TRACK, MARGIN, CLARION | Mouth

BOCA is a creation by Valter Vinagre (photography) and Eunice Ribeiro (text) developed in the context of the multidisciplinary project "Rastro, Margem, Clarão", in which a collective of creators in the performing arts, visual arts and essayists set out to think about the writing of Rui Nunes (b. 1945) in its heterogeneities, thematic nodes and concerns, in a bold and heuristically transdisciplinary approach.

RASTRO, MARGEM, CLARÃO | Boca

17355

portfolio_page-template-default,single,single-portfolio_page,postid-17355,theme-bridge,bridge-core-3.1.3,qi-blocks-1.2.6,qodef-gutenberg--no-touch,woocommerce-no-js,qode-page-transition-enabled,ajax_fade,page_not_loaded,,qode_grid_1400,columns-4,qode-child-theme-ver-1.0.0,qode-theme-ver-30.2,qode-theme-bridge,qode_header_in_grid,qode-wpml-enabled,qode-portfolio-single-template-4,wpb-js-composer js-comp-ver-7.3,vc_responsive

TRACK, MARGIN, CLARION | Mouth

COMMUNITY PROJECTS

SYNOPSIS

BOCA is a creation by Valter Vinagre (photography) and Eunice Ribeiro (text) developed in the context of the multidisciplinary project “Rastro, Margem, Clarão”, in which a collective of creators in the performing arts, visual arts and essayists set out to think about the writing of Rui Nunes (b. 1945) in its heterogeneities, thematic nodes and concerns, in a bold and heuristically transdisciplinary approach.

—

A certain sense of extinction runs through Valter Vinagre’s photographic images, which is, first and foremost, the extinction of visibility itself. Like the writing by Rui Nunes that provokes them, without actually being their illustration, Vinagre’s images are born of an ‘imperfect’ perception that prevents us from seeing the world in its entirety and with clarity, disallowing any attempt at spectatorship, at consuming a reality that remains partially unrepresented, unrepresentable. In black and white, they are dramatic photographs, almost baroque in their violent contrasts of light and dark, sometimes slightly out of focus or invaded by reflections, spots and areas of shadow, sometimes so close to their subject that they border on the abstract or the shapeless. An anonymous and dull humanity, a few animals, traces of hostile or funereal vegetation are all that is alive in these ruinous and spectral landscapes, capturing natural (if not ‘denatured’) spaces; cf. Pinharanda, 2013) and provincial scenery converted into desolate, precarious arcadia, or degraded urban pictures or slightly sordid suburban worlds: a kind of backstage reality, a wasteland weighed down with spoils, wreckage, pieces of a lost wholeness that seemingly allows nothing to be recovered. Images, one might say, destined to corrupt the very nature of photography as a sign, to obstruct the tendentially predatory nature of the machinic eye, its hallucinatory ability to ‘see more’, to see everything.

[Excerto do ensaio de Eunice Ribeiro]