Workshop in Belo Horizonte, Brazil / July, 2017

Marilene Ribeiro (from Luana series - 2008-2012)

The first research workshop Fast Forward2: Women in Photographyfunded with The Leverhulme Trust International Network Grant, took place at Universidade Federal de Minas Gerais in Belo Horizonte, Brazil on July 24th and 25th 2017, hosted by Dr. Patricia Azevedo.

Presentations and open discussion took place over the two-day workshop around ideas and themes concerned with the work and position of women photographers today. The summaries of presentations are below.



Artist (Brazil)

Rosangela Rennó spoke about how and why her interest in using photography developed in her work. She referred to the difficulties of engaging an audience in the subject matter of her work and how she disturbed many people in the production of her politically sensitive projects that deal with both social and political issues in contemporary Brazilian society. The significance of this presentation was concerned with how Rennó negotiated her way around and inside particular institutions that did not have a history of being interested in the exposure and discussion of issues related to archives, collections and histories. As well the presentation foregrounded Rennó’s persistence in following up the issues that she considers significant to be remembered through the making of her work despite resistance that she frequently encountered. Rennó benefits from relationships with organisations outside of Brazil such as the Goethe Institute to help fund her projects.

Installation for the exhibition Revendo Brasí­lia

Rosângela Rennó born in Belo Horizonte, 1962, lives and works in Rio de Janeiro. She graduated in Fine Arts from the Guignard School and in Architecture from the Federal University of Minas Gerais. She holds a PhD in Arts from the School of Communications and Arts at USP. Her work is marked by the appropriation of discarded images found in flea markets and fairs, and by the investigation of the relations between memory and forgetting. In her photographs, objects, videos or installations, she works with family albums and images obtained in public or private archives. It also dedicates itself to the creation of authorial books.  Main individual exhibitions: Center for Modern Art CAM – Gulbenkian Foundation (Lisbon, 2012), PhotoMuseum (Winterthur, 2012), Soirée Nomade, Fondation Cartier (Paris, 2014), Atlantic Center for Modern Art CAAM (Las Palmas, 2014), Photographers’ Gallery (London, 2016), Oi Futuro (Rio de Janeiro, 2016).  Main participations in collective exhibitions: Óscar Muñoz and Rosângela Rennó. Elle @ centrepompidou – Artistes femmes dans les collections du Musée National d’Art Moderne (Paris, 2010), 22nd and 29th International Biennial of São Paulo (1994 and 2010) (2011), BES-Photo Award 2012, Berardo Museum (Lisbon, 2012), Intense Proximity – La Triennale de Madrid (2011), Magical Consciousness, Arnolfini (Bristol, 2011), A sense of Perspective, Tate Liverpool Paris, Palais de Tokyo (Paris, 2012), Latin America 1960-2013, Fondation Cartier (Paris, 2014), Paris Photo- Aperture Foundation Photobook Short List Exhibition, Aperture Foundation (New York, Brazil), Wexner Center for the Arts (Ohio, 2014), Proa Foundation (Buenos Aires, 2015), The Pompidou Center (Paris, 2015), Autophoto, Fondation Cartier (Paris, 2017).  Recent Awards: CIFO Grants & Commissions ), Paris Photo – Aperture Foundation Photobook award – Photobook of the year (2013), ALICE Awards – Political Art (2012).  Recent books: Spirit of Everything, Rio de Janeiro: Cobogó, 2017. Rio-Montevideo, Montevideo: Centro de Fotografia, 2015. Everything that is not in the images, Las Palmas: CAAM, 2014.


Head of the Contemporary Photography Department at Instituto Moreira Salles and Editor of ZUM Magazine (Brazil)

Claudia Andujar, In the Place of the Other

“After three years of research in the photographer’s archives, I have put together the first retrospective exhibition dedicated to the work preceding Claudia Andujar’s world famous Yanomami Indians’ photographs. Andujar arrived in São Paulo in 1955 at age 24, after fleeing Hungary with her mother during World War II. Her father’s family was killed in concentration camps. With little knowledge of the Portuguese language, she found in photography an instrument for work and contact with the country. From the 1950s to ’70s, she contributed to magazines in Brazil and abroad, participated in art exhibitions and traveled Brazil from north to south.

Focusing on the early decades of her production, this research presents different perspectives through which she explored photography and the country: the relationship with nature, anthropological immersion, graphic experimentation and photojournalistic work. With a humanist outlook, she used photography to understand the country that she adopted as her home and to find herself. Throughout her career, she has made a point to get closer to, and put herself in the place of others. This displacement also manifested in the realm of geography, as she was forced to rebuild her life in a new country.

The research focuses on a largely unseen and unstudied period of her career. It helps us understand the originality and the complexity of the work of one of Brazil’s most important photographers.”

Rua Direita, São Paulo, SP, c. 1970 /Claudia Andujar / Instituto Moreira Salles Collection

Thyago Nogueira born in São Paulo, Brazil, 1976, is the head of the Contemporary Photography Department at Instituto Moreira Salles, Brazil ( and editor of ZUM magazine ( He has curated exhibitions and edited the catalogues of William Eggleston (A cor americana/The American Color, 2015), Claudia Andujar (No lugar do outro/In the place of other, 2015) and Mauro Restiffe (São Paulo Fora de Alcance/Beyond Reach, 2014). He has guest edited Aperture magazine focused on São Paulo photography (2014), and co-curated the Offside project with Magnum agency during Brazil’s World Cup. He has also curated Água escondida/ Hidden Water, a book project by photographer Caio Reisewitz. He is currently working on a Contemporary Brazilian Photography exhibition, as well as a retrospective of photographer Claudia Andujar and a project with artist Rosângela Renno. He is advisor for The Photobook Museum and Errata Editions, and has judged different awards such as Foam Paul Huf, Fondazione Fotografia Modena and Fondation Henri Cartier-Bresson.


Historian and Art Critic, Professor at PG in Arts, UFMG (Argentina/Brazil)

Maria Angelica Melendi discussed the work of women artists in the period of dictatorship 1968 – 1985. It is a research that she has conducted for the curation of the exhibition project titled “Radical Woman” for the Hammer Museum in Los Angeles (opening late 2018). 1975 was defined, by the UN, as the international year of the woman and (in the same year) the feminist movement for Amnesty was initiated in Brazil. This point in time marks a significant influence for the artist’s included in this exhibition. In the 1960s, over 100 years after the end of colonization, was an important time for Brazil and artists and intellectuals were linked to the liberal movement against dictatorship. Artists were building an allegra of Brazil and from within the dynamics of this different protests would arise yet also remain hidden. She described the censorship and closure of exhibitions in the late 1960s and the difficulties in particular for women artists. The spine of feminine artistic production in Brazil dates back to the last decades of the 19th century and in the 1960s this production became more aware of its identity. In the 1970’s many questions about sexuality, family and political participation were raised by women artists. Feminism had to fight with other important needs of the society and was often thought of as a bourgeois occupation. Melendi talked about the disposability of the female body and how women that resisted the traditional framework (for behavior) could easily become victims of violence as they could be considered as degenerate beings for their transgression – the artists she has researched have made responses to this situation. The repression of the dictatorship haunted and terrified people and these artists were working in the frontier between reason and affection, pleasure and pain. The women artists that were introduced in this presentation were Sônia Andrade, Lenora de Barros, Regina Vater.

