Proposta Banner Apresentação.jpg


DPIc - Concurso Internacional de Desenho e Fotografia: Espaço e Identidade nas Faculdades da U. Porto e Estrutura Portátil de exposição de Imagens para Espaços de Mudança Visual - Concurso de Ideias e Anúncio do 5º Congresso Internacional: On the Surface: Photography on Architecture VSC - Unveiling the publicness of urban space

Na próxima quarta feira, dia 23 de janeiro, realiza-se na Reitoria U.Porto, a apresentação pública dos concursos DPIc - Concurso Internacional de Desenho e Fotografia: Espaço e Identidade nas Faculdades da U. Porto e Concurso de Ideias - Estrutura Portátil de exposição de Imagens para Espaços de Mudança Visual, bem como o anúncio do 5º Congresso Internacional ON THE SURFACE: PHOTOGRAPHY ON ARCHITECTURE - “Visual Spaces of Change: unveiling the publicness of urban space”

A iniciativa, de entrada livre, é organizada pela Reitoria da U. Porto e o Centro de Comunicação e Representação Espacial (CCRE / CEAU / FAUP), no âmbito do projecto Visual Spaces of Change - VSC, referência POCI-01-0145-FEDER-030605, financiado por fundos nacionais através da FCT/MCTES e cofinanciado pelo Fundo Europeu de Desenvolvimento Regional (FEDER) através do COMPETE – Programa Operacional Competitividade e Internacionalização (POCI). 

O tema nuclear do Concurso Internacional de Desenho e Fotografia (DPIc) sobre a Identidade das 14 Faculdades da U. Porto: Visual Spaces of Change (VSC) é a ideia de Utopia e Espaços Visuais de Mudança (VSC) e é dirigido a todos os estudantes das 14 Faculdades da U. Porto – estudantes de 1.º, 2.º e 3.º Ciclos ou jovens investigadores pertencentes a qualquer instituição de ensino superior e / ou investigação da U. Porto. 

O concurso de ideias Estrutura Portátil de exposição de Imagens para Espaços de Mudança Visual desafia estudantes de arquitectura, artistas e equipas multidisciplinares a conceber uma estrutura multi-funcional portátil que permita a projeção e exposição de imagens através de módulos facilmente montados nos locais de exibição do projeto Visual Spaces of Change (VSC) - projeto de investigação coordenado pelo Centro de Comunicação e Representação Espacial (CCRE), integrado no centro de I&D da FAUP (CEAU) Universidade do Porto (UPorto), em consórcio com a Universidade do Minho (com a participação do Centro ALGORITMI e Lab2PT - UMinho). 

VISUAL SPACES OF CHANGE - VSC é a primeira etapa de um projeto de Arquitetura, Arte, Imagem e Inovação sobre dinâmicas emergentes de mudança na Área Metropolitana do Porto (AMP). Projetos de Fotografia Contemporânea (CPP) serão desenvolvidos e implementados em locais específicos, concebidos como "narrativas visuais" que interferem intencionalmente com o território metropolitano num exercício de representação autorreflexiva de seu próprio processo de mudança urbana. Esta rede de espaços públicos e coletivos constituirá um "Museu Aberto" na AMP, estimulando instituições artísticas e culturais a ampliar seu alcance e participação no espaço público.






Athens is condensed, homogeneous and grey. 
Although it is surrounded by four large mountains and built around a number of hills, the bare ground can hardly be seen anymore. The new soil is concrete and so is the new horizon.


Margarita Yoko Nikitaki is a Greek-Japanese photographer based in Athens, Greece. 
She studied photography at FOCUS School of Photography in Athens and she obtained her BA degree in Graphic Design from TEI of Athens / FGAD / School of Graphic Design. She works as a freelance photographer in commercial, editorial, architectural, industrial and agricultural projects for design studios, companies and magazines. She also works as a still photographer in movie sets. Her personal work has been exhibited at Thessaloniki Biennale of Contemporary Art, National Museum of Contemporary Art (EMST), Festival Internacional de Fotografía de Tenerife, Grace Athens, Tbilisi Photo Festival, Athens Photo Festival and more. She is currently studying for her Master's degree in Social and Cultural Anthropology at Panteion University of Social and Political Studies in Athens.



Interview with Anna Brody



“So Far, I think
I Was Something That Lay Under The Sun And Felt It“

SCOPIO sat down to talk with Anna Brody about her most recent work, “So Far, I think / I Was Something That Lay Under The Sun And Felt It”. Brody, currently based in Tucson, Arizona, works with photography to both supplement and circumvent the shortcomings of written word. With this project, she photographs people, places and moments who are waiting to become. She hopes to honor them, and crystallize the quiet accomplishment of just being, now.

“I capture so that I can ask them, how did you become this way? Where will you go from here? Do you feel free? Do you know how beautiful you are? I experience a swelling awe at the glowing beauty of what I’m seeing; a compulsive need to capture and save these incredibly ordinary moments for posterity, web-weaving, and in fear of them slipping away from my memory.”

”So Far, I think / I Was Something That Lay Under The Sun And Felt It” is your most recent project, for how long have you been working on it?
For almost exactly a year now – I finished undergrad in November of 2017, quit a job for good reasons, broke my own heart a couple of times, grew it back together again by making new friends and seeing old friends, traveled a bit, drove myself across the country to my new home in Tucson, and started graduate school here in Arizona. It’s been a very full year!

Tell us more about this feeling of being scared of being alone, which is key to your work. What does that mean to you, and what does it feel like?
It’s not so much afraid of being alone as it is of being lonely – being lonely in crowds or around other people has to do with not feeling seen. How another person—a lover, partner, soul mate friend—can hold your non-performative, authentic self and remind you of who that is, and anchor you in that even while you’re performing in public. I think that’s why I often feel lonely in public; I realize I’m performing and I’m not being authentic, and don’t have that anchor to reference back to. Intuition is what I use when I photograph, and what anchors me to my authentic self because I can’t perform intuition, and in that sense my work acts as a partner or friend would – these images hold evidence of my authentic self, and serve to remind me of what that looks like, and to trust myself, that my intuition is worth something.  To feel seen and understood is to share your perspective on the world with someone else and to have them get it, and collecting intuitively captured pictures shows myself back to me. It mirrors my own perspective back to me because I don’t agonize over it in the moment, I’m not trying to explain it at the time I just do it, and then afterwards I see myself more clearly and I think it represents my best self in a certain way? My most open, least cynical self. And sharing that with myself makes me my own anchor. That sounds super sad on paper, but it’s true – it’s a process of intuition, understanding, and affirmation in and of myself. And hopefully, for a handful of other people who connect to my work in a non-logical, holistic and wholly authentic way.

