Sabor
O comboio no Sabor deixou de circular em 1988, no dia 1 Agosto. Percorri com o Pedro Garcias, a pé e de carro, o troço entre o Pocinho e Duas Igrejas junto a Miranda do Douro. Vivi o momento da saudade, memória, abandono, esquecimento. É o meu país. O comboio já passou por ali. É preciso não esquecer, é preciso não adormecer, o lugar ainda existe. Não há muito a dizer, mas sim sentir o coração bater mais forte quando fotografei aqueles que nos contaram as histórias sobre a linha do Sabor, deixando-me viajar por aqueles lugares mágicos. PP
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The train in Sabor halted its route there on the 1st of August in 1988. Together with Pedro Garcia, we walked and drove along the track between Pocinho and Duas Igrejas near Miranda do Douro. All at once,...
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The train in Sabor halted its route there on the 1st of August in 1988. Together with Pedro Garcia, we walked and drove along the track between Pocinho and Duas Igrejas near Miranda do Douro. All at once,...
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The train in Sabor halted its route there on the 1st of August in 1988. Together with Pedro Garcia, we walked and drove along the track between Pocinho and Duas Igrejas near Miranda do Douro. All at once, I felt a sting of saudade, memory, abandonment, and oblivion. That is my country. The train used to pass there. One must not forget, must not fall in slumber. The place still exists. There’s nothing much to say but I can say my heart was beating strong when I was portraying the people who told us stories about the Sabor train line - stories that made me wander in those magical places. PP
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Portugal Fashion
Acompanhamento durante três dias dos bastidores e passagens de modelos do Portugal Fashion. PM
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Portugal Fashion – a three day monitoring of events, an approach to backstage and fashion show. PM
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Portugal Fashion – a three day monitoring of events, an approach to backstage and fashion show. PM
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Portugal Fashion – a three day monitoring of events, an approach to backstage and fashion show. PM
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ADUELA
Tem como missão a criação de circo contemporâneo através do diálogo entre diferentes disciplinas. Habita o espaço Fábrica da Rua da Alegria, gentilmente cedido pela ESMAE. Os seus trabalhos exploram temáticas sociais, políticas, e filosóficas da sociedade actual. Desde 2009 o seu trabalho busca novas formas de fazer e apresentar circo, procurando elevar o virtuosismo clássico a uma forma de comunicação por excelência. Aduela nasce do convite da produtora Ideias Peregrinas para a concretização do espectáculo de estreia de “Spera Mundi”. Este projecto, encomendado por Guimarães 2012 Capital Europeia da Cultura, foi desenvolvido para fazer a ligação entre as duas capitais europeias 2012 – Guimarães e Maribor, na Eslovénia. PP
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The play Aduela is a project that aims to create a contemporary circus resorting to the dialogue between different disciplines. It takes place in Fábrica, Street Alegria, by courtesy of...
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The play Aduela is a project that aims to create a contemporary circus resorting to the dialogue between different disciplines. It takes place in Fábrica, Street Alegria, by courtesy of...
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The play Aduela is a project that aims to create a contemporary circus resorting to the dialogue between different disciplines. It takes place in Fábrica, Street Alegria, by courtesy of ESMAE. The work explores social, political and philosophical issues of modern society. Since 2009 it has been seeking new ways of presenting the circus by elevating the classic virtuosity to a new way of communication par excellence. The play started as an invitation made by the producer Ideias Peregrinas for the opening of the show “Spera Mundi”. The project, which was commissioned by Guimarães – European Capital of Culture 2012, was developed in order to connect both capitals of culture (along with Maribor, Slovenia). PP
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Rasgado
Ao princípio, os cartazes eram mera informação para o fotógrafo. Olhava a amálgama de uns colados aos outros para escolher o concerto ou peça de teatro que não queria perder. Depois, passaram a ser imagens artísticas, que já não podiam ser vistas da mesma forma. Alguém os rasgara. Há um olho que falta, uma boca a gritar, um pedaço da parede que já lá estava. De repente, o acto impensado cria um novo e fantástico universo. Uma nova realidade que, enquadrada pelo olhar do fotógrafo, parece ganhar uma intencionalidade que talvez nunca tenha existido. Rasgar é aqui, mais do que nunca, dar uma nova vida ao que já existia. Porto, Lisboa, 2012–2014. PP
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At first, the posters were mere information for the photographer. Looked at the amalgam of some glued to each other to choose the concert or play that he did not want to miss. Afterwards, they became artistic...
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At first, the posters were mere information for the photographer. Looked at the amalgam of some glued to each other to choose the concert or play that he did not want to miss. Afterwards, they became artistic...
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At first, the posters were mere information for the photographer. Looked at the amalgam of some glued to each other to choose the concert or play that he did not want to miss. Afterwards, they became artistic images, which could no longer be seen in the same way. Somebody had torn them. There is a missing eye, a screaming mouth, a piece of wall that was already there. Suddenly the thoughtless act creates a new and fantastic universe. A new reality that, framed by the photographer’s eye, seems to gain an intention that perhaps never existed. To tear is here, more than ever, to give new life to what already existed. Porto, Lisbon, 2012–2014. PP
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Do outro lado
É o registo fotográfico da criação de um objecto artístico com prisioneiros da cadeia de Santa Cruz do Bispo entre os 18 e os 30 anos. Usam a dança como linguagem para criar sequências que contam histórias de movimento, força, fragilidade e erro, e da sua própria superação. Palavras como solidão, raiva ou tristeza eram trabalhadas durante as sessões. Palavras que materializaram imagens vivas e letras de rap que os presos escreveram. PP
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A record about the making of a dance performance with 18-30 year olds inmates at Santa Cruz Prison, developed under the ECAR project by Pele association. Using improvised dance as a language, sequences...
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A record about the making of a dance performance with 18-30 year olds inmates at Santa Cruz Prison, developed under the ECAR project by Pele association. Using improvised dance as a language, sequences...
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A record about the making of a dance performance with 18-30 year olds inmates at Santa Cruz Prison, developed under the ECAR project by Pele association. Using improvised dance as a language, sequences emerge as stories – about movement, strength, fragility, error, and overcoming the odds. ‘Solitude’, ‘rage’, or ‘sadness’ were worked throughout the sessions – words that materialised some of the living images and rap lyrics created by the inmates. PP
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