Sines, Grupo de Évora - reportagem III

Encerrada a 28 de Setembro
Fotografias de José Manuel Rodrigues:

Igrejinha  5/31/2011  17h41  e Reguengos 10/12/2011  12h40       

Em baixo:  Alqueva  4/5/2013  11h43 / Igrejinha  5/31/2011  17h41  

/ Reguengos 10/12/2011  12h40 / Sr dos Aflitos  Évora  2/8/2011 18h27/ Lisboa 2/3/2012  16h31 / Viana do Alentejo  2/17/2012  1h31       

         

Provas 1/3 (+ 3 P.A.) Impressão em pigmento sobre papel Ilford Gallery Gold Fibre Silk, 50x33 cm

Impressas pelo autor em 2013 

Sines, Grupo de Évora - reportagem II

Encerrada a 28 de Setembro, depois de ter sido apresentada, em diferentes configurações, em Évora (Palácio D. Manuel) e em Lisboa, na Pequena Galeria:

António Carrapato

e abaixo, David Infante

representado pela galeria Módulo

Costa do Sol 2, Maputo 2007

Maputo 2007

Costa do Sol

Catembe

Maputo

Em conversa com o Guilherme Godinho em Moçambique

Em campanha

Quem é o líder em campanha? Quem é? (Encontro de Coimbra, fotógrafo desconhecido)

Filipe Branquinho, duas vezes em Paris: Photoquai 2013 e "Present Tense"

No Photoquai, Musée du Quai Branly, as "Ocupações"

www.photoquai.fr

No exterior do Museu e na galeria interior

No Centro Cultural Gulbenkian, em Present Tense, a série "Chapa 100"

foto: http://makingarthappen.com

E também no acervo de A PEQUENA GALERIA, sob consulta

Re-inauguração

Dias 19 e 20 de Setembro

Uma associação cultural sem fins lucrativos registada no dia 16;

Um site a dar os primeiros passos:

http://apequenagaleria.tumblr.com/

um LOGO:

uma newsletter:

Dia 19

Dia 20

A Pequena Galeria no Público

as galerias não se medem aos palmos, e as fotografias também não

Ainda não voltámos de férias mas estamos no jornal (Público, Ípsilon, hoje,6, pág. 19/20), graças à Luisa Soares Oliveira - com fotografias de Nuno Ferreira Santos: "Quatro galerias contra a crise", com a Belo-Galsterer, a Bloco 103 e a Mercearia de Artes Alves & Silvestre em Coimbra.

(...) "O caso de A Pequena Galeria é diferente.

É pouco maior do que uma

entrada de prédio, fica na Avenida

24 de Julho, também em Lisboa, e

dedica-se exclusivamente à fotografia

de pequeno formato. Sendo propriedade

de um conjunto de sócios

(Alexandre Pomar, Carlos M. Fernandes,

Guilherme Godinho, Carlos

Oliveira Cruz, Bernardo Trindade e

Ágata Xavier), quem fala por todos*

é o crítico de arte Alexandre Pomar,

que segue aqui as pegadas pouco

usuais do “pai” da crítica de arte em

Portugal, José-Augusto França, que

foi também proprietário de uma galeria

na década de 50**. “Sempre gostei

de fotografia”, afirma Pomar,

antes de salientar que o seu espaço

preenche uma lacuna no meio artístico

português. “A fotografia estava

a ser cada vez mais vista em

Portugal como um objecto fotográfico (,***)

de grandes dimensões, semelhante

a uma pintura, o que a torna

caríssima e inacessível. As galerias

tinham como principal objectivo a

venda destes objectos a instituições,

em vez dos pequenos coleccionadores

que, no estrangeiro, compram

muita fotografia de pequeno formato.”

Abriram a 22 de Março e, segundo

a página que mantêm no Facebook,

desde então fizeram “dois

salões, duas exposições colectivas****,

um leilão e três individuais.”

Quando a visitámos, mostrava um

conjunto de trabalhos dos fotógrafos

José Cabral, Luís Basto, Moira Forjaz

e Rogério Pereira. “O comércio não

é o único objectivo da galeria. Nesta

exposição, por exemplo, há 12 trabalhos

que são meus e não estão à venda.

E há também empréstimos do

Centro de Arte Moderna, que obviamente

também não são para vender.”

Nenhum dos sócios tem na galeria

a sua actividade principal. “Eu,

por exemplo, faço aqui sobretudo

mecenato”, acrescenta Pomar. Foi

ele quem acompanhou a itinerância

de uma exposição do chamado “Grupo

de Évora” a Évora e a Sines, onde

poderá ser vista no Centro Cultural

Emmerico Nunes até dia 28, com

trabalhos de António Carrapato, J.

Cutileiro, Pedro Lobo, José Manuel
Rodrigues e David Infante."*****

(...)

* não falo por todos, mas fui convocado a falar.

** de facto não fomos / somos proprietários: Na Gal. de Março, o França ocupou um espaço cedido, e agora eu integro um colectivo, uma associação em constituição. Mas é uma maneira de dizer, tal como a ideia de lhe seguir as pegadas 60 anos depois...

