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Os Encontros De Fotografia De Coimbra

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Os Encontros De Fotografia De Coimbra RETOMAR PERCURSOS QUE O TEMPO INTERROMPEU UMA LEITURA DOS ENCONTROS DE FOTOGRAFIA DE COIMBRA Mariana Marin Barbosa Gaspar Dissertação de Mestrado em Ciências da Comunicação Área de especialização: Comunicação e Artes MARÇO 2013 Dissertação apresentada para cumprimento dos requisitos necessários à obtenção do grau de Mestre em Ciências da Comunicação - área de especialização em Comunicação e Artes, realizada sob a orientação científica da Professora Margarida Medeiros e coorientação da Professora Margarida Acciaiuoli Brito e da Professora Margarida Brito Alves Agradecimentos […] “«Amigo» é uma grande tarefa, Um trabalho sem fim, Um espaço útil, um tempo fértil, «Amigo» vai ser, é já uma grande festa!” do poema “Amigo” de Alexandre O’Neill Os meus agradecimentos vão em primeiro lugar para a Professora Margarida Medeiros, pela curiosidade e pelo prazer contagiantes pelo fotográfico que me fizeram arriscar por caminhos que me eram novos. À Professora Margarida Brito Alves, agradeço a disponibilidade, a sensibilidade e o incentivo. Recordarei sempre com gratidão o seu contributo desde os tempos da licenciatura em História da Arte. Agradeço ao Albano, a imagem de persistência, o entusiasmo e o prazer que as suas fotografias me permitem. Desde criança. Agradeço a todos os que entenderam possível uma conversa, uma opinião, uma crítica. Foram preciosos os seus comentários. E ainda a todos os que me ouviram e de uma forma ou outra colaboraram. Agradeço aos meus amigos em diáspora, onde quer que estejam, para onde quer que vão e aos que como eu ficaram, por isso mesmo, e por tantas outras coisas. Agradeço ao meu irmão, tão presente nas leituras, no silêncio. Agradeço à minha irmã, o otimismo e a alegria de viver. Agradeço aos meus sobrinhos e aos vindouros, o futuro. Dedico mais esta etapa ao Gonçalo e aos meus pais, a quem voltarei sempre a agradecer, nunca agradecendo o suficiente… a presença, a mensagem, o amor incondicionais. Todas as coisas do mundo conduzem a um encontro ou a um livro. Jorge Luis Borges RESUMO A curiosidade e o interesse imediatos pela fotografia, apoiados no espírito objetivo e racional da modernidade, desde cedo justificaram a sua exibição: privilegiado o espaço simbólico da intimidade, breve, a fotografia migrou para o espaço público dos salões e das sociedades da época. Se na primeira metade do século XX houve lugar a algumas exposições que marcaram a história da fotografia, foi necessário aguardar pelos anos 70, para que a sua inscrição como criação autónoma entrasse nos lugares de exibição e difusão e encontrasse o espaço de uma eficaz divulgação; também entre nós, foi a partir desses anos que a fotografia iniciou um processo de reconhecimento, afastando-se da prática anterior, muito circunscrita à tradição associativa, exibida nos ‘salões’ da época. Essa rutura que se sentiu nos pressupostos estéticos, formais e autorais, conquistaria, na década seguinte, o consequente espaço de visibilidade que legitimaria e consolidaria a fotografia no universo da criação artística contemporânea. É neste contexto que se inscrevem os Encontros de Fotografia de Coimbra cuja primeira edição teve lugar em 1980, por iniciativa do Centro de Estudos de Fotografia da Associação Académica de Coimbra. Na ausência de uma cultura fotográfica em Portugal, assumem desde o início uma função divulgadora, sem omitir, em anos futuros, uma reconhecida capacidade de produção própria: se durante duas décadas assistimos ao fluir de um projeto que soube renovar-se e encontrar o equilíbrio entre o testemunho histórico e a progressiva integração da fotografia no contexto da criação contemporânea, e se no fim desse ciclo de vinte anos uma nova reformulação parecia ser suficiente a um outro projeto que se centrava agora no Centro de Artes Visuais, então porque se consumiu uma ideia e se estiolou um programa de ação? Com Retomar percursos que o tempo interrompeu , partimos de uma questão em aberto: seria ainda possível retomar um tempo e um projeto? Depois de um olhar breve sobre a história da fotografia em Portugal que suscitou o contexto e a oportunidade, procurámos, num segundo momento, ler os Encontros a partir das diferentes linhas de intervenção - da conceção e divulgação à comunicação e mediação, do ênfase dado à edição e à revitalização de alguns equipamentos locais aos aspetos mais relevantes da colaboração e do financiamento, da constituição de uma coleção à capacidade de ser exemplo e de influenciar os domínios da receção, da crítica e do mercado, avaliando o modo como essa intervenção se projetou para além do seu próprio espaço e tempo de ação. Finalmente, porque entendemos que uma leitura dos Encontros deve incidir também no questionamento ontológico da fotografia, tentámo-lo, partindo, por