da série "People are just no good" de Paulo S. Carvalho O mundo é passageiro. Seremos a nossa memória ou deixaremos de ser.
I.Ya no sé como empezó.Tengo recuerdos, sí. Pero a la luz de los acontecimientos ¿fueron esos hechos los desencadenantes?Guardo imágenes muy potentes desde mi primera infancia.Imágenes que son totalmente diferentes de las que vinieron después. Imágenes de antes de la palabra.Imágenes numinosas que siempre han estado ahí.Pertenecen a un imaginario que vislumbro ancestral y comunitario.Siempre he sentido que mi integridad depende de mirarlas, de establecer un diálogo silencioso, no racional, profundo, con ellas.Son imágenes que pueden atravesarme, atravesarnos. Tienen poder.Tengo la necesidad de esa comunicación visceral.Hay en ellas algo instintivo, animal, superador. Algo irracional e indiscutible.Aquello que somos sin engaños.Ellas circulan cambiantes entre la conciencia y el inconsciente. Se vuelven más poderosas o más suaves, todas indispensables: extrañas y familiares a la vez.II.La visión clara de algo terrible.Algo que sabemos que no debería ser así bajo ninguna circunstancia.Me quedo mirando hasta que esa mirada transforma lo ocurrido, lo coloca, lo libera.III.Soñé con una mujer delgada.Estaba desnuda delante de un espejo ovalado.Parecía una pintura de Modigliani.No la conocía pero me resultaba familiar. En el sueño yo era muy pequeña: 3 o 4 años de edad.A esa mujer le faltaba un pecho y en su lugar había una cicatriz.Yo me acercaba, le acariciaba la cicatriz y le decía: no te preocupes abuela.Me desperté.Llamé a mi madre ( huérfana desde los 12 años) y le pregunté: A la abuela le extirparon el pecho izquierdo?Cómo sabés eso?Porque acabo de soñarlo.IV.¿Cómo había accedido a esa información silenciada?¿Cómo podemos acceder a la gran cantidad de información que está en nosotros como una imagen latente?En nuestros genes está la memoria de todo lo vivido a lo largo de siglos de humanidad y sin embargo actuamos como si no supiéramos nada. Vidas cerradas. Vidas cuadradas.Sin embargo, sabemos. Esos poderosos recuerdos ocultos están activos y se convierten en impulsos subterráneos que guían nuestra existencia.Trozos de un manuscrito ilegible y valioso.Imágenes de poder que son llaves.Recuerdos guturales, inenarrables.( lo que sucede antes de la palabra no se olvida es sólo que no se puede narrar) Un terreno en el que mentir es imposible.No por razones morales sino físicas.No se trata de no querer sino de no poder.El rito de la performance devuelve las cosas a su lugar verdadero, produce un cambio profundo en las imágenes que llevo dentro y que determinan como me relaciono y como miro al otro, a lo que está afuera.Sólo la experiencia tiene el poder de transformarnos.V.If oneIf twoIf threeIf fourIf fiveIf sixIf sevenIf eightIf nineIf tenIf I,If youWill You? 
From the series "There's no an interventionist God"
Controversial Child Photography Show Shut Down by Police Confesso que fico baralhado.
Tratar-se-á só de hipocrisia e da vulgar estupidez das multidões?
Uma pintora que um dia quis ser fotógrafa.
A Steidl tem destas coisas. Pode-se comprar às cegas. Um dia e não me recordo porquê, comprei dois livros. Photographs de 2004 e Evidence de 2007. Ambos da Steidl.
