RIVER, de André Cepeda
17 de Abril, sexta-feira, 18h
O projecto River, de André Cepeda, é composto por um vinil e um livro de artista, ambos em edição limitada.
Numa edição limitada de 100 exemplares, numerados e assinados pelo artista, o livro é editado pela Chromma, uma jovem editora que com esta publicação dá início a uma colecção dedicada a fotógrafos portugueses, compreendendo tanto artistas afirmados, como emergentes. O preço desta edição é de 22,50 euros.
"Este projecto é o resultado de 28 dias de viagem, na companhia do meu amigo e artista Eduardo Matos, por várias estradas dos EUA, especialmente ao longo do rio Mississípi, de carro, de comboio ou de autocarro, dormindo cada noite num motel diferente, e descobrindo e explorando as variações de luz e cor da paisagem americana."
André Cepeda
O vinil é composto por três faixas compostas por André Cepeda (guitarra), Rodrigo Amado (saxofone) e DJ Ride (samples, turntable), gravado por Quim Monte nos estúdios Namouche no dia 11 de Fevereiro de 2009. A edição limitada de 50 exemplares, com capa de André Cepeda, inclui ainda uma fotografia original do artista (20x30cm, assinada) e sleeve com fotografias de António Júlio Duarte, com o preço de 120 euros.
Ao lançamento do projecto na Inc., segue-se um concerto de apresentação do projecto musical à noite, no Passos Manuel.
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Inc. livros e edições de autor
Rua da Boa Nova, 168
4050-101 Porto
tel 226095537
www.inc-livros.pt
inc@inc-livros.pt
horário
quinta e sexta feira 16h-20h
sábado 11h-13h e 15-20h
One of the seminal artists of contemporary photography, Philip-Lorca diCorcia produces work that exists on a wide spectrum of fictionalized documentary. Yet a thematic and conceptual unity, most often realized in serial form and particularly suited to monograph format marks each series in his oeuvre.
With Thousand, diCorcia effectively inverts his own tendency: the monograph is now the work itself. The sheer volume of material, which spans over 20 years of personal and artistic creation, shifts notions of context, narrative, and individual perception.
Flipping through the pages of Thousand is not so much a retrospective or summation of the artist's life as it is an exercise in the construction of memory. An unwashed pan soaking in the sink precedes an unknown woman resembling an odalisque; the familiar linoleum aisles of a generic supermarket give way to a verdant swatch of lawn. These images are both alien and deeply familiar, and just as one moment in our lives may recall another, these photos echo among one another within the book, within the canon of diCorcia's work, and within our personal experience. The Polaroid proves to be the perfect souvenir unique and subject to reinterpretation, like memory itself.
" Musina is the northern-most town in South Africa. It lies on the Limpopo River on the border of Zimbabwe. The town was formerly known as Messina, and in 2002 its name was changed to correct a colonial misspelling of the name of the Musina people who previously lived in the region.
Located in the heart of the bushveld with its hunting farms and diamond mine, on the major trucking route north, it attracts a conglomeration of disparate peoples. They are drawn to this town by the opportunities it offers, be it working in the mines or on the farms, policing the porous border, smuggling contraband and alien immigrants, or prostitution.
In his photographs of individuals, families, interiors, landscapes and incidental details, Hugo reflects on the wounds and scars of race, class and nationality that persist here, on the border of Zimbabwe, a country in the process of self-destructing. The circumstances of Musina can also be seen as broadly reflective of any community that is confronted by transition.
Hugo's interest lies in documentary photography - in finding new ways of interpreting the world we live in and its complexities. "It enables me to engage with things that interest me and provides me with a means to explore it." His concern is with the peripheral in society, particularly in Africa, and with negotiating contexts where the cultural nuances of our time are amplified.
Early in Hugo's photographic career he realised that he often found himself being critically scrutinized by the subject he was photographing. It was then that he decided to switch to a larger and more cumbersome format of photography, one that would require negotiating consent and dialogue with the person being photographed - a more sedate and contemplative approach. The process of obtaining permission from an individual/s before photographing them is one of the most important aspects of what he does. His approach is forthright and direct, as he believes that this mutual acknowledgment between subject and photographer is part of what gives the images a commanding presence".