Sônia Andrade, Videotape 3, 1977

Maria Angelica Melendi is born in Argentina, she holds a PhD in Literary Studies from the Federal University of Minas Gerais (1999). She is currently a Professor Associated with the Federal University of Minas Gerais. Develops research in Arts, with emphasis on Fundaments and Criticism of the Arts, working mainly in the following subjects: contemporary art, memory, art, body and photography. She investigates the memory strategies developed by contemporary art in Latin Americain relation to state terrorist and social violence, subject on which published books and articles national and internationally. She is the coordinator of the research group " Art Strategies in the Age of Catastrophes" ( and editor of the Lindonéia Magazine (on-line). Also she is invited Lecturer at the Aesthetic Research Institute of UNAM, and the Institute for Higher Social Studies at São Martin University, IAET resident, UFMG. Currently is researching for the exhibition Radical Women, Los Angeles, USA, latter in 2017.


Artist / Educator / Curator / PhD candidate at University of Westminster (India/UK)

Suni Gupta introduced to the AJK Mass Communication Research Centre, Jamia Millia Islamia , New Delhi, India on behalf of Professor Sabeena Gadhioke. Illustration was a portrait of Homai Vyarawallah with Professor Sabeena Gadhioke. (Vyarawallah was India’s leading woman press photographer particularly active in the 1940s and 1950s documenting India’s independence from the UK and the birth of Nehru’s vision of India as a modern Republic. She was the subject of a book, film and exhibition produced by Professor Gadhioke.). Then, Gupta presented ‘Some Women Photographers of Indian Origin’ inclduing Sheba Chhachhi, (Delhi, b. 1958), Indu Anthony (Bangalore, b. 1982), Anita Khemka, ( Delhi,  b. 1972) & Imran Kokiloo,  Mohini Chandra (Plymouth, b. 1964) and Pushpamala N. (Bangalore, b. 1956).

Pushpamala N.The Arrival of Vasco da Gama (2014)

Sunil Gupta born in New Delhi, India, is a photographer, artist, educator and curator currently enrolled in a doctoral programme at the University of Westminster. Educated at the Royal College of Art he has been involved with independent photography as a critical practice for many years focusing on race, migration and queer issues. His latest show (with Charan Singh), Delhi: Communities of Belonging is at Sepia Eye, New York 2017 and his last book, of the same name was published by The New Press, New York 2016. His work has been seen in many important group shows including Paris, Bombay, Delhi… at the Pompidou Centre, Paris 2011 and at the Tate, Liverpool 2014. He is Visiting Professor at UCA, Farnham, and Visiting Tutor at the Royal College of Art, London. He is Lead Curator for the Houston Fotofest 2018. His work is many private and public collections including; George Eastman House (Rochester, USA), Tokyo Metropolitan Museum of Photography, Royal Ontario Museum, Tate Britain, Harvard University and the Museum of Modern Art.


Artist (Brazil) 

Helena Martins Costa presented about the codes of construction of identity of women on portraiture and images of the body. She noted that In Brazil history is built and then erased. All institutions present one difficulty or another for developing research.

Museu de Arte Moderna de Sao Paulo, 2012

Helena Martins is an plastic artist and teacher of photography. Born in Porto Alegre, Brazil, 1969. Lives and works in São Paulo, she holds a degree in photography from UFRGS (1996) and a master’s degree in visual poetry from the School of Communication and Arts of the University of São Paulo-ECA USP (2006). Received the CNPQ Improvement Grant from the UFRGS Institute of Arts (1997 to 1998), and a Special Reference Award from the Victor Meirelles Arts Hall and the ZUM Photography Grant from Instituto Moreira Salles. In her work investigates, from the appropriation of anonymous portraits, the codes of construction of the photographic image. Selected exhibitions include: Antilogies: The Photographic in the Pinacoteca, São Paulo, Brazil, 2017; Statuary, at Soares dos Reis Museum and at the Quase Galeria in Porto, Portugal; Instant: Latin American photographers from the Carpe Diem collection, PhotoEspanha, Carpe Diem Arte e Pesquisa, Lisbon, Portugal, and the Slowtrack Gallery, Madrid, Spain, 2015; 17a Bienal de Cerveira (video installation by a wire), Portugal, 2013; Individual exhibition of the video installation Por un Fio, Projeto Parede, at the São Paulo Art Museum – MAM, Brazil, 2012.


Artist (Brazil)

“As you will probably remember, having forgotten my pen-drive (a most embarrassing moment!), was a direct hindrance to my participation your seminary. I’ll try to better this unfortunate neglect by answering your questionnaire, mixing moments of my life story and my work in Brazil to where (born in England in 1931 and a much- travelled daughter of a diplomat) I first came in 1952, having lived here ever after!

Starting my studies in the visual arts with André Lhote (Paris, 1953) and at the Art Students’ League (NYC, 1955), I turned to photography in 1962, working for almost ten years as a photojournalist in two prominent Brazilian magazines (REALIDADE and 4RODAS). Constant travel during these years of professional activity led to a familiarity with far distant regions of the country and a starting point from which to better understand the worlds of Euclides da Cunha, Guimarães Rosa, Ariano Suassuna, Jorge Amado, Mário de Andrade and João Cabral de Melo Neto.  The tracing of graphic equivalents to the words of these extraordinary Brazilian authors resulted in and a series of books (A João Guimarães Rosa, BahiaAmadaAmado, Sertões Luz e Trevas, Caranguejeiras and O Turista Aprendiz Revisitado, among others, printed over the years. A comprehensive selection of these equivalents can be seen in FOTOGRAFIAS/Maureen Bisilliat, a book published by the Instituto Moreira Salles (IMS) in 2009.

This re-discovery by the Instituto – guardians of my photographs since 1993 – revived my interest in a long-forgotten profession, stimulating what would now be a return to many of the places visited 50 YEARS AFTER, a project upon which I have been working on for almost 7 years:


Maureen Bisilliat

Maureen Bisilliat is a photographer and documentary filmmaker. She received a scholarship from the Guggenheim Foundation (1970), CNPq (1981-87) and FAPESP (1984-87). Born in England, she arrived in Brazil in 1952 and began photography in 1962, having worked for ten years as a photojournalist in Editora Abril magazines, such as Realidade and Quatro Rodas. In this same period, he produced series of “photographic equivalences” from reading the books of. From 1972 to 1977, he frequently visited the Xingu. In 1979, he launched, in co-authoring with the Villas Bôas brothers, Xingu/Terra, installed at the XIII São Paulo Biennial (1975). In 1988, with her husband Jacques Bisilliat and her partner Antônio Marcos Silva, she was invited by Darcy Ribeiro to contribute to the creation of a collection of Latin American folk art, from which the Pavilion of Creativity was born, at the Memorial of Latin America (São Paulo). In 2003, Instituto Moreira Salles acquired its photographic collection. The Porto Seguro Prize for Photography, the Order of Ipiranga, the Order of Cultural Merit and the Order of Defense, all received in 2010, indicate the value of the work produced by the artist. In 2015 she was honored by the Brazilian Association of Art Critics (ABDC).


Art Historian, MAC USP Museum of Contemporary Art in Sao Paulo (Brazil)

This presentation’s goal was to discuss some of the conceptual aspects as well as the elaboration process of the International Seminar Women Photographers / Women Photographed. Photography and gender in Latin America, which was organised by Dr. Helouise Costa and me, within the scope of my Post Doctoral research currently being developed at the University of São Paulo’s Museum of Contemporary Arts.

Held at this public, university museum in the second half of 2017, the seminar will bring together invited Latin American scholars as well as junior researchers selected through an international open call for papers. Our aim is to discuss a history of photography that does not yet have great visibility or a large bibliography available in Latin America.