in Photographs, Mona Kuhn
in Evidence, Mona Kuhn
A entrevista à Chum TV pode ser vista aqui
Nothing teaches us more about life than death itself
"German photographer Walter Schels was terrified of death, but felt compelled to take these extraordinary series of portraits of people before and on the day they died. His partner Beate Lakotta recorded the poignant and revealing interviews with the subjects in their final days. The couple tell Joanna Moorhead how facing death changed how they felt about dying - and living"
O artigo de Joanna Moorhead para o The Guardian pode ser lido aqui
Para ver todas as imagens e saber muito mais, aqui
Edgar Martins foi premiado no New York Photo Festival
Martin Parr Russia. Moscow. The Millionaire FairPhotography CollectionsParr's interest in social themes is also reflected in his collections of photographs, which are presented in a British and an international section. The first section is comprised of the most extensive private collection in Great Britain today. Here a selection of social-documentary positions with works from the 70s and 80s by artists such as Tony Ray-Jones, Chris Killip and Graham Smith can be seen. Artists such as Keith Arnatt, Mark Neville, Jem Southam and Tom Wood represent contemporary British photography. The international part of this collection is represented by photographs that have influenced Parr or with which he has built up a personal relationship: images by such masters as Robert Frank, Garry Winogrand and William Eggleston are juxtaposed with works by friends including John Gossage and Gilles Peress. Another focus is made up of works by Japanese photographers, who are relatively unknown in Germany, such as Osamu Kanemura, Kohei Yoshiyuki and Rinko Kawauchi.
Mark Neville Port Glasgow Town Hall Xmas Party ( Betty), 2005© Mark Neville
Two books will accompany the show: 'Objects' by Martin Parr (with an introduction by Martin Parr; Chris Boot Ltd; 176 pages, 500 objects illustrated, ISBN 978-1-905712-08-3) and 'Postcards' by Martin Parr (with an essay by Thomas Weski; Chris Boot Ltd; 336 pages, 750 colour postcard reproductions; ISBN 978-1-905712-10-6)
Da série: There's no an interventionist God de Paulo S. Carvalho
"To portray an animal is to name it. Once named it acquires a new life, and then, is spared death. Each sacrifice gives us back a disturbing image of the border we cross when we end a life, and what it entails to have sole dominion over another living creature. It is possible that by exploring the fine line that separates us from what we rule, we may reach a better understanding of our own nature."- Alessandra Sanguinetti
"Juana lives by the side of the road and keeps animals. She lives in the Argentine countryside, 300km outside Buenos Aires. I arrived there one day in 1996 after four hours of driving. It was really cold, and my car had no heating, but Juana had a little coal stove and gave me some hot cakes before I saw these two baby kids.
They had been born a couple of days before. One was very weak. Juana said that if she didn't tie it to the healthy sibling, the mother would just leave it alone to die, like most animals do. She also covered the healthy one's head with a sock so that the weak one would get a chance at the teat. As a result, the stronger one was just pulling and pulling blindly - desperately searching for its mother, while the other one was keeping it back, even though it just wanted to lie down and fall asleep. I saw them during the last few minutes of winter light, when it is orange and perfect, so I just knelt and followed them on my belly and elbows until the sun went down. I used a Hasselblad camera, with just natural light and probably an 80mm lens. If I had got there five minutes later I would not have got that picture. It's an image of struggle, quite unsentimental, and it crystallises something for me I can't explain in words. That's why I took a picture.
I took the sick kid to my father's farm and fed it, next to the fire. I named her Rosita, which means little rose, and by the next day she was stronger already. I had to go back to the city, so I left her with Juana, who took care of her, marking her forehead with red paint so that her son would not shoot her. I don't know where Rosita is now, but I know she lived a long time and had a lot of offspring. She was saved partly by having a warm night - but also by being given a name." in The Guardian Interview by Leo BenedictusThursday December 20, 2007
Frédérique Jouval, lauréate de la Bourse du Talent Portrait 2007
Hoje esta imagem do Martin Parr não me saía da cabeça e não sabia porquê. No final percebi que foi influência da leitura deste excelente post do Luiz Carvalho.
Para aqueles que falharam a 1ª e 2ª edição, e que não querem pagar 300€, a Steidl está a fazer uma nova. Pode ser comprado por 48€."Alec Soth has a wonderful and terrifying eye. We’ve all seen gritty documentary photography, but no one has ever seen anything like his work! It’s gritty for sure, but it’s beautiful–really beautiful. With most documentary photography, you look at it, sigh, and pass on, but Soth’s work keeps pulling you back to look again because he composes with the skill of the greatest of photographic artists." John Wood, Editor 21st: The Journal of Contemporary Photography 2004
Houve um dia em que percebi que andava enganado. 
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