*** (,) sem virgula percebe-se melhor a ideia do quadro fotográfico

**** depois corrigi no fb: exposições de grupo em vez de colectivas.

***** O "Grupo de Évora" está em Sines (onde está principalmente o José M. Rodrigues no CAS) e o "grupo" "De Maputo" (José Cabral, Luís Basto, Moira Forjaz e Rogério Pereira - este numa presença ilustrativa) está no Centro Intercultura Cidade, em Lisboa - acertadamente ao Poço dos Negros.

Obrigado Luísa 

"Pose" (na STET), uma fotógrafa holandesa no Uganda: Andrea Stultiens

	Pose, Ugandan Images Photography and text: Andrea Stultiens Graphic Design: Andrea Stultiens i.c.w. Marloes de Laat Wire Stitched, 56 pages, 17.2x23.7 cm English ISBN 9789460830303 See all the images as panorama's in the album €15,-- (Netherlands), €17,50 (Europe), €19,50 (outside Europe) look inside http://www.post-editions.com Most Ugandans are unable to take a holiday. But it is possible for them to have photos taken with a better world in the background once a year. Pose (Ugandan Images) shows us the photo studios of East-African Uganda as places where one can escape from reality for a short while. In this book, the reader can reconstruct the small studio space by folding out panoramic photos. Pose shows us what we are made to see, rather than what the world actually looks like. Or not? In 2009, Andrea Stultiens received the Bouw in Beeld prize for Pose. On the occasion of the exhibition and the publication of The Kaddu Wasswa Archive, her work Pose is now published in a notebook size (cahier). http://www.anotherafrica.net: "Xanadu, Where Are You?" Written by Another Africa on Jul 10, 2011 in Photography

Dutch artist and photographer, Andrea Stultiens takes a look at this particular juncture of portraiture photography and fantastical backdrops as found in the East African nation of Uganda in her book titled Pose (Ugandan Images). At first look the images appear nostalgic and soft, with a texture similar to photos that have aged with time and exposure. However, her photographs speak to the deeper issue of socio-economics, of the haves and the have nots. About how people who are unable to take vacations, resort to portraiture to transport themselves to their idyllic holiday spot, by the river, overlooking the sea etc. for that touristy snapshot that they can look on throughout the year.
Desire regardless of what form it takes is something influenced by our environment. Stultiens focuses on this area, this space where we take control of that environment and how we then “mould it into a fictional variant of ‘real life’ “and use photography to document it for posterity. ‘Pose’ is quite subtle yet very effective in beautifully illustrating this need to create a dream version of life that somehow looks more pretty.


trazido da Stet: uma descoberta

http://www.andreastultiens.nl

a "on demand edition"...

Crafted, A book about Making and Taking The craft industry represents and literally sells a country’s qualities. It is an industry in the primary, secondary and tertiary sector that makes use of the natural resources of a specific place. It refines those resources and sells them to tourists as a token of remembrance. This book shows the entire value chain in relation to Uganda, a country that has a thriving crafts industry with many Ugandans as well as foreigners involved. ‘Crafted’ deals with the production of the representation of a specific place in an age of globalisation. Preview and/or order the printing on demand edition of the book here

Lee Friedlander

Eu tinha desistido rapidamente de ter todos os livros do Lee Friedlander (...se tal fosse possível), mas agora a ideia parece viável.

Lee Friedlander: Stems
Distributed Art Publishers', New York, 2003. 96 pp., 66 tritone drytap illustrations, 10x12".  
ou ed. Steidl - fora do catálogo


"Of all the books to cross my desk this season, Stems, along with Aaron Siskind 100, is the most elegantly designed, beautifully produced of them all. During a period of a few years in the mid-90s, Lee Friedlander turned to the still life genre as a direct response to the vicissitudes of his life. Aching knees and eventual replacement of both knees, had forced him to consider a less mobile lifestyle and the vases of flowers his wife Maria placed around the house during this time caught his eye. His camera soon followed.  ' Not only would the stems fall into wild array, the vases produced with them a kind of optical splendor. They added a perverse note to the optical qualities of the fine camera lenses. Helter-skelter light refractions and optical exaggerations, as well as compound reflections, happened naturally. A kind of inflammatory effect.' - Lee Friedlander. What designer Katy Homans has done with these vibrant still lifes, however, is truly wonderful. Printed on a heavy mat paper using a special drytrap process, these images are between boards wrapped in a stem-like green cloth. The endpages-a dusty rose color-pleasantly surprise one upon opening the book in much the way the inner petals of a flower reveal themselves only to the attentive. A truly gorgeous book.