Erika Zerwes is currently a Postdoctoral researcher at the Museum of Contemporary Art of University of São Paulo, MAC-USP, Brazil, funded by FAPESP. She has her PhD in History (Universidade Estadual de Campinas – UNICAMP, Brazil, 2013), with a FAPESP scholarship and a CAPES funding for a séjour doctorale at the École des Hautes Etudes en Sciences Sociales de Paris – EHESS, France. Author of the upcoming book Tempo de Guerra: cultura visual e cultura política nas fotografias dos fundadores da agência Magnum, 1936-1947.


Visual historian / Screenwriter / Professor at School of Communication, UFRJ (Brazil) 

Mauricio Lissovsky spoke about the “double nature” of women in photography as producers and subjects. He was not simply looking at taste of preferences of women and noted that many of these stories of women photographers are omitted from the main histories of photography. Kodak enabled women and domestic photography was one of the “back doors” that allowed women in to photography. The histories of women on photography in Brazil are quite different to the histories from Europe and the European idea of “The New Woman” did not automatically transfer to Brazil. he discussed the work of Hertha Wambacher, Marietta Blau and Gabriela Barreto Lemos amongst others.

Gabriela Barreto Lemos. Picture of a cardboard cut-out of a cat made by entangled photons. Vienna, 2014.

Maurício Lissovsky is a historian, writer and screenwriter. PhD in Communication, associate professor at the School of Communication of UFRJ, where he teaches Screenplay for Cinema and TV and Visual Theory. Scientific Productivity Bag of CNPQ, Level 2 and Coordinator of the Communication and Information Area, CAPES / MEC. In 2007, he was awarded a scholarship from the British Academy and held his postdoctoral fellowship at Birkbeck College in London. At ECO / UFRJ he was the Coordinator of the Radio and TV Course (2007-2010) and the Postgraduate Program in Communication (2011-2012). He is a member of the Advisory Board of the Center for Iberian and Latin American Visual Studies at the University of London and a consultant to the MFA Program in Roadmap of CAPES / Fulbright, which selects the Brazilian scholarship recipients for professional training in the USA at Master’s level. In 2015, he was a visiting scholar in the Program of Latin American Studies at Princeton University. Dozens of essays, published in Brazil and abroad, and books on photography and visual culture. Among his books are Brazilian Slaves of the 19th Century in the photography of Christiano Jr (1988), Columns of Education (1994), Only a River (2008), The Waiting Machine (2009), Refúgio do Olhar (2013) and Pauses Of Destiny (2014). He has extensive experience as a screenwriter of video, cinema and TV, having been the coordinator of Iser-Vídeo and TV Zero (of which he was the founder). Among his screenplays for feature films are fiction feature Be What God Wants (dir. Murilo Sales, 2002) and Nise, the heart of madness (dir. Roberto Berliner, 2016) and documentaries A Pessoa é para Eliezer Baptista, engineer from Brazil (dir. Victor Lopes, 2010), Serra Pelada (dir. Victor Lopes, 2013).


Curator / Editor of PISEAGRAMA Magazine, Professor at UFMG (Brazil)

PISEAGRAMA magazine is a biannual and thematic magazine on public spaces – existing, urgent and imaginary – treated under various fields of knowledge, among which the visual arts. We understand art as a form of knowledge, approaching mainly those practices that are interested in the extra-disciplinary field. For this presentation, we highlighted photographic acts in the seven years of the magazine that interrogates the production of public space, realizing the importance of dialogue with other cosmologies. Starting with a photo that was the cover of issue number 08: a portrait of the late 1950s of an indigenous woman, probably of the Yawalapiti group, by Paulo Manhães. This photo testifies the perverse colonial misunderstanding and the systematic epistemicide committed on the side of the abyssal line responsible for separating subjects and objects, sciences and beliefs, true and false, cultures and natures.

Finally we presented a photo of another indigenous woman, half a century later, but this time at the other side of the camera: a 2010 photo by Suely Maxakali, an important figure among the Maxakali group, among the indigenous filmmakers, and among the masters invited to teach in the Federal University of Minas Gerais… that is to say: a woman diplomat between worlds.

Paulo Manhaes, 1958

Ana Martins Marques is a poet from Belo Horizonte. She published the books A vida submarina | The life underwater (Scriptum 2009), Da arte das armadilhas | The art of traps (Companhia das Letras, 2011), O livro das semelhanças | The books of Resemblances (Companhia das Letras, 2015), Duas janelas | Two windows (with Marcos Siscar). Como se fosse a casa (with Eduardo Jorge, Relicário Edições, 2017). For The book of resemblances, he received the APCA Poetry Prize and third place of the Oceans Prize. She holds a PhD in literature compared by UFMG, with a thesis on the incorporation of photographs in contemporary literature.


Art Curator / Researcher and Critic, Co-curator of 32nd Bienal de Sao Paulo (Brazil)

Based on Julia Rebouças’ own professional biography from 2006 to 2017, this presentation discussed possibilities within the field of the contemporary art curatorship in Brazil. It started from her early contacts with the contemporary art scene, when she run the editorial project Dois Pontos in Pernambuco state, and moved along her career as stabilished curator, as part of the Inhotim Institute’s curatorial team until 2015, in Minas Gerais state. Apart from her works at Inhotim, Julia also emphasized her participation as co-curator of the 9th Mercosul Biennial, and as part of the 18th and 19th SESC International Festival_Videobrasil curatorial committee, in São Paulo. Her experience as co-curator of the 32nd São Paulo Biennial, entitled Incerteza Viva, and organised between 2015 and 2016, was also highlighted in her presentation. Pinned on these above mentioned projects, Julia drew the role curators play when it comes to seek for gender equity, considering both areas of dealing with collections and organising exhibitions. Speaking about transformative and experimental practices in the field of the Arts, Julia used as an example the work of Frederico Morais (critic, curator and artist) in the 1960s and 1970s, which constitutes the subject of her current PhD research.

Rivane Neuenschwander, I wish your wish, 2003, installation at MAMAM, Recife

Júlia Rebouças born in Aracaju, Sergipe, 1984, is an art curator, researcher and critic. She was co-curator of the 32nd Bienal de São Paulo, Incerteza Viva. She worked as a curator at Instituto Inhotim from 2007 to 2015. Since 2012, she has been part of the Videobrasil Cultural Association as a member of the curatorial commission for the 18th and 19th SESC_Videobrasil International Festival of Contemporary Art in São Paulo. She was adjunct curator for the 9th Mercosul Biennial in Porto Alegre, 2013. She has realized a number of independent curatorial projects, including the exhibit Zona de instabilidade, featuring works by artist Lais Myrrha, at Caixa Cultural Sé, São Paulo in 2013, and at Caixa Cultural Brasília in 2014. She writes texts for exhibition catalogues and artist books and contributes to art magazines. She holds a master’s degree in visual arts from the Federal University of Minas Gerais (2012), and is currently working on her doctorate in the same program.


Post-doctoral fellow in Cognitive Semiotics and New Media / Professor at UFMG (Brazil)

Cida Moura promoted the notion of an intersectional perspective: semiosis de-coloniality and plural knowledge. The profession of photography, until recently has been relatively expensive and women were put off from becoming involved in it because of a lack of resources. As the only black woman presenting today she insisted on making women of colour the subject for her discussion. She spoke about black women photographers and photographed black women. Moura cited the importance of figuring the black woman in society through photography as without picturing black women the threat of absence leads to a waste of social experience. All oppression is connected and it is important that we understand that intersectionality describes the way that all discriminatory systems create inequality. What kind of world would we like to have? How do we depopulate (the world) of colonial style imagery?