You say you photographed to ‘circumvent and supplement the failures of our written word to express the complex’. What do you mean by that? Could you tell us a bit about your relationship with the medium of photography? When and how did it start?
Rebecca Solnit is an author and theorist who has changed the way I see the world. In one of her best-known books, Men Explain Things to Me, she states: “The tyranny of the quantifiable is partly the failure of language and discourse to describe more complex, subtle, and fluid phenomena, as well as the failure of those who shape opinions and make decisions to understand and value these slipperier things.” I believe photography—and art of any medium—can work around these shortcomings of language and discourse by allowing for imagery to represent, relate, and describe some of the many things that fall outside of what can be quantified or described with words. In doing so, art allows for meaning and value to be recognized in things that might otherwise be deemed unimportant because of their ineffable nature. In photographing the quiet unspectacular nonevents of just being, now, I can elevate and crystallize what would otherwise not be considered notable (literally, that you cannot make note of it because there aren’t the words to do so). In our culture, if you are not productive you are not valuable, and therefore not notable. Productivity is measured by the accomplishments of progress as recognized by colonial institutions that sanction the pursuit of capital above human life, joy, and freedom (especially, in the US, above the lives, joy and freedom of people of color, trans people, people with disabilities, and many other individuals who are deemed expendable in the face of the almighty dollar.) Systems of power need to quantify and categorize in order to maintain control. White supremacy, for example, requires among other things the quantification of melanin in order to construct the social (not biological) categories of race and/or ethnicity in order to maintain control over certain categories with certain ostensibly quantifiable traits. I and many other artists hope to subvert that which makes this control enactable – that which makes it so that a claim to power can be carried out with any sense of justifiable right. Question the claims by which a structure is imposed and leave it up to the viewer to bring their own vision of truth and connectivity to the work and to the world. Art, in all its subjectivity, can honor the personal history, life experience, and perspective of the viewer, and assert that they are equally as authoritative and meaningful as the intentions of the artist or what is understood culturally as truth. My working mission is that authoritative praise for quantifiable achievement should not be a precondition to appreciation; to see the ordinary and unotable as extraordinary—that is love, and that is what I aim to express and affirm.

Who are these people you photographed? How did you approach them to be involved in your documentary project? Where was the balance between privacy and exposure?
They are a mix of friends, family, and complete strangers. I approach with honesty about my intentions, and personal vulnerability that ideally allows for the subject to feel comfortable letting down some of their own walls to create a collaborative connection that achieves that tricky balance between privacy and exposure. This doesn’t always work, but it’s so rewarding when it does that I don’t think I’ll ever stop trying. I will say here though that I don’t consider this work to be a documentary—it is social, built, and residential landscape work, but it doesn’t follow any structure or logic that is consistent or narrow enough to constitute a documentary.

Do you see a common thread in the stories you choose?
The common thread is that my work shows me what the web is that I belong to, and a feeling of belonging is priority #1 for me. When I feel like I belong, I am able to approach humanity with tenderness, hope, and humor that make it so that I can get out of bed in the morning. It’s optimism, I guess. Grief and hope, power and vulnerability, resilience and fragility, discipline and addiction. These are non-binary landmarks of humanity as it is now, as it has always been, and as it most likely will always be until our species is gone – they’re definitely common threads. 

What was most interesting for you about the people/places you photographed?
I’m always curious about the power of association and the mutability of identity according to context and available information. Photographs allow for a deep questioning of the fixed nature of meaning. It is in our nature to categorize something and then quickly move on so we are ready to assess the next situation—that’s how we evolved, and we need to take more time to allow for the understanding of this shifting and changing, how time works to change both subject and viewer. My images freeze the people places and things I see into an immutable sameness - they aren’t going anywhere they aren’t going to change but you and I will and their arrangement might and their context definitely will, and in those variables there is an endless multiplicity of meaning, identity and narrative understanding.

Would you agree that we cannot relate fully with others if we do not accept that we are all alone in this world?
Yes, although I hope we’re both wrong. 
“I was something that lay under the sun and felt it, like the pumpkins, and I did not want to be anything more. I was entirely happy. Perhaps we feel like that when we die and become a part of something entire, whether it is sun and air, or goodness and knowledge. At any rate, that is happiness; to be dissolved into something complete and great. When it comes to one, it comes as naturally as sleep.” 
— Willa Cather, My Àntonia


Editor: Rita Silva






When I was 12 years old, my mum wrote me a 12-page letter. In the letter, which she wrote in spite of us living together, she tried to explain why life was sometimes so difficult. How we had been affected by our parents´ divorce when I was two years old. And how the lives of us four siblings were impacted by the illness of our second youngest sister. I was going to respond to mother´s letter, but I never did. 
My first child was born on a Monday, at 12:34. A few years later, I got divorced. We had two children together. 
The youngest of my four children was born when I was 34 years old. We built a house, my 12th apartment so far. We live in four generations and in three different houses on one large plot of land in Helsinki. Now I want to live my life in such a way that divorces are no longer handed down from generation to generation, and so that my phone would ring every day when I am on old man. Maybe this series of photographs is a reply to my mother´s letter. We are bad at talking about things.

Antti Vettenranta
(b. 1976) is a staff photographer for a major magazine publishing company in Finland. In his free time, Vettenranta photographs his own projects, trying to get as close to himself as possible. He believes photography can be universal and therapeutic in the same way as medtitation: it can be exercised anywhere.   








This visual narrative isn’t another epic tale about the portuguese coastline and its heroic seamen. Those days are long gone as well as those seamen, whom are either dead or dying. Globalization and the European Union came, saw, and conquered it all. Fishing boats were dismantled and strict fishing quotas were imposed, while at the same time a massive multiplatform campaign promoting tourism in Portugal began to be implemented and disseminated, both on a nacional and international scale. And while tourism is now a booming sector in this country, labors such as fishing or sargassum harvesting are becoming dying arts. These new dynamics altered the fabric of the social landscape of the portuguese coastline, changing the morphology of this territory not only in the physical sense, but also gradually turned a once great nation of seamen into a fleet of waiters and nondescript caretakers willing to tend to the needs of the tourists (foreign and domestic alike). 
The truth of the matter is that in this admirable and innocuous new world, there is no place for heroes and danger anymore. All that’s left are the old tales about the portuguese coastline, stories that still make us daydream about a place that once was the starting point to adventure.
Indeed, this is a difficult conjuncture to make a living off the sea. But there are still a few people who are bold enough to resist the tides of change and dare to fight for their right to live yet another day in this fabled place. 
This visual essay is an ode dedicated to the last inhabitants of the late and once great portuguese coastline.



