Last week, on the 13th, I took part in the Fourth Art & Photography Seminar organized by Tadeu Chiarelli’s research group at ECA-USP.
In addition to lectures and papers, this fourth edition of the seminar, “Arte, Cultura e Fotografia: memória, outros debates,” featured artists’ testimonies (Cláudio Tozzi, Hudnilson Jr., Lia Chaia, and me, Giselle Beiguelman), accompanied by critical commentary from Rafael Vogt Maia Rosa, Ana Maria Albani de Carvalho, Paulo Sergio Duarte, and Daniela Bousso, respectively.
Daniela Bousso and I were responsible for discussing and contextualizing the post-photographic in my projects and research. Tadeu Chiarelli proposed the concept that placed my projects under this heading: the post-photographic. This debate enabled me to examine a cross-section of my recent work as I never had before, prompting various reflections in light of Daniela’s selections and comments from the audience.
One of these reflections led to the final title of my presentation, seeking to systematize the analyses and the exercise of thinking about my image production conceptually and contextually. In other words, as journeys (back and forth) from stills on the move to motionless cinema, by way of the dissolution of landscape.