Image: Cida Moura

Cida Moura holds a PhD in Communication and Semiotics from the Pontifical Catholic University of São Paulo (2002) and a Postdoctoral Degree in Cognitive Semiotics and New Media by the Maison de Sciences de l ‘Homme, Paris (2006-2007). She was Coordinator of Information Inclusion Policies of UFMG (2010-2014) (CPINFO/UFMG). She is director of Information Governance at UFMG (DGI/UFMG) and is the authority responsible for compliance with the LAI (Information Access Law) and the UFMG General Ombudsman. Coordinates the Nucleus of Studies of the Mediations and Social Uses of the Knowledge and Information in Digital Environments (NEMUSAD). Coordinates the Virtual Museum – Plural Knowledge. She works in the postgraduate programs in Social Communication (PPGCOM/ UFMG) and Information Science (PPGCI/UFMG) as collaborating professor and permanent member, respectively. She has experience in the area of Information Science, Communication and Education, with emphasis on information technologies and the production of contents related to human rights and the preservation, registration and diffusion of popular culture and traditional Brazilian knowledge. Its scope and research interests include: Semiotics applied to informational studies, organization of information: theoretical foundations, mediations and applications, analysis of social networks (ARS) applied to Informational studies, language, digital genres and discursive formation, information culture, organization of Information in collaborative environments; Identity and popular culture.


Artist / Professor at Slade School of Fine Art, UCL (UK)

Territory and Time

The presentation touched on earlier works including Litter (1994), Touched (1996) and Tate in Space (2002) to show the trajectory from site and situation specific interventions to my more recent networked landscape images, which use time, transmission, and the elements as their material and photography (in the form of remote network cameras) in a method I developed of constructing images over time. I showed images from the earliest experiments with this technique in Transporting Skies (2002) as well as other works including Fenlandia (2004), Glenlandia (2005), and Seascape (2009) to the most recent iteration, LAND (2016-7) where a camera was located in Jerusalem looking out over the West bank towards the Jordanian Mountains. I discussed the work as a kind of ‘open system’.  A system inhabited and activated by light, day, night, weather, the seasons – each of these analogue variables conspiring to produce an infinite variety of unique images. Hours compress and time shifts enabling a continuous re-presentation of otherwise familiar subjects.

Image credit: LAND, Jerusalem 7th November 2016 at 16:13pm © Susan Collins

Susan Collins works across public, gallery and online spaces employing transmission, networking and time as primary materials. Most of her work is made in response to specific sites and situations. Key works include the BAFTA nominated Tate in Space, Tate Online (2002); Transporting Skies (2002) which transported sky (and other phenomena) live between Newlyn Art Gallery, Penzance in Cornwall and Site Gallery Sheffield in Yorkshire; Fenlandia (2004) and Glenlandia (2005) – live year long pixel by pixel internet transmissions from remote landscapes; S eascape (2009) a solo show for the De La Warr Pavilion, Bexhill-on-Sea and short films including Love Brid (2009) for Animate Projects Coastcards and Wild Life (2016) for Tintype Gallery’s ‘Essex Road III’. Public commissions include Underglow (2005-6), a network of illuminated drains for the Corporation of London and Brighter Later (2013), a site specific light installation for the Radcliffe Observatory, Oxford driven by live weather data. Recent works include Wembury & Woolacombe (2015), commissioned by the RAMM, Exeter in association with the National Trust, and LAND (2017), a live transmission from Jerusalem looking across the West Bank towards the Jordanian mountains. Susan Collins is Slade Professor and Director of the Slade School of Fine Art, UCL where she established the Slade Centre for Electronic Media in Fine Art (SCEMFA) in 1995.


Artist / PhD candidate at UCA (Brazil/UK)

Marilene Ribeiro presents her current work ‘Dead Water’ – documentary project on the impact of dams on nature and people, which has involved collaboration at its every stage. It consists of her PhD at the University for the Creative Arts/UK (institution that Ribeiro got to know when engaged in a previous collaborative project: Collective Body). Dead Water has also been undertaken in a partnership with the Brazilian Movement of People Affected by Dams (MAB) and is sponsored by the Brazilian CNPq scholarship programme. Most importantly, Dead Water is a collaborative visual storytelling project in which Ribeiro conceives together with families that have been affected by dam projects in Brazil a narrative on the damages hydropower plants have inflicted on environment and communities. This emerges from portraits of these families taken by Ribeiro and co-directed by every sitter (subjects suggest a location, an object to stand along with them on the photograph, and modifications along the shoot in order to best represent their own feelings/experiences regarding the dam). Ribeiro also stitches together with these portraits further material provided by participants, like testimonials, vernacular photographs, drawings, and folk songs.

Gathered from Maria Dalva’s archive. Marilene Ribeiro.

Marilene Ribeiro is a Brazilian photographer based in Farnham, UK. She is co-founder and member of Agnitio – change through photography, collective project that aims to empower communities via photography skills since 2007. Ribeiro is also one of the members of the Biotrópicos Institute, Brazilian Non Governmental Organization that deals with biodiversity Conservation and the relationship between human beings and nature. Ribeiro’s work has been exhibited in Brazil, Spain, China, and England. Her practice is focused on identity and contemporary issues, bringing together photography, intervention, and collaboration. Last month she was shortlisted for the Marylin Stafford Foto- Reportage Award. In 2014 she was the recipient of the Royal Photographic Society Award – Postgraduate Bursary. In 2012 she was awarded the “International Art Residence Program Lab MIS” by the São Paulo Museum of Image and Sound / MIS. In 2010, Nos Passos de Jean, joint work conceived and written by the journalist Thiago Herdy, and photographed by Ribeiro, was one of the winners of the “ESSO Journalism Prize”. Articles about Ribeiro’s work have been published in France, Spain, Brazil, and in the UK.  Website.


Co-Director of Dillon+Lee Gallery (USA)

Writer and gallerist Diana Seo Hyung Lee gave a talk on how as an immigrant from South Korea growing up in Queens, New York she has come to be involved in the art world. She touches on the various influential alternative projects and spaces that were relevant to her, which has eventually impacted the way that she runs her gallery Dillon + Lee. She talks about the beginnings of a photography program within her gallery through the artist Cristina De Middel all the way up to working with contemporary photographer and video artist Mami Kosemura. Since the gallery has transitioned from occupying a ground floor retail space to a residential townhouse, the projects and exhibitions have shifted, leaning more towards site specific installations and experiences where the gallerist works quite closely with the artist as a curator and producer.

Installation view of Pendulum, a solo exhibition by Mami Kosemura at Dillon + Lee in November 2016. Image courtesy of artist and gallery.

Diana Seo Hyung Lee is a New York City based writer, translator, and partner of Dillon + Lee. Lee joined Dillon Gallery in 2012 and was instrumental in the new direction of the gallery and alongside Valerie Dillon has operated the international expansion and presence through art fairs and curated exhibitions. She became partner in the fall of 2016. Lee’s writing and translations have appeared in Flash Art, The Brooklyn Rail, ArtSlant, Degree Critical Blog, Art Asia Pacific, and The Forgetory, an online publication she helped start, where she currently serves as a contributing editor. She received her MFA in Art Criticism and Writing from The School of Visual Arts in 2012 and BFA in Fine Art with a concentration in Sculpture and Printmaking from Cornell University in 2008.


Curator / Director of The African Artists’ Foundation / Director of Lagos Photo Festival and Art Base Africa journal (Nigeria).

Presentation was done collaboratively together with MARIELLA FRANZONI, an Independent Researcher and Curator (Spain / South Africa).

