RE/FRAMING THE ARCHIVE
IMAGE, TIME, MEMORY
23/24 NOV 2018
Portuguese Centre of Photography (CPF), Portugal
RE/FRAMING THE ARCHIVE: Image, Time, Memory was the first edition of a seminar that aimed at debating and reflecting upon the role that images play in the representation of memory, the construction of history and, consequently, in the perception of the real. The opening day of the seminar was attended by scholars Anna María Guasch and Eduarda Neves, whose interventions proposed a reflection on the concept of the archive, namely on the conditions that lead the archive into becoming a vehicle of creation and criticism. This was be followed by presentations by Portuguese artists Pedro Lagoa and João Paulo Serafim, who meet the themes approached before, contributing to the discussion about artistic practices as conceptual and experimental tools that question not only the archive, but also the intermediate institutions of memory and knowledge in modern societies.
The second day of the seminar opened with presentations from scholars Susana Lourenço Marques and Paula Ribeiro Lobo, who approached the dynamics established between images, history, memory and the imaginary, putting in context the role of forgetting and remembering, from interpretation to imagination, reality to fiction. Following, Portuguese artists Manuel Botelho and Daniel Barroca presented their artistic practices, in relation to memory, temporality and the re-signification of archives and photographic imagery.
IMAGE, TIME, MEMORY
WORKS BY MANUEL BOTELHO AND DANIEL BARROCA
CURATED BY ANA CATARINA PINHO
17-30 NOV 2018 | Project Room, Galeria Fernando Santos, Porto, Portugal
Image, Time, Memory is an exhibition that presents the work of Portuguese artists Manuel Botelho (1950) and Daniel Barroca (1976), by establishing a dialogue between the work of both artists, focusing on the visual representations of memory, more specifically the memory and collective imaginary of the Portuguese colonial war (1961-1974).
Botelho's presents us with "Album" (2017) which he developed from vernacular imagery, in this case the photo albums of an unknown Portuguese soldier from the Colonial War, where the artist highlights the performative gestures of the subject, playing with the links between reality and fiction, historical construction and imaginary. Barroca also approaches vernacular imagery, only this time he delves into his fathers photo albums from the same war. In "Soldier Playing with Dead Lizard" (2008), he works with archival imagery in its debris and losses, questioning the limits of historical representation.
Focusing on the appropriation of different types of visual archives, both artists develop different, although complementary, ways of approaching and manipulating images from the past, through strategies that open a certain disquietness caused by those images and also highlight the importance of reconfiguring such images as a way of offering them a role in the present and providing new discursive contexts and meanings.
Foundation for Science and Technology (FCT), Portugal
European Centre for Documentary Research (eCDR), University of South Wales, UK
Portuguese Centre of Photography (CPF)
Fernando Santos Art Gallery, Porto, Portugal
Coordinator / Artistic director
Ana Catarina Pinho
Natacha Suéli Pereira