SUSANA DE SOUSA DIAS

PAULO MENDES

RAQUEL SCHEFER

CATARINA SIMÃO

STILL LIFE (NATUREZA MORTA) | Susana de Sousa Dias

2005, 72", Kintop

​

Within an image, another one is always hiding. Using only archive footage and without words, Still Life aims to rediscover and delve into the opacity of images made during the 48 years (1926-1974) of Portuguese dictatorship (news, war footage, propaganda documentaries, photos of political prisoners and also previously never seen rushes) in order to foster new interpretations.

​

​

S DE SAUDADE, CONTINUAR PORTUGAL (SECRETARIA GERAL) | Paulo Mendes

2010, Video DV PAL, 4:3, cor, p/b, som, 11"

​

“What is the truth?” asked Salazar in his speech in 1966, in Braga, during the celebration of the 40th aniversary of the 28th of May. In this video, official images of the trip to the Portuguese Empire in Africa, made by the President of the Republic, General Carmona, are added and merged with an older video work from series S de Saudade, enti- tled O Passado e o Presente (2008), thus critically evoking the portuguese political and social memory of the period of Estado Novo (New State).

​

​

GRANNY (MUIDUMBE) | Raquel Schefer

2009, Stereo sound, Video HD, color, 11’

​

Mozambique, 1960, just before the beginning of the war, portrait of a colonial family. A sequence of archive footage shot by my grandfather, former colonial administrator, is the point of departure for an experimental documentary on the history of the Portuguese decolonization and its memory. Double memory or memory split in two: the lived and descriptive memory of the colonizers (their texts, their images) versus the invented memory of their descendants. This film is an attempt to represent my indirect memories of Mozambique.

​

​

MUEDA 79 | Catarina Simão

The Mozambique Archive Series, Lisboa, 2013, Stereo sound Video HD, color, 11"

​

Mueda 79 is a close reading of a 7 minutes film sequence of Ruy Guerra’s Mueda, Memória e Massacre, produced in the late 1970’s by Mozambique National Institute of Cinema. By using repetitions and causing the focus to shift to the number of times that a scarf is taken from Modesta’s head, with the objective of delaying the meaning of the main history. Thus, the gaze can be redireccioned to a new focus, in which the descriptive elements of what we are observing are aknowledged within the story that is being told.