Under Construction




Growing up in Dubai, my parents would take my siblings and I to the UK over the summer holidays. Arriving back to the UAE after five or six weeks away, we’d look out of the window of the car on the way home from the airport and point out all of the things that had changed in the time we’d been gone; a new skyscraper would’ve started construction on what used to be an empty sand lot, or a complex of villas had been flattened to make way for a hotel, or what used to be small roundabout was now on it’s way to becoming a spaghetti junction.

We’d play football in Safa Park – a huge green space with fair ground rides, ice cream stands and cafes. Then two years ago, they dug a canal right through the middle of it, bulldozing half of the park and circling a section of downtown Dubai to turn it into an island. The city changed so quickly, and it wasn’t sentimental about what it got rid of. And this is what Dubai has become known for; these construction projects are what you see on travel brochures and TV shows around the world.

They’ve had to keep up this rate of construction to mirror the city’s transient, expanding population. But because of it, residents live amongst an unusual landscape – a pattern of urban decay means that the peripheries of the city resemble a graveyard of half-funded construction projects. And in the city centres, land is constantly re-purposed for new construction ventures, meaning that the face of the city changes almost literally over night.

Shot over two years on whichever camera I had on me, this project is about the half-built spaces, and looks at how Dubai’s residents live amongst them.








Closed Cities (2009–2012)

In his impressive photo series Gregor Sailer examines the forms taken by closed cities in Siberia, Azerbaijan, Qatar, Chile, Algeria / Western Sahara and Argentina. The term closed city was originally coined for the Soviet Union, where, for various reasons, the existence of numerous towns was long kept secret. Some of them were not officially "opened up" and added to maps until the early years of this century. Even today, there are still artificially created urban zones across the globe that are hermetically sealed off from the outside world either by walls or by the hostile landscape that surrounds them. These might be places where raw materials are extracted, military sites, refugee camps – or gated communities for the affluent. Such time-limited forms of urban settlement strikingly illustrate the turning point humanity is facing at the beginning of the 21st century in view of dwindling resources, climate change, political conflicts and the yearning for unqualified security.

Gregor Sailer was born in 1980 in the city of Tyrol, Austria where he currently lives and works.
Between 2002 and 2007, Sailer studied communication design, with a focus on photography and experimental film, at the Dortmund University of Applied Sciences and Arts (Germany).
In 2015 he was granted his master’s degree in photographic studies from the same institution. He has since received numerous international awards and produced several publications and exhibitions in New York, Washington D.C., Paris, Berlin, Frankfurt, Munich, Barcelona, Vienna, Prague, and Budapest.



2º Ciclo de debates AAI2Lab - Entrevista a Pedro Leão Neto



O 2º Ciclo de debates Arquitectura, Arte, Imagem e Inovação (AAI2), organizado pelo CCRE / CEAU / FAUP e pelo AAi2 Lab, realizou-se em Dezembro de 2018 no U.Porto Media Innovation Labs, e teve como foco a apresentação do projeto Visual Spaces of Changes (VSC).

Pedro Leão Neto, coordenador do grupo de investigação CCRE , do grupo de investigação de Fotografia SCOPIO e Professor de CFM e CAAD na FAUP, fala um pouco sobre o projeto Visual Spaces of Change (VSC).






On the past 12th of December the second series of the AAI debates - Architecture, Art and Image took place at the Media Inovation Laboratories of the University of Porto (MIL-UP), in which scopio Editions was part of the organization together with the research group CCRE - CEAU from the Faculty of Architecture of the University of Porto (FAUP), MIL-UP and the Laboratory of Architecture, Art, Image and Inovation (AAi2Lab).The second edition of AAI was dedicated to the project Visual Spaces of Change. After the presentation of the project by Pedro Leão Neto, two roundtables have been held along the day.

The theme of the morning's round table was "Image and Transformation of Public Space: the use of Photograph as an Instrument to Research and Question the City" - in this debate opened to a full audience, several research papers were presented in the scope of documentary photography and (FBAUP), followed by interventions by Manuela Matos Monteiro (SPACE MIRA), José Miguel Rodrigues (FAUP), Pedro Bandeira (Faculty of Architecture U.Minho), Luís Gonzaga (Center ALGORITMI U.Minho) and Pedro Moura (Metro do Porto).

In the afternoon, the second roundtable was presented with the theme "Visual Research Methods and Transdisciplinary Approaches for the Construction of Bridges Between Architecture, Art And Image." This table was attended by and presented by architects, photographers, academics, curators and artists such as Daniel Moreira and Rita Castro Neves, Andreia Garcia (Architect and Curator), Isa Clara Neves (Investigadora de Pós Doutoramento / Ces), Susana Lourenço Marques and José Carneiro (FBAUP), Francisco Adão da Fonseca and Pedro Jervel (SKREI), Lara Jacinto (Photographer), David Viana (CM Porto) and Manuela Pinto (MIL / New Media for Heritage Lab).

The VSC presentation and subsequent debates, besides other things, allowed to explore diverse ways of how contemporary photography can be explored as a meaningful instrument of research about contemporary processes of urban change, producing visual synthesis about how architectures, places and spaces are used and lived, rendering visible aspects which are difficult to perceive without the purposeful use of image and photography.The wide range of institutions, organizations, groups, researchers and authors with an interest in architecture, cultural and artistic production, from inside and outside the academia world, that participated in this second edition of AAI debates confirmed the relevance of this initiative for opening academia to society, fostering greater social interaction among researchers, artists and curators beyond their traditionally circumscribed spaces of action, expanding their capacity to participate in the public domain, which is a common objective of the AAI debates, the MIL-UP Laboratories and the project Visual Spaces of Change.


