N I H I L S E N T I M E N T A L G I A,
a blog about photography by Sofia Silva
Caption (image above): lumen on expired 4×5” ektachrome film (by Sofia Silva) More about Lesia Maruschak‘s work here. Lesia Maruschak: “ERASURE: Memory and The Power of Politics has three points of departure: A practice entitled damnatio memoriae – a Latin phrase dating back to the 4th century BCE – resulting in the erasure of…
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Caption (image above): lumen on expired agfa fiber bromide paper (by Sofia Silva) More about Almudena Romero‘s work here. Almudena Romero: “Growing Concerns uses plants from former British colonies as a canvas to host images that reflect on the links between plant trade, colonialism and migration, and the legacy of these in modern day…
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photo caption (image above): Intervention on stone by unknown author, Sintra, 2019. * * * More of Marília‘s work can be seen here. * * * More of Ana‘s work can be seen here. * * * A conversation between Marta Romero and Dana Nechman can be read here.
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photo caption (image above): © Alia Ali, BORDERLAND Series, 107 cm x 72 cm. Pigment Print on Cotton Rag 310 gr. 1 AP + 1 EP + 5 Editions, 2017. ALIA ALI “Alia Ali (1985) is a Yemeni-Bosnian-American multi-media artist”. Her work with fabric and thread is present throughout her entire body of work, referencing…
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caption (image above): Self-published box – The Memory of History, by Lewis Bush, 2012. I’ve recently arrive at Lewis Bush virtual sphere (aka blog) and am coming out with that feeling of content and surprise that is often too rare. A friend had sent me a message with a text about Don McCullin’s retrospective @…
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Caption (photo above: image from Kollar’s book Field Trip. Source: STET Photography Editions. More of Kollar’s work here. I’d say this is the exception and not the rule: sometimes authors’ statements about their work really add to it. I think this is the case: a brief and sincere text about the emotional experience that results…
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caption: detail from Dioso Simões’ booklet in Propeller Propaganda. Deisgn by Paulo Arraiano. When we asked Diogo to collaborate with Propeller Propaganda, there was a lot of possibilities in the air and no pre-established idea of what he could publish. After some options were dropped, the series of photographs we then published was suggested, but…
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caption: © Elizaveta Porodina, portrait of Lily D. Moore, for Radical Beauty Project. I came across this project through a very complimentary review in the Guardian. The Radical Beauty Project is about “challenging opinions”, questioning perceptions about beauty. It brings together people with down’s syndrome and “40 renowned fashion and art photographers”. In creative director…
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image caption (above): © Soraya Vasconcelos, untitled, digital c-print, 122×163 cm, 2007. More of Soraya’s recent work can be seen here. Models of “territories” are constructed with organic matter and inorganic material: paint, pigments, varnishes, wax, plaster… There is a process of constructionIs it possible to formulate a general theory of artistic collaboration? And…
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photo caption (above): Chine, Shenzhen, 2017, Scene #1350 © Alex Majoli / Magnum Photos Les employés d’un institut de beauté participent à une réunion de motivation avant de commencer leur travail. When is enough, enough? Vice is obviously no reference when it comes to dignifying the use of photographs in the media, but still I…
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For quite some time I made very simple posts showcasing artwork from authors who used photography in a way that somehow interested me. Back to the old ways here are some images from Ramona Guntert‘s work. Some words from the author about her own work here. excerpt from a conversation between Ramona Guntert…
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Photo caption: Amanda Feilding and Birdie Propeller‘s crew is responsible for introducing me to Helen MacDonald‘s H is for Hawk. When we started working together they’d frequently talk about the book and stress out how I would love it. I never doubted I would, but kept wondering what associations led them all to feel so…
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Photo caption: Nagika taking a shit while staring at the sun I moved to the region where I currently live in the Summer of 2016. It’s quiet here and silence becomes truly special. From that moment on, I’ve learnt to love birds. I think that started one night when a owl (Athene noctua) began to…
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Photo caption: Helen MacDonald and her first ever hawk, a kestrel called Amy. Photo taken by her father (source: twitter). I’ve been preparing a text about the cheesy category in nature photography, particularly regarding photographs of birds. For now, some of the images that have been accompanying this reflection while I try to deviate from…
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Still from HyperNormalisation showing journalist Daniel Pearl. This is mostly a critic of Adam Curtis‘ work for the show Mezzanine XXI, performed by Massive Attack, although their curating act is equally up for critics. I went to their concert a few days ago, in Lisbon, and was ill impressed (to say the least). I knew…
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Here is the editorial I’ve written for Propeller #3, about Propaganda. This editorial introduces a series of great essays, namely: Fire Inside, by Pete Brook, Propaganda and photography at the front door, by Teresa Mendes Flores, and Shooting in the name of (and now you do what they told ya): Photojournalism – keeping the status…
