inspiração

o final da tarde foi dedicado aos projectos impossíveis, regados com o melhor chá fresco de lisboa. esta era a inspiração de que te falava: Aires Mateus, casa em lisboa, 2009, e Alberto Caetano, apartamento em lisboa, 2009, as fotografias perfeitas aqui (reportagens 325 e 321).

a cor de uma noite de verão

a data aproxima-se inexorável. a m. pede-me que não me junte ao clube dos 27. disso não há perigo. na música não dou uma para a caixa. de resto mantém-se o bicho. melancólico, sussurra: ainda não é isto.

descobertas

o herói

perspectiva preferida

inception

the ghost writer

leituras (continuação)

Gabriele Basilico

Beirut, 1991

(Charlotte Cotton, the photography as contemporary art)

leituras (continuação)

Desiree Dorlon

Cerca Paseo de Martì, 2002

(Charlotte Cotton, the photography as contemporary art)

leituras (continuação)

Wim Wenders

Wall in Paris, Texas, 2001

(Charlotte Cotton, the photography as contemporary art)

leituras

The aim of this book is not to create a checklist of all of the photographers who merit a mention in a discussion on contemporary art, but to give a sense of the spectrum of motivations and expressions that currently exist in the field.

Charlote Cotton, the photography as contemporary art

uma casa no chile

Kiltro House

leituras

All photographs are memento mori. To take a photograph is to participate in another person's (or thing's) mortality, vulnerability, mutability. Precisely by slicing out this moment and freezing it, all photographs testify to time's rentless melt.

Though an event has come to mean, precisely, something worth photographing, it is still ideology (in the broadest sense) that determines what constitutes an event. There can be no evidence, photographic ore otherwise, of an event until the event itself has been named and characterized. And it is never photographic evidence which can construct - more properly, identify - events; the contribution of photography always follows the naming of the event. What determines the possibility of being affected morally by photographs is the existence of a relevant political consciousness. Without a politics, photographs of the slaughter-bench of history will most likely be experienced as, simply, unreal or as a demoralizing emotional blow.

Quotations

Your photography is a record of your living for anyone who really sees. You may see and bee affected by other people's ways, you may even use them to find your own, but you will have eventually to free yourself from them. That is what Nietzsche meant when he said, "I have just read Shopenhauer, now I have to get rid of him." He knew how insidious other people's ways could be, particularly those wich have the forcefulness of profound experience, if you let them get between you and your own vision. - Paul Strand

If I could tell the story in words, I wouldn't need to lug a camera. - Lewis Hine

Susan Sontag, On Photography

rocambolesco

inesperado

Amalfitano

"Depois entrou na casita como se lhe faltasse o oxigénio e tirou de um saco de plástico, com o logótipo do supermercado onde ia fazer as compras semanais, três molas de roupa, que ele se obstinava em chamar «cãezinhos», e com elas pendurou o livro num dos cordéis e voltou a entrar em casa sentindo-se muito mais aliviado.

A ideia, claro está, era de Duchamp."

Roberto Bolaño, 2666