Paradise Fell




Being raised by a Sri Lankan father meant pieces of his culture were scattered throughout our home and daily life. It has been strange but intriguing to watch how all these parts of my upbringing are now weaving their way into my everyday interactions in the cultural climate of Australia.

Drawaing inspiration from William Christenberry’s musings of rural Alabama and Lyndal Iron’s raw documentation of Sydney’s notorious Parramatta Road, my series “Paradise Fell“ aims to capture a portrait of my father’s home country of Sri Lanka - a nation struggling to define themselves in a post-war economic climate.

In only my second visit to Sri Lanka, I began a photographic exploration of the effects that the civil war and tsunami had on the landscape and its inhabitants. With an aim to visit wartom Jaffina in the north, and surfing hotspot Trincomalee and Arugambay on the east, my father and I retraced a route he had travelled with his family fifty year prior. Many areas we visited were quite sensitive: roofless, shells of houses with years of vegetation regrowth claiming back the structure; abandoned factories still manned by military checkpoints; parts of the city still inaccessible.

In a way, Sri Lanka is the quintessential battler. Rebuilding a society, both physically and psychologically, after a twenty-six year civil war and a deadly tsunami that killed over thirty thousand people is no simple task. Add to that the exponential influx of tourism and the economic politics it brings, and you have a country struggling to focus on the necessities, neglecting their people, and falling to rebuild what was so violently taken away.
Sri Lanka is going through a rapid development that it is not que ready for, and to this I wanted to turn a camera to further explore with an open-minded, positive conscience, and to shoot with respect and purpose.

Artist Statement
Darsh Seneviratne is a twenty-four year old photographer specialising in series-based work. With a passion for documentation and collection cultivated from a young age, his series range from being compiled over a few days to several years. Drawing on technical knowledge founded in traditional analogue photography, Seneviratne documents personal spaces and their inherent human interactions, collecting momentary happenings and structured portraits. These scenes compile series that seek to highlight the lasting traces of people. With a thorough focus on colour and image structure, and bound by the precision of accuracy demanded by analogue technology, Seneviratne creates these series to serve as a reflection of human interaction with per- sonal and public realms and how we perceive them.



OPEN CALL Bienal'19 - Ci.CLO Bienal

Screenshot 2018-12-08 at 19.27.51.png

Open call | Artist Creativity Grants

Application deadline: 06.01.2019 The 2019 Ci.CLO Bienal Fotografia do Porto in partnership with the Mira Forum and with the support of the Goethe-Institut Portugal, will award two Bolsas de Criação (Artist Creativity Grants) to support the development of new work to be exhibited in the Bienal programme curated by José Maia.

The 2019 Open Call is applicable to artists who are nationals or non-Portuguese residents in Portugal, their primary media is photography and/or video and their proposal responds to the theme of the 2019 BienalAdaptation and Transition.


Deadline for submission of proposals: 06.01.2019

Application Outcome: 14.01.2019

Project development period: 21 January to 19 April 19 2019

Exhibition: 16 May to 3 July 2019

Download notice in PDF.

Open call_CiCLOBienal_Regulamento


I'm Here With You




The majority of LGBTQ people in South Korea hide their true identities from their colleagues, friends and their families. Despite a recent surge in LGBTQ activism, Korea remains a very conservative country and those who come out face being disowned by family or dismissed from their employers. Many Koreans still express bitter hostility toward LGBTQ people, while others simply deny their existence. The Korean military actively hunts down gay soldiers, going so far as to mount sting operations using gay dating apps. And when someone does come out, parents and family members often choose to ignore the truth.

This project literally and metaphorically represents sexual minorities living in Korea who are forced to hide their sexual identity. The LGBTQ individuals photographed—all facing away from the camera—remind us of how Korean society continues to neglect and refuse to accept them. By creating these images, my intent is to both implicate the viewer in the nation’s larger refusal to acknowledge the identity of LGBTQ individuals and, more importantly, to spur us all to take action and change this attitude once and for all.


Gowun Lee (b. 1984) is a visual artist who utilizes photography. She explores themes of a social issue such as LGBTQ in South Korea and human relationship in conceptual ways. She moved to South Korea from New York for her ongoing project.

She received BFA in Photography from the School of Visual Arts. She has been shortlisted for Tokyo International Photo Competition, ZEISS Photography Award 2018, 2018 Aperture Summer Open: The Way We Live Now.

Her images have been featured in Open Society Foundations, The Guardian, CNN Style, Bubblegumclub, Aperture Foundation, Korean daily, Monthly photo, ZEISS LensPire, and World Photography Organization.

Her work has been included in exhibitions at the United Photo Industries Gallery in New York, Onfoto Gallery in Taiwan, SVA Chelsea Gallery in New York, Tak Gallery in Seoul, MayFlay in Seoul, Wonder Fotoday in Taiwan, Head On Photo Festival in Australia , Somerset house in London and Upcoming exhibition T3 Photo Festival in Tokyo.

Web: www.gowunlee.com
Instagram: http://instagram.com/gowunlee_


You don't look Native to me




“You don‘t look Native to me is a quote and the title of a body of work, that shows excerpts from the lives of young Native Americans from around Pembroke, Robeson County, North Carolina, where 89% of the city’s population identifies as Native American. The town is the tribal seat of the Lumbee Indian Tribe of North Carolina, the largest state-recognized Native American tribe east of the Mississippi River, which means they are federally unrecognized and therefore have no reservation nor any monetary benefits.

I am tracing their ways of self-representation, transformed through history, questions of identity with which they are confronted on a daily basis, and their reawakening pride in being Native. The work consists of portraits, along with landscapes and places, interiors, still lives, and situations. The aesthetic framework that is presented offers clues – sometimes subtle, sometimes loud – for imparting a feeling for their everyday lives.

My work engages an unfamiliar mix of concepts: a Native American tribe whose members are ignored by the outside world, who do not wear their otherness on their physique, but who are firm in their identity. Through photography, video and interviews, I am investigating what happens when social and institutional structures break down and people are forced to rely on themselves for their own resources. This raises questions to the viewer regarding one’s own identity and membership to the unspecified mainstream.

This work was started in 2011.”

