Guest blogger André Carapinha ٠ Plato, Love & Image ٠

Introducing Nihilsentimentalgia’s newcomer André Carapinha with an essay about the veil of shadows that stands between our perception and “reality”. Photographs illustrating the essay all belong to Trish Morrissey‘s project Front (2005-07), where she sets out to find families that she joins temporarily, in an “as if/has-been” moment, at the same time manipulating reality and attributing to it the statue of memory. PLATO, LOVE AND IMAGE A short essay about the importance of the act of remembering in photography, but not exclusively Things are even more real when we remember them. When we experience them, they come wrapped in a … Continue reading Guest blogger André Carapinha ٠ Plato, Love & Image ٠

٠ Sandro Ferreira, memory code: 6174 ٠

© Sandro Ferreira, Não lhe digas para onde vais amanhã (Don’t tell her where you’ll be tomorrow), from the project “6174” Set of a hundred booklets, with dimensions identical to those with speeches of some dignitaries of the Portuguese dictatorial regime: “Estado Novo”. © Sandro Ferreira, from the project 6174. The left card reads The useless, the right card reads The miserableA series of 126 “lobby cards”, corresponding to the 126 films that the soldier Manuel Rosa Simões had seen since his arrival in Angola until his departure for the Metropolis. Ironically, the first film was “Les Miserables” and the … Continue reading ٠ Sandro Ferreira, memory code: 6174 ٠

┐ The blind man and his visual clarity └

© João Maria Gusmão & Pedro Paiva Terence Koh, God, 2007. View of the performance at de Pury & Luxembourg, Zurich. Courtesy Peres Projects, Berlin. Installation view of Terence Koh (Whitney Museum of American Art, New York, January 19–May 27, 2007). Photograph by Sheldan C. Collins © Hiroshi Sugimoto, Self-portrait, 2003 © Hiroshi Sugimoto, from the series Theaters, 1978 “I wish to suggest that we are like philosopher-artists installed in these works, engaged in inscribing and contemplating the line between the real and representation, the trait, which continually both “draws a boundary and with draws from it.” To be this … Continue reading ┐ The blind man and his visual clarity └

┐ Eric Rondepierre └

© Eric Rondepierre, Couple, passant, 1996-98 © Eric Rondepierre, Confidence, 1996-98 © Eric Rondepierre, Le Voyeur, 1996-98 “That impossible photogram, as Roland Barthes said. An object which is not (even) an object, but at the same time is actually two objects. It doesn’t (really) belong to the cinema or (simply) to photography ; it is more than a photograph yet less than a film. It is, therefore, a sort of axis or fold, the precise crossing point (punctum) between cinema and photography. Eminently paradoxical, the photogram is the touchstone of Eric Rondepierre’s work which is acutely conscious of the delicate … Continue reading ┐ Eric Rondepierre └

┐ Christian Boltanski – death from within └

© Christian Boltanski, Odessa Monument, 1991. Four gelatin silver prints, lights and wiring “Since the late 1960s, Christian Boltanski (b. 1944, Paris) has worked with photographs collected from ordinary and often ephemeral sources, endowing the commonplace with significance. Rather than taking original photographs to use in his installations, he often finds and rephotographs everyday documents—passport photographs, school portraits, newspaper pictures, and family albums—to memorialize everyday people. Boltanski seeks to create an art that is indistinguishable from life and has said, The fascinating moment for me is when the spectator hasn’t registered the art connection, and the longer I can delay … Continue reading ┐ Christian Boltanski – death from within └

┐ Ian van Coller └

© Ian van Coller, Daisy Angy Kekae (left), from the series Collage Portraits, 2009 “This series combines several influences that have personally been relevant to my art-making process. The work grew out of my experimentation with the use of quilting techniques based on traditions from Africa and Gees Bend, Alabama as a way to tell stories and record oral histories. The manner in which individuals in these portrait collages are presented, was heavily influenced by posters from the period of resistance against apartheid in South Africa. The union posters are now iconic examples of the strong printmaking tradition that grew … Continue reading ┐ Ian van Coller └

┐ Traer Scott └

© Traer Scott, Ostrich and Wild Boars, from the series Natural History © Traer Scott, Hunting Dogs, from the series Natural History Natural History is a series of completely candid, in-camera single exposure images which bring together both the living and the dead, creating allegorical narratives of our troubled co-existence with nature. Ghost-like reflections of modern visitors viewing wildlife diorama against the preserved subjects themselves, housed behind the thick glass with their faces molded into permanent expressions of fear, aggression or passivity. © Traer Scott, Gazelle, from the series Natural History © Traer Scott, Moose, from the series Natural History … Continue reading ┐ Traer Scott └