Azu Nwagbogu and Mariella Franzoni presented women photographers and the self-portrait in Africa. Their talk exposed work by young and emerging photographers alongside some of the more established names such as Zanelli Muholi. The Lagos Photography Festival, where Azu is the Director has developed the female artists’ platform as a means of social emancipation for women in Nigeria. Women artists in Africa are using the medium of photography to reshape the way an audience looks at Africa and how Africa looks at itself. They stressed the relevance of the millennials generation which makes up a large proportion of African society. Self-portraiture has emerged as a significant tool for women photographers to use to make their points. Other artists/photographers included Jenevieve Aken, Nobukho Nqaba, Ayana V. Jackson, Lhola Amira, Phumzile Khanyile, Tony Gum and Loza Maleombho. The significance of the self-portrait is embroiled in the empowerment of the self and most specifically for women to give themselves a socio political agency to expand the representation of themselves.

Zanele Muholi, Bhekisisa, Sakouli beach, Mayotte, 2016

Azu Nwagbogu is the Director of the African Artists Foundation (AAF), a non-profit organization based in Lagos, Nigeria that he founded in 2007. Nwagbogu is also the Director of Lagos Photo, an annual international festival or art and photography that he founded in 2010. Additionally, Nwagbogu is the Director and Editor-in-Chief of Art Base Africa, an online journal that focuses on contemporary art from Africa and Diaspora. He is a collector and advises other private collectors. Nwagbogu has curated numerous exhibitions internationally, including Dey Your Lane! Lagos Variations at BOZAR Centre for Fine Arts (Brussels, Belgium) in 2016, co-curated with Ruth Simbao Tomorrows/Today at the Cape Town Art Fair (Cape Town, South Africa) in 2016, and Tear My Bra at Rencontres d’Arles (Arles, France), 2016. He is Curator-at-Large for photography at the Zeitz MOCAA Museum in Cape Town.


Born in England in 1931, I traveled intensely as a child, which later led to the search for roots that characterize my work. Arriving in Brazil in 1952, I began my studies in fine arts with André Lhote (Paris, 1955) and at the Art Students League (New York, 1957). Feeling the need for a more direct contact with apparent reality, I left painting for photography in 1962. 10 years of photojournalism follow, giving me the opportunity to travel to far distant parts of the country. This familiarity with the unknown resulted in a project tracing photographic-equivalences to the worlds of Brazilian writers such as Euclides da Cunha, João Guimarães Rosa and Jorge Amado. From 1972 to 1977, I traveled frequently to the Xingu, co-authoring with Orlando and Claudio Villas Boas Xingu/Tribal Territory, published in five languages by William Collins & Sons, London (1979). This work resulted in an installation at the XIII São Paulo Biennial (Critics’ Prize 1975) and a documentary film under the same title, which opened the Margaret Mead Film Festival at New York’s Museum of Natural History in 1982.

As a Fellow of the John Simon Guggenheim Foundation (1970), the National Council for Scientific and Technological Development CNPq (1981-87) and the Foundation for Research Support of the State of São Paulo FAPESP (1984-87), these grants have helped me through the doubts and difficulties of delivery. In 2003 the Instituto Moreira Salles acquired my work in photography, organizing an exhibition and publishing a book – FOTOGRAFIAS / Maureen Bisilliat – reviving my interest in photography and in my photographs, hitherto forgotten in the lockers of time. The following decorations: Order of Ipiranga, Order of Cultural Merit and Order of Defense, all received in 2010, indicate the positive repercussion of this re-discovery.

My involvement in São Paulo’s grossly over-populated prison – Casa de Detenção Professor Flamínio Fávero: Carandiru – began in 1986, registering in video a project – Teatro no Presídio

(Theatre in Prison) funded by the Ministry of Culture and the Human Rights Board of the Foundation for the Support of Prisoners (FUNAP). A project idealized by a group of young professionals interested in stimulating processes of collective creativity – drama, interpretation, scenarios, scripts, musical composition etc. – to prisoners. Many years later, my daughter Sophia Bisilliat, the journalist André Caramante and I were able to document the last 2 years of existence of this gigantic prison, imploded in 2001. The more than 70 hours taped during these 2 years, now partially edited, are to be implanted in a space we helped to compose with the objects salvaged, images and words: Espaço Memória Carandiru, a virtual memory of an outgoing age.   

The last 8 years have been dedicated to the organization and edition of my videos, now partially incorporated to the Instituto Moreira Salles. We are now in the post production stage of EQUIVALENTS / LEARN BY LIVING, an autobiographical documentary dealing with what I do, for what I do is what I am and what I live by.

To be launched in June with an English version, this film could be the basis for any future possible participation.

The other participants of the workshop who haven't presented but fully contributed to the discussions:


Artist  / Researcher (Brazil)

Hortência Abreu born in Belo Horizonte, 1989, is an artist and researcher, graduated in arts Visuals by UFMG and master in arts by the same institution. Collaborated in the year Past, with texts for the catalog and guide of the 32nd Biennial of São Paulo. She does, currently, a research in partnership with the artist Ricardo Burgarelli on images of the War against Paraguay, involving, mainly, the artistic and documentary production Brazil and Paraguay that relate to the conflict. His studies focus on memory strategies present in practices of contemporary art and the history of art. Some exhibitions: Everything is tangent, Memorial Minas Gerais Vale; Impressions: Women artists in CASA collection- Works About Paper, Belo Horizonte (2017); Camel Festival of Contemporary Art; Short circuit display – Unplanned connections, SESC Palladium, Belo Horizonte (2016); Grounding, SESC Palladium, (2015); Delay of being still (individual), Cultural Center of UFMG, Belo Horizonte (2014).


Visual Artist / Research and Lecturer. Vice-director of the Fine Arts School of UFMG (Brazil)

Adolfo Cifuentes born in Colombia, 1961, lives and works in Brazil since 2007. Visual Artist, researcher and teacher engaged on the defense of public higher education as an essential tool on the building of democracy. Vice-director of the Fine Arts School of the Federal University of Minas Gerais, UFMG, he is also an adjoin teacher at the Department of Photography, Theater and Cinema. He has an undergraduate degree on Linguistics and Literature from the University de La Sabana, Bogotá Colombia, and has two latu sensu post-graduated degrees on Russian Language an Literature (Pushkin Institute of Russian Language and Literature, Moscow) and Philosophy (Faculty of Philosophy of the Federal University of Minas Gerais, Brazil). As visual artist he’s been active specially on the fields of performance, photography, installation, mixed medias and collaborative art projects and has had an extensive participation on events, both home and abroad, over the past three decades. He’s been an invited professor at the de Antioquia University (Medellín, Colombia), Technological University of Pereira (Pereira, Colombia) National University (Bogotá, Colombia) and the Indiana University, Bloomington, Indiana, USA. Since 2014 he coordinates the f Space, exhibition space for works developed in the photographic courses at the UFMG.


Artist / PhD Candidate, UFMG (Brazil)

Bárbara Ahouagi PhD Student in the Postgraduate Course in Arts at the Federal University of Minas Gerais, professor of Art at Fundamental Education in Betim, and is a member of the Research Group on Art Strategies in an Era of Catastrophes (EBA / UFMG). As an artist she has production that permeates performance and conceptual art exploring photographic and virtual media creating tensions between fiction and autobiography. His theoretical research focuses on the presentations and representations of gender violence in Brazilian art.