Maria Sturm

Since 2011, Maria Sturm has photographed teenagers from the Lumbee tribe in and around Pembroke, North Carolina, where almost 90 percent of the population identifies as Native American. Unlike other native tribes, the Lumbee were not forced to move during colonial expansion and have subsequently maintained a strong connection to their land. Sturm’s series You Don’t Look Native to Me considers how young Native people present themselves today in relation to their identity and culture. At first glance, Sturm’s photographs might appear to depict the daily life of a community almost anywhere in America, but elements of hybridity—Halloween fangs on a child in Tuscarora regalia; dreamcatchers and a school portrait on a living room wall—signify the mixing of heritage and contemporary culture.


Maria Sturm (b. 1985, Romania) received a diploma in Photography from FH Bielefeld in 2012 and a MFA in Photography from Rhode Island School of Design. She is a Fulbright and DAAD scholar. She has won several prizes including the New York Photo Award 2012 and the DOCfield Dummy Award Barcelona 2015 with the work Be Good.

Her most recent work You don't look Native to me about the unrecognized Lumbee tribe of North Carolina was nominated for Vonovia Award, shortlisted for PhotoLondon La Fabrica Book Dummy Award and made the 2nd place at Unseen Dummy Award. It was published in British Journal of Photography and Filmbulletin and exhibited in the German Consulate New York, Clamp Art New York, Wiesbadener Fototage, Encontros da Imagem, at Artists Unlimited Bielefeld and at Aperture Foundation New York among others.

It will be next shown at Addis Foto Fest and Photo Vogue Festival.

Having met in during a month-long residency at Atelier de Visu Marseille and workshop with Antoine d'Agata in 2012 Cemre Yeşil and Maria Sturm kept in touch ever since. Their permanent exchange led them to start a collaboration and in 2014 they have photographed For Birds' Sake, a work about the Birdmen of Istanbul. This work was published as a photobook by La Fabrica Madrid and featured in Colors Magazine, The Guardian, British Journal of Photography and ZEITmagazin among others. It was exhibited during Internacional de Fotografa de Cabo Verde, FotoIstanbul, Bitume Photofest Lecce, Organ Vida International Photography Festival Zagreb, Format Festival Derby, Darmstädter Tage der Fotografie and at Daire Gallery, Sol Koffler Providence, La Fabrica Madrid, Pavlov's Dog Berlin, Deichtorhallen Hamburg and it was a finalist at PHE OjodePez Award for Human Values 2015 and Renaissance Photography Prize 2017 and nominated for Lead Awards 2016 and Henri-Nannen-Preis 2016. It was also shortlisted at Arles Author Book Award 2016 and Prix Levallois 2017.

instagram: https://instagram.com/maria__sturm/
facebook:  https://www.facebook.com/maria.sturm
twitter: https://twitter.com/maria_sturm


INAUGURAÇÃO/OPENING da terra acesa | sput&nik the window |

da Terra Acesa_T.jpg

É já este sábado, dia 24, a partir das 21h30, que inaugura a exposição da terra acesa de Rita Castro Neves e Daniel Moreira na sput&nik the window, no Porto. 

O som é do Gustavo Costa e o texto da exposição da Vera Lúcia Carmo.


Para quem se debruça sobre a paisagem, os incêndios florestais portugueses - da destruição, da má política, do lucro fácil e da má memória – são matéria sensível para trabalhar questões muito prementes sobre território, ação humana e natureza.­­

Por força dos grandes incêndios de 15 de outubro de 2017 em Pedorido, Castelo de Paiva, nas desativadas Minas do Pejão, o carvão que se encontra debaixo da terra e que está naturalmente em combustão lenta, ativa-se com o aquecimento global provocado pelo incêndio florestal, entrando em combustão acelerada visível. À destruição provocada em cima da terra corresponde uma ebulição debaixo dos pés – num movimento descontrolado e em cadeia que ameaça, com fumo e fogo, a vida à superfície.

Foi nas antigas Minas do Pejão, dentro do seu terreno vedado, e na altura a ser tratado com químicos, que com Gustavo Costa, gravámos imagens e sons com paus queimados de uma árvore que outrora pertenceu a uma mata.

da terra acesa é uma instalação realizada para o espaço da sput&nik the window, que apresenta uma paisagem e o seu avesso, para a partir da construção de uma aparência e do seu reverso pensar a destruição do território e a estrutura do comportamento humano. Assim se reacendendo feridas antigas.

Sound is by Gustavo Costa and the exhibition text by Vera Lúcia Carmo.

Inauguração no sábado 24 de Novembro de 2018 às 21h30
Último dia da exposição dia 19 de Janeiro de 2019
Rua do Bonjardim nº 1340 no Porto | sputenik169@gmail.com
Horário por marcação (919 010 716) de quinta a sábado

daniel moreira & rita castro neves
www.danielmoreira.net | www.ritacastroneves.com


The Rage Of Devotion: Liza Ambrossio



Some time ago I decided to change my life in the most extraordinary way possible. I looked in and without intending it I remembered the phrase with which my mother said goodbye the last time I saw her at sixteen years old – “I wish you well, and believe me I hope you´ll become strong and brave, so you can be merciless when the time comes to destroy your body and crush your soul the next time we see each other”- After an overwhelming emotional breakdown, I started this series of images intermingling with pictorial canvases and photographs of my family archive to impel the observer to immerse themselves in my psychology. 

I stumble, but in the same way freeing myself, finding their lascivious looks, my fear of touch and the instinctive repulsion that represents for me the concept of “family”. In “The rage of devotion” I discover that although I look, I don´t want to see, because what lives inside me, looks and it is completely monstrous.

Liza Ambrossio


Liza Ambrossio is an young Mexican artist based in Madrid, Spain. Her body of work combines photographs of macabre archive with cryptic paintings, performance, intervention, installations, videos, psychology, lucid nightmares, science fiction, ero-guro and witchcraft that come together in free association.

Wen she was sixteen years old she asked for one of the house keepers of her mother's house to steal photographs of the family albums while Liza self-portraying herself looking for ways to survive away from her family's own decision, while compiling chilling early-morning scenes in Mexico City, her mental and real travels from her adolescence to her adulthood. In her project The rage of devotion-La ira de la devoción, the feminine is threatening because it seduces and in the poetics of its seduction devours. Project awarded with the Discoveries scholarship of Photo España-La Fabrica, the scholarship portfolio review for FotoFest 2018 in Houston, she was selected to participate for New Visions 2018 in the Cortona On the Move Festival, Italy, she received the first honorific mention for the Emerging Prize within the Encontros Da Imagens festival-2018, Portugal and the first prize in the Voies Off Award 2018 in Les Rencontres de la Photographie, Arles, France. Resulting in a photo book co-edited by Desiertas Ediciones and La Fabrica.