┐ roots & fruits #12 – Gonçalo Figueiredo └

© Gonçalo Figueiredo, Lourenço © Gonçalo Figueiredo, Rita Tavares (left) and Lara Brandão (right), from the series The Protest, 12/2009 © Gonçalo Figueiredo, Ricardo Baltazar (left) and Gonçalo Figueiredo (right), from the series The Protest, 12/2009 These portraits are part of a series made back in the Winter of 2009 and it depicts a group of students from the Photography Department to which Gonçalo also was part, both as a technitian and as a student. In December, confronted with the lack of conditions and materials the course lacked to offer, they decided to camp at school and endure a silent … Continue reading ┐ roots & fruits #12 – Gonçalo Figueiredo └

┐ Hallgerður Hallgrímsdóttir └

© Hallgerður Hallgrímsdóttir, Untitled, from the project the light of day, 2010-2011 © Hallgerður Hallgrímsdóttir, Untitled, from the project the light of day, 2010-2011 © Hallgerður Hallgrímsdóttir, Untitled, from the project the light of day, 2010-2011 © Hallgerður Hallgrímsdóttir, Untitled, from the project the light of day, 2010-2011 More of her work here Continue reading ┐ Hallgerður Hallgrímsdóttir └

┐ Martin Seeds └

© Martin Seeds, from the project I have troubles[…] © Martin Seeds, from the project I have troubles[…] © Martin Seeds, from the project I have troubles[…] “I never set out to document anything. It was more of a search, an investigation. I wanted to understand more of myself. To find others like me. I needed to be sure that I wasn’t the only one. In 1986 I left Northern Ireland for London and for work. I brought me a diploma in computer studies, a strong accent and £50 that I think my father gave me at the ferry terminal. … Continue reading ┐ Martin Seeds └

┐ Sunil Shah └

© Sunil Shah, from the project Uganda Stories © Sunil Shah, from the project Uganda Stories © Sunil Shah, from the project Uganda Stories © Sunil Shah, from the project Uganda Stories “This project is both a subjective journey to recollect the past and an interrogation of documentary photography in its use to reassemble fragments of history. In 1972 the Ugandan military dictator, Idi Amin expelled 80,000 Asians from the country. I was 3 years old when my family was forced to leave their lives and possessions behind and move to the UK. This research of my family’s origins included … Continue reading ┐ Sunil Shah └

┐ Brendan George Ko #2 └

@ Brendan George Ko, I used to love you, from Reminiscence, 2008-10 @ Brendan George Ko, We have a history, from Reminiscence, 2008-10 “And now I see what the glass door is. It is the door of a coffin-mine. Not a coffin, a sarcophagus. I am in an enormous vault, dead, and they are paying their last respects.” (Pirsig, Zen) We are observers to our past, and through time the memory of our history changes as we change. When Robert M. Pirsig set out on his motorcycle journey across America with his son, Chris, and a couple, John and Sylvia, … Continue reading ┐ Brendan George Ko #2 └

┐ Carla Cabanas └

© Carla Cabanas, Three friends, from the project What remains of what it was, 2010/11 © Carla Cabanas, One Little Girl, from the project What remains of what it was, 2010/11 “What remains of what once was – Cabanas Álbum), the artist invokes memory imprecision through erasing, scratching, and fading away of images belonging to her closest surrounding: family. The photographic processing torn off – accumulating in the bottom of the frame – erases information on spaces, context and characters. Just like we all unwillingly discard our personal history, until what remains is but ashes from times gone by.” by … Continue reading ┐ Carla Cabanas └

┐ Anne Leighton Massoni └

© Anne Leighton Massoni, Summer’s calling wishful pennies, from the series Holding Nancy © Anne Leighton Massoni, Woman wind woodard warehouse, from the series Holding Hila © Anne Leighton Massoni, My prom sunday promenade, from the series Holding Leighton “I’m interested in combining photographs i’ve made of empty spaces (spaces once inhabited or currently inhabited, but with no one present) with found photographs of times that no longer exist (images that are empty of personal memory) and then inking a thin line (in this case white) to draw a literal point of connection from one image to the next. the … Continue reading ┐ Anne Leighton Massoni └