro Pires runaway from school and jumped to Tua river, in Mirandela (Portugal). Twin brother and cousins tried to stop him but with no success. Leandro Filipe Pires, living in Mirandela was a victim of bullying”

Translated from here.
Nelson’s website.

Untitled

2010-03-24T20:33:00.000Z

Atouguia (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

FOCUS: “Israeli Woman” by Victor Ben Tzvi

2010-03-21T18:04:00.001Z

“ISRAELI WOMEN is a photo-poem in developing stages about western woman in the modern cultural climate; a dialogue between the phenomena and the abstract feminine essence. The project is not a candid documentary work uncovering the phenomena through personal stories. In fact, my sitters are Personages – synthesis of their authentic characteristics and thematically attributed narratives.”

in Burn Magazine
Victor Ben Tzvi’s website

Challenge

2010-03-08T22:26:00.001Z

"...cities burn day and night..."

More details in www.nucleoartefotografica.com.

Questions may be addressed to naf.ist@gmail.com

Untitled

2010-03-08T22:10:00.000Z

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

Exhibition: “Richard III”

2010-02-26T08:05:00.001Z

I will be in Fábrica Braço de Prata from 6 to 8:30 pm on 27th February. Please show.

Last day: 28th February

More information here.

EROS: Pascal Renoux

2010-02-23T22:21:00.001Z

Nude, Pascal Renoux

Untitled

2010-02-15T21:35:00.000Z

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

FOCUS: “A Gloomy Day” by Jorge Molder

2010-02-14T22:07:00.000Z

“Jorge Molder’s photography arises from the changes that these ‘imagined and perfect characters’ delimit in our physical being. They arise from a visual perception that allows for ‘obscure visions’ and establishes the instinctive realization on an independent reality. Independent from the private intensities of people (…). This is the light, at least, this is the light of a Gloomy Day. (…)”

Translated from a review by Joao Miguel Fernandes Jorge.
Jorge Molder’s website.

Exhibition

2010-02-03T23:36:00.001Z

Richard III
nuno vieira matos

Fábrica Braço Prata (Lisbon)
Opening: 4th February, 7:30 pm
Ends 28th February

More information here (in portuguese).

Soon presentation text in English and the exhibition pictures.

Untitled

2010-02-02T22:19:00.000Z

Untitled, Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

FOCUS: “Fairytale” by Miwa Yanagi

2010-01-31T17:36:00.001Z

“This series uses as its base tales in which young girls and old women appear, such as the fairy tales of the Brothers Grimm and the short story Erendira by Gabriel García Márquez. (…) Fairy Tale consists of black-and-white photographs made in an orthodox way (…). Here, girls play both young and old roles by means of special effects makeup in strange, closed-off indoor settings that are at the same time internal landscapes from the artist's own psyche, as well as a world of metaphors and symbols that goes beyond Yanagi's own vision in a way that makes these images worthy of the appellation “fairy tale.” By no means are these images mere illustrations of the fairy tales on which they are based; they are the unique creations of the artist Miwa Yanagi which are sure to capture the imagination of all those who view them.

Review here.
Miwa Yanagi’s website.

Untitled

2010-01-18T23:45:00.000Z

Armação de Pêra (Portugal), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

FOCUS: “Segunda Escolha” by Antonio Pedro Ferreira

2010-01-16T22:39:00.001Z

“What takes a newly graduated doctor to abandon Portugal and go to Paris? Disappointed with the situation in Portugal, regretting the choice of degree or the courage to runaway with his lover, the photography?
(…)
This runway starts in 1982 and will last to 1984, the period use by the young doctor to remain in Paris chasing Portuguese emigrants, searching for a set of images that could witness and deliver social understanding about them.
(…)
Intense months. Magnum Agency was supervising the work. (…) Never before a Portuguese photographer had this chance.”

Translated from a text written by Luiz Carvalho (the complete version, in portuguese can be found here).

[kgallery] site

Currently being exhibited at K Galeria, Lisbon.

Untitled

2010-01-13T21:52:00.000Z

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

EROS: Helmut Newton

2010-01-12T23:21:00.001Z

Celia, Miami, Helmut Newton 1991

Untitled

2010-01-05T23:28:00.000Z

Lisbon (Portugal), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

EROS: Sára Saudková

2010-01-04T22:33:00.001Z

Geisha, Sára Saudková 2002

Untitled

2009-12-31T11:59:00.000Z

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

FOCUS: “Altas Luzes” by Rita Carmo

2009-12-26T21:51:00.001Z

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.