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The following text is a short and edited version of the essay written about Valter Ventura‘s exhibition Light and Darkness, (“Compêndio de observações fotográficas: luz e cegueira”), produced specifically for the Lisbon Municipal Photographic Archive. The full original version was published in the respective catalog. Several mythological narratives account for the gods’ will to punish…
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caption: unknown author, at Stockholm Pride Festival In the past few weeks several events concerning cultural appropriation have motivated public discussions. I’ll be focusing on three: Gucci’s blackface jumper, Amanda Lind‘s dreadlocks and Donata Meirelles birthday photograph with two black women wearing traditional Bahian outfits. The fact that I’m appropriating these events in order to talk about cultural…
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Propaganda has been a recurrent theme in my life since June 2018 when we, at Propeller, decided that should be the theme for the following edition, which will finally be out on february 20th. I’m also working on the theme with undergraduate students in the context of a larger project about media and photography’s relation…
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caption: © Brent Stirton, A young Aids affected child in the home of his HIV+ drug addicted mother in their poverty stricken village on the first day of school, Donetsk, Ukraine, 1 September 2011. I know, I know… what can I possibly have to say about this that I haven’t before? Not much. Ethics in…
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caption: Oliviero Toscani for Benetton, 1992. In 1982 the Mafia killing of Benedetto Grado in Palermo, Italy, was captured by Franco Zecchi. Ten years later the image was featured in Benetton’s spring/summer 1992 campaign. Various publications refused to publish the image and the dead man’s daughter claimed she would sue, asking: “How does my father’s…
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caption: © Ruth van Beek, The Situation Room (Two figures), 2018. When I regard van Beek‘s collages I immediately know they were made by a woman. There’s a feminine sensibility at play, an heritage of affective labour that is put to work. This idea of a visual heritage is not a reference to a nostalgic…
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caption: Anatomy Museum in the University of Edinburgh Medical School, Teviot Place. Photo by Sir Robert Rowand Anderson, 1898. [no hablo espanol] dá nome a uma categoria de posts do Nihil que passarão a ser escritos na Língua-mãe e se desviarão da orientação temática da casa: a Fotografia. Não sou professora no ensino superior há muito…
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caption: image illustrating an article @ Time.com, entitled TIME’s 25 Best Photobooks of 2018. The first sentence of the article reads: “As an antidote to your unyielding Instagram feed, consider the photobook.” I’ve been thinking about photography’s relationship with digital design in the twenty-first century. After some considerations and discussions with colleagues and students I…
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caption: Exhibition View. Novo Banco Foto at Museu Colecção Berardo, 2016. Mónica de Miranda. Photography David Rato. The Novo Banco Photo prize has become one of the key moments of the year in Portugal for the consecration of an artistic practice. […] The artists selected for this exhibition are: Félix Mula, Mozambique; Mónica de Miranda, Angola and…
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caption: © Pierre Gonnord, “Ali” 148 x 125 cm. Color photograph under plexiglass, framed. I’ve had this portrait hovering in my desktop since November. From then on, I kept avoiding identifying the author and seeing further work, already suspecting my enthusiasm would be cut to shreds. It was and it wasn’t. I’m clearly not…
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Searching the web for author Glorija Lizde (b. 1991, Croatia), whose work Persona(L) I came to know in December due to Parallel Review, I was surprised to find a particular essay accompanying her project F20.5 (2016-2018). That particular text, published at Hulu-Split, is an excerpt from Ana Peraica‘s Culture of the Selfie: Self-Representation in Contemporary Visual Culture. But before…
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Right before the year comes to an end, every online platform rushes to publish their best-of lists. Excited, editors exchange reviews and debate on their conclusions. The most this, the most that, the best photographs, best exhibitions, best books… It’s guaranteed that the photography market will be alive and kicking for another year. As for…
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It’s a new year and I’m back at Nihilsentimentalgia with the usual suspects: photography and death. No surprises there. My oldest dog, Ghost, died last week. To be fair, I killed him. As I made the choice I thought I’d have to assist him in his last breath. That decision led to the creation of…
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I’ve started this post two months ago and since then Nihilsentimentalgia has been as slow as it gets. I’ve been wondering whether this blog should take a break. Being its tenth year, I thought I’d be motivated to write with a certain cadence, but the opposite has happened. I’m feeling overwhelmed by images and I’m…
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My understanding of one history of art is just not there. There are many reasons for that and no need to address any of them. Now I find myself discovering Ewa Kuryluk’s work (via books and internet) and I fail to make sense of this late encounter. Why not sooner? I arrived at Kuryluk’s work…
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I first cross paths with Jordan Baumgarten‘s Good Sick at bjp online and one of the photographs stroke me, not for the best of reasons. I kept thinking about it. As I went back to have a proper look at the project, I came across Pete Brook’s writing on that same work and that finally…
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