Publicação
Mediating and Materializing / Perceiving and Participating: an exhibition script on Photography and Architecture
| Resumo: | It is up to the Educational Service (ES) of the Casa da Imagem Museum (MCI) to conceive a final exhibition of the research project Photography, Modern Architecture and the "Porto School": Interpretations of the Teófilo Rego Archive (FAMEP) (Fotografia, Arquitectura Moderna e a «Escola do Porto»: Interpretações em torno do Arquivo Teófilo Rego (FAMEP)). The elements to consider for the creation of this exhibition include: Teófilo Rego’s photographs, the theoretical production developed within this project, the public and the MCI’s structural guidelines. Following the MCI’s guidelines, which require the construction of a specific relationship between the public and the image field – a relationship of rendezvous, participation and approximation –, the ES is responsible for the creation of an exhibitory structure that accomplishes two functions: on one hand, to reflect the scientific scope of the project according to the theoretical interpretations that have been produced by its research team; and on the other hand, to mediate between those contents and the visiting public, through exhibitory objects that simultaneously entail the issue of seeing. With this presentation, the ES aims to reflect on its role as a mediator, defining how mediation restricts the exhibitory script, how it materializes into an object and how it is made available to the public. We thus identify as fields of mediation / materialization, firstly, photographs: their place within the research project and the way in which they will be revealed in the exhibition. Secondly, the researchers’ theoretical production: the selection of the photographs to be shown and the construction of the scenographic arguments that compose and contextualize those same photographs. These arguments seek to understand the relationships between the genesis and the final photographic product, as well as the place of the photographer within the History of Photography in Portugal. Finally, the public: perception – the visualization of a set of photographs and visual essays, the presence of the body within a scenographic representation – and the participation – constructing new images and contents. |
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| Autores principais: | MATEUS, Joana |
| Outros Autores: | AZEVEDO, Inês |
| Assunto: | Arquivo Teófilo Rego |
| Ano: | 2015 |
| País: | Portugal |
| Tipo de documento: | capítulo de livro |
| Tipo de acesso: | acesso aberto |
| Instituição associada: | Escola Superior Artística do Porto |
| Idioma: | inglês |
| Origem: | Escola Superior Artística do Porto |
| Resumo: | It is up to the Educational Service (ES) of the Casa da Imagem Museum (MCI) to conceive a final exhibition of the research project Photography, Modern Architecture and the "Porto School": Interpretations of the Teófilo Rego Archive (FAMEP) (Fotografia, Arquitectura Moderna e a «Escola do Porto»: Interpretações em torno do Arquivo Teófilo Rego (FAMEP)). The elements to consider for the creation of this exhibition include: Teófilo Rego’s photographs, the theoretical production developed within this project, the public and the MCI’s structural guidelines. Following the MCI’s guidelines, which require the construction of a specific relationship between the public and the image field – a relationship of rendezvous, participation and approximation –, the ES is responsible for the creation of an exhibitory structure that accomplishes two functions: on one hand, to reflect the scientific scope of the project according to the theoretical interpretations that have been produced by its research team; and on the other hand, to mediate between those contents and the visiting public, through exhibitory objects that simultaneously entail the issue of seeing. With this presentation, the ES aims to reflect on its role as a mediator, defining how mediation restricts the exhibitory script, how it materializes into an object and how it is made available to the public. We thus identify as fields of mediation / materialization, firstly, photographs: their place within the research project and the way in which they will be revealed in the exhibition. Secondly, the researchers’ theoretical production: the selection of the photographs to be shown and the construction of the scenographic arguments that compose and contextualize those same photographs. These arguments seek to understand the relationships between the genesis and the final photographic product, as well as the place of the photographer within the History of Photography in Portugal. Finally, the public: perception – the visualization of a set of photographs and visual essays, the presence of the body within a scenographic representation – and the participation – constructing new images and contents. |
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