Untitled

2009-12-21T22:00:00.000Z

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

‘SCAPE: Ansel Adams

2009-12-17T22:12:00.001Z

Freeway Interchange, Los Angeles, Ansel Adams 1967

Untitled

2009-12-15T22:09:00.000Z

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

EROS: Robert Mapplethorpe

2009-12-14T20:57:00.002Z

Sonia and Tracy, Robert Mapplethorpe 1988

Untitled

2009-12-13T21:51:00.000Z

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

FOCUS: “Father:Land” by Ara Oshagan

2009-12-07T20:53:00.001Z

“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

Untitled

2009-12-05T23:22:00.000Z

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

FOCUS: “The Accidental Theorist” by Edgar Martins

2009-12-04T21:20:00.000Z

“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

Untitled

2009-12-03T23:03:00.000Z

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

‘SCAPE: Ed Ruscha

2009-12-01T21:08:00.000Z

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

Untitled

2009-11-27T23:32:00.000Z

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

FOCUS: “An American Nightmare” by Michael F Mcelroy

2009-11-26T21:27:00.001Z

“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

Untitled

2009-11-25T23:10:00.000Z

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

‘SCAPE: Guillaume Zuili

2009-11-24T22:14:00.000Z

Untitled (Lisbon), Guillaume Zuili 2003

Untitled

2009-11-23T22:09:00.000Z

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

‘SCAPE: Jan Adamski

2009-11-22T19:50:00.000Z

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

Untitled

2009-11-19T22:42:00.000Z

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

Away

2009-10-29T22:25:00.000Z

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

Untitled

2009-10-28T20:29:00.000Z

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

‘SCAPE: Evandro Teixeira

2009-10-27T21:59:00.001Z

Ruins of Canudos Old Church, Evandro Teixeira

Untitled

2009-10-26T20:14:00.000Z

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

FOCUS: “Father:Land” by Ara Oshagan

2009-10-22T16:12:00.001+01:00

“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

Untitled

2009-10-20T21:43:00.000+01:00

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

FOCUS: ‘Foreclosure and Abandonment’ by Eve Morgenstern

2009-10-19T21:31:00.001+01:00

“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

Untitled

2009-10-16T22:57:00.000+01:00

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

‘SCAPE: Edgar Martins

2009-10-15T23:40:00.000+01:00

From “Accidental Theorist” series, Edgar Martins

Untitled

2009-10-13T22:50:00.000+01:00

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

FOCUS: ‘Massillon’ by Jeff Charbonneau and Eliza French

2009-10-12T22:21:00.001+01:00

“(…) 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

Untitled

2009-10-11T23:10:00.000+01:00

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

EROS: Irving Penn

2009-10-08T20:47:00.002+01:00

Gisele Bundchens, Irving Penn

Photographer Irving Penn dies, aged 92

From the series: Aseptic

2009-10-07T21:17:00.000+01:00

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

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

Previous from the same series

EROS: Jan Saudek

2009-10-05T21:29:00.001+01:00

Little Jane, Jan Saudek 1988

From the series: Deus Ex Machina

2009-10-01T22:26:00.001+01:00

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.

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

Previous from the same series

FOCUS: “The Muddy Pastorales” by Jindřich Štreit

2009-10-01T21:54:00.001+01:00

“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

Untitled

2009-09-30T21:41:00.000+01:00

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

FOCUS: “Cosmos Maya” by Jan Adamski

2009-09-29T22:39:00.000+01:00

“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

From the series: Aseptic

2009-09-28T22:15:00.000+01:00

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
Paris (France), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

Previous from the same series

‘SCAPE: Sean Gallagher

2009-09-27T23:08:00.000+01:00

From China’s Growing Sands, Sean Gallagher

From the series: Aseptic

2009-09-25T20:55:00.000+01:00

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
Paris (França), Nuno Vieira Matos, 2006 (gelatine silver print) – click to enlarge

‘SCAPE: André Cepeda

2009-09-24T22:42:00.000+01:00

Afurada, André Cepeda 2005

From the series: Deus Ex Machina

2009-09-22T23:57:00.000+01:00

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.

Toledo (Spain), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

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EROS: Robert Mapplethorpe

2009-09-21T21:23:00.000+01:00

Lisa, Robert Mapplethorpe 1981

From the series: Aseptic

2009-09-20T19:09:00.000+01:00

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

Madrid (Spain), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

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FOCUS: “Born Kings” by Alessandro Penso

2009-09-18T22:44:00.000+01:00

“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

From the series: Deus Ex Machina

2009-09-17T22:58:00.001+01:00

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.

Madrid (Spain), Nuno Vieira Matos, 2007 (gelatine silver print) – click to enlarge

Previous from the same series

‘SCAPE: André Cepeda

2009-09-16T22:05:00.000+01:00

Untitled (Porto), André Cepeda 2008