For her latest project  Blood Orange-Naranja de Sangre, Liza paints with three colors: orange, red and yellow the psychology of uprooting, madness, love and loneliness as an affront to terror and dehumanization because she believes that human passion is in itself a act of challenge. Series awarded with the FNAC New Talent Award, 2018, the 6th. Edition of the (TAI) Photography Talent Grant, Liza is currently selected for the contest Full Contact in Tarragona, Spain and she was winner of the Babel Gallery Award (Brazil) in the first Contest of Contemporary Photography of Latin America in Monterrey, Mexico and the DOCfield Dummy Award Fundación Banc Sabadell 2018 in Barcelona, Spain. She has recently been nominated for the Plat(t)form prize of Winterthur Fotomuseum in Switzerland 2019 and she has been invited to exhibit at the FORMAT19 festival in the UK;  Liza has been granted with scholarships for production residencies in Iceland, the United States and Luxembourg 2017-2018.



Diary: Exile



I need to stop wearing masks, lay down myself as I am. Unlabeled, raw and naked. Accept or move on, nothing to lose here, I have already been lonely, I have already been bruised.


Abdo was born in 1982 in Oran, Algeria to a Sudanese father and an Algerian mother. Abdo studied Telecommunications Engineering at the University at of Sirte, Lybia until 2006. In 2012, he undertook an Internship at Magnum Photos Paris, which gave him the opportunity to reflect on his photographic approach and make his first story for the magazine “Rukh“, His photographs have been published by a number of printed and online magazines as well as by newspapers. In 2015 he received a nomination for Magnum Foundation Emergency Fund and in 2016 his series ‘Diary: Exile’ was selected by the Addis Fotofest, the same series was shortlisted for The CAP Prize 2017. In 2018 he receives the ADPP grant from AFAC and Magnum foundation for his ongoing project ‘Dy’.


Web: www.collective220.net/abdoshanan

Facebook: https://www.facebook.ccom/AbdoShananphoto/?ref=bookmarks

Instagram: @abdo.shanan

Twitter: @abdoshanan

DEBATES AAI: Arquitectura, Arte e Imagem 


DEBATES AAI: Arquitectura, Arte e Imagem 


2º Ciclo de Debates AAI - Arquitectura, Arte, Imagem

Aula Aberta ”Clareira: uma perspetiva fenomenológica do espaço através da fotografia”com Ana Miriam 

23 de Novembro | 14:30 - 16:00 | Casa cor de Rosa, Sala CCR 0.1, FAUP


Irá realizar-se na sala da Casa Cor de Rosa da FAUP, na próxima sexta-feira dia 23 de Novembro, pelas 14:30, mais uma sessão do ciclo Debates AAI, integrado na unidade curricular de Comunicação, Fotografia e Multimédia (C.F.M.) do 4º e 5º ano da FAUP. 

Esta sessão terá como convidado a Fotógrafa, investigadora e docente (Instituto Multimédia) Ana Miriam que irá apresentar o seu trabalho fotográfico Clareira, um conjunto de ensaios fotográficos que exploram uma perspetiva fenomenológica sobre o espaço da estação de metro da Trindade.

Simultaneamente formal e conceptual, o trabalho fotográfico de Ana Miriam cria uma poesia moderna própria, questionando de forma crítica e imaginativa o não-espaço (Marc-Augé) da estação de metro da Trindade no momento atual e as suas diversas apropriações.  Na série “Clareira” Ana Miriam concentra-se na existência da obra ao longo do tempo e nas dinâmicas quotidianas do espaço, assumindo uma perspetiva marcadamente subjetiva. Neste projeto, a fotografia apresenta-se como instrumento de investigação do real, que procura contribuir para uma reflexão multidisciplinar sobre a vivência do espaço construído.

Através da realização destes debates pretende-se contribuir para a criação de um espaço de exploração, debate e reflexão de ideias em torno de novos caminhos de investigação sobre o espaço público, com um enfoque em dinâmicas emergentes de transformação urbana e a utilização da imagem com especial incidência pela fotografia como instrumentos de pesquisa e comunicação. 

Estas temáticas, inseridas nos debates AAI, são de grande interesse para o projecto de investigação Visual Spaces of Change (VSC), AAC n.º 02/SAICT/2017 (refª POCI-01-0145 - FEDER - 030605), cofinanciado pelo Fundo Europeu de Desenvolvimento Regional e por fundos nacionais através da Fundação para a Ciência e a Tecnologia (FCT, I. P.).

Estas sessões são abertas a toda a comunidade académica e a entrada é gratuita. 


A organização destes debates é da responsabilidade da organização do Centro de Comunicação e Representação Espacial (CCRE / CEAU / FAUP) e o Laboratório de Arquitectura, Arte, Imagem e Inovação (AAi2 Lab), no âmbito do projecto VSC. 

O grupo de investigação CCRE – Centro de Comunicação e Representação Espacial – tem desenvolvido uma série de actividades de índole pedagógica, documental e de investigação relacionando Arquitectura e Arte.

O objectivo geral destas actividades tem sido o de promover uma ampla reflexão sobre o contributo das imagens na compreensão da realidade e na construção de imaginários, entre o documento e a ficção, entre a reprodução e a manipulação, entre o analógico e o digital.

Estas actividades têm vindo a integrar diversas acções ligadas ao universo da imagem contemporânea, mais especificamente à fotografia, permitindo também a participação de grupos e cidadãos exteriores à academia, abrindo desta forma as universidades à sociedade civil e a outras instituições.

No universo da Imagem, a Fotografia é objecto de particular interesse, sendo explorada e analisada de forma crítica como um instrumento de registo e investigação numa perspectiva Inquisitiva, Curatorial e Comunicativa. O espaço privilegiado para esse registo e investigação fotográfica é o da Arquitectura, entendida como um universo amplo que integra simultaneamente os níveis macro e micro da transformação do Território e da Cidade e as suas múltiplasVivências. 

Com o apoio institucional da Faculdade de Arquitectura da Universidade do Porto (FAUP), os Laboratórios de Inovação em Media da Universidade do Porto (MIL-UP), e a scopio Editions, este 2º Ciclo de debates AAI – Arquitectura, Arte e Imagem estará muito ligado à exploração da fotografia como instrumento de reflexão sobre a transformação do espaço público. 