Artist / Professor of the Visual Arts at UFMG / Co-curator of FIF BH Festival (Brazil)

Patricia Azevedo born in Recife, 1964, is graduated in Philosophy at Université Paris VIII, France (1997), has a Master’s degree in Philosophy (Art and Action in Leon Battista Alberti) and PhD in Visual Arts (Games of Distance and Proximity with CAPES Award for research at The Warburg Institute Archive and LADA-Live Art Development Agency, London) both at UFMG, where she is Professor in the Visual Arts Course. As an artist, she develops collaborative projects in different media, investigating language, territory and power, and working in the public space through relationships established between people and the communicative act. She is included in several collective exhibitions and residences in Brazil and abroad, such as: In Sonora, Madrid (2018); 21st Experimental Film Festival of Bogotá, (2017); No Quiet Place, The Tetley Center for Contemporary Art, Leeds, UK, (2016); Family Album, Centro Hélio Oiticica, Rio de Janeiro and 4th Bienalle of Lubumbachi, Congo (2015); Digging the Future, Belo Horizonte (2014); Making Traks, 10th London Short Film Festival and No Olho da Rua, Brighton Photo Biennial, Fabrica, UK (2012); Bienaural, Residency Program Award, Portugal, (2011); Bed-in, Bluecoat Gallery, Liverpool, UK; The Drawing Shed, Gallery PSL, Leeds, UK and Exchange Mechanism, Belfast Exposed Gallery, UK (2010); Artist Links UK-BR, Residence Award (2009); The Northern Art Prize Exhibition | Clare Charnley, Leeds Art Gallery, UK (2008); Artist to Artist, Residence Award, Royal Academy, London (2007); No Olho da Rua, Kunsthaus Rotterdam and Vigo Visions, Spain (2000); Arte Cidade III, Matarazzo, São Paulo; Week Midia project in collaboration with the newspaper Het PAROOL Amsterdam (June 1998); Contemporary Brazilian Photography, Photographers Gallery, London (1996). She published two books, collaborative projects, Vitoria Verso e Reverso, Edições Afrontamento, Porto, Portugal (2004) and No Mundo Maravilhoso do Futebol, Basalt Publisher, Amsterdam (1998). She composes the curatorship team of FIF BH – International Photography Festival.


Lecturer and Coordinator of Cultural Campus in Tiradentes, UFMG (Brazil)

Anna Karina Bartolomeu has a Masters in Arts (1997) and a Doctorate in Social Communication (2008), both by UFMG. She works as a teacher in the area of Photography, Department of Photography, Theater and Cinema, School of Fine Arts UFMG. She is also part of the Poetic of Experiences Research Group (PPG-COM / FAFICH / UFMG), where she develops research on the poetic and political power of vestiges in the fields of photography and cinema. She is one of the publishers of the Magazine Devires – Cinema and Humanities. She currently coordinates the UFMG Cultural Campus in Tiradentes and is Cultural Superintendent of the Rodrigo Mello Franco de Andrade Foundation.


Artist / Lecturer in Visual Arts at UFMG  / PhD candidate at University of Sao Paulo (Brazil)

Brígida Campbell is an artist and teacher in Visual Arts at the School of Fine Arts at UFMG and has a Master’s degree from the same school (2007). She is currently a PhD student in Visual Arts at the School of Communications and Arts at USP (University of São Paulo). She is a collaborator of EXA – Espaço Experimental de Arte, in Belo Horizonte. She was part of Poro, a duo with whom she has done collective work, with an emphasis on the public sphere, since 2002. As an artist she has participated in several exhibitions and residences in Brazil and abroad, such as Brazil Soft Power, Kunsthal KAdE Amersfoort, The Netherlands; Ein Tag danach, Bunker 101 Cologne; Eletronika Festival, Belo Horizonte; Graphic City, Itaú Cultural, São Paulo; 3rd Biennial of Bahia, Salvador; Art: Dialogue, CCBB Belo Horizonte; Brasília: (City) [Parking] (Park) [Condominium] – Funarte, Brasília; CRio Festival 2012, 2nd International Biennial of Creativity, Pier Mauá – Rio de Janeiro, RJ; Neighbors, Vernetzte Kunst in Brasilien, Museums Quartier – Vienna, Austria; Festival of San Martin de Los Andes, Argentina; among others. She was curator of the project Muros – Territórios Shared . In 2015 he published the book Art for a Sensitive City, a result of Funarte’s Visual Arts Grant, and Exercise for Freedom. In 2010 she published the book Interval Respiro Small Dislocations – poetic actions of Poro, awarded in the Prize Publications of Contemporary Art in Foreign Language – of the Biennial Foundation of São Paulo and Ministry of Culture. She is the editor of Magazines Nuvem and Refil.


Founder of the cultural space CASA CAMEL (Brazil)

Gabriela Carvalho holds a Masters degree in Arts from the State University of Minas Gerais and a Bachelor of Arts from the Federal University of Minas Gerais, having taken part of the course at the Università degli Studi di Bologna. Worked as Project Analyst in Visual Arts at SESC Cultural Center Palladium in Belo Horizonte, where she was responsible for curating the program between 2014 and 2016. She is founder of the cultural space Casa Camel where, since 2011, proposes, coordinates and performs cultural events aimed at the promotion and diffusion of emerging artistic production in Belo Horizonte.


Artist (Brazil)

Carolina Cordeiro artist, 1983, lives and works in São Paulo. PhD admission ECA / USP; Master in Visual Languages by UFRJ, 2014; Bachelor of Arts in Drawing by the School of Fine Arts of UFMG, 2008. She has already held several solo exhibitions and participated in collective exhibitions in Brazil and abroad: Exhibition 12ª Red Bull Station Artistic Residence – Curator: Fernando Velazquez – SP; 2016 – Now We Are More Thousand – Park Lage – Visiting Curator Program: Marta Mestre – RJ; Between, Memorial Minas Gerais Vale, BH, MG 2013; Carolina Cordeiro at HomeSession, Barcelona, S pain2011; Blind Field – Krannert Art Museum – Curator Tumelo Mosaka and Irene Small – Champaign, IL, USA2012; Curator: Júlio Martins – Harvard University, Boston, USA2012; Direct – curated by Paulo Miyada – Oswald Andrade Cultural Center, São Paulo, SP.2011; Souvenir, Kunstraum Kreuzberg / Bethanien, Berlin, 2009; among others. Participated in the following artistic residencies: Red Bull Station, SP, 2016; Glogauer, Berlin, 2009; HomeSession, Barcelona, 2011. Currently participates in Ateliê Fidalga, São Paulo.


Photographer / Professor of Photography at UCA (UK)

Anna Fox is an acclaimed British photographer and Professor of Photography at University for the Creative Arts. Working in colour, Fox first gained attention for Work Stations (1988), a study of office culture in Thatcher’s Britain. She is best known for Zwarte Piet (1993-8), a series of portraits exploring Dutch black-face’ folk traditions. Other projects The Village (1992), a multi-media installation examines the experiences of rural women, and Friendly Fire, records paint-balling in war reportage style. Her publications include Cockroach Diary and My Mother’s Cupboards (2000), Anna Fox Photographs 1983 – 2007, published by Photoworks. Fox’s solo shows include Photographer’s Gallery, London, Museum of Contemporary Photography, Chicago amongst others. Her work has been in international group shows including Centre of the Creative Universe: Liverpool and the Avant Garde at Tate Liverpool and How We Are: Photographing Britain at Tate Britain. She was shortlisted for the 2010 Deutsche Borse Prize. Fox has been awarded grants from UKIERI and PMI2 for collaborative work in India and in 2015 was lead organizer for the Fast Forward conference at Tate Modern. In 2016 she was awarded an International Network grant from the Leverhulme Trust for the Fast Forward 2 project concerned with raising the profile of women in photography.


