RE/FRAMING THE ARCHIVE
IMAGE COUNTER IMAGE
14/15 JUN 2019
Portuguese Centre of Photography (CPF), Portugal
RE/FRAMING THE ARCHIVE: Image Counter Image aimed to continue the discussion initiated in the first seminar (Image, Time, Memory, 2018), delving into the dynamics between visual culture, archive, memory and history, through collaboration with researchers and visual artists. This edition of the seminar was focused on the Portuguese historical past by approaching the imperial imaginary through events of the dictatorship and the colonial context.
The seminar opened with a keynote speech by Italian art historian Cristina Baldacci, whose research work focus on the appropriation of the archive and atlas of images as artistic gestures and visual forms of knowledge. Artist José Maçãs de Carvalho presented his artistic practice, in connection to archival images and its forms of mediation with the present. Portuguese artists Susana de Sousa Dias, Paulo Mendes, Catarina Simão and Manuel Santos Maia contributed for a reflection of the national history and memory through their research based artistic practices, towards critical approaches of images and its signification.
The second day of the event opened with a live performance by Portuguese artist Ana Janeiro in which she narrates the process of examining and interpreting her family archive, and was followed by a film screening with works by Susana de Sousa Dias, Paulo Mendes, Catarina Simão and Raquel Schefer.
THE ARCHIVE IS PRESENT | Ana Janeiro
Live performance with projection, 15"
The Archive is Present investigates family photographic archives and develops interpretations of these archives through performance photography, exploring the construction of identity.
Family albums belonging to the Janeiro’s maternal and paternal grandparents represent a period in Portugal’s past (1940–75) scarred by colonialism and one of the longest-lasting dictatorships in history. The photographic work is based on an analysis of the photographs in the two families’ albums, specifically images of the two grandmothers, as representative of two women’s lives during this period in history. The work presented is a live performance which narrates the process of analysing an archive and interpreting it though performance.
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 se- quence 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.
Foundation for Science and Technology (FCT), Portugal
Portuguese Centre of Photography (CPF)
Fernando Santos Art Gallery, Porto, Portugal
Coordinator / Artistic director
Ana Catarina Pinho
Professor Mark Durden | eCDR, University of South Wales, United Kingdom
Prof. Dr. Paula Ribeiro Lobo | IHA-FCSH Universidade Nova de Lisboa, Portugal
Natacha Suéli Pereira