Ana Miriam Rebelo é fotógrafa e docente no Ensino Profissional. Estudou na Faculdade de Belas Artes da Universidade do Porto e na Escola de Belas Artes de Bordéus e encontra-se atualmente a preparar a defesa do Mestrado em Criação Artística Contemporânea na Universidade de Aveiro. Desde 2016 colabora com o Centro de Comunicação e Representação Espacial, grupo de investigação integrado no Centro de Estudos de Arquitetura e Urbanismo da Faculdade de Arquitetura da Universidade do Porto, no âmbito dos projetos de investigação Mapeamento de Fotografia Documental e Artística: Um olhar Contemporâneo sobre Arquitectura e Espaços de Referência no Porto e Visual Spaces of Change. A sua produção fotográfica e os seus interesses de investigação centram-se na perceção e representação do espaço arquitetónico, com particular atenção às dinâmicas sociais do espaço público e ao seu impacto no indivíduo.


Pedro Leão Neto (CCRE, AAI2 Lab)

Arquitecto pela FAUP (1992) onde actualmente é regente de Comunicação, Fotografia e Multimédia do 2º ciclo, é coordenador do grupo de investigação CCRE, integrado no centro de I&D da FAUP, coordenador do AAI 2 Lab integrado no Centro de Competências da Universidade do Porto para a área dos media U.Porto Media Innovation Labs (MIL) e Director da Associação Cultural Cityscopio (ACC). É Editor e coordenador responsável das publicações da scopio Editions desde 2010, cujo enfoque é o da fotografia documental e artística relacionada com Arquitectura, Cidade e Território. 


2º Ciclo de debates AAI - Arquitectura, Arte, Imagem e Inovação



AAi2 Lab

2º Ciclo de debates AAI - Arquitectura, Arte, Imagem e Inovação

1º Conferência / mesa redonda -  Visual Spaces of Change: A fotografia como instrumento de reflexão sobre a transformação do espaço público.

12 de Dezembro | 9:30 - 18:00 | MIL


9:15 Receção e café
9:30 Apresentação do projeto “Visual Spaces of Change"
10:30 Coffee break
11:00 Mesa redonda 1: "Imagem e transformação do espaço público: o uso da fotografia e abordagens multidisciplinares artísticas como instrumentos de investigação, mapeamento e questionamento do espaço público e sua arquitectura"
12:30 Almoço convívio
14:30 Mesa redonda 2: “Métodos de investigação visual e abordagens multidisciplinares para a construção de pontes entre Arquitetura, Arte e Imagem"
15:45 Debate aberto aos laboratórios MIL e alunos de suas unidades orgânicas: “Espaços visuais de mudança: desafios de investigação e oportunidades para a inovação"
18:00 Encerramento e lanche

Visual Spaces of Change: a fotografia como instrumento de reflexão sobre a transformação do espaço público

Com o apoio institucional da Faculdade de Arquitectura da Universidade do Porto (FAUP), os Laboratórios de Inovação em Media da Universidade do Porto MIL-UP, e a scopio Editions, será realizado o  2º Ciclo de debates AAI – Arquitectura, Arte, Imagem e Inovação, sob o tema “Visual Spaces of Change: a fotografia como instrumento de reflexão sobre a transformação do espaço público” é organizado pelo Centro de Comunicação e Representação Espacial (CCRE / CEAU / FAUP) e o Laboratório de Arquitectura, Arte, Imagem e Inovação (AAi2 Lab), no âmbito do projecto VSC em parceria com os MIL-UP.Este ciclo de debates está inserido no projeto de investigação “Visual Spaces of Change”, AAC n.º 02/SAICT/2017 (refª POCI-01-0145 - FEDER - 030605), cofinanciado pelo Fundo Europeu de Desenvolvimento Regional e por fundos nacionais através da Fundação para a Ciência e a Tecnologia (FCT, I. P.).

A série de conferências AAI pretende constituir um espaço de Debate e Reflexão sobre Arquitectura, Arte, Imagem e Inovação. O objectivo específico desta segunda série é o de criar um espaço de exploração, debate e reflexão de ideias em volta de novos caminhos de investigação sobre o espaço público, com um enfoque em dinâmicas emergentes de transformação urbana. Isto implica, entre outras coisas, o desenvolvimento de uma abordagem multidisciplinar capaz de combinar diversos métodos de representação visual - com especial incidência na fotografia documental e artística em suportes analógicos e digitais - com outros instrumentos de investigação qualitativa e quantitativa aplicados à análise de redes urbanas.

A estrutura deste evento, que terá a duração de um dia inclui diversas apresentações em volta de duas mesas redondas de discussão sobre as temáticas de interesse do projecto VSC. Será material de apresentação ou base de discussão qualquer estudo e / ou projectos dos investigadores que estes considerem de interesse para o projecto VSC. Os moderadores das mesas redondas deverão, seguindo a linha das temáticas do evento - Visual Spaces of Change (VSC): the use of Image and Photography for reflecting on public space transformation - trabalhar diversas questões inerentes ao projecto VSC, muitas delas oriundas das apresentações que serão efectuadas na mesa redonda, assumindo um papel significativo para o envolvimento dos participantes no grupo de discussão.  

As temáticas do VSC que deverão orientar as apresentações / intervenções dos participantes em cada uma das mesas redondas serão as seguintes:

Métodos de investigação visual e abordagens multidisciplinares para a construção de pontes entre Arquitetura, Arte e Imagem

  • Estratégias de investigação a adoptar no uso de imagens (Desenho, Fotografia, ilustrações, etc.) para comunicar uma determinada visão crítica e / ou prospectiva sobre espaços públicos e arquitectura;

  • Estratégias de investigação e monitorização para avaliação dos espaços e dos seus usos / apropriação por parte de diversos públicos;

  • Instrumentos de investigação que combinam instrumentos de análise quantitativos e qualitativos (metodologias de análise de sintaxe espacial, entrevistas, fotografia e desenho) sobre espaços públicos e arquitectura integrando nos seus processos de análise o uso da imagem;

  • Estratégia de utilização mista de Tecnologias de Informação e Comunicação (TIC) e espaços físicos da cidade como arenas de debate, análise, comunicação e monitorização de conteúdos diversos sobre espaços públicos e arquitectura e sua interação com público - suportes em rede / móveis e software (plataformas, apps, etc.);

Imagem e transformação do espaço público: o uso da fotografia e abordagens multidisciplinares artísticas como instrumentos de investigação, mapeamento e questionamento do espaço público e sua arquitectura

  • Estratégias a adoptar no uso de fotografia contemporânea - documental e artística  - para mapear, questionar e investigar espaços públicos e arquitecturas

  • Estratégias de investigação e monitorização qualitativas (inquéritos, entrevistas, etc.) para avaliação do impacto na percepção pública de projectos de comunicação visual (fotografia contemporânea) sobre espaços públicos e arquitectura;

  • Estratégias e componentes de expressão artística utilizadas para explorar, pesquisar e questionar os espaços públicos e arquitectura – dança, arte pública, performance e outras.