Artist / photography and video Teacher in social educational projects (Brazil)

Adriana Galuppo born in Belo Horizonte, where he currently lives. She studied photography at the International Center of Photography (ICP) and video at SVA – School of Visual Arts in NY between 2003 and 2006, and studied subjects at CUNY (The City University of New York). Photography and video teacher in social education projects, among them Oi Kabum! BH School of Art and Technology between 2011 and 2016 and Images Around the World in 2009 and 2010. She produced images and texts for books and magazines such as Atlas Ambulante and Piseagrama. Prizes and residences: Conrado Wessel 2015 finalist, Revista Ensaio Fotográfico 2015, among others. Gender issues related to the life and occupation of urban centres are the main focus of her research.


Lecturer / Researcher at the Social Communication Department at UFMG (Brazil)

Laura Guimarães Corrêa holds a PhD and a Master’s degree in Communications from UFMG (Federal University of Minas Gerais), Brazil. She is a lecturer and a researcher at the Social Communication Department at UFMG, supervising undergraduate and graduate students. She leads a research group on Advertising, Media and Consumption and is a board member of CISECO (International Centre of Semiotics and Communications). Laura was a visiting fellow at the Media & Communications Department at LSE (London School of Economics and Political Science), UK, from 2015 to 2016. She researches and writes about visual communication, advertising images, urban interventions, race and gender.


Director of The Finnish Museum of Photography (Finland)

Elina Heikka is Museum Director at The Finnish Museum of Photography in Helsinki since 2007. The Museum, founded in 1969, is the national special museum for photography and puts on exhibitions of Finnish and foreign contemporary photography, and presents the diverse history of photography ( Elina Heikka holds MA in art history. She was editor and editor-in-chief in Valokuva – Finnish Photography magazine from 1994 to 1998. After that she worked as a researcher at the Finnish Museum of Photography and as a special researcher at the National Gallery / Central Art Archives from 2001 to 2007. She has published widely on contemporary photography, history of Finnish photography, contemporary art and visual culture. Since 1994 she has lectured extensively, for example as a guest lecturer at the University of Art and Design (Aalto University since 2010), at Turku Art Academy and abroad. She has curatorial experience from photo gallery Workshop (Helsinki, Finland 1996-1998) and several museums in Helsinki.


Artist  / Actress (Brazil)

Luísa Horta born in Belo Horizonte, 1984, lives and works in Rio de Janeiro and Belo Horizonte as interdisciplinary visual artist an actress. She graduated in Visual Arts from UFMG. Her research focuses on the appropriation of documentary elements as a gesture of fictionalization, providing with the assembly and manipulation the displacement of the historical perspective, leading to the emergence of dialectical layers contained in modern Brazilian episodes. In the field of fiction he also explores the relationship of her body with architecture, space. She recently exhibited at the National Museum, Brasilia, Paço das Artes, São Paulo and Memorial de Minas, Belo Horizonte, among others. She also collaborates constantly in cinematographic projects, integrating the art teams like director and assistant of the films The Sonâmbulos, of Tiago Mata Machado, The Beduíno, of Julio Bressane and The Howling of the Gaita, of Bruno Safadi. It was recently approved for the master’s degree in Visual Arts at the Federal University of Rio de Janeiro with a project that intends to study the concepts raised by the installation works themselves in resonance with the film production of the Russian collective Chto Delat.


PhD candidate at Escola de Belas Artes – UFMG (Brazil)

Paula Huven born in Belo Horizonte, 1982, is doing her doctoral studies at Escola de Belas Artes – UFMG, investigating the diverse representations of time in the photography from the relations between real and imaginary; object and image in art. She has done her masters at UERJ and attended courses at Parque Lage’s School of Visual Arts at Rio de Janeiro. From 2006 to 2015 she worked as a photojournalist for Folha de S. Paulo, O Globo, O Tempo and others. Currently, beyond the artistic practice, she teaches photography at universities and free courses. Solo exhibitions: Dias Comuns (Museu de Sant’Anna, Festival Foto em Pauta, Tiradentes, 2017); Devastação (Galeria A.M, BH, 2014) and O que nos une, o que nos separa, (Galeria Ibeu, FotoRio, 2013). Selected collectives’ shows: The Language of Memory (PhotoVisa Russia 2105); “V Prêmio Diário Contemporâneo” (Belém, 2014); Em Desencanto (Museu Mineiro, BH, 2014); Abre Alas 8 (A Gentil Carioca, RJ, 2012). She received the Woman at Visual Arts Funarte’s Prize (2013) and was finalist at Pierre Verger Prize (2017); Conrado Wessel (2015) e Photovisa Russia (2015). At 2016 she published the book Ravage, artist’s edition.


Titular Professor of the Social Communication Department of FAFICH-UFMG (Brazil)

Eduardo de Jesus is a Titular Professor of the Social Communication Department of FAFICH-UFMG. Graduated (PUC Minas) and Master (UFMG) in Social Communication and Doctor of Arts (ECA/USP). His latest research is focused on the relationship between image and space. He has developed several curatorships such as: FIF Belo Horizonte International Photography Festival (2013 and 2015), These spaces (Belo Horizonte, 2010), Density local (Mexico City, 2008) and International Festival of Contemporary Art – Videobrasil (2001 to 2013). Between 2009 and 2010 he coordinated, along with Jochen Volz, the specialization course Contemporary art: reflection and criticism, in a partnership between IEC-PUC Minas and INHOTIM. He has published texts, essays and reviews on contemporary artistic production, published in several magazines and book chapters.


Artist / Lecturer / Network Facilitator for Fast Forward project, UCA (UK / Estonia)

Maria Kapajeva is an Estonian artist who is based in London. Her work has been shown internationally including the most recent shows & film festival screenings in Romania, Germany, Colombia, France and USA. Last year Maria was awarded with Fellowship by Triangle Network & Gasworks to visit Kooshk Art residency in Iran. Maria was also invited to various international residencies including: Kaunas Photography Gallery residency (Lithuania, 2017), Narva Art Residency (Estonia, 2016), FATHOM Residency at Four Corners Film in London (UK, 2015), Bridge Guard Residency (Slovakia, 2014). He first dummy was shortlised for UNSEEN Dummy Award in 2016 (The Netherlands) and selected for Top 10 at Self-Publish Riga Award in 2015 (Latvia). At the moment Maria works on a publication of her first photo book You can call him another man and on her two solo exhibitions in Estonia and Poland (September 2017). Maria is a Fellow of HEA, teaches at UCA (Farnham). Maria is a co-organiser of Fast Forward: Women in Photography and works as the Network Facilitator for The Fast Forward 2 project, supported by The Leverhulme Trust.


Artist / Professor of Photography at UCA (UK)

Karen Knorr (USA/UK) was born in Germany and grew up in San Juan Puerto Rico in the 1960’s. She currently lives in London. She is Professor of Photography at the University for the Creative Arts since 2010. Karen Knorr’s photography explores cultural heritage and its ideological underpinings. Questions concerning post colonialism and its relationship to aesthetics have permeated her photographic work since the 1980’s. Karen Knorr won the V International Photography Pilar Citoler Prize in 2010. She has been nominated for the Deutsche Börse in 2011 and 2012 and Prix Pictet in 2012. She exhibited her work Belgravia andGentlemen at Tate Britain in 2014-2015. She was recently awarded a Daiwa Foundation Grant to continue projects in Japan. Knorr exhibits her work globally and is included in collections including: Museum of London, Tate, Pompidou, San Francisco Museum of Modern Art, Folkwang Museum, Essen, Kyoto Museum of Modern Art. She is currently represented by Tasveer Art (Bangalore), Augusta Edwards(U.K.) Fille du Calvaire (France) Danziger Gallery (New York) Slowtrack (Madrid).