um lado, de alguns pressupostos teóricos e, por outro, discutindo a pertinência e a oportunidade de algumas marcas deixadas no seu percurso. PALAVRAS- CHAVE – Encontros de Fotografia de Coimbra, Fotografia, Divulgação, Receção, Crítica, Mercado, Colecionismo. ABSTRACT The immediate curiosity and interest in photography, partly supported on the objective and rational spirit of modernity, early justified its exhibition: after privileging the symbolic space of intimacy, soon photography migrated to the public area of the halls and societies of that time. If in the first half of the twentieth century there was place for some exhibitions to mark the history of photography, it would have been necessary to wait for the seventies, so that its registration as an autonomous creation entered the places of exhibition and disclosure and met the space of an effective dissemination; also amongst us, it was back to those years that photography began a process of recognition, moving away from previous practice, very limited to associative tradition as shown in the 'halls' of the time. This breakthrough felt in the aesthetic, formal and authorial assumptions would conquer in the next decade the consequent space of visibility that would legitimize and consolidate photography within the world of contemporary artistic creation. It is in this context that the Encontros de Fotografia de Coimbra (Coimbra Photography Festival) formed part, which first edition took place in 1980 by the initiative of the Centre for Photographic Studies of the Academic Association of Coimbra. In the absence of a photographic culture in Portugal, they assume since the beginning a disclosing role, without omitting, in future years, a recognized own production capacity: if for two decades we have witnessed the flow of a project that knew how to renew itself and find a balance between the historical evidence and the progressive integration of photography in the context of contemporary creation, and if by the end of this twenty-year cycle a new reformulation seemed to be enough for another project that was now centred at the Centre for Visual Arts, then why had an idea been eroded and an action programme undermined? From Retomar percursos que o tempo interrompeu (To resume pathways interrupted by time ), the assumption is an open question: would it still be possible to resume a time and a project? After a brief look at the history of photography in Portugal, which prompted the context and the opportunity, at a second time we sought to read the Encontros from their different areas of intervention - from conception and dissemination to communication and mediation, from the emphasis given to the edition and the revitalization of some local facilities to some of the most relevant aspects of collaboration and funding, from the foundation of a collection to the ability of being an example and influencing areas of reception, criticism and market, assessing how that intervention was designed beyond its own space and time of action. Finally, because we think that a reading on the Encontros should also focus on the ontological questioning of photography, we have tried it by starting, on the one hand, from some theoretical assumptions and, on the other hand, by discussing the relevance and timeliness of some marks left on its path. KEYWORDS - Encontros de Fotografia de Coimbra , Photography, Dissemination, Reception, Criticism, Market, Collection ÍNDICE Introdução................................................................................................................................. 1 1. Do tempo e do modo da fotografia portuguesa – uma brevíssima historia dos acontecimentos...................................................................................................................... 7 1.1. Da história e da crítica de fotografia ..................................................................... 11 1.2. Da difusão e da edição de fotografia...................................................................... 16 1.4. Das instituições e do mercado de fotografia.......................................................... 34 2. Retomar percursos - os Encontros de Fotografia de Coimbra .................................. 39 2.1. Leituras .................................................................................................................... 44 2.1.1. Conceção ........................................................................................................... 45 2.1.2. Divulgação......................................................................................................... 50 2.1.3. Comunicação..................................................................................................... 53 2.1.4 – Mediação ........................................................................................................
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