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Authors
Advisor(s)
Abstract(s)
Em meados do século XIX, a nova e enriquecida classe-média apreciava ser
fotografada extensivamente – algo que anteriormente era a prerrogativa da aristocracia – com
um método cuja natureza mecânica parecia garantir uma conexão direta entre pessoa sentada
e imagem. O desaparecimento dos antigos cânones da pose prolongada e da dita “fotografia
de retrato” no estúdio, foi dando lugar a uma progressiva habituação por parte do sujeito
relativamente à câmara, como um objecto cada vez mais usual, comum e até de uso
doméstico, levando também à consequente “reinvenção” e adopção de novas práticas no
retrato.
A vontade de comunicar e iniciar um processo de negociação com estranhos, bem
como a curiosidade de entrar nas suas casas e nas suas vidas, tentando perceber quem são e
como se veem, levou a um projeto fotográfico e de investigação que interroga a postura do
fotógrafo e da pessoa retratada e a escolha de um medium de superfície.
Neste sentido, a investigação teórica e prática revisita o tema do retrato, mais
particularmente a problemática da negociação nas relações entre fotógrafo e fotografado na
área da fotografia contemporânea. O grupo de pessoas com quem se decidiu trabalhar faz
parte de um grupo de EX (ex-prostitutas, ex-presidiários, ex-toxicodependentes, ex-semabrigo)
que, apesar dos seus esforços e determinações, continuam de certa forma Excluídos e
à margem da sociedade. Este grupo está ancorado num Movimento chamado “Uma Vida
como a Arte”, sediado na cidade do Porto, onde vivo. Aquilo que se elaborou foi um
procedimento de aproximação, de contacto. Este trabalho foi importante em razão da
intimidade que se conseguiu criar. Fotografar e dialogar convergem, aqui, para a pesquisa,
hesitante e sempre singular, da distância conveniente com o “Outro”. Construir uma
proximidade e uma troca, além das diferenças e a partir delas; enriquecer-se das
disparidades; adaptar os métodos e os ritmos aos do “Outro”, são esses os principais
elementos de uma fotografia de negociação e diálogo. Pretende-se um modo de ação social.
Câmara, modelo e fotógrafo formam uma tríade simples e anacrónica, a partir da qual se
constrói uma troca que passa tanto pelo olho quanto pelo corpo e suas transformações.
In the mid-nineteenth century, the new and enriched middle class enjoyed being photographed extensively - something that was previously the prerogative of the aristocracy - with a method whose mechanical nature seemed to guarantee a direct connection between the sitting person and the image. The disappearance of the ancient canons of prolonged pose and of the called "portrait photography" in the studio, gave way to a gradual habituation by the subject in relation to the camera as an increasingly usual, common and even household object, leading also the consequent "reinvention" and adoption of new practices in Portraiture. The desire to communicate and begin a negotiation process with strangers, as well as the curiosity to enter their homes and their lives, trying to understand who they are and how they see themselves, led to a photographic project and research that questions the photographer's posture and the portrayed person and the choice of a medium surface. In this sense, this theoretical and practice research revisits the theme of Portraiture, more particularly the problematic of negotiation between photographer and photographed in the field of contemporary photography. The group of people with whom decided to work is part of a group of EX (ex-prostitutes, ex-convicts, ex-drug addicts, ex-homeless) who, despite their best efforts and determinations are still EXcluded and in the margin of society. This group is anchored in a movement called "A Life as Art", based in the city of Oporto, where I live. What was drafted was an approach procedure, contact. This work was important because of the intimacy that we managed to create. Shooting and dialogue converge here for the research, hesitant and always singular, of the convenient distance to the “Other”. To build closeness and an exchange, besides the differences and from them; enrich themselves through disparities; adapting the methods and rhythms to the "Other", these are the main elements of a negotiation photography and dialogue. It aims to become a way of social action. Camera, model and photographer form a simple and anachronistic triad, from which is built an exchange that passes both the eye and the body and its transformations.
In the mid-nineteenth century, the new and enriched middle class enjoyed being photographed extensively - something that was previously the prerogative of the aristocracy - with a method whose mechanical nature seemed to guarantee a direct connection between the sitting person and the image. The disappearance of the ancient canons of prolonged pose and of the called "portrait photography" in the studio, gave way to a gradual habituation by the subject in relation to the camera as an increasingly usual, common and even household object, leading also the consequent "reinvention" and adoption of new practices in Portraiture. The desire to communicate and begin a negotiation process with strangers, as well as the curiosity to enter their homes and their lives, trying to understand who they are and how they see themselves, led to a photographic project and research that questions the photographer's posture and the portrayed person and the choice of a medium surface. In this sense, this theoretical and practice research revisits the theme of Portraiture, more particularly the problematic of negotiation between photographer and photographed in the field of contemporary photography. The group of people with whom decided to work is part of a group of EX (ex-prostitutes, ex-convicts, ex-drug addicts, ex-homeless) who, despite their best efforts and determinations are still EXcluded and in the margin of society. This group is anchored in a movement called "A Life as Art", based in the city of Oporto, where I live. What was drafted was an approach procedure, contact. This work was important because of the intimacy that we managed to create. Shooting and dialogue converge here for the research, hesitant and always singular, of the convenient distance to the “Other”. To build closeness and an exchange, besides the differences and from them; enrich themselves through disparities; adapting the methods and rhythms to the "Other", these are the main elements of a negotiation photography and dialogue. It aims to become a way of social action. Camera, model and photographer form a simple and anachronistic triad, from which is built an exchange that passes both the eye and the body and its transformations.
Description
Keywords
Fotografia Retrato Exclusão Negociação Fotógrafo Fotografado Photography Portrait Exclusion Negotiation Photographer Portrayed