Poet (Brazil)

Ana Martins Marques is a poet from Belo Horizonte. She published the books A vida submarina | The life underwater (Scriptum 2009), Da arte das armadilhas | The art of traps (Companhia das Letras, 2011), O livro das semelhanças | The books of Resemblances (Companhia das Letras, 2015), Duas janelas | Two windows (with Marcos Siscar). Como se fosse a casa (with Eduardo Jorge, Relicário Edições, 2017). For The book of resemblances, he received the APCA Poetry Prize and third place of the Oceans Prize. She holds a PhD in literature compared by UFMG, with a thesis on the incorporation of photographs in contemporary literature.


Photographer / Film Still and Assistant Director in Paje Filmes / Producer of the Maxakali Community of Aldeia Verde (Brazil)

Sueli Maxacali belongs to the indigenous people Tikmû’ûn (Maxakali). Lives in Aldeia Verde, in the municipality of Ladainha, in the north of Minas Gerais. She is a Photographer, Film still and Assistant Director in documentaries for Pajé Filmes, producer of the Maxakali Community of Aldeia Verde. Participated in the projects: itupmã’ax / Curar (Faculty of Letters of UFMG and Literaterras, 2009); Koxuk Xop Imagem (Alley of Azougue Editorial, 2009); Cantobrilho tikumu’un: at the border of the fertile country (2010). Currently, as a teacher, she participates in the Program of Transversal Training in Traditional Knowledge of UFMG. Among them is worth mentioning Kotkuphi (doc. 24min, 2011 dir. Isael Maxakali). She is also President of the Maxakali Association of Aldeia Verde.


Researcher / Independent curator (Brazil)

Fabíola Moulin is researcher and independent curator, Master in Architecture and Urbanism from the Faculty of Architecture FAU/USP. She was responsible for curating numerous exhibitions and also Coordinator of Visual Arts at the Pampulha Art Museum between 2007 and 2010, where she coordinated the institution’s exhibition program in the ambit of the project Contemporary Art in MAP, composed by individual exhibitions of artists Regina Silveira, Detanico Lain, Solange Pessoa, Eder Santos, Isaura Pena, Adriana Varejão, Cao Guimarães, Chelpa Ferro, O Grivo, Paulo Bruscky, among others important Brazilian artists. In 2011 and 2012, acting as Visual Arts Manager of the institution’s exhibition program in the spaces of the Palácio das Artes and the Center for Contemporary Art and Photography, currently works as independent curator and developing research as a visual artist having participated in various collective and individual exhibitions.


Photographer / Activist / Architect & Town planner (Brazil)

Priscila Musa is a photographer, activist, architect and town planner. Member of the Association of Architects without Borders Brazil. Master’s Degree Program in Architecture and Urbanism, School of Architecture, Federal University of Minas Gerais, UFMG. PhD student in the same program, with research on the production of images of the Social Movements of Belo Horizonte. Graduated in Architecture and Urbanism from PUC Minas. Academic interchange at the Polytechnic University of Valencia, in the course The space in two dimensions: architecture in the cinema.


Artist (Brazil)

Sara Não Tem Nome born in 1992 in Contagem, is a graduate in Visual Arts from the School of Fine Arts of UFMG. Transit between visual arts, music and cinema. Since 2009, she has participated festivals and exhibitions in several countries, including Brazil, France, Spain, Portugal, Germany, Greece, Iceland, Argentina, USA and Turkey. Among the exhibitions she participated in, highlighted here the EDP Prize Arts Tomie Ohtake Institute, São Paulo (2014), When Time Tightens, Palácio das Artes, Belo Horizonte and at National Historical Museum, Rio de Janeiro, curated by Raphael Fonseca; Invisible Landscapes, MUBE, curated by Cauê Alves (2016); Residence Grant Red Bull Station, São Paulo (2015) where he recorded his first album, Omega III and Residences Pampulha Pursuit where she presented the installation Carne Vermelha (2013-2014).


Artist (Peru / Brazil)

Nydia Negromonte born in Lima, Peru, she is an artist, graduated in drawing from the School of Fine Arts of the Federal University of Minas Gerais in 1989, with a specialization in engraving in 1998: The graphic work today: from the imprint engraved to the digital imprint – Faculty of Fine Arts, University of Barcelona, Spain. In 1999 she was a resident artist at Atelier HANGAR, Barcelona, S pain, participating in important fairs and exhibitions. She has held important individual and collective exhibitions in museums and art galleries in Brazil. In 2012 he held a large solo exhibition, Lesson of Things at the Pampulha Art Museum, Belo Horizonte and participated in the 30th Bienal de São Paulo, The Imminence of Poetics. Since 2014, together with Marcelo Drummond, she has occupied a house called ESPAI, which, besides being used as a space for research and construction of his projects in the visual arts, offers the public the opportunity to participate in theoretical courses, workshops, artistic residences and orientations In the design of plastic arts projects. ESPAI has a vocation for collective initiatives and is open to the building of partnerships in close dialogue with other areas of knowledge. Instagram: @ateliespai | Instagram: @nydianegromonte.


Artist / Lecturer at University PUC Minas (Brazil)

Marta Neves has a degree in Animation Design and Film from UFMG and a Master’s Degree in Visual Arts from the same institution. Besides being an artist, she is also a teacher at Univesity PUC Minas. She has participated in exhibitions and national and international artistic events, such as: III Mercosul Biennial of Visual Arts (2001); Panorama of Brazilian Art – MAM (2001), Amalgames Brésiliens – Musée de l’Hôtel-Dieu de Mantes-la-Jolie, France (2005); FIAT MOSTRA BRASIL (2006); Individual at Galeria Manoel Macedo – B. Hte (2007); Japan-Brazil – Creative Art Session 2008 – Kawasaki City Museum / Japan (2008) via Project Cultural Imaginary Interchange Line (through which it has participated in events inside and outside Brazil for more than 15 years); Interventions and performances linked to the project On this street has a river, Instituto Undió – Belo Hte (from 2010 to the moment); Event Other Presence – MAP – B. Hte (2013); 31st São Paulo Biennial (2014); Parallel Program – Casa França Brazil, Rio de Janeiro (2015); Performances Atelier / Artist Provocative – SESC Palladium – B. Hte (2016).


Artist (Brazil)

Camila Otto born in Belo Horizonte, 1985, as a visual artist, works with photography, drawing and engraving expanded, and is part of the Collective SCO2. Master in Arts from UFMG (2012), researching contemporary photography, archive, memory and identity. She exhibited in 2017, at the Fair Books mutants in Madrid, Spain; PHOTO_PAGED, Center Photographie Genève; Festival ZUM 5 years private televisions, SP. In 2016; Library Daily Collection of Contemporary Photography, Museum UFPA; Prêmio Fotoperiodismo Juan Antonio Serrano, La Paz. In 2015, Photos Are Facts, Vermelho Gallery SP; Open Studio Artistic Residence FAAP, SP; 8 The Fair Tijuana of Art Prints, SP; E.CO Meeting of photographic collectives Ibero-american SESC Santos. In 2014, XIII ENCUENTROS ABIERTOS, Argentina. In 2012, Cross-Pollenization: Emerging Artists in Contemporary Brazilian Printmaking, Indiana, USA. In 2011, IMPACT 7, Melbourne and at Washington University in St. Louis, among others. The Collective SC02, received the Scholarship FUNARTE to stimulate production in Visual Arts in 2014, having as a result the book Dig the invisible, 2015; and XIII Prix FUNARTE Marc Ferrez, which resulted in the book Between Places 2015.