  • Estratégias a adoptar no uso de fotografia contemporânea para o estudo da transformação de certos espaços urbanos e arquitecturas, suas dinâmicas contemporâneas e / ou emergentes de transformação e apropriação por parte de diversos públicos;


Ana Francisca de Azevedo é licenciada em Geografia, desenvolveu o seu mestrado no âmbito da Educação Ambiental e o doutoramento no âmbito da Geografia Cultural. É Professora Auxiliar no Departamento de Geografia, Instituto de Ciências Sociais da Universidade do Minho, e investigadora integrada do Centro de Estudos de Comunicação e Sociedade e membro da Rede Internacional de Pesquisa - Imagens, Geografias e Educação.

Iñaki Bergera é Arquitecto PhD pelo ETSAN, Mestrado pela Universidade de Harvard em 2002 e Professor Associado da Escola de Engenharia e Arquitetura da Universidade de Zaragoza, tendo ensinado anteriormente no ETSAN (1997-2007) e na Universidad Europea em Madrid (2007-09). Iñaki foi professor visitante e crítico convidado no London AA, Harvard GSD, TEC em Monterrey e as Escolas de Arquitetura da Universidade do Arizona, Bologna-Cesena, FAUP e Antuérpia.

João Carlos Castro Ferreira é Arquitecto pela Faculdade de Arquitectura da Universidade do Porto em 1992, Mestre em Construção de Edifícios pela Faculdade de Engenharia da Universidade do Porto – 2002/2004 e Doutor em Arquitectura - Dinâmicas e Formas Urbanas, pela Faculdade de Arquitectura da Universidade do Porto. É atualmente docente e coordenador das áreas científicas de Construção da Faculdade de Ciência e Tecnologia da Universidade Fernando Pessoa.

José Barbedo é licenciado em Arquitetura pela FAUP, Mestre em Planeamento pela FEUP e Doutor em Engenharia Civil pela UFRJ. É atualmente investigador integrado no Centro de Estudos de Arquitetura e Urbanismo. O seu trabalho de investigação dedica-se ao estudo de dinâmicas sociais, económicas e políticas que contribuem para a transformação do território, com enfoque nos processos de reprodução de conflitos socio-ambientais.

Luís Gonzaga Magalhães é bacharel e mestre em Informática pela Universidade do Minho e Doutor em Informática pela Universidade de Trás-os-Montes e Alto Douro. Atualmente é Professor Auxiliar com Agregação na Escola de Engenharia da Universidade do Minho, e pesquisador sénior no Centro ALGORITMI. Desenvolve investigação em Visão Computacional, Realidade Aumentada, Computação Gráfica, participando em projetos relacionados a Modelagem Expeditiva, Ambientes 3D Imersivos, Patrimônio Virtual e Sistemas de Realidade Mista. 

Marco Iuliano é Arquitecto especializado em Teoria e História da Arquitectura. Ensinou em Italia, França, Reino Unido. Recebeu diversas bolsas e fellowship grants da British Library, no Centro de Architectura Andrea Palladio e do Governo Italiano. Em 2005 foi-lhe atribuído uma bolsa de pós-doutoramento do Conselho Nacional de Investigadores Italiano. Entre 2005 e 2008 foi Investigador Principal do Arquivo Digital financiado pela Companhia de San Paolo para o Archivio Fotografico Parisio, um dos maiores arquivos de imagens arquitectónicas italiano.

Pedro Bandeira é Arquitecto (FAUP 1996), sendo atualmente Presidente da Escola de Arquitectura da Universidade do Minho e membro investigador do Lab2PT. Em 2004 integrou a exposição Metaflux na representação portuguesa na Bienal de Arquitectura de Veneza e em 2005 representou Portugal na Bienal de Arquitectura deSão Paulo. Em 2007 concluiu a tese de doutoramento sob o título Arquitectura como Imagem, Obra como Representação: Subjectividade das Imagens Arquitectónicas.

Pedro Leão Neto é Arquitecto pela Faculdade de Arquitectura da Universidade do Porto (1992), Mestrado em Planeamento e Projecto do Ambiente Urbano (U. Porto, 1997) e PhD em Planning and Landscape (Universidade de Manchester, 2002). É regente das disciplinas de Comunicação, Fotografia e Multimédia do 2º ciclo (C.F.M.) e CAAD do 1º ciclo da FAUP, e coordenador do grupo de investigação CCRE, integrado no centro de I&D da FAUP, coordenador do AAI 2 Lab, Director da Associação Cultural Cityscopio (ACC) e Editor Coordenador das publicações da scopio Editions.



Una Provincia



This work is a journey into my daily landscape, to smaller places - areas where changes take place slowly and where ties to the past are evident. 

The series is the result of an exploration of the northern area of Lazio, where I was born and where I live. This territory, located on the borders of Rome, has undergone, like many other Italian provinces, many changes over the years, mainly due to the transition from the agricultural model to the industrial one.

The series aims to investigate the characteristic aspects of the places and its transformations creating images in balance between the real landscape and its representation.


Michele Vittori (Roma, Italy, 1980)  is a photographer specialized in landscape documentary photography,  he began studying photography in 2008 attending “Graffiti” school and “Officine Fotografiche” in Rome. 

Since 2015 he has been a contributor for the “Limine” collective, with his photographic series entitled “La montagna di Roma” . The project developed under the supervision of Massimo Siragusa, has been presented at “Officine Fotografiche” and is published in limited edition. 

Since 2017  he has contributed to “Lo stato delle Cose”, a project to document the earthquake of 2016 in the center of Italy.

He is currently continuing his photographic research between Rome and the central Italian Apennines.