www.photoeye.com/bookstore In 1994, suffering from aching knees and painfully concerned about it, Lee Friedlander decided to prepare himself for a sedentary life. He began to pursue the still life as a possibility and maybe a way of photographic life-a dramatic shift for a man who has spent his life photographing on the street, in the woods, on the road, at parties, anywhere but sitting down. He tried a variety of subjects with a few good results, but nothing stood out until he began to look at the fresh flowers that his wife Maria placed around their home in cut-glass vases. But nevermind the flowers. True to Friedlander’s style, he very quickly found himself most interested in the stems. During the months of February, May, June and December of 1994, he focused his lens on wild arrays of stems and the optical splendor produced by light refracting through the glass vases that contained them. In 1998, Friedlander had both of his knees surgically replaced. Three months of recovery time passed during which he took no pictures, the only gap in almost 50 years of working. The next year, successfully rehabilitated and walking without pain, Friedlander decided to re-apply himself to the stems and finish them off as a subject. Published in a lush, oversize volume, printed with a special drytrap process, Stems is the result of this unusual saga in the photographer’s career. Lee Friedlander and his camera have now returned to the street.

www.photoeye.com/bookstore

2

Frederick Law Olmsted Landscapes.

Photographs and text by Lee Friedlander.

D.A.P., New York, 2008. 84 pp., 89 tritone illustrations, 13x12¾".

Publisher's Description
A natural chronicler of all things uniquely American, photographer Lee Friedlander here puts his lens to the work of Frederick Law Olmsted (1822–1903), designer of many of this country’s most iconic public landscapes and the father of North American landscape architecture. Olmsted was responsible for a staggering number of America’s greatest parks, including the Niagara reservation (North America’s oldest state park),Washington Park, the Biltmore Estate, the U.S. Capitol building landscape and entire parkway systems in Buffalo and Louisville. His most famous work remains New York City’s Central Park, a pioneering egalitarian gesture that, at the time, was very unusual for its ready accessibility. This book, published to coincide with The Metropolitan Museum of Art’s 2008 exhibition, compiles 89 photographs made by Friedlander in Olmsted’s public parks and private estates.

This stunning collection of rich tritones celebrates the complex, idiosyncratic picture-making of one of the country’s greatest living photographers, and also arrives upon the 150 year anniversary of Olmsted’s 1858 design for Central Park. Rambling across bridges and through open meadows and dense undergrowth, Friedlander locates a pure pleasure in Olmsted’s designs—in the meticulous stonework, the balance of exposure to shade and in the mature, weather-beaten trees tha

http://www.photoeye.com

3

FRAENKEL GALLERY/HASSELBLAD FOUNDATION Lee Friedlander: Apples & Olives The master photographer best known for his extensive, insightful documentation of "the American social landscape"-- from jazz musicians to factory hands to New York pedestrians and office workers zoning out at their keyboards -- has recently been spending more time looking at the literal, natural landscape. His monumental 2005 MoMA retrospective showed, for the first time, a new series of landscapes made in the American West, while for Olives and Apples, he has looked back over the last decade's work and culled a forest, tree by tree. His docile subjects, apple trees photographed in New York State and olive trees photographed in France, Italy and Spain from 1997-2004, are presented in circumstances ranging from sunny, leafy summer health to glittering winter ice-storm glory. Some of the most striking compositions are shot from just inside the reach of a tree's furthest twigs, so that expanding branching limbs fill the frame, stretching out around the viewer. http://fraenkelgallery.com Apples and Olives. Photographs by Lee Friedlander.  Fraenkel Gallery, San Francisco, 2005. 65 pp., 55 duotone illustrations, 9¾x10½".  Apples and Olives is an absolutely lovely photobook; sumptuously printed, elegantly designed (with the colorful endpages that Friedlander and designer Katy Homans are known for) and, above all, filled with singularly amazing images. But when it comes down to it, Lee Friedlander is a difficult photographer to talk about. As last year’s massive MoMA catalogue illustrates, he has traversed the photographic landscape rather thoroughly, moving from editorial work to street photography to any number of personal projects, almost all of which have culminated in a book. The images in Apples and Olives come as direct offspring of a vision that was first realized in The Desert Seen and then again in Self-Portrait (from 2000, not the groundbreaking 1970 monograph), but that was most ascendant in Sticks & Stones. Throughout his career, Friedlander has consistently used specific subject matter (like the urban landscape, or the desert, or apple and olive trees) to explore the flat picture plane. More specifically, in the four aforementioned books, it is a square, black-andwhite, photographic two-dimensionality that he is playfully yet sophisticatedly concerned with. Friedlander is a master of creating unity out of diverse shapes and tones in the two-dimensional picture plane. On this level, the subject matter is arbitrary and irrelevant. The work, however, is not.   http://www.photoeye.com Na livraria da Culturgest compram-se ao preço da uva mijona, isto é, a preços imbatíveis ou de saldo, mas novos. 20 € + 27,50 € + 17,50€ (ed. harcover a preços hardcore). Obrigado CGD (Em tempo: reapareceram os catálogos da exp. OFERTÓRIO, de José M. Rodrigues) Nenhum outro fotógrafo português poderia ombrear com o Friedlander, fazendo outra coisa (auto-retratos, nus, paisagens, etc.)