EXHIBITIONS > Exílio da Paisagem
Curator: José Maia
Considering the theme that pervades the Ci.CLO in 2019, with Photography as a prologue, the artistic work of both Chana de Moura (Brazil, 1989) and Dinis Santos (S. João da Madeira, 1983), artists selected in the Open Call Programme of the 2019 edition of the Ci.CLO Porto Photography Biennial, exceeds the positions of the medium, offering body, shape, existence and action to the multiple matter of which images are made. In this extension of photography’s place, the two projects – close to each other and developed in residency - gravitate in common constellations, imbued at the summit of their singular orientations to find themselves in a broader dialogue on issues of human and ecological positioning, of the real and of what surpasses it, advancing in the reasoning of the problems that extend over various times and moments.
Text by João Terras
Photography has had an umbilical link to the intention of the trip from its very beginning. Also, in this umbilical sense, the trip would be forcibly linked to the creation of the first collections and people who collect, collectors and curiosities. In Chana de Moura’s practice (Brazil, 1989), the principle of the trip is established in a constant that is similarly inverted. The places of the present and the real become permeable to the potential magnitudes of the places of the past, the future, and of speculation. There is a truth of the lie in each of the images presented in this body-installation - from the photographs, to the documents up to the completed film - we are coerced into a fine premise that moves us in terms of spirit, geography and time to a place without reference. It is in the silence of the place of these images, without geography and timeless, that Chana de Moura constructs the drift of hernarratives, in an intention to reveal an archaeological meaning within a fictional possibility. However, the appropriation of the real for the creation of fictitious places does not disclose the intention of her way of operating in a place with the main focus of questioning the world in the present state and in its real transitions and adaptations.
The project that Chana de Moura presents in the MIRA Space here in the CI.CLO Biennial of Photography, Porto is thus conceived as a concise body - not summarised - of a narrative that the artist has developed, in multiple directions and circumstances, in a continuous manner over her career path.
An analysis arises in the end: the former as survival, the past to salvage the future.
Text by João Terras
The overt passage between image and object in the photographic project of Dinis Santos (S. João da Madeira - 1983), which we perceive a priori, comprises a shift away from what has been the development of his artistic practice within photography.
Among the flaming matter of the image and the dilettante groove of the object, between dimension and plane, form and non-form, from matter to body, the image that Dinis Santos presents in the MIRA Space for the CI.CLO Biennial of Photography, Porto is defined by a spectral body, a reflective and diffuser device, reverse image and mirror image. It is the partial culmination of a broader thought process than the one summarised here. The luminous body, presented in triplicate sequence, oscillates between homogenisation and diffusion, carrying the power of several places and times combined also with the material used, tin.
Amongst the malleability, solidity and brilliance of the metal, the surface overworks to reflect the adaptation and transition of multiple dialogues emerging from the taint of a nefarious social, human, and ecological state in the present. From the corruptible extractive culture and the evolutionary sub-intention of the planet, tin thus becomes a matter of antagonisms perpetuated between its false luminescence and dungeon blackness.